Brutalism & The Alley by Alejandro Alberto

         The Alley Theatre is currently going through renovations updating its interior design work to a more contemporary look and feel and what they believe will last through time. This being a common theme for The Alley Theatre, as change has always been part of their history since the conception of the company. However, though change does happen often, their vision stays the same, to have a theatre that draws people in and allows them to have a good time.

            Part of this vision involved creating a home of their own in downtown Houston. In 1968, it was realized when their new home was opened right in the heart of Houston. Ulrich Franzen was the architect who was contracted to design the new Alley’s home (Alley). Franzen was inspired by what we all know now as the brutalist movement (Ulrich). Though now they are redesigning the interior, the exterior is staying virtually the same. This is because the building has become well known for its “theme” and draw thanks to Franzen and his design work.

            Brutalism was a movement through architecture that was popular between the 1950s through mid 1970s (Ulrich). The word brutal comes from the French word “béton brut”, which means “raw concrete.” It was a term Le Corbusier used to describe his choice of material (n.d). It became popular as a building choice for low income housing and government office spaces. This was due to the economically depressed and World war II ravaged countries who could not afford large budgets for buildings. Even those who were able to afford it, decided to follow the movement as it was seen as the next generation of architecture. Brutalism is characterized by the use of material in there natural state, especially concrete. It also follows a grid like modular element (n.d.). Most brutalist buildings have facades made all from concrete and don’t have a finish to it. The most popular brutalist building is Le Corbusier Unité d’Habitation, pictured on the right. Brutalism was neither shy nor bashful. It stands strong and gives a big impression.

            The Alley Theatre does just that. In the middle of a busy and very crowded downtown Houston, it stands tall as one of a few brutalist building left to see. The impression of a very simplistic façade that holds inside a very uniquely designed theatre that holds all the best plays Houston has to offer. In the mist of it all, the Alley theatre is truly one of a kind.  

References 

Alley Theatre - Houston, Texas - Photos of Alley Renovation. (n.d.). Retrieved March 30, 2015, from http://www.alleytheatre.org/Alle /Photos_of_Alley_Renovation1.asp

          Ulrich Franzen | ArchDaily. (n.d.). Retrieved March 30, 2015, from http://www.archdaily.com/tag/ulrich-franzen/ 

          Houston Photos - Page Two. (n.d.). Retrieved March 30, 2015, from http://www.top-city-photos.com/houston_city_photographs2.htm

          A HOME OF OUR OWN. (n.d.). Retrieved March 30, 2015, from http://www.alleytheatre.org/Alley/A_Home_of_Our_Own.asp 

      (n.d.). Retrieved May 3, 2015, from http://offcite.org/wp-content/uploads/sites/3/2010/03/NewBrutalism_Fox_Cite40.pdf

Mies’ Legacy: The Cullinan Hall and Brown Pavilion by Micaela Cadungog

          The original Museum of Fine Arts in Houston was designed by William Ward Watkin with the neoclassical style featuring Greek columns on the south façade; however, Ludwig Mies van der Rohe was commissioned to design two additions to the original building on the north façade (Topping). The Cullinan Hall and Brown Pavilion are the only Mies van der Rohe buildings in Texas and the only Mies van der Rohe museum in America (Story).

               Modernism, particularly the international style, is marked by visually light architecture composed of planar surfaces stripped of ornamentation and open interiors. The main materials used in the international style are steel, glass, and concrete. The rapid industrialization and standardization of material production and building technology encouraged the use of these materials (International). The open interiors and visual lightness of the buildings are key components of the invisible architecture associated with Mies. According to Mies, less is more; this statement reflects a key part of modernist architecture: the building design does not hold any overbearing meaning or symbolism. In the Culinan Hall and the Brown Pavilion, Ludwig Mies van der Rohe’s modernist and international style focuses on adapting to the industrialization of the 20th century and the standardization of new technology as well the objective nature of modernist architecture.

