In a few days, a new exhibit, called the Aluminaire House™ Exhibit, will open in a parking lot of the Palm Springs Art Museum. It will form a new part of their permanent collection. Now, museum goers won't be able to go inside of the house due to accessibility limitations, but they'll be able to look at it from the outside. And this alone is a big deal because this house is a big deal.

Initially constructed in 1931, the house was designed by A. Lawrence Kocher (then the managing editor of Architectural Record) and Albert Frey. Albert was a Swiss-born architect who had just immigrated to New York from Europe, after having worked for the famous Le Corbusier in Paris. And so he was a practitioner of the International Style and this house was a clear representation of that.

Erected in only 10 days, Aluminaire House is thought to be the first all-metal house ever constructed in the United States. Well, metal and glass. And at the time, the overarching objective was to build something cheap, modular, and durable. Something that many are still trying to accomplish to this day.

Not surprisingly, the house was polarizing. Supposedly, architect Philip Johnson picketed in front of it. But this house would go on to become an icon, and it was eventually featured in MoMA's 1932 exhibition, "The International Style -- Architecture Since 1922" -- an exhibition that has been largely credited with introducing European-style modernism to the US.

Albert also ended up moving to Palm Springs later in life, and became known for pioneering something known as "desert modernism." So it's only fitting that this house ultimately end up here. Even if all-metal maybe isn't the best choice of material for a hot desert. If you find yourself in Palm Springs, you should definitely go check it out, or picket in front of it.

Images: Surface Magazine & Palm Springs Art Museum

Hedge fund manager Bill Ackman is a pretty wealthy guy and so it is fairly safe to assume that he could choose to live almost anywhere. For some people the ideal might be a low-rise house with a backyard in the suburbs.

But since 2018, Ackman has chosen a kind of penthouse apartment on the roof of a 1920's co-op building in Manhattan's Upper West Side. It was formerly the home of author Nancy Friday and Ackman supposedly purchased it for $22.5 million.

He is now looking to demolish the penthouse and build a new two-storey residence designed by architect Norman Foster. The design looks like this, which kind of reminds me of Philip Johnson's The Glass House:

Today it was in the news that Ackman has been having a fun time trying to convince his co-op board that a new set of glass boxes on the roof their building is a good idea. FT reported that the project has created "an atmosphere of fear and distrust among residents in the building."

I'm not exactly sure what it is about this proposal that is causing fear and distrust but Ackman is on record saying that he thinks this isn't about heritage preservation or architectural integrity; it's about people not wanting the disruption that comes along with construction. Fair.

One way to test this, I suppose, is to propose something more traditional or similar to what's already there. But I suspect that the other dynamic at play here is simply that he is a rich guy with a starchitect trying to build something cool.

Building things is tough.

Roman Mars of 99% Invisible recently published an excellent episode called The Mind of an Architect. It has to do with a set of research studies completed in the late 1950s by an organization at the University of California, Berkeley known as the Institute of Personality Assessment and Research (IPAR).

IPAR was founded by a personality psychologist named Donald MacKinnon. He initially worked for the precursor to the CIA and founded IPAR with the intent of studying “combat readiness and efficiency.” But over fears of how creative the Soviets were getting, the focus of IPAR shifted to instead studying creativity.

And architects were deemed to be an ideal test subject (from 99percentinvisible.org):

“Researchers saw architects as people working at a crossroads of creative disciplines, a combination of analytic and artistic creativity. As professionals, architects had to be savvy as engineers and businessmen; as aesthetes, they also acted as designers and artists.”

So over a series of weekends in the late 1950s, some of the most celebrated minds in architecture – including people like Philip Johnson, Richard Neutra, and Louis Kahn – were studied and picked apart. 

They were asked to do quick sketches, create mosaics, and they were asked questions such as this one: “For the next 45 minutes we would like you to discuss this notion: if man had developed a third arm, where might this arm be best attached?”

In the end, here’s what they concluded:

The researchers began to notice certain patterns across creatives of all professions and genders, including a tendency to nonconformity and high personal aspirations. They also found many creatives shared a preference for complexity and ambiguity over simplicity and order. Creatives could make unexpected connections and see patterns in daily life, even those lacking high intelligence or good grades.

In short: IPAR found that creative people tend to be nonconforming, interesting, interested, independent, courageous and self-centered, at least in general. Many of these traits may seem obvious today, but they were not necessarily obvious prior to these studies. Back when their tests were being conducted and findings presented in the 1950s and ’60s, the very idea of a “creative personality” was a novelty in academic and public discourse.

The findings may not be groundbreaking to us today, but the documents and recordings produced during the study are certainly interesting. If you’re into this topic, there’s also this book you can pick up.

Oh, and if we are to have a third arm, I would like mine to run almost parallel to my existing dominant arm (right). That way I could double up on my most potent dexterity. It would also be far less intrusive than an arm on one’s head or in the middle of one’s back. Then again, it would ruin our symmetry as humans. And perhaps that third arms need to be celebrated instead of being masked.

What would you suggest?

