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She wrote the book on Jones: https://www.amazon.com/Quincy-Jones-Cor ... 0714848433
Wow. A unique architectural soul. In the course of looking at his life we are taken to Yale in 1950, the year that George Howe took the helm of the
architecture department---soon to be joined by a Mr Kahn, traveling by rail from Philadelphia to lecture there---and, in the same year, the arrival of
Josef Albers as chairman of the Department of Art.
In the end, Lyman credits his own father, an architect of the Beaux Arts persuasion (as was Howe, before 1929), Frank Lloyd Wright, and Eugene
Nalle, a Yale instructor who introduced the student to Japanese building, as "the three great architectural influences of his life."
And, looking at the subject of the early parts of the book, Lyman's own Malibu house, I see where Schweikher found the roof---if not the whole barn
---of his last house, in Arizona ...?
The book is filled with Lyman's drawings and illustrations. Well worth my $17.03 + shipping.
home and one other built residence, Lyman designed dozens of structures, illustrating them with colored-pencil drawings that are a real treat. I show
examples of two of these unbuilt houses ...
Cory Buckner learned to draw and to become an architect in the Lyman house. Her story evokes that of Esther McCoy and RM Schindler. The house
served consecutively as family residence, architectural office, batchelor pad, and painting studio, before Lyman sold it to another architect---who
transformed the house into "a pastiche covered in stucco and decorated with Mexican tiles." "The architect responsible delighted in calling Lyman to tell
him of the changes and how much money he had made by selling it to another party. The house burned to the ground in the Las Flores fire of 1993 ..."
Copyright Ã‚Â© 2016 by Crestwood Hills Press and Cory Buckner
that's what some bolted connection hardware, connecting 8 x 10 posts and those rafters as seen in the model, is about.
Lyman wrote: "The main living section of the house would be a box built as much like a piece of furniture as possible. Expansion and contraction, which is not a grave problem in small objects such as furniture but is in
large objects such as houses, would be held under control by large wedges. Since expansion is a problem in wood only laterally, I decided to make the lateral dimensions wood and the longitudinal dimensions glass."
I can't interpret that last sentence---but in any event the large wedges, which elsewhere are mentioned as keeping the floor and wall boards tight, are
evident in photos. And, there's some interesting ironwork deployed in the area of the eaves ...
Marvin Rand photo
suave constructivism of their work is reborn, in the raw--- but made with selected and dressed material, as can be seen in Lyman's own photos, above.
Aren't those the honking-biggest bolted-mortise and tenon joints you've ever seen---this side of a barn or warehouse from the last century and before ?
Fred Lyman paid tribute to Ise Grand Shrine, as well. His fine two-story stair, and other diagonals, at least, might have come from earlier minimalists like
the designers of Ise, c. 635 AD.
The supply of these Hinoki trees in Japan has been exhausted; the wood now comes from Korea.
I first saw an aerial photo of the site in MoMA's 1955 book, which my parents gave me for Christmas, 1956.
Look at the moss that's in the process of taking over the thatched roofs, in that color aerial.