In the late 1950s, some of the world's most prominent architects gathered in Berkeley, California, to take part in a landmark psychological experiment on creativity and personality. Eero Saarinen, Philip Johnson, Richard Neutra, William Pereira and dozens of other architects were put through a barrage of tests and surveys, to gain a better understanding of what creativity is, and its place in architecture. They also rated one another, and in the process exposed not only exposed their egos honestly, but also their insecurities.
For the first time, the story behind the study (along with its data and results) have been made public, in 'The Creative Architect', by architect and author Pierluigi Serraino. Amelia spoke with Serraino about the context of psychological research in the 1950s and the evolving personality behind being a “creative” architect.
Source by Archinect
Architect Tim Campbell reveals what his restoration of Richard Neutra’s Singleton House can teach us about designs – and when renovation means leaving well alone. Plus we’re in Ljubljana to hear from the Future Architecture Festival and how the city’s Design Biennial is rethinking troubled Tito-era architecture.
Source by Monocle 24: Monocle on Design
We take a tour of iconic modernist complex Neutra VDL Studio and Residences in Los Angeles, designed by Austrian-American architect Richard Neutra. We also hear from Madrid, where an exhibition charts the history of coming second in architecture and speak to Swiss Industrial designer Yves Béhar. Plus: we find out about the architectural side of Toronto’s Pan American Games.
Source by Monocle 24: Monocle on Design
Lecture date: 2000-12-11
The 'Psychoanalysis and Space' conference, chaired by Mark Cousins, is based upon the premise that many conditions of spatial experience are unconscious, and at the same time the unconscious may often be described in terms of spatial fantasies. The aim is to initiate discussion of the possibilities of psychoanalytic theory making a systematic contribution to the analysis of spatial relationships and architecture. This is the first time that this issue - increasingly prominent within architectural theory and criticism - has been addressed in a systematic form.
Sylvia Lavin - Open the box: Richard Neutra and the psychology of the domestic environment.
Raymond Richard Neutra, the youngest son of architect Richard Neutra, discusses the influences and Viennese roots of the VDL Research House (a.k.a. Neutra VDL Studio and Residences) in the Silver Lake district of Los Angeles. Neutra also discusses the influence that Frank Lloyd Wright, and Otto Wagner had on his father in terms of connecting with nature, using new technology and materials, and how these principles combine to act on the biological senses at the VDL compound.
This video ends abruptly before the lecture ended.
After an introduction by Shelly Kappe, Dione Neutra speaks about her 700 letter-long correspondence with her husband, Richard and her use of this material in her autobiography. She sings folksongs, accompanying herself on the cello, including a piece from Piedmont in Italy, a French pre-revolutionary pastoral, and a Swiss song about calling the cows from the mountains. She discusses her husband’s success and continual lecture tours, but expresses her dissatisfaction with the degree of understanding conveyed by those who invited him.
Neutra describes how she met Richard and the connection of spirit that led to their first four years of correspondence prior to marrying. She describes Richard Neutra’s determination to create environments which assuaged the senses of his clients. She then recounts several events including a powerful talk in Lima that students used in their attempts to open the pedagogy of their school, and Neutra’s correspondence with Rudolf Schindler while stuck in Europe and hoping to come to the United States.
Neutra recites from a letter composed by Richard Neutra to her mother prior to their marriage. Richard, working in Zurich at the time as a draftsman comments on the importance of keeping alive his innate capabilities and not allowing them to atrophy with a blindfold on. He goes on to comment on the need to develop himself under different architects of character. Dione finishes her talk by reading from a letter in which Neutra speaks at length about his unfinished Forest Cemetery, commenting on some of the elements in architecture and life that most stimulated him.
Harwell Hamilton Harris responds to questions from Shelly Kappe.
Harris describes growing up in an idealistic and progressive early 20th century Los Angeles. He considered himself a sculptor until he saw Frank Lloyd Wright's Hollyhock House in 1925. An attempt to contact Wright's assistant, Rudolph Schindler led to meeting with Richard Neutra. Harris describes working for Neutra in the 1920s, along with Gregory Ain.
Harris describes how his own practice began when Neutra left to tour Europe in 1930. His first built work, the Lowe House in Altadena, 1934, was published in House Beautiful, and led to more residential work. In his own work, he sees the idea of prefabrication informing his use of interchangeable units, like a musical scale, to create a rhythmical composition. Harris describes how he assumed the immediate post-war period would be bad for practice, so in 1951 he accepted an offer to head the architecture school of the University of Texas at Austin. The possibility of doing more work, while teaching, led him, in 1962, to the School of Design at North Carolina State University. Asked about the difference between his California work and his work in Texas and North Carolina, Harris sees more continuity than difference. He argues that both wood and stucco have interesting characteristics that he uses "joyfully." Asked about new architecture being built, Harris describes his discomfort with megaprojects and vast urban plans. He characterizes his architecture as a means of discovering what can be.