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Wesley Peters Pearl Palace
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goffmachine



Joined: 08 Apr 2010
Posts: 219

PostPosted: Sat Dec 11, 2010 6:13 pm    Post subject: Wesley Peters Pearl Palace Reply with quote

?

Hello all,

Im liking very much of what I can find about the Pearl Palace.
The best images I could find are here:
http://www.facebook.com/group.php?gid=75437305917&v=photos
Does anyone have any other infomation or photos?
The information here:
http://www.iranian.com/Kasraie/2004/June/Design/
and:
http://en.wikipedia.org/wiki/Morvarid_palace
is pretty good but I wonder if another apprentice had more influence on the actual design??
Anyone have any opinions about this project?


Last edited by goffmachine on Sat Dec 11, 2010 9:54 pm; edited 3 times in total
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Mark Hertzberg



Joined: 07 Jan 2005
Posts: 836

PostPosted: Sat Dec 11, 2010 9:15 pm    Post subject: Reply with quote

If this is the palace for the sister of the Shah of Iran: apprentice Charles Montooth was working on it when a commission came from Racine from the Johnson family and friends for a new private school. Charles was told to drop the palace and work on the school. He designed the original building (1960) which was finished in record time, and each subsequent addition including working on the fieldhouse expansion about seven years ago

Mark Hertzberg
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Paul Ringstrom



Joined: 17 Sep 2005
Posts: 4216
Location: Mason City, IA

PostPosted: Sun Dec 12, 2010 11:31 am    Post subject: Reply with quote

As with most architectural firms projects completed by Taliesin Associated Architects were credited to the senior partner W.Wes Peters. The actual work was done by others.

Does anyone know who actually worked on this other than Montooth?
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m.perrino



Joined: 02 Aug 2007
Posts: 302

PostPosted: Sun Dec 12, 2010 11:54 am    Post subject: Reply with quote

as indicated in one of the attached articles, both Tom Casey and his wife, Effi, were on site during construction, I believe for almost a 2 year time frame.

On a project like this, certainly other Fellowship members must have been enlisted for ideas, Cornelia Brierly, John deKoven Hill, etc.

The overall plan shows Wes Peter's late career devotion toward the exploration of the circular form....
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Roderick Grant



Joined: 29 Mar 2006
Posts: 9598

PostPosted: Sun Dec 12, 2010 5:01 pm    Post subject: Reply with quote

Liberace, Donald Trump or the Miss America Pageant would have fitted comfortably in the Pearl Palace. It's over the top, even for TA. I have my doubts that either Montooth or Hill had much to do with the design, if anything; both were far too good for this stuff. On pages 218-223 in "A Living Architecture, FLW and Taliesin Architects" by John Rattenbury (Pomegranate, 2000) are a few photos of both Pearl Palace and Villa Mehrafarin, a larger, more conventional building on the shores of the Caspian that the princess began to build shortly before the revolution forced her to relocate to Santa Barbara. The huge house was never finished. Only exteriors are shown, with the massive 12/12, blue, hipped, corrugated roof dominating, almost obliterating the walls below. Steve Nemtin went to Iran to oversee construction, so he might be the best source of information. Not so many years ago, several former apprentices, including Paul Bogart and Gratton Gill, went to Iran to see the buildings. I never heard what their impressions were, or even if their trip was successful. I'll ask Geiger about it.
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Education Professor



Joined: 05 Jul 2005
Posts: 593

PostPosted: Sun Dec 12, 2010 5:51 pm    Post subject: Reply with quote

I seem to recall from my readings that Steve and Frances Nemtin were involved as was Cornelia Brierly. I'm sure that many others from Taliesin were involved as well.........

EP
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peterm



Joined: 13 Mar 2008
Posts: 6105
Location: Chicago, Il.---Oskaloosa, Ia.

PostPosted: Sun Dec 12, 2010 11:09 pm    Post subject: Reply with quote

There are works of art that are of their time, and there are some which are also timeless. There are are still others which can exaggerate the flaws of the time to the extent that they almost induce a sort of nausea. I am afraid, (at least for me) this falls into the last category...
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Mark Hertzberg



Joined: 07 Jan 2005
Posts: 836

PostPosted: Sun Dec 12, 2010 11:15 pm    Post subject: Reply with quote

Different cultures have different aesthetics in architecture,art,music, etc. Ours may be what many here prefer, but that does not make it any better than other cultures.
Mark Hertzberg
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peterm



Joined: 13 Mar 2008
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Location: Chicago, Il.---Oskaloosa, Ia.

PostPosted: Sun Dec 12, 2010 11:44 pm    Post subject: Reply with quote

My reaction was based on an assumption that this is a work created by American architects. I did not intend to imply that the problem of this work was in any way related to the art or architecture of another culture. In fact, this work seems to reflect a misunderstanding of another culture, like the set of a mediocre Hollywood B movie.
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KevinW



Joined: 06 Feb 2005
Posts: 1276

PostPosted: Sun Dec 12, 2010 11:44 pm    Post subject: Reply with quote

gaudy is gaudy....no matter what the culture. This project (in my humble opinion) screams of Wes Peters heavy hand and Olga's color "expertise".....Wes lived for big over the top projects. I am glad he was able to create the Benton house, for that shows that he had the ability to do something tasteful.
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Randolph C. Henning



Joined: 21 Aug 2005
Posts: 142
Location: North Carolina

PostPosted: Mon Dec 13, 2010 10:02 am    Post subject: Reply with quote

In defense of this particular project, it is my understanding that the client was so emotionally moved when the preliminary design drawings were presented to her that she had to leave the room to collect herself. In my mind that speaks volumes and is a truer indicator of the project's success than it's geometry or colors used.
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KevinW



Joined: 06 Feb 2005
Posts: 1276

PostPosted: Mon Dec 13, 2010 11:44 am    Post subject: Reply with quote

Perhaps that is why I am not wealthy . Some of my worst projects.....would have been the ones that the client thought they wanted.

It is my belief, in most cases, the larger and grander the projects, the harder it is to adhere to Organic principles. Client satisfaction, no matter how hideous the building may look, as a measure of success favors the client. It is up to the Architect to educate, suggest and provide solutions, and sometimes the answer has to be no.
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Last edited by KevinW on Thu Apr 07, 2011 6:11 pm; edited 2 times in total
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Paul Ringstrom



Joined: 17 Sep 2005
Posts: 4216
Location: Mason City, IA

PostPosted: Mon Dec 13, 2010 11:53 am    Post subject: Reply with quote

myLiebermeisterAGG wrote:
It is my belief, in most cases, the larger and grander the projects, the harder it is to adhere to Organic principles.


Absolutely agree!!
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Mark Hertzberg



Joined: 07 Jan 2005
Posts: 836

PostPosted: Mon Dec 13, 2010 1:19 pm    Post subject: Reply with quote

I think there is some elitism here. Are we the final arbiters of whether or not an architect has succeeded because he/she satisfied the client rather than our values? I say this especially when few, if any of us, are steeped in the culture and values of the nation half way around the world where the commission originated.

Mark Hertzberg
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peterm



Joined: 13 Mar 2008
Posts: 6105
Location: Chicago, Il.---Oskaloosa, Ia.

PostPosted: Mon Dec 13, 2010 2:56 pm    Post subject: Reply with quote

Wright's designs for clients in Japan (another culture) would receive no criticism from me. In fact, I find them to be astoundingly profound. I can not see any of the same quality in this project.

And how many hideous McMansions have been designed by architects, and are proudly praised by their owners? Is it elitist to be critical?
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