 presentation drawings, explaining that it is difficult to represent properly the atmosphere of a building in different climatic conditions, wet and rainy or fine and sunny. He conceded that to draw reality as the human mind sees the building before it is constructed and in use is impossible. ‘I searched for a technique of drawing which would allow my personal vision to be illustrated and arrived at the systems I have used. The renderings are merely a formulation to indicate the general scope of the project, but only the imagination finally determines the character of any building. One can only imagine unbuilt buildings. They can never be truly drawn and so no model or drawing can ever show their ultimate nature.’ (15)
In spite of his reservations about the limitations of two-dimensional drawings or that any form of presentation can ever convey the ultimate nature of a building, Rudolph still achieved a far greater standard of graphic communication through his presentation techniques than any other modern architect. His ability to illustrate immaculately and to evolve his dynamic designs in parallel enabled him to study properly the sculptural reality of his schemes, the technical details and the spaces created in his architecture which have all combined to make him both an outstanding modern architect and a graphic artist of unique distinction.
RE-EVALUATION AND CONCLUSION
There is a renewed recognition and interest in the architectural importance of Paul Rudolph’s work as a Late-Modernist. As he progressed his convictions matured into a belief that architecture was functional, spatial sculpture. He never moved far from his original conviction that the internal function generated the internal and external appearance, but he also believed that the artistic talents of the individual designer created an elegant envelope for these activities with shapes, spaces and structures which were visually satisfying, exciting and indeed dynamic. In this respect he was at one with Frank Lloyd Wright who believed ‘It is not the walls and roof but the space within which is architecture.’
As Paul Rudolph developed his ideas, he too responded to the external contextual influences of the surrounding environment by fitting his designs in with the characteristics and scale of the landscape and townscape. By accommodating these features, a process which he believed constituted the essential difference between genuine architecture and mere building, he is now identified as an important Late-Modernist. In fact seen in the context of the evolution of post Miesian international design, his architectural and artistic achievements lay claim to his being recognized as the key figure in this progressive change of modern American architecture. His constancy was impressive. Throughout his career he was faithful to his fundamental principles of modern design, to his functional, sculptural and, latterly, his spatial and contextual philosophy. His prodigious energy and artistic talent produced numerous high-quality buildings, which are now independently recognized as outstanding examples of heroic Late-Modern design. No one can question his determined convictions, the dynamic sculptural quality of his architecture, the elegance of his houses or his unparalleled reputation for graphic presentations for which he is universally acclaimed. All these remain as a lasting testament to Paul Marvin Rudolph’s influence on modern architecture.
1. ‘Class of ’44’, World Architecture, 19 (September 1992), p 31.
2. Chester Nagel, ‘Walter Gropius et son ecole’, L’architecture d’aujourd’hui (February 1950).
3. Paul Rudolph, ‘Enigmas of Architecture’, A+U Architecture and Urbanism (1977), pp 317-20.
8. Ross Mill, ‘Perspectives’, interview with Paul Rudolph,Progressive Architecture (1990).
10. Le Corbusier, L’Espirit Nouveau.
11. Class of ’44’, World Architecture, 19 (September 1992), p 31.
12. Michael J. Crosbie.
13. Mildred F. Schmertz, ‘Resolutely Modernist’,Architectural Record (January 1989), p 82.
14. Yukio Futagawa (ed), Paul Rudolph, Architectural Drawings, Architec