Sukkah 2000

Sukkah 2002 / 5763
Sukkah designs by prominent architects


Shlomo Aronson

BIOGRAPHY: Aronson's built landscapes harmoniously resonate with and reconcile the strenuous landscape; a landscape encumbered by millennia of cultural depositories, bestowed with sacredness, saturated with bloodshed, and suppressed by battles. Aronson's designs gently mend scars in the landscape, aesthetically site viewing platforms and weave paths, and craftfully knit built details and plants with contour lines, agricultural patterns, rock and human formations.
DESIGN: Not contacted yet

Click here to see Aronson's book, Making Peace With The Land.

Thomas H. Beeby

BIOGRAPHY: Mr. Beeby received his Bachelor of Architecture from Cornell (1964) and a Master of Architecture from Yale University (1965). He is the former Dean of the School of Architecture at Yale University. Among his notable works are North Shore Congregation Israel in Glencoe, Illinois; The Kovler Lion House at the Lincoln Park Zoo in Chicago; and The DF and AL Rice Building of The Art Institute of Chicago.
LOCATION: Hammond Beeby and Babka, Inc., 440 North Wells Street, Chicago, IL 60610.


STATEMENT: The sukkah is described as a booth, a strangely indeterminate type of structure in one sense but highly proscribed in another. The vernacular construct, necessarily haphazardly built, that is profoundly symbolic through ritual use.
I have attempted to construct a sukkah from the commonest of contemporary materials. Wood has been chosen, for it follows the rule that critical materials must have their origins as vegetation but must no longer be living. Dimensional lumber common to all building suppliers and four foot by eight foot plywood sheets are dominant materials.
Four-inch-square posts, one in each corner of the structure, support two cantilevered wood beams of the same cross-sectional dimension. This demountable frame structure is self-supporting, tied together with lag bolts. On top of the cantilevered beams lies loosely the roofing made up of four two-by-four members. They are spaced evenly with a one-to-one ratio of open-to-closed cover. The central position is occupied by a solid two-by-four insuring the over fifty percent coverage required by rule.
The walls are framed by regularly spaced two-by-four studs and are covered with plywood sheathing. The walls like the frame are also demountable and do not directly support the roof. The studs are mounted on the exterior of the enclosing walls contrary to normal construction procedures to enhance the purity of the interior volume and contribute to the modesty of structural expression on the exterior. One horizontal two-by-four spacing member girdles the structure at sill height, broken only by the door.
The floor is constructed in a similar fashion to the walls and rests directly on a concrete plinth. The plinth isolates the wood from the ground plane both physically and symbolically, providing protection from moisture as well as providing significance to the tiny structure.
Meaning in architecture can be accomplished through order and geometry. Measure and repetition as in Solomon's Temple suggest perfection that can be sacred. When a carpenter works, even on the most trivial structure, he arranges his tools for ease of motion and works in as repetitious a manner as possible to conserve energy and materials. In symbolic vernacular architecture, the order of the mind through measure and the hand through repetition creates structures of power.
The space of this sukkah is a perfect cube in concept. In reality the roof is raised above the abstract cube to become symbolically independent. The geometry of a plywood sheet forces one joint to occur on each wall of the sukkah as well as the floor. The space on both axes of the building is bisected by this joint into halves with the floor joint accenting the front-to-back entrance axis versus the transverse axis through the windows. Further hierarchy of construction details is created by the choices that are made between the regularity of constructional perfection and the symbolism related to ritual use.
The door is an independent frame of square posts identical to the corner posts of the cube. This frame is perfect in arrangement of post and lintel as suggested by rule. It distorts the framing and skin of the wall panels which are cut to receive the door. The windows, conversely, are cut through the plywood skin of the booth but allow the two-by-four framing to pass through undistorted.
The fastening of the plywood to the frames is accomplished with a grid a stainless steel screws. These grids are adjusted at the perimeter to allow conflicts caused by the material thickness of the plywood skin. This adjustment to the ideal is accomplished in a systematic way to avoid detection, for the grid has geometric significance that demands visual rather than constructional consistency. The overlapping of the plywood sheets at the corners creates a condition where the plywood sheets of the floor panel are uncut and therefore perfect, while the walls are cut along their edges to accommodate geometric overlap. The front and back walls are uncut on their sides while the sidewall plywood is trimmed. The backwall is built to receive appropriate decoration and is therefore given dominance.
The threshold is the only unique piece in the make-up of the entire structure, for it marks the passage that allows for ritual use.