       The museum has three levels which encompass galleries, an auditorium, a library, and a small restaurant (Chronology). Although the Culinan Hall and the Brown are designed in the international style, they do not have the same monumentality as some the skyscrapers associated with the style. The front of both buildings are expansive curtain walls of glass on a steel frame structure. The large, bare, curved surfaces are perfect examples of the international style. Furthermore, the interiors of both building are open, flexible spaces that allow the events inside to define the space, not the building (Fox). Moreover, the large, glass wall invites the outside passersby into the building, further eliminating the building design to influence the artwork inside (Fox). This reflects the objectivity and invisibility of modernist architecture.

               International style was influenced by the industrializing and mechanizing culture in the 20th century. The key factors of this mechanization are “standardization, continuity, constraint, and the reduction of work to simple labor” (Backer). The main theme within these factors is simplification; the industrializing culture was focused on standardizing materials and production and minimizing in the work. This is reflected in Mies’ architecture. Steel frames, glass, and concrete not only make use of prefabricated parts but also make use of standardized building techniques (International). Furthermore, the elimination of ornamentation simplified the construction process similarly to how mass production and the assembly line simplified the labor process (International). Though this standardization sounds cold, beautiful simple forms were born from it. For example, both the Culinan Hall and the Brown Pavilion have the large glass curtain walls that reflect the continuity in the mechanization of the 20th century. The large, almost endless spaces inside the building reflect this continuity, evoking the feeling of endlessness and limitlessness. Incidentally, the industrialization of American and the Industrial Revolution evoked similar feelings of limitlessness with the surge of new technologies (Backer).

As the only Mies building in Texas and the only Mies museum in America, the Culinan Hall and Brown Pavilion are iconic architectural pieces from the 20th century. The museum addition perfectly represents Ludwig Mies van der Rohe’s iconic, industrial style. Though sleek, simple international style is fairly common in the 21st century, at the time, eliminating useless ornamentation was a developing concept emphasized in America by influential architects like Mies.  

Works Cited

Backer, P. (n.d.). Industrialization of American Society. Retrieved March 30, 2015, from http://www.engr.sjsu.edu/pabacker/industrial.htm

Chronology of Events in MFAH History. (2001, May 15). Retrieved February 21, 2015, from http://prv.mfah.org/archives/pdf/mfah_chronology.pdf

Fox, S. (1992). The MFAH: An Architectural History. Retrieved February 17, 2015, from http://www.mfah.org/about/mfah-architectural-history/

International Style. (2015). In Encyclopædia Britannica. Retrieved from http://www.britannica.com/EBchecked/topic/291280/International-Style

Story, The. (2012). Retrieved February 21, 2015, from http://www.miessociety.org/legacy/projects/

Topping, D. (2011, August 17). AD Classics: The Museum of Fine Arts Houston / Mies Van der Rohe. Retrieved February 17, 2015, from http://www.archdaily.com/153819/ad-classics-the-museum-of-fine-arts-houston-mies-van-der-rohe/

Congregation Emanu-El: Houston’s Hidden Gem by Nathan Clark

      Few cities offer as much diversity as Houston, Texas – ethnic, culture, cuisine or architecture, Houston has many examples of each.  The temple Emanu-El located on Sunset Boulevard is an example of Houston’s rich architectural history which has become an integral part of its community.  The congregation of Emanu-El met for the first time on June 8, 1944 in borrowed space at a local church.  Quickly realizing the need for their own building to commune in, the congregation found and purchased the property at 1500 Sunset Boulevard (Temple).  Once the land purchase was complete, the search for designers and architects began.  In 1945, Lenard Gambert, a Houston architect who was also a member of the Temple Emanu-El Building Committee, approached two architects, Karl Kamrath and Fred MacKie, about designing the congregation’s temple.  Gambert suggested that the structure of their new temple should be a more original design and different from the conventional domed Byzantine era temples that is traditional for other Jewish temples.  Kamrath and MacKie accepted the challenge of designing the new temple with enthusiasm.  They researched contemporary and traditional temple designs extensively, and were very influenced by Frank Lloyd Wright and his style of Organic Architecture.  It was not until September 1947 that the final plans were submitted and approved for construction.  A local house builder and member of the congregation, Martin Nadleman, was selected as the temple’s contractor.  The cost to construct the temple was estimated at $1,000,000 when their actual budget was only $800,000.  To accommodate the lower budget, Kamrath and MacKie removed from their plans the items that could be easily added at a later time, such as two balconies, covers over pathways, carpet, and metal ornamentation.  By removing these extra items from the plans, the two architects were able to bring the cost down to $780,000.  Construction began in the summer of 1948.          

