These three drawings by Gene Williams are taken from a set of 7 sheets on tracing paper. The assignment challenged students to “design an air terminal for Oklahoma City which would be adequate to serve present requirements, and which would be flexible enough to permit an independent expansion of all functions of the air terminal.” Everything in this design proposal recalls the movement and the circles drawn by airplane propellers. The functional requirements are organized into a three-level system of operation represented in the three plans selected for the exhibition. The main floor level is the ticket and check-in area where the passengers move to and from airplanes at a level just above ground level. Four oval lounges characterize this level.
In 1952 nine students moved to OU from Kansas State University including John Hurtig, Norman Froelich, and Jim Gardner who became some of the best students in the design studio classes. Froelich designed these two elevations for a Mortuary and Chapel for the Arch 274 course, that was the continuation of Arch 273 during the second semester.
The drawings show student’s skills and astonishing technique. They were included in 1956-1957 Annual Publication of the National Association of Students of Architecture in cooperation with the American Institute of Architects
The drawings show student’s skills and astonishing technique. They were included in 1956-1957 Annual Publication of the National Association of Students of Architecture in cooperation with the American Institute of Architects.
A new aesthetic emerged in the ‘50s. Bruce Goff and his students wanted to explore new themes and motifs. Flying saucers, oneiric shapes, natural forms, vernacular buildings, and non-western architecture became sources of inspiration at the OU School of Architecture. As Goff declared: “We have need for accomplishment…We draw our own problems […] our aim is to develop architecture in this University for this part of the country. The copiers -the eclectics- learn how the Parthenon was built and follow its pattern…but they say, ‘you poor fools, you haven’t a chance.’ They expect to stand still. We expect to go forward.”
This project proposal designed by Ernest Burden is a 2ndyear design problem for Arch 61, an intermediate design studio class taught during the second semester by William S. Burgett, who also taught history of architecture. As described in the College Bulletin of 1954 in Arch 61 course the students dealt with problems of medium complexity, emphasizing closer coordination of design, structure and other elements.
The Flower Shop is surrounded by nature but includes plants and flowers in the interior spaces as the section clearly shows. Looking at the plan the design is characterized by circular shapes. The domed volumes are something in between circus tents and futuristic vehicles immersed in a fantastic atmosphere.
The Atomic Power Station designed by John Casper was not a building based on specific and real program. Fascinated by the atomic era, Casper developed a proposal probably intended for the Arch 273 course. The design highlighted the contrast between spherical architectural elements and rectilinear volumes assembled together. Moreover, the proposal shows the contrast between the building and site: the project looks like an imaginary animal lost in an inhospitable desert.
The school of architecture at OU promoted Frank Lloyd Wright’s work and his organic architectural philosophy. This project by Loftis is a clear homage to Wright’s principles and design motifs. The close relationship between building and nature, horizontal architectural elements, ornament integrated into the structure, the use of new and natural materials are all features of his “organic” approach. In this project the student proposed a wooden awning and a reinforced concrete building dealing with water and elevated flower beds used as architectural volumes. A series of windows makes the building permeable to sunlight.
These three drawings by Gene Williams are taken from a set of 7 sheets on tracing paper. The assignment challenged students to “design an air terminal for Oklahoma City which would be adequate to serve present requirements, and which would be flexible enough to permit an independent expansion of all functions of the air terminal.” Everything in this design proposal recalls the movement and the circles drawn by airplane propellers. The functional requirements are organized into a three-level system of operation represented in the three plans selected for the exhibition. The main floor level is the ticket and check-in area where the passengers move to and from airplanes at a level just above ground level. Four oval lounges characterize this level.
Although Frank Lloyd Wright’s theories on organic architecture were promoted at OU, the students were free to explore other architectural approaches. OU student Ebun Faturoti, who became a famous architect in Nigeria, designed a proposed house for the New President of the Federal Republic of Nigeria, established a few years before. The project is a well-balanced composition of volumes inspired by International Style motifs rather than organic architecture principles. The design solution consists of a series of structures and buildings. A ceremonial hall, that is the main building of the complex, is arranged between two courts in the middle of the composition.
After Goff’s departure the school maintained its efforts to promote individual creativity.
This drawing by Henderson represents an oneiric building proposal that explores in depth the concept of transparency through the use of colors. Henderson became an instructor at OU and is now a Professor Emeritus of Architecture. He is the author of Bruce Goff: Architecture of Discipline in Freedom, a book published by University of Oklahoma Press.
Jim Gardner designed this abstract composition of symmetrical architectural volumes in asymmetrical arrangement as an assignment for the Arch 273 class taught by Bruce Goff. Gardner demonstrated the ability of an outstanding draftsman, creating truly original designs. The presentation board is still framed with a black cardboard prepared to display the drawing for the exhibitions organized at the School of Architecture.
Some years after their graduation, John Hurtig, Norman Froelich and Jim Gardner opened an office together in Pueblo, Colorado.
The drawing of the residence of Mr. and Mrs, Gardner by James Gardner. Gardener depicted his professor Bruce Goff as the figure in front of the residence.
These three drawings by Gene Williams are taken from a set of 7 sheets on tracing paper. The assignment challenged students to “design an air terminal for Oklahoma City which would be adequate to serve present requirements, and which would be flexible enough to permit an independent expansion of all functions of the air terminal.” Everything in this design proposal recalls the movement and the circles drawn by airplane propellers. The functional requirements are organized into a three-level system of operation represented in the three plans selected for the exhibition. The main floor level is the ticket and check-in area where the passengers move to and from airplanes at a level just above ground level. Four oval lounges characterize this level.
In 1952 nine students moved to OU from Kansas State University including John Hurtig, Norman Froelich, and Jim Gardner who became some of the best students in the design studio classes. Froelich designed these two elevations for a Mortuary and Chapel for the Arch 274 course, that was the continuation of Arch 273 during the second semester.
The drawings show student’s skills and astonishing technique. They were included in 1956-1957 Annual Publication of the National Association of Students of Architecture in cooperation with the American Institute of Architects
The drawings show student’s skills and astonishing technique. They were included in 1956-1957 Annual Publication of the National Association of Students of Architecture in cooperation with the American Institute of Architects.
The arrival of Bruce Goff constituted a turning point in the architectural education at OU. Thanks to Goff the ancient precedents and study of classical ornament were no longer considered the focus of the school. On the contrary Goff envisioned a new pedagogical approach and encouraged unusual and modern designs. Often inspired by keywords, music, and poems, Goff’s students designed architectural concepts reflecting their own creativity. This set of drawings, prepared by Donald K. Olsen for the 4thyear design studio course taught by Goff, is an example of the new pedagogy established by Goff at OU.
If we compare these quick sketches by Donald K. Olsen to the drawings developed during the 1930s at OU we can see the difference between Goff’s ideals and the traditional approach to architecture. We should understand these drawings as a declaration of independence from the classical design problems and assignments prepared by the Beaux-Arts Institute in New York.