Stuart Cohen and Julie Hacker

BIOGRAPHY: Stuart Cohen, FAIA received Bachelor and Masters degrees in Architecture from Cornell University. He was selected as a Fellow of the AIA in 1985. Julie Hacker, AIA, received a Bachelors degree from Wesleyan University and her MA in Architecture from the University of Illinois, Chicago. She was the recipient of the Chicago Women in Architecture Award. Among their most prominent projects are "Country Living Magazine's" Fifteenth Anniversary House, built in Lake Bluff, Illinois in 1993; and Residential projects in the Chicago area

LOCATION: Cohen & Hacker, 1322 Sherman Ave, Evanston, IL Phone: (847)328-2500

[cohen and hacker]

STATEMENT: The booth us assembled from a series of demountable storable components. These are a cross between a folding ladder and a folding chair. The ladder elements with their rungs, form both wall panels and the roof panels. These provide an armature to which the ritual elements are added. To provide shelter from the sub, the arbor-like rood should be overlayed with tree branches of the prescribed species. These may not be fastened to it. The rungs of the walls allow for hanging and fastening all manners of objects related to the holiday of Sukkot from fruits to vegetables, to weavings, rugs or wall hangings. Since the roof of the booth must be made entirely of material that grows in the earth and must be free of ritual impurities, it was decided to make the booth entirely of wood. There are no metal fasteners. Toweled wood hinges are used for all the folding parts. By making a ladder-backed or slat-backed chair and a roof that is like the chair back, the enclosure created becomes arbor or trellis-lie. When the chairs are ganged together on the long side, they form a bench on which the participant can sleep as well as sit to take meals.

The design evolved from the versatility of "the ladder": a means of sacred ascent, a means to climb down towards earth, a means to harvest the fruit of trees, a means to hang things on. By making a ladder-backed chair with a roof which is like a ladder trellis, and ganging them together, a space is defined. This is like the space made when we pull up tall chairs around a table or in a circle. By making each ladder/chair/enclosure demountable, the sukkah breaks down into its original components, ladders to be stored for future celebrations.

James Cutler

BIOGRAPHY: Famous for the design of the home of Bill and melinda gates in Medina/Seattle, WA. Awards include one for an education center at Bloedel Reserve on Bainbridge Island and another for the Salem Witch Trials Tercentenary Memorial in Massachusetts. Born in Kingston-Wilkes Barre, PA., he studied with Louis Kahn at the University of Pennsylvania. After graduation, he joined Peter Bohlin's office in Wilkes-Barre, Pa., (now Bohlin Cywinski Jackson), before making his dramatic move to the Pacific Northwest. In the fall of 1977, he opened his office there. Cutler's houses are marked by an almost religious reverence for wood and an unalloyed worship of detail. He designs all connection and most object details himself, often spending six hours a day at his desk drawing. By the end of the working drawing phase he will have developed a thick sheaf of beautifully drawn details that spell out his intent to the builder. He also respects and has an unerring eye for elegant, off-the-shelf industrial products -- stoves, towel racks, hardware. God, in Cutler's view, is not in the details, however, but in the materials.
LOCATION: Office of James Cutler, 135 Parfitt Way SW Bainbridge Isle, WA 98110-2531 Phone: (206) 842-4710

DESIGN: Not contacted yet

Peter Eisenman

BIOGRAPHY: Peter Eisenman was born in Newark, New Jersey in 1932. He studied at Cornell and Columbia Universities and then at Cambridge University in England. He taught at Cambridge, Princeton and the Cooper Union in New York, where he was founder and director of the Institute for Architecture and Urban Studies. Until recently, few of his designs had been built. As a result, most attention has focused on his architectural ideas which attempt to create contextually disconnected architecture. Eisenman has always sought somewhat obscure parallels between his architectural works and philosophical or literary theory. His earlier houses were "generated" from a transformation of forms related to the tenuous relationship of language to an underlying structure. Eisenman's latter works show a sympathy with the "anti-humanist" ideas of deconstructionism.
DESIGN: Not contacted yet
PROJECTS: Berlin Holocaust Museum; Wexner Center at Ohio State; and Frank House in Washington CT (1975)

[book] Click here to see Peter Eisenman's book, Diagram Diaries.

[book] Click here to see Peter Eisenman's book, Peter Eisenman's book, Five Architects : Eisenman, Graves, Gwathmey, Hejduk, Meier.

