drawing

MAGNIFICENT GIFT OF RUDOLPH DRAWINGS

R. D. Chin donates “a treasure" of Paul Rudolph original drawings, prints, and graphics to the Paul Rudolph Heritage Foundation

Some of the Paul Rudolph drawings and documents donated by R.D. Chin to the Paul Rudolph Heritage Foundation. At the top-left is a rendering of the base of the Wisma Dharmala Tower in Jakarta; at the top-center are two sketches for the Yale Art & Architecture Building; at the top-right is a poster for an exhibit of Rudolph drawings that took place at the Max Protetch Gallery; at the bottom right and center are drawings for the Edersheim guest facilities, and at the bottom-left is a perspective rendering of an interior in the LIcht Residence. Photo: Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

Some of the Paul Rudolph drawings and documents donated by R.D. Chin to the Paul Rudolph Heritage Foundation. At the top-left is a rendering of the base of the Wisma Dharmala Tower in Jakarta; at the top-center are two sketches for the Yale Art & Architecture Building; at the top-right is a poster for an exhibit of Rudolph drawings that took place at the Max Protetch Gallery; at the bottom right and center are drawings for the Edersheim guest facilities, and at the bottom-left is a perspective rendering of an interior in the LIcht Residence. Photo: Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

R. D. Chin—architect, interior designer, former key staff member of Paul Rudolph’s architectural office, and Feng Shui master (and author of a significant book on the subject)—gave a thrilling presentation at the Paul Rudolph Heritage Foundation’s first SpaceMaker Salon Series event.

R.D. Chin, standing at center—architect and Feng Shui master—and a former key member of Paul Rudolph’s staff. In this shot, taken during his presentation at July’s S;pacemaker Salon, he is explaining the various Rudolph drawings and documents which he has generously donated to the archives of the Paul Rudolph Heritage Foundation. The event took place within the Modulightor Building, in the 5th & 6th floor duplex gallery space. Copies of R. D.’s book,,   Feng Shui Revealed: an Aesthetic, Practical Approach to the Ancient Art of Space Alignment ,  can be seen on display at the lower-right corner Photo: Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

R.D. Chin, standing at center—architect and Feng Shui master—and a former key member of Paul Rudolph’s staff. In this shot, taken during his presentation at July’s S;pacemaker Salon, he is explaining the various Rudolph drawings and documents which he has generously donated to the archives of the Paul Rudolph Heritage Foundation. The event took place within the Modulightor Building, in the 5th & 6th floor duplex gallery space. Copies of R. D.’s book,, Feng Shui Revealed: an Aesthetic, Practical Approach to the Ancient Art of Space Alignment, can be seen on display at the lower-right corner Photo: Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

During his talk, on Friday, July 19th, 2019, R. D. spoke of how he began to work at the Paul Rudolph office, and his many fascinating experiences there (working very closely with Rudolph). He revealed how he transitioned to his current path, becoming a highly-regarded Feng Shui consultant, and showed examples of his working method—on architectural projects ranging from residences to a bank.

RD Chin, at left, the featured speaker at July’s SpaceMaker Salon. Drawings from his professional portfolio are in the foreground, and one can see some of the diagrammatic analysis drawings which he uses in his Feng Shui    consulting work   . RD said that one of the things he leaned from Paul Rudolph was the use of color when working out a design problem and in evolving architectural solutions. Photo: Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

RD Chin, at left, the featured speaker at July’s SpaceMaker Salon. Drawings from his professional portfolio are in the foreground, and one can see some of the diagrammatic analysis drawings which he uses in his Feng Shui consulting work. RD said that one of the things he leaned from Paul Rudolph was the use of color when working out a design problem and in evolving architectural solutions. Photo: Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

During the presentation he rolled out drawings from the Rudolph office—both of projects he worked on, and other Rudolphian graphics—explaining the use and and meaning of each. He then surprised the Paul Rudolph Heritage Foundation by saying that he was donating them to our archives.

These drawings and documents are a significant addition to the body of sketches, renderings, construction drawings, and graphics that Rudolph and his staff generated across his half-century career—and the Paul Rudolph Heritage Foundation will be cataloging them and making them available for scholarly study. For now, we thought you’d like to see some of the amazing treasure which R.D. Chin has donated to us, and a selection is below.