      Organic architecture is defined as “a reinterpretation of nature’s principle’s as they had been filtered through the intelligent minds of men and women who could then build forms which are more natural than nature itself” (Elman).  For example, the Temple Emanu-El is not designed to look like a leaf or other object from nature but is instead an example of how layered surfaces create depth and give the structure shape, just like we see in nature.  This symbolism can be seen in the angles of the building that signify open arms to welcome the surrounding community in.  The slow builds to the large peaks help to soften the appearance.  The walls are not intended to add to the beauty of the building, but are simply elevating the beautiful elements of the roof.  The exterior of the building is made up of large, angular roof segments and walls that “are simply a functional expression of the plan” (Miller, 1993, p. 119).   Even the property itself contributes to the Organic style of construction and architecture.  The front lawn is a lush green area that contains trees, allowing the church to sit comfortably within its designated space without pushing the boundaries of the land.  Any passerby can easily see the building, and the lawn helps the temple seem less imposing compared to how it would appear if the church were sitting right on the street.  Organic architecture “seeks superior sense of use and a finer sense of comfort, expressed in organic simplicity” (Wright).  The goal is to have the building, furnishings and surroundings all work together flawlessly.

       This sense of Organic Architecture continues in the temple’s interior.  The main temple is a large open space that can seat about 800 people.  The entrances are in the back corners of the sanctuary.  The ceiling slopes up to the front and the walls converge to the center of the stage.  At the very center of the stage sits the temple’s Ark.  The Ark is the cabinet in which their five Torah Scrolls are held.  The congregation places high priority on community and glorifying God.  The congregation use the beams in the main temple as a reminder of those fundamental beliefs.  The vertical beams, that is to represent their connection with God, and the horizontal beams represent their connection with each other as members of the same congregation.  “The space within the building is the reality of that building” (McCarter, 2000, p. 37).  The interior consists primarily of the main temple (or sanctuary) and the assembly hall.  These two elements of the temple Emanu-El are then surrounded by one large hallway that connects everything together and also contains classrooms and offices.  The main temple and the assembly hall share a common wall.  This wall is artificial and can be collapsed to accommodate large crowds numbering up to 2600 people.  The main temple still has the original pews installed in 1949.  The building committee wanted the sanctuary and assembly hall to have large windows so that both could be lit with the natural sunlight.  Because of the large windows, “sky light streams in from high-set windows on the two outer walls, infusing the sanctuary with a sense of peacefulness and calm” ().  This feature saves the temple money as well as gives both rooms a friendly atmosphere. 

                Construction of the basic temple Emanu-El was completed in one year, and was dedicated on September 9, 1949.  MacKie and Kamrath finished designing the stained glass windows as well as the Ark in 1953.  Since the completion of the temple, the congregation has made a few additions to the building, but its foundation is still the same Organic styled temple that was built over half a century ago.  Still standing firmly with its arms open wide to the surrounding community.

References

Miller, Scott Reagan (May 1993).  The architecture of MacKie and Kamrath.  Order number 1355243.  Retrieved from https://scholarship.rice.edu/bitstream/handle/1911/13763/1355243.PDF?sequence=1

Wright, Frank Lloyd (1998, March 2).  General format.  Retrieved from http://www.brainyquote.com/quotes/quotes/f/franklloyd127712.html

McCarter, R. (2000). Frank Lloyd Wright’s Living Space

Elman, K. (2006).  Frank Lloyd Wright and the Principles of Organic Architecture.  Retrieved from http://www.pbs.org/flw/legacy/essay1.html

Temple Emanu-El. Retrieved from http://www.emanuelhouston.org/history

Fox, S. (2014, Dec. 3). Temple Emanu-El:”A Sensation of Grace”.  Retrieved from http://www.houstonchronicle.com/local/gray-matters/article/Temple-Emanu-El-5930803.php