Shlomo Eshkol

DESIGN: not contacted yet

James Ingo Freed

BIOGRAPHY: Born in 1930 in the German city of Essen. Freed has personally received such notable honors as the R.S. Reynolds Memorial Award for Excellence in Architecture, the Arnold W. Brunner Prize in Architecture from the National Institute of Arts and Letters, the Medal of Honor of the New York Chapter of the AIA and the American Institute of Architects first annual Thomas Jefferson Award for Public Architecture, conferred in 1992. Of the many designs for which he has been lauded over his long and distinguished career, current widespread attention has been drawn to the United States Holocaust Memorial Museum in Washington DC, visited by more than 3.5 million since its dedication in April 1993. James Ingo Freed's initial reluctance to take on the planning of the museum dissipated after visiting the shtetls and the death camps in Europe. He began to incorporate elements of both the Jews' lives before the Holocaust and architectural details from the camps themselves into his planning. Freed said, "There are certain methodologies of construction, certain tectonics that begin to be very powerful in the memory of the place." His only fast architectural requirement from the commission concerned the hexagonal shape of the Hall of Remembrance. This has been taken to symbolize both the Star of David and the six million Jews who died in the Holocaust. His other design decisions were concerned with the abstraction of form to evoke meaning, saying, "I wanted to make it abstractly symbolic. I was not interested in resuscitating the forms of the Holocaust." With these loose parameters in mind, as well as an avoidance of any neo-classical alignment with Albert Speer's architecture of the Third Reich, Freed began drawing specific proposals. Before joining Pei Cobb Freed & Partners, Freed had worked in both Chicago and New York, notably in the office of Mies Van der Rohe. He received his architectural degree from the Illinois Institute of Technology in 1953 and, two decades later, returned to his alma mater as Dean of the School of Architecture. He has also taught at Cooper Union, Cornell University, the Rhode Island School of Design, Columbia University and Yale University. His commitment to education has also been served in his capacities of visiting lecturer, critic and jurist at colleges across the country. He is also widely published in professional journals and books, and has participated in dozens of exhibitions both in the United States and abroad.
LOCATION: Pei, Cobb, Freed & Partners, Pine Street, New York, NY.
DESIGN: not contact yet

[book] Click here to see The United States Holocaust Memorial Museum: Washington DC 1993 James Ingo Freed. Book edited by Adrian Dannat.

Frank O Gehry

BIOGRAPHY: Received the Pritzker Prize. Frank Gehry was born in Toronto, Ontario, Canada in 1929. He grew up in a Jewish household where he was influenced by the fish that was kept in the bathtub prior to being eaten as gefilte fish. He studied at the Universities of Southern California (1954) and Harvard. In 1961, Gehry and family, which by now included two daughters, moved to Paris where he worked in the office of Andre Remondet. His French education in Canada was an enormous help. During that year of living in Europe, he studied works by LeCorbusier, Balthasar Neumann, and was attracted by the French Roman churches. In 1962, he returned to Los Angeles, setting up his own firm, Frank O. Gehry and Associates. In 1979 this practice was succeeded by the firm Gehry & Krueger Inc. Over the years, Gehry has moved away from a conventional commercial practice to a artistically directed atelier. His deconstructed architectural style began to emerge in the late 1970s when Gehry, directed by a personal vision of architecture, created collage-like compositions out of found materials. Instead of creating buildings, Gehry creates ad-hoc pieces of functional sculpture. Gehry's architecture has undergone a marked evolution from the plywood and corrugated-metal vernacular of his early works to the distorted but pristine concrete of his later works. However, the works retain a deconstructed aesthetic that fits well with the increasingly disjointed culture to which they belong. In the large-scale public commissions he has received since he converted to a deconstructive aesthetic, Gehry has explored the classical architecture themes. In these works he melds formal compositions with an exploded aesthetic. Most recently, Gehry has combined sensous curving forms with complex deconstructive massing, achieving significant new results.
For a time, Gehry's work used "unfinished" qualities as a part of the design. As Paul Goldberger, New York Times Architecture Critic described it, "Mr. Gehry's architecture is known for its reliance on harsh, unfinished materials and its juxtaposition of simple, almost primal, geometric forms...(His) work is vastly more intelligent and controlled than it sounds to the uninitiated; he is an architect of immense gifts who dances on the line separating architecture from art but who manages never to let himself fall."

LOCATION: Frank O. Gehry & Associates Inc 1520-B Cloverfield Boulevard Santa Monica, CA 90404 USA 310 828 6088 fax 310 828 2098
DESIGN: not contacted yet

[book] Click here to see Frank Gehry, Architect by Jean-Louis Cohen, Beatriz Colomina, Mildred Friedman, w Mitchell, and J. Fiona Ragheb.

[book] Click here to see Frank O. Gehry: Outside In by Sandra Jordan and Jan Greenberg.

[book] Click here to see Gehry Talks by Mildred Friedman.

[book] Click here to see Frank O. Gehry: The Complete Works

Michael Gelick

BIOGRAPHY: Michael Gelick received a Bachelor in Architecture degree from the University of Minnesota, and a Master of Architecture degree from Massachusetts Institute of Technology. He is the President of Gelick Associates Inc. in Chicago, and since 1977, Mr. Gelick has been a Professor of Architecture at the University of Illinois. Mr. Gelick serves on the AIA, National Committee on Design; and sits on the Board of Directors of Architecture Magazine. Among his prominent projects are the Belgravia Terrace Townhouse Development in Chicago; and the Cityfront Place Mid- and Highrise Apartments in Chicago.