One of the donations was a high-quality print of Rudolph’s detailed perspective rendering for the base and lower floors of the    Wisma Dharmala Tower    in Jakarta. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

One of the donations was a high-quality print of Rudolph’s detailed perspective rendering for the base and lower floors of the Wisma Dharmala Tower in Jakarta. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

A floor plan for changing rooms, rest room, and the lounging area in a proposed outbuilding for the Edersheim Residence in Larchmont, NY. The diazo print is dated 1988. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

A floor plan for changing rooms, rest room, and the lounging area in a proposed outbuilding for the Edersheim Residence in Larchmont, NY. The diazo print is dated 1988. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

Rudolph’s perspective rendering of the “living room and glass loggia” of the    Licht Residence    in Hewlett Harbor, NY. A project of the mid-1980’s, this drawing was incorporated into the cover sheet of the construction drawings—of which a full set of diazo prints was donated by Mr. Chin. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

Rudolph’s perspective rendering of the “living room and glass loggia” of the Licht Residence in Hewlett Harbor, NY. A project of the mid-1980’s, this drawing was incorporated into the cover sheet of the construction drawings—of which a full set of diazo prints was donated by Mr. Chin. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

The donation included a print of a rendering of the    Concourse in Singapore   , a project of the late 1970’s/early 80’s. The print is the highest-resolution version we’d ever seen of that perspective drawing, and this is a detail from it. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

The donation included a print of a rendering of the Concourse in Singapore, a project of the late 1970’s/early 80’s. The print is the highest-resolution version we’d ever seen of that perspective drawing, and this is a detail from it. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

A preliminary sketch, pencil on tracing paper, for an exterior elevation of Paul Rudolph’s most famous work: the    Yale Art & Architecture Building    (now known as Rudolph Hall). Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

A preliminary sketch, pencil on tracing paper, for an exterior elevation of Paul Rudolph’s most famous work: the Yale Art & Architecture Building (now known as Rudolph Hall). Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

On the same sheet as the above elevation drawing is this small diagram, showing the “pinwheel” parti that is the basis of the Yale building’s floor plans. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

On the same sheet as the above elevation drawing is this small diagram, showing the “pinwheel” parti that is the basis of the Yale building’s floor plans. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

Two of Paul Rudolph’s “tornado people” (excerpted from the elevation sketch, above)—the type of    scale figures    which Rudolph used for much of his career, and a “signature” of his drawings. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

Two of Paul Rudolph’s “tornado people” (excerpted from the elevation sketch, above)—the type of scale figures which Rudolph used for much of his career, and a “signature” of his drawings. Photo of drawing by Kelvin Dickinson, for the Paul Rudolph Heritage Foundation

We give our profound thanks to R.D. Chin for this magnificent donation—a gift, not just to the foundation, but to the larger world of all those who admire Paul Rudolph, and seek to lean from his legacy.

Paul Rudolph: Section-Master

Rudolph’s unbuilt Wayne State University Humanities Building. Image: Paul Rudolph Heritage Foundation Archives

Rudolph’s unbuilt Wayne State University Humanities Building. Image: Paul Rudolph Heritage Foundation Archives

SECTION DRAWINGS ARE GETTING ATTENTION

 We’ve recently seen an on-line article from the news site, Architizer, “Architectural Drawings: 10 Cultural Landmarks in Section.”  In it, marvelously done section drawings are shown, along with the photos and info on the buildings they depict.  Here’s a fine example: a fascinating design for the Louisiana State Museum and Sports Hall of Fame by Trahan Architects 

A celebration of section-drawings is always welcome - but we wonder: where is any acknowledgment of Rudolph? - truly, one of the masters of the form.

SECTION STUDY

A recent book, Manual of Section, by Paul Lewis, Marc Tsurumaki, and David J. Lewis, was published by Princeton Architectural Press.

