Word: hollein
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World-renowned architect Hans Hollein discussed his work--including a potential new building in Harvard Square--yesterday in front of an audience interested in his latest project...
...would be unremarkable without its world-class aesthetic aspirations. More than 200 architects from 15 countries entered IBA's invitational design competitions, and the winners constitute a sort of international Who's Who. West Berlin has or will soon have new IBA buildings by O.M. Ungers (West Germany), Hans Hollein (Austria), Rob Krier (Luxembourg), Mario Botta (Switzerland), Aldo Rossi (Italy), Oriol Bohigas (Spain), Rem Koolhaas (the Netherlands), James Stirling (Britain), Arata Isozaki (Japan) and, from the U.S., Charles Moore, Robert A.M. Stern, Stanley Tigerman, Peter Eisenman and John Hejduk. A museum show tied to IBA, "750 Years of Architecture...
Behind the Krier shield sit two rows of four buildings of modest size: five stories, five apartments to a floor. The most extravagant is by Hans Hollein, a ((pink and blue and yellow and red)) box with broad, flaring eaves and lights embedded in column capitals -- the largest Memphis-style object ever constructed. The best of the lot is Aldo Rossi's low-key construction of red brick and yellow block. The colored bands recall Schinkel, the octagonal clerestory recalls Rossi's own floating Venetian theater, and the exposed I- beam "lintels" over the windows remind us that architecture...
Like most postmodernists, Hollein says he is not a postmodernist. But as the Pritzker citation declared, he is "one who with wit and eclectic gusto draws upon the traditions of the New World as readily as upon those of the Old." Says Hollein: "I was never afraid to use materials in new contexts--plastics or alu- minum or marble, and all this together." Nowhere does he put more forms and materials together better than in his museum of contemporary art in Monchengladbach, West Germany. The Pritzker ostensibly honors a lifetime of work, but surely it is Monchengladbach that...
...that Americans have now given Hollein his honorific due. The U.S., he says, has influenced his architecture most of all. He arrived at the Illinois Institute of Technology in 1958 but found its "Prussian dogma" of modernism uncongenial. Breaking free, Hollein bought a Chevy and drove, covering 50,000 miles in a year and a half, just when Nabokov's Humbert Humbert and Kerouac's romantics were on the road. Recalls Hollein: "It was just incredible to me the space you have here, the sense of freedom." Seeing the West provoked a kind of epiphany. A generation ago, before pizazz...