LOCATION: Gelick Associates, 626 S Clark St Fl 9 Chicago, IL 60605-1711 Phone: (312)786-2201.


STATEMENT: This Sukkah design is dedicated to Ezra Gordon, a good friend.

As the architect member of a Havura in Evanston, including six families, I have had the responsibility and pleasure of designing our first sukkah 20 years ago. It was an eight foot cube composed of pairs of 4 ft by 8 ft light wood lattice elements that were connected by hinges and hinge pins and triangulated with diagonal cables for some stability. Everyone in the Havura helped with the original constriction, annual assembly and/or annual decoration. Three years ago, we replaced our sukkah with a new version of the same modular lattice design. I remember many sukkahs as I grew up and was fascinated by the research, history, and religious aspects of "The Festival" and its central artifact.

This opportunity to readdress the sukkah is especially relevant today. Many of the issue of Sukkot, the "Feast of Tabernacles" or the "Feast of Ingathering," the celebration of the harvest, relate to local, regional, and global needs for food and shelter. The good feeling of accomplishing work and gathering together in a place to acknowledge a community effort, gives the season purpose.

The basic needs of humankind (food and shelter) together with education of the population, "the Book," which is dominant in Judaism, and health care, a right of all people, comprise the four basic rights and obligations in a present and future society. The idea of a society that is a hybrid mix of "free to soar" openness combined with a socialistic foundation to provide basic life supports, connotes an architecture that is "hybrid" as well.

The sukkah is a "Hybrid Prototype." It is a minimalist, modular, demountable, reconstructible, variable, ornamental, functional, and spiritual shelter. It should shake in the wind and sit lightly on the earth. It should be constructed of natural but renewable resources. The plan should not be square; the sukkah function is hierarchical. It relates to the family, a unit of strength and generational durability. Use of geometry is rational; the tepee, the yurt are round, so are some barns; many buildings are orthogonal, but the rectangle achieves hierarchy and personality. It's friendly and not so pure. A box barn raising and the resultant structure are poetic, as well as orderly and especially are a cooperative achievement. A rectangular box will work well. The floor and wall panels are modular. They are 40" by 80", one meter by two meters. They are the size of a door, a bed, or a table. They have flexibility of use and can be handled by one person. The two to one proportion is simple and direct. These modular panels form the basis of the design. The height should be sufficient "for the tall one." The roof should spring from the walls, with the arch above, like a rainbow, framing the stars in the sky and supporting the trellis work which, in turn, forms the contained space. The tradition is life oriented. Judaism is for the living, giving, making, moving and loving. Enjoy!

James March Goldberg

BIOGRAPHY: Mr. Goldberg received a Bachelor of Architecture and Design from The University of Michigan (1958) and a grduates degree from Syracuse University (1969). A member of the AIA, Mr. Goldberg was the designer of the Michael Jordan, Balaban, Saffro, and Friedman and residences. He was also the recipient of the Gold and Silver Key Awards for Design from the HBA of Greater Chicago.
LOCATION: James March Goldberg Architects Inc., Lake Forest, Illinois. Goldberg Downey Architects 1178 Everett Road Lake Forest Illinois 60045 (847) 295-5777 FAX (847) 295-5810

STATEMENT: Made from fir lumber, western cedar lumber, exterior stains, and steel threaded rods.
The concept of personalizing each family's sukkah, while guided by strict laws of the Old Testament, is the major design concept of the shelter. This is accomplished by individual boards of varying heights and colors of the harvest, which allows each family to create a different upper wall of design and color pattern of their choice. The varying heights of the individual wall boards also give rise to the different pitch of the roof system, which is designed by tree branches. This follows the dictate of the Old Testament and other laws, which indicate that the roof must be partially open such that the occupants of the shelter may see the stars from within. The roof system allows for hanging of various types of decoration during the festival season typically the fruits of the harvest.
The other concept behind the design is that of ease of transporting and storage, as this shelter is made of numerous, individual pieces. Any quantity can be given to a child or adult to transport and store.

