Word: designate
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Dates: during 1960-1969
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Aside from the conscious and obvious deference Katayama shows to Le Corbusier's building, there are more subtle relationships between the two designers. Katayama's white panel boxes have no curves, only planes and right angles that are contraforms to set off the flows in Thonet's wood. One wonders if Katayama had in mind Le Corbusier's statement that "the right angle is the primordial sign of the ordering and organizing spirit." And just as Carpenter Center has no real front or back--its axis diagonal to Quincy Street and entrance buried in the middle--so too Katayama...
This is no museum of rooms in a row with an open corridor of door-ways--it is one space in which Katayama's design moves in all directions and shows many good faces. Were his wooden compartments empty--and Katayama never conceived of them without their chairs--it would still be a brilliant creation of light and space in motion...
Nothing less than the total space is Katayama's concern here. He says that the table and chair where the guard sits, even the clock on that table are as much a part of his design as the conscious making of white space in the Thonet poster...
Francois C. Vigier, associate professor of City Planning and Urban Design, has been appointed director of the Center for Urban Studies in Harvard's Graduate School of Design...
...Harvard Center for Urban Studies provides facilities and financial support for research done in the School of Design...