Image: Paul Lewis, Marc Tsurumaki, and David J. Lewis

Image: Paul Lewis, Marc Tsurumaki, and David J. Lewis

The publisher’s page on the book shows that it has an extensive selection of building sections—all redrawn to a uniform standard (which facilitates comparison).  Though the book’s selection of buildings is generally skewed to rather recently constructed ones, happily they do include a Rudolph building: his Yale Art & Architecture Building:

Section of Paul Rudolph’s Art & Architecture Building (now Rudolph Hall). Image: Paul Lewis, Marc Tsurumaki, and David J. Lewis from  Manual of Section .

Section of Paul Rudolph’s Art & Architecture Building (now Rudolph Hall). Image: Paul Lewis, Marc Tsurumaki, and David J. Lewis from Manual of Section.

One of the best aspects of the book is its opening sections, which give a well-illustrated introduction to the history of the use of sections in architecture, and the development of this kind of drawing.

[And, as an additional treat, the authors—who are partners in an eponymously named architecture firm—are also offering a coloring book version of their book.]

The Coloring Book version. Image: Paul Lewis, Marc Tsurumaki, and David J. Lewis.

The Coloring Book version. Image: Paul Lewis, Marc Tsurumaki, and David J. Lewis.

RUDOLPH DRAWING

The Library of Congress has the largest collection of Rudolph’s drawings & papers, and they’ve put online good scans of several hundred of his drawings. These include numerous examples of his famous sections - and below are several examples:

The Cohen Residence. Image: Library of Congress

The Cohen Residence. Image: Library of Congress

A section through Rudolph’s architectural office in Manhattan. Image: Library of Congress

A section through Rudolph’s architectural office in Manhattan. Image: Library of Congress

Rudolph’s penthouse “Quadruplex” apartment, on Beekman Place, NYC. Image: Library of Congress

Rudolph’s penthouse “Quadruplex” apartment, on Beekman Place, NYC. Image: Library of Congress

Burroughs Wellcome Company headquarters, North Carolina. Image: Library of Congress

Burroughs Wellcome Company headquarters, North Carolina. Image: Library of Congress

The Concourse, Beach Road, Singapore. Image: Library of Congress

The Concourse, Beach Road, Singapore. Image: Library of Congress

Of course, Rudolph’s most famous drawing is probably his own section through his most famous building—Yale’s Art & Architecture Building (now rededicated as Rudolph Hall). It is always worth taking another look at that drawing—appreciating its subtleties, the way that Rudolph conveyed light entering the space, and the way he was able to convey so much information into a single drawing (without muddying the overall message):

Art and Architecture Building, now Rudolph Hall, Yale University, New Haven, Connecticut. Perspective section. Photograph of drawing by Paul Rudolph, circa 1964, printed later. Image: Library of Congress

Art and Architecture Building, now Rudolph Hall, Yale University, New Haven, Connecticut. Perspective section. Photograph of drawing by Paul Rudolph, circa 1964, printed later. Image: Library of Congress

THINKING IN SECTION

To cap this off, here are two drawings shown in the Paul Rudolph Heritage Foundation’s recent exhibit to celebrate the centennial of Rudolph’s birth:  Paul Rudolph: The Personal Laboratory.

In designing the Modulightor Building, Rudolph - as ever - explored many, many ideas: a variety of facade treatments, different uses for the various levels, alternative materials, varying building profiles—and sectional designs. While he never lived in the Modulightor Building, Rudolph did have his architectural office there for at least half-a-decade (where, most of the time, it occupied the building’s 2nd floor.) But Rudolph had alternative conceptions for the building, which included having a several-story atrium-like architectural office at the top.

Here is a Rudolph drawing which shows one such design with angled glazing and multiple levels. This colorful section is full of scale figures, and notes to himself and his team. It shows his concern about how light enters, vistas from various levels, structure, circulation, the placement of drafting boards for his staff - and even the practical consideration of drawing storage. Here, you can really see Rudolph thinking - thinking in section.

Paul Rudolph’s proposed upper level addition to the Modulightor Building. Image: Paul Rudolph Heritage Foundation archives.

Paul Rudolph’s proposed upper level addition to the Modulightor Building. Image: Paul Rudolph Heritage Foundation archives.

That drawing shows Rudolph concentrating on the uppermost levels of the building. But there’s another drawing which shows him considering the Modulightor Building as-a-whole. It’s not a very preprocessing graphic: it’s just some small, black & white pencil sketches on a letter-sized piece of paper. Indeed, when faced with the attractions of Rudolph’s other magnetically involving drawings, this is one most people would probably pass by.