Lawrence Halprin

BIOGRAPHY: Lawrence Halprin was born in New York City in 1916. He attended Cornell University, the University of Wisconsin, and Harvard University from which he graduated in 1942 with a Bachelor degree in Landscape Architecture. Following an apprenticeship with Thomas Church during which he helped develop the contemporary California garden concept, Halprin opened his own office in 1949. Since 1976 he has been a partner with Sue Yung Li Ikeda. Halprin worked at a series of scales from sculptural fountains to urban renewal schemes to regional planning. He created landscapes available to all segments of society and generated on the basis of final user needs. Halprin considered the design process as important as the end result. He analyzed user needs to create diagrams and designs. He developed a design methodology involving client and user in which their desires were synthesized into a final design statement. The organic, free flowing, romantic people spaces that Halprin created owe everything to the lessons of nature and the needs of the twentieth century user.
His works include Freeway Park in Seattle (1972) and Lovejoy Fountain Plaza in Portland OR, and the FDR Memorial in Washington DC (1997)

LOCATION: Lawrence Halprin and Associates, 1160 Battery St # 50, San Francisco, CA 94111-1215 Phone: (415)248-5890

DESIGN: not contacted yet

[book] Click here to see The FDR MEMORIAL book.

[book] Click here to see RSVP CYCLES.

[book] Click here to see ECOLOGY OF FORM Audio Tape.

[book] Click here to see CITIES.

Amos Hammerman

DESIGN: not contacted yet

Yisrael Kimhi

DESIGN: not contacted yet

Gertrude Lempp Kerbis

BIOGRAPHY: Gertrude Lempp Kerbis received a Bachelor of Science in Architectural Engineering from the University of Wisconsin (1948), and a Master of Science in Architecture from Harvard University (1954). Since 1967, she has practiced with Lempp Kerbis Associates. She also practiced with Skidmore Owings and Merril (Chicago) for over five years. She has been on the faculty of William Rainey Harper College for over 25 years, and taught of Washington University (St Louis) in 1982-1983. Among her most well known projects are Webster Townhouses in Lincoln Park/Chicago, Mitchell Hall at the U.S. Air Force Academy, and The Seven Continenets Restaurants at O'Hare International Airport.

LOCATION: Gertrude Kerbis Associates, Chicago, Illinois

[lempp Kerbis]

STATEMENT: Materials are bamboo, fir lumber, copper nails, manila rope, and steel fasteners.
The Star of David symbol, in addition to its multilayered interwoven meaning, became a powerful reflection of the geometry of an early age. I attempted to use this geometry to develop an architecture of space and enclosure appropriate to a sukkah.
Function: It began with the design of the basic sukkah table for six, this establishes a ten foot space between opposing walls, an enclosure of 95 square feet. (Eventually, presumed design of the sukkah table that would expand to accommodate up to fourteen people.)
Material: Using materials found in nature in the design of the sukkah, was a very appealing tactile aesthetic. The selection of light weight materials appropriate for temporary structures became a concern. Bamboo and rope were selected; sources and research on these materials followed.
Structure: Decreasing the distance between supporting elements (Span), by using tension (rope), thereby reducing the bamboo structural depth and weight, became another aspect of the investigation of temporary structure.
Wall and Ceiling: The infill, non-structural panels, were designed again using the Star of David geometry as an inspiration. A lattice work, of three layers formed with 60 degree angles, was a simple yet expressive translucent surface enclosure. The roof/ceiling opening defined by the tension rope Star of David opened the translucent enclosure to the stars.
Decoration: The celebrative aspects of the holiday were emphasized with decorative touches: the design of the flags and balls applied to the columns and beams.

Daniel Libeskind

BIOGRAPHY: Daniel Libeskind was born in Poland in 1946 and naturalized as a United States citizen in 1956. He completed his graduate studies of art history and architectural theiry at Essex University in England in 1972 after having studied architecture at Cooper Union in New York and music in Island. He served as the head of the architecture department at Clanbrook Academy of Art from 1978 to 1985, while also teaching as a visiting professor all over the world. This experience earned him a number of fellowships, including the Fulbright Senior Researcher Fellowship, and the first ever research fellowship in architecture granted by the J. Paul Getty Foundation. It has been written, "The experience of the mystery of Architecture occupies an important place in the work of Daniel Libeskind. In his view architecture is seen as a spiritual domain, a realm that cannot be visualised, an area of invisible presence since it deals with the unspeakable. Without spiritual content and without a contribution to a deeper understanding of our Being there can be no significance in any building. His work shows us a sensibility that is in agreement with the depths of the human soul. Libeskind has a profound desire for a new time in which the experience of architecture aims at the liberation of space. Here, literature, mathematics, music, astrology, philosophy are all part of the world of human knowledge and it is the task of architecture to map this knowledge and to add something that did not exist previously. We are living in the world after the holocaust and after Hiroshima and "we are all survivors, we have transformed death". It is rational thinking that has led to this endpoint and obviously it failed. Therefore it is the inevitable conclusion that this instrument is not the appropriate one with which one could reach a fundamental insight into human Being. From now on, every human creation will have to come about in a totally different manner. Another way of thinking needs to be started, constructed with different methods and based on different principles. Our relationship with the Spirit should not be reinstated, but reinvented from a different point of view, bearing in mind the experiences of the twentieth century."

