Sublime

“re-empower the architect.”

architectural playfulness

push the boundaries of architectural form so that they would embrace more of the concerns of art, but that was not the same as rejecting the concerns of architecture in favor of those of art.

Frank almost never started a design with a predetermined shape. He liked to begin by “playing”—a word he used far more often than “working” when he talked about how he went about designing things—with wooden blocks of different sizes, each representing a portion of a building’s functional program. He would then stack or array the blocks in what he

Le Corbusier’s chapel at Ronchamp,

Wolf Von Eckardt entitled Back to the Drawing Board.

recognition that he would be miserable if he had to spend his life designing shopping centers and office parks.

His design approach at CAM was a curious mix; at times it resembled that of a Renaissance sculptor, carving away at the block until a form emerges.

He believed that an architect needed to bring to a project something that the client could not have imagined himself.