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This is well done: minimalist, elegant and a fine focus for the quad. Mies would be pliesed.
Perhaps you like Cornell's version better.Wow, Klarman Hall is just...awful. Squat, flat, acres of absolutely uninspired red brick, faux demilune windows, that sad, sickly partial dome, it's all just reads as a hideous nostalgic waste.
Please, pretty please, build something in the parking lot so no one has to see it when travelling on Western Ave.
Perhaps you like Cornell's version better.
And why don't you donate the money for a new building in the parking lot, then you can play design architect.
If you went to Harvard, you might be familiar with a building where the donor decided to play design architect, and was dissatisfied / underwhelmed with iterative designs being produced, and the construction start delayed for years.
Cornell's Bailey Hall is made from different materials and is not Federalist in design, so the comparison stretches thin, but Bailey is gorgeous.
I understand perfect is the enemy of the good, but this isn't even good.
Wow, Klarman Hall is just...awful. Squat, flat, acres of absolutely uninspired red brick, faux demilune windows, that sad, sickly partial dome, it's all just reads as a hideous nostalgic waste.
Please, pretty please, build something in the parking lot so no one has to see it when travelling on Western Ave.
This Klarman. Same donor.
Ahh, I get you now. Well, yes, this is far superior to the HBS Klarman.
https://www.bostonglobe.com/busines...ton-theater/Rgj065FhukDA6AL9XOW39J/story.htmlIn Haworth Tompkins it has a firm with a long resume of creative theater projects in the United Kingdom, from Liverpool’s Everyman theater to a revitalization of the National Theatre along the Thames River in London to the Bridge Theatre, the first wholly new large theater built in London in 80 years.
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This will be its first building in the United States, and it will collaborate with Boston-based ARC/Architectural Resources Cambridge, as well as with the theater consultancy Charcoalblue.
An architect described as a 21st-century Frank Matcham – the legendary designer of the London Palladium and Coliseum – has been named the most influential person in British theatre.
Steve Tompkins has been responsible for a string of transformative theatre building projects including at the Royal Court, Young Vic, Bush, National Theatre and Bridge Theatre in London and the Liverpool Everyman, his first theatre built from scratch for which he won the Stirling Prize in 2014.
The completion last year of redevelopments at Bristol Old Vic and Battersea Arts Centre (BAC) in London has helped propel him to the top of the annual 100-strong power list published by the Stage.
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Tompkins could be seen as a modern-day successor to Matcham, the Victorian architect responsible for many important theatres including London’s Hippodrome and Hackney Empire.
There was a crucial difference, though. “Unlike Matcham, whose theatres divided audiences by class, Tompkins’ approach is all about democratising theatregoing … He is literally and physically transforming British theatre and his legacy will be experienced by millions of theatregoers for years to come.”