DESIGN: not contacted yet


PROJECTS: Berlin Jewish Museum shaped like a flash of lightning. There are 1,000 windows, only five of which are identical. In the garden, 49 trees are planted in 49 diagonal concrete holders. Jerusalem soil is used in one of the 49 planters. Also designer of the addition to the Victoria and Albert Museum, London.

[book] Click here to see Daniel Libeskind Jewish Museum Berlin: Between the Lines

[book] Click here to see Daniel Libeskind THE SPACE OF ENCOUNTER

[book] Click here to see Daniel Libeskind Radix-Matrix : Architecture and Writings

[book] Click here to see Daniel Libeskind FISHING FROM THE PAVEMENT

Richard Meier

BIOGRAPHY: Richard Meier was born in Newark, New Jersey in 1934. He graduated from Cornell University in 1957 then worked with a series of architects, including Skidmore, Owings, and Merrill and Marcel Breuer. He established his own practice in 1963. Meier has maintained a specific and unalterable attitude toward the design of buildings from the moment he first entered architecture. Although his later projects show a definite refinement from his earlier projects, he clearly authored both based on the same design concepts. With admirable consistency and dedication, he has ignored the fashion trends of modern architecture and maintained his own design philosophy. Meier has created a series of striking, but related designs. He usually designs white Neo-Corbusian forms with enameled panels and glass. These structure usually play with the linear relationships of ramps and handrails. Although all have a similar look, Meier manages to generate endless variations on his singular theme. A main figure in the "New York Five", which gained public attention in 1975, Meier creates designs with a unified theme based on neo-modern beliefs in purist architecture. Meier's white sculptural pieces have created a new vocabulary of design for the 1980s. Recipient of the Pritzker Architecture Prize, 1998. Recipient of the American Institute of Architects Gold Medal, 1997. Project include The Getty Center in Los Angeles.

LOCATION: Richard Meier & Partners; 475 Tenth Avenue; New York New York 10018 USA vox 212 967-6060 fax 212 967-3207; Richard Meier & Partners 1001 Gayley Avenue Los Angeles California 90024 USA vox 310 208-6464 fax 310 824-2294

DESIGN: not contacted yet


[book] Click here to see Paul Golderger's book, RICHARD MEIER - HOUSES 1962/1997

[book] Click here to see Richard Meier's book, RICHARD MEIER ARCHITECT

[book] Click here to see RICHARD MEIER DETAILS

[book] Click here to see RICHARD MEIER by Richard Meier and Philip Jodidio

Eric Owen Moss

BIOGRAPHY: Born 1943, Los Angeles. Master of Architecture degrees from both Harvard University's Graduate School of Design and the University of California at Berkeley's College of Environmental Design, Eric Owen Moss has amassed a client list as varied as it is impressive. Famous for the Lawson-Westen House. 1988-93; and Prittard & Sullivan Building (1995-97), a corporate headquarters for a video and film computer graphics company in the Hayden Tract in Culver City with the developers Frederick and Laurie Samitaur Smith..
LOCATION: Los Angeles, CA
DESIGN: not contacted yet

[book] Click here to see Contemporary California Houses : Frank Gehry, Schnabel House ; Eric Owen Moss, Lawson-Westen House ; Franklin D. Israel, Drager House (Architecture 3s by James Steele, Schnabel House, Frank Gehry).

[book] Click here to see GNOSTIC ARCHITECTURE by Eric Owen Moss.

James L. Nagle

BIOGRAPHY: James L. Nagle received a Bachelor of Architecture from MIT in 1962 and a Master of Architecture degree from Harvard University in 1964. Singe 1977, he has practiced with Nagle, Hartray and Associates. He has served on the faculty of the University of Illinois, the Illinois Institute of Technology and other educational institutions. Among his projects are 20 North Michigan Renovation, Northwestern University dormitories, the renovation of the Walker Muuseumat the University of Chago, and the renovation of Harpo Studios in Chicago (Oprah)

LOCATION: Nagle, Hartray Danker Kegan Ltd 330 N Wabash Ave # 2301 Chicago, IL 60611-3603 Phone: (312)832-6900