Image: Institute of Personality and Social Research, University of California, Berkeley / The Monacelli Press (via 99% Invisible)

In a few days, a new exhibit, called the Aluminaire House™ Exhibit, will open in a parking lot of the Palm Springs Art Museum. It will form a new part of their permanent collection. Now, museum goers won't be able to go inside of the house due to accessibility limitations, but they'll be able to look at it from the outside. And this alone is a big deal because this house is a big deal.

Initially constructed in 1931, the house was designed by A. Lawrence Kocher (then the managing editor of Architectural Record) and Albert Frey. Albert was a Swiss-born architect who had just immigrated to New York from Europe, after having worked for the famous Le Corbusier in Paris. And so he was a practitioner of the International Style and this house was a clear representation of that.

Erected in only 10 days, Aluminaire House is thought to be the first all-metal house ever constructed in the United States. Well, metal and glass. And at the time, the overarching objective was to build something cheap, modular, and durable. Something that many are still trying to accomplish to this day.

Not surprisingly, the house was polarizing. Supposedly, architect Philip Johnson picketed in front of it. But this house would go on to become an icon, and it was eventually featured in MoMA's 1932 exhibition, "The International Style -- Architecture Since 1922" -- an exhibition that has been largely credited with introducing European-style modernism to the US.

Albert also ended up moving to Palm Springs later in life, and became known for pioneering something known as "desert modernism." So it's only fitting that this house ultimately end up here. Even if all-metal maybe isn't the best choice of material for a hot desert. If you find yourself in Palm Springs, you should definitely go check it out, or picket in front of it.

Images: Surface Magazine & Palm Springs Art Museum

Hedge fund manager Bill Ackman is a pretty wealthy guy and so it is fairly safe to assume that he could choose to live almost anywhere. For some people the ideal might be a low-rise house with a backyard in the suburbs.

But since 2018, Ackman has chosen a kind of penthouse apartment on the roof of a 1920's co-op building in Manhattan's Upper West Side. It was formerly the home of author Nancy Friday and Ackman supposedly purchased it for $22.5 million.

He is now looking to demolish the penthouse and build a new two-storey residence designed by architect Norman Foster. The design looks like this, which kind of reminds me of Philip Johnson's The Glass House:

Today it was in the news that Ackman has been having a fun time trying to convince his co-op board that a new set of glass boxes on the roof their building is a good idea. FT reported that the project has created "an atmosphere of fear and distrust among residents in the building."

I'm not exactly sure what it is about this proposal that is causing fear and distrust but Ackman is on record saying that he thinks this isn't about heritage preservation or architectural integrity; it's about people not wanting the disruption that comes along with construction. Fair.

One way to test this, I suppose, is to propose something more traditional or similar to what's already there. But I suspect that the other dynamic at play here is simply that he is a rich guy with a starchitect trying to build something cool.

Building things is tough.

Roman Mars of 99% Invisible recently published an excellent episode called The Mind of an Architect. It has to do with a set of research studies completed in the late 1950s by an organization at the University of California, Berkeley known as the Institute of Personality Assessment and Research (IPAR).

IPAR was founded by a personality psychologist named Donald MacKinnon. He initially worked for the precursor to the CIA and founded IPAR with the intent of studying “combat readiness and efficiency.” But over fears of how creative the Soviets were getting, the focus of IPAR shifted to instead studying creativity.

And architects were deemed to be an ideal test subject (from 99percentinvisible.org):

“Researchers saw architects as people working at a crossroads of creative disciplines, a combination of analytic and artistic creativity. As professionals, architects had to be savvy as engineers and businessmen; as aesthetes, they also acted as designers and artists.”

So over a series of weekends in the late 1950s, some of the most celebrated minds in architecture – including people like Philip Johnson, Richard Neutra, and Louis Kahn – were studied and picked apart. 

They were asked to do quick sketches, create mosaics, and they were asked questions such as this one: “For the next 45 minutes we would like you to discuss this notion: if man had developed a third arm, where might this arm be best attached?”

In the end, here’s what they concluded:

The researchers began to notice certain patterns across creatives of all professions and genders, including a tendency to nonconformity and high personal aspirations. They also found many creatives shared a preference for complexity and ambiguity over simplicity and order. Creatives could make unexpected connections and see patterns in daily life, even those lacking high intelligence or good grades.

In short: IPAR found that creative people tend to be nonconforming, interesting, interested, independent, courageous and self-centered, at least in general. Many of these traits may seem obvious today, but they were not necessarily obvious prior to these studies. Back when their tests were being conducted and findings presented in the 1950s and ’60s, the very idea of a “creative personality” was a novelty in academic and public discourse.

The findings may not be groundbreaking to us today, but the documents and recordings produced during the study are certainly interesting. If you’re into this topic, there’s also this book you can pick up.

Oh, and if we are to have a third arm, I would like mine to run almost parallel to my existing dominant arm (right). That way I could double up on my most potent dexterity. It would also be far less intrusive than an arm on one’s head or in the middle of one’s back. Then again, it would ruin our symmetry as humans. And perhaps that third arms need to be celebrated instead of being masked.

What would you suggest?

Image: Institute of Personality and Social Research, University of California, Berkeley / The Monacelli Press (via 99% Invisible)