Angeli, E., Wagner, J., Lawrick, E., Moore, K., Anderson, M., Soderlund, L., & Brizee, A. (2010, May 5). General format. Retrieved from http://owl.english.purdue.edu/owl/resource/560/01/

Hidden Connections by Daniela Olivera-Gomez

       Houston is a city that is known for its location, its humid weather and the diversity in its growing population. It is a city that is constantly moving and although there is a lot to see at ground level, there is still more to see lying below the city. If you go 20 feet underground you will find a system of tunnels that spreads over 95 blocks. The tunnel system in downtown Houston is the largest underground walkaway in the world and it is where you can find different shops and restaurants. It provides a comfortable way of moving around in an air-conditioned area. 

        These passageways link buildings to the Theater District; hotels; banks; and many other buildings and areas of the city. The first link began in 1930 when Ross Sterling decided to link two buildings he owned. Sterling was inspired by the Art Deco style of the shops at the Rockefeller Plaza in New York. Following his example 5 years later, Will Horwitz connected 3 of his theaters to save on air conditioning. The construction of the tunnels began during the Great Depression and it has continued since then. The tunnels were first opened to the public in 1961 when a connection was made between the Bank of Southwest, a nearby parking garage, and the Mellie Esperson building. During this time there was a construction boom that lasted until the 70’s and many new connections were built. As new buildings appeared, new connections were constructed. The design of the tunnels below is influenced by the architecture of the buildings above. This helps differentiate under which building you may be walking by.

      Though not all passageways need this type of identification through the change in design to notify one of their location. The tunnel system also includes skywalks. Although these are not attached to the actual tunnels underground, they help connect buildings above the streets. One of the most singular skywalks is the circular skywalk that connects the Enron Center Chevron buildings. There is a series of skywalks in the St. Joseph Medical Center facilitate access between the buildings it connects. Other skywalks include some at the Houston Public Library and the Toyota Center.

       

       The question now becomes, how do you enter the tunnels? While most entrances are located inside the lobbies of different buildings, some are closed to the general public. There are only two entrances that lead to the tunnels from the street. One of them is located at the Wells Fargo Plaza on Louisiana Street; the other is located at the McKinney garage on Main. Other entrances include the lobby at the Hyatt Hotel also on Louisiana Street and the Bob Lanier Public Works building. 

   

     The main purpose of the tunnels is to link the city from all levels. The Houston tunnel system helps people to move around the city in an efficient way. Although we may not be able to see them, these connections have become imperative to the city’s circulation and flow of pedestrians.  As Houston grows in the next few decades, these underground circulation zones will become more effective and frequented by Houstonians.

Refrences 

Houston Historical Tours. (n.d.). Retrieved February 23, 2015, from http://www.houstonhistoricaltours.com/houstontunnelstours.html

Wells Fargo Plaza (Houston). (n.d.). Retrieved February 23, 2015, from http://en.wikipedia.org/wiki/Wells_Fargo_Plaza_(Houston)

Downtown Houston. (n.d.). Retrieved February 23, 2015, from http://www.downtownhouston.org/district/downtown-tunnels/

Downtown Tunnel System. (n.d.). Retrieved February 23, 2015, from http://www.houstontx.gov/abouthouston/Downtown-Tunnel-System

Houston tunnel system. (n.d.). Retrieved February 23, 2015, from http://en.wikipedia.org/wiki/Houston_tunnel_system

Lord, S. (n.d.). Houston's underground secret unveiled - Houston Business Journal. Retrieved February 23, 2015, from http://www.bizjournals.com/houston/print-edition/2011/09/09/houstons-underground-secret-unveiled.html?page=all

DOWNTOWN HOUSTON TUNNEL SYSTEM. (n.d.). Retrieved February 23, 2015, from http://www.discoverhoustontours.com/?page_id=214

Schultz, K. (n.d.). The Writing Life: 85,000 Houstonians Underground. Retrieved February 23, 2015, from http://www.kateyschultz.com/2011/09/85000-houstonians-underground.html

Newspaper: http://offcite.org/wp-content/uploads/sites/3/2010/03/TheTowerAndTunnels_Stern_Cite61.pdf