STATEMENT: Job Captains were Jeff Straesser with Doo Ho Lee and Brook Potter.
Materials are poplar, bamboo, fir plywood, fir lumber, steel fasteners, and manila rope.
The designs of the booth for the observance of the Sukkot harvest festival is founded upon the harmonious combination of diametrically opposed qualities. The ancient laws governing the construction of the booth are combined with a modern aesthetic. The form of the booth has the required prescribed walls and roof. The vertical planes of the structure extend beyond the boundaries of the interior space, radiating out into the landscape. The open "window" slots on the corners allow the raised door place to extend out of the structure towards the horizon. Thus, the overall effect is that of a small space that grows into the surrounding area.
The booth is to be constructed out of organic materials: bamboo, maple wood, and thatched reed. In essence, the materials are a reference to the harvest that the booth commemorates. These materials are also suited to the construction of the temporary booth in that they can be easily assembled, disassembled, stored or replaced. This selection of bamboo for the walls is based on lightness, strength and rapid growth rate for easy renewal. The horizontal bamboo banding is a reference to the plane of the earth. The vertical and horizontal banded bamboo, serve to gather together the land and the harvest in the form of shelter. In these exterior walls, the only cut opening is that of the doorway. The entry stairway serves as the juncture between the new booth for Sukkot and an existing dwelling. As temporary shelter, the booth would be a natural extension of the dwelling structure, bringing the house closer to the land. The booth's hearth, while symbolic, is integral to the structure as a tie to the dwelling. The visitor to the booth experiences a spiritual tie to the land, represented through materials, and an abstract representation of dwelling.

Carol Ross Barney, FAIA

BIOGRAPHY: She received her BA of Architecture in 1971 from Illinois, and her MA of Architecture from Illinois in 1984. She is President of Ross Barney + Jankowski, Inc., Architects, in Chicago. Ms Ross barney is a former Peace Corps volunteer, and is on the faculty of IIT and the University of Illinois. Her projects include the Cesar Chavez Elementary Public School in Chicago, and The USPS, Branch Post Office in Glendale Heights, Illinois
LOCATION: Ross Barney + Jankowski, Inc., Architects, in Chicago
[ross barney]
STATEMENT: The materials of the sukkah are traditionally those which are easily found in an agrarian society. Often leftover or cast off materials, not tooled or refined..., recalling the rustic nature of dwelling in the wilderness
The design of my sukkah reflects on life in an urban environment and in a technological age. The materials available today, the yield of our land, are man-made for non-agrarian purposes. The framework of contemporary sukkahs often consists of chicken wire and aluminum tent poles, not branches or boughs.
Accordingly, my design uses 20th century building materials. Steel caisson liners form the structure. The walls are made of aluminum channel and wire. These are the materials that are found in our urban wilderness.
The use of these materials presents interesting opportunities. Steel bottoms have been welded on the caissons forming giant barrels. To provide structural stability, the user will fill each caisson/column with water. The water filled caissons will act as a solar-powered heating and cooling system for the sukkah, retaining the overnight cool during the day and the midday heat in the evening.
The decoration of the sukkah is the responsibility of the user. Branches and fabric should be woven through wire screens to create the desired amount of enclosure, forming windows and doors. The color of the fabrics will represent four species:
yellow = fruit,
green = branches of palms,
brown = boughs of trees,
blue = willows of the brook.

Moshe Safdie

BIOGRAPHY: Moshe Safdie was born in Haifa, Israel in 1938. He trained at McGill University in Montreal from 1955 until 1961. After working two years in the office of Louis I. Kahn, he started his own practice in Montreal. Later, he moved to the U.S. where he established an practice and taught at Harvard. Influenced by his graduate thesis, Safdie refined a series of "Habitat" designs which revolved around a cellular housing scheme. Initially his ideas proved expensive and difficult to construct, but Safdie introduced the cellular scheme in several areas including New York and Puerto Rico where his ideas were successfully initiated. His Israeli period also produced a number of impressive urban insertion projects and various town-planning schemes. Famous for HABITAT 67 in Montreal
LOCATION: Moshe Safdie Associates, 100 Properzi Way Somerville, MA 02143-3740 Phone: (617)629-2100

SUKKAH DESIGN: not contacted yet


[book] Click here to MOSHE SAFDIE, a book of his works

[book] Click here to see The Harvard Jerusalem Studio: Urban Designs for the Holy City by Moshe Safdie.

[book] Click here to see The City After the Automobile by Moshe Safdie.

[book] Click here to see Moshe Safdie : Buildings and Projects, 1967-1992, by Moshe Safdie.