Paul Rudolph’s study of the section of the Modulightor Building. Image: Paul Rudolph Heritage Foundation archives.

Paul Rudolph’s study of the section of the Modulightor Building. Image: Paul Rudolph Heritage Foundation archives.

But a careful look shows that Rudolph is trying-out alternatives for the sectional arrangement of the building. It looks like he’s taking a cue from the way Le Corbusier wove apartments together in his “Unite” apartment house designs. That’s shown in Le Corbusier’s section of two apartments, (over 3 levels), sharing a common corridor:

A section through Le Corbusier’s “Unite”

A section through Le Corbusier’s “Unite”

In the little Rudolph drawing, one can see a similar approach: he’s fitting the parts together like a puzzle, just-so—the various units are closely packed—but the arrangement allows each unit to have internal access to more than one level. Of course, Rudolph would not be satisfied with just one attempt at a design, and the drawing shows him trying varying approaches.

Once more we see: Rudolph is thinking in section.

How many other architects make that such a leading part of their design thinking?

P.S. — TAKING NOTICE

It’s nice to know that we’re not the only ones who have appreciated Rudolph’s section drawings. Here are some other resources:

  • Fosco Lucarelli has written a fine appreciation for Rudolph’s drawings, and it includes a good selection of them to enjoy and study on this website.

  • In the fascinating, recently-published collection of papers, “Reassessing Rudolph” (published by Yale University Press), the book’s editor—and preeminent Rudolph scholar—Timothy M. Rohan has an essay: “Drawing as Signature: Paul Rudolph and the Perspective Section.”

  • And Tony Monk’s excellent study, “The Art and Architecture of Paul Rudolph” includes a consideration of Rudolph’s presentation techniques. You can read Tony Monk’s essay on our website here.

Rudolph's Orange County Government Center featured in 'Architectural Drawings: 8 Masterful Parallel Projections'

Paul Rudolph’s Orange County Government Center is featured in an article on Architizer’s website blog titled ‘Architectural Drawings: 8 Masterful Parallel Projections’ by Orli Hakanoglu.

Writes Hakanoglu,

Existing somewhere between plan and elevation, axonometric views allow complex spaces to coexist within a single frame. Though the rules for producing one of these projections are quite rigid, the techniques and styles with which designers choose to represent space are highly varied. This collection takes a look at several applications of the drawing technique that artists and architects past and present use to convey big ideas.

Image: Paul Rudolph Heritage Foundation

Image: Paul Rudolph Heritage Foundation

Hakanoglu says about Paul Rudolph’s axonometric and sectional perspective for the Orange County Government Center:

Rudolph’s masterful hand drawings are a testament to the power of combining representational techniques to communicate multiple aspects of a building. An axonometric view and a section perspective work in tandem to communicate the exterior façade’s protruding rectilinear volumes as well as the interior space within them. The axonometric drawing is quite unusual in that it rotates the entire drawing in space to provide a ground-up view, which presents the building from a believable human viewpoint.

Rudolph’s use of axonometric and section perspective drawings were a signature way he used to communicate his ideas of architectural space. As Laurence Scarpa noted in his article ‘Paul Rudolph: Metaphors, Paradoxes, Contradictions and Abstractions’,

Everything he did was an obsessive open-ended exploration. Rudolph explained this process: “Before making any sketches I will really think about it a great, great, deal and, finally, I will resolve that into essentially three or maybe four—it depends on the project—schemes.” Rudolph had the ability to work with multiple ideas simultaneously. These explorations resulted in extraordinary discoveries. This insight allowed him both the freedom to explore and to problem solve without being encumbered by either. Rudolph would say to me, “Buildings do not happen, they must be made to happen.” While working at his desk, he would move his hand over his drawing in such a way that he could better understand the actual scale and what it might be like to occupy the drawing, as if it were an actual building. He seemed as though he was actually inside the drawing. He would touch with his eyes and see with his hands. He always included human figures in his drawing, particularly in section and elevation drawings, to further understand how the scale of the space related to an actual person. For Rudolph the drawing was a building at full scale. This concept was the origin of his creative process.