Vidal Sassoon

BIOGRAPHY: Although known for haircare, he trained for a career in architecture
DESIGN: not contacted yet

Denise Scott-Brown

BIOGRAPHY: Ms Scott-Brown is a graduate of the University of Pennsylvania, the Architectural Association, London, and University of the Witwatersrand, Johannesburg, South Africa. She has honary degrees from ten universities. Denise Scott Brown is an architect, planner and urban designer. Her 35 years of interdisciplinary experience gives the VSBA an unusual strength in a variety of professional areas. She brings a unique approach to the relation between architecture, planning and social conditions. Ms. Scott Brown participates in the broad range of Venturi, Scott Brown and Associates' architecture and design and serves as principal-in-charge for VSBA projects in urban planning, urban design, campus planning, and architectural and facilities programming. Her work covers building complexes, downtowns, commercial districts, inner city neighborhoods, recreation areas, university campuses, small towns and suburbs. Under her direction VSBA's planning and urban design have received recognition for projects where social, economic, and political factors are linked creatively to the functional, aesthetic and image requirements of architecture and urban design. Ms. Scott Brown is especially effective in helping to coordinate the needs of client, community and special interest groups within the planning process.
LOCATION: Venturi Scott Brown & Assoc 4236 Main St Philadelphia, PA 19127-1603 Phone: (215)487-0400
SUKKAH DESIGN: not contacted yet


[book] Click here to see Learning from Las Vegas .

[book] Click here to see Out of the Ordinary: Architecture/Urbanism/Design by David Bruce Brownlee (Editor).

Robert A. M. Stern

LOCATION: Robert A. M. Stern Architects 460 West 34th St. New York, NY 10001 USA Voice Phone: (212) 967-5100 Fax Phone: (212) 967-5588
DESIGN: not contacted yet

[book] Click here to see Robert A.M. Stern : Houses by Robert A. M. Stern.

[book] Click here to see New York 1880: Architecture and Urbanism in the Gilded Age by Robert A. M. Stern.

[book] Click here to see New York 1960: Architecture and Urbanism Between the Second World War and the Bicentennial by Robert A. M. Stern,

Stanley Tigerman

BIOGRAPHY: Stanley Tigerman received both Bachelor of Architecture and Master of Architecture degrees from Yale University, and has held faculty appointments at the University of Illinois and the Art Institute of Chicago. Among is projects are the Dearborn Park South residential development, the Hard Rock Cafes of several U.S. cities, the EuroDisney Master Plan of Paris, and the Chicago Bar Association Headquarters.

LOCATION: Tigerman McCurry, Chicago, Illinois

STATEMENT: Designed by Stanley Tigerman in association with Susan O'brien, assisted by Rich Laird.
Materials are bamboo, poplar, paint, manila rope, and steel fasteners.
Design of a Sukkah According to The Book of Seasons: Chapters 4, 5, 6, Laws Concerning the Booth. Additional Criteria: Chapter 7, Paradox of Messianic Age.

Daniel Weese

BIOGRAPHY: Daniel Weese received a Bachelor of Architecture degree from Wesleyan University (1987) and Master of Architecture degree from yale University (1992), and has practived at Weese Langley Weese Architects of Shicago since 1992. He was the recipient of the Blanning Prize from Yale University and the Eero Saarinen Memorial Scholarship from Yale. Among his most noted projects are the International Homes (townhouses) in Chicago, the renovation and expansion of Dayton Memorial Library at Regis University, and the renovation and expansion of Salvation Army in Oakbrook.

LOCATION: Weese Langley Weese Architects, Ltd., Chicago, Ilinois


STATEMENT: Materials are fir lumber, leather, copper nails, and steel fasteners
The sukkah is composed of two forms: a conical roof covering a spiral drum. The central area is contained by a spiral - a series of wood slats bound together by two leather belts. The slats are spaced slightly apart, and as the assembly curls around itself, each comes in contact with its neighbors to form a rigid, semi-cylindrical drum much like a barrel. The ends are anchored by three columns, which are in turn bolted together by a woooden threshold and lintel. The central column supports a series of wooden legs; these form a conical armature over which a __ or foliage is draped. When Sukkot is over and the sukkah is ready to be dismantled, the columns and arms are attached and the 'wall' can be rolled up for storage.
The cone was inspired

Richard Saul Wurman

DESIGN: not contacted yet

Zvi Hacker

DESIGN: not contacted yet
PROJECTS: Duisburg Germany Jewish Community Center (2200 sq. meters) for cities of Duisburg, manheim and Oberhausen in North Rhine Westfalia. Designed to look like a 'yad' or hand. No openspace continues endlessly. Also designed the Berlin Jewish school, which is based on a severed sunflower or the pages of an open book. Also designed the Palmach Museum in Ramat Aviv Israel, which is a grating, blunt clas of post-modernism and commercial architecture (meaning, do u put a gift shop in a memorial or yad Vashem museum?). The Palmach museum is designed like a dismantled Star of David dug into a hill as if it were a forward outpost on a frontier border. It preserves a pine forest in the design. It uses limestone quarried from the hill in which it sits.

Ada Karmi-Melamede and Ram Karmi

STATEMENT: Israel Supreme Court Building, Israel. In which the judges enter a courtroom from above to judge, and the judged step up into the Courtroom from below to present their cases and be judged. Ram karmi is the father of Brutalism.

Bruno Zvi



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