Celebrating EZRA STOLLER

The famous architectural photographer (with his famous subject) himself gets photographed: During the 1963 New Haven session, during which Ezra Stoller made his iconic photographs of Paul Rudolph and his Yale Art & Architecture Building, Judith York Newman captured the two of them in action.

We celebrate the 106th Birthday of EZRA STOLLER (May 15, 1915 – October 29, 2004) — one of America’s greatest architectural photographers.

Anybody who has tried to capture a good image of a building (or architectural interior or detail) will know that there is no such thing as a purely objective photograph. Instead: the photographer makes significant decisions about composition, lighting, depth-of-focus, proportion, distance, contrast, framing, and other factors. Both the architect and the photographer have to deal with practical requirements but, no less than with the architect, the result of the photographer’s efforts is an artistic work: one which can be both expressive and meaningful.

What photographer operated at the highest level of this simultaneously practical and artistic discipline? When one thinks of architectural photography in America, the name—or rather: the images—of Ezra Stoller are what probably first come-to-mind. For decades, Stoller photographed many of the 20th Century’s most significant new buildings in the US and thereby created an extensive archive of the achievements of Modern American architecture. More than that, Stoller’s views are some of the most iconic images of that era of design, or of particular buildings.

EZRA STOLLER AND PAUL RUDOLPH:

Of the several photographers that Rudolph worked with, Ezra Stoller is likely the one with which he had the most involvement and lasting relationship. Stoller photographed much of his residential work in Florida—including some of Rudolph’s greatest and most innovative houses like the Milam Residence (as seen on the cover of Domin and King’s book on the Florida phase of Rudolph’s career (see image at right), the Walker Guest House, the Umbrella House, and the Healy “Cocoon” House. He also captured the Yale Art & Architecture Building (see below), Sarasota Senior High School, the Temple Street Parking Garage, Endo Labs, the UMass Dartmouth campus, the Tuskegee Chapel, the Hirsch (later: “Halston”) Townhouse in New York City , the Wallace House, Riverview High School , the Sanderling Beach Club, and numerous others—including the Burroughs Wellcome US headquarters and research center.

Ezra Stoller took a series of photographs of Paul Rudolph’s Yale Art & Architecture Building (now rededicated as Rudolph Hall)—including the above portrait of Rudolph with the building in the background. Decades later, Stoller issued a set of monographs on key works of Modern architecture—his “Building Blocks” series—and the Yale building was selected to be one of the structures upon which the books focused (see image at right.) One of Stoller’s photos of the building—taken when it was freshly finished, in 1963—was to become an iconic image, and was used on the cover of the book.

STOLLER: ON-EXHIBIT, IN-PRINT, AND ON-VIEW

EXHIBITIONS:

Ezra Stoller’s work was exhibited numerous times: we know of at least ten solo exhibitions (listed here)—and the countless times when his photographs were included as parts of other exhibits, around-the-world (including in major museums).

BOOKS:

His photographs are in magazines and journals, as well as books that cover architecture (and, significantly, they’re in the monographs of individual architects—including Paul Rudolph). Several books have been published which focus exclusively on Ezra Stoller’s work, from “Ezra Stoller: Photographs of Architecture” (1980) -to- “Modern Architecture: Photographs by Ezra Stoller” (1999). The latter’s cover features a stark photograph in color—and that illustrates an important point: although Stoller is most well-known for his work in black & white photography, he could also create striking images in full color.

More recently, his work has been collected into extensive, large-format monographs—which allow one to comprehend and appreciate his full career: “Ezra Stoller, Photographer” (2012); and “Ezra Stoller: A Photographic History of Modern American Architecture” (2019). At 288 and 416 pages, respectively, these two volumes offer comprehensive views of Stoller’s oeuvre—and of the Modern era, subjects, and architects upon which he was focused.

EZRA STOLLER — TODAY:

A screen capture from the ESTO website, of the page focusing on Ezra Stoller. It includes a portrait of the famous photographer himself, as one of his iconic images of a building by Louis Kahn: the Salk Institute.

ESTO, the organization founded by Ezra Stoller, continues to operate, and is now directed by his daughter, Erica Stoller. It provides access to their extensive photographic archive: a treasury of images of unique importance to the history and understanding of Modern architecture, and which documents the work of key architects of the 20th Century.

Within that archive are images of compelling photographic power. One can see its holdings via the Esto Stock collection here—and an indication of the depth its holdings can be judged by the fact that it includes nearly 800 photographs of Paul Rudolph’s work; as well as the work of Wright, Saarinen, SOM, Breuer, Meier, Kahn, Aalto, Johnson, Warnecke, Mies, and numerous others.

ESTO also continues to be the home of a group of professional. design-focused photographers who work in Stoller’s tradition of clarity, expressive imagery, and compelling vision—whether capturing a building complex, a set of interiors, or singular objects. At their website, one can can see these photographers’ portfolios.

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IMAGE CREDITS

NOTES:

The Paul Rudolph Heritage Foundation gratefully thanks all the individuals and organizations whose images are used in this non-profit scholarly and educational project.

The credits are shown when known to us, and are to the best of our knowledge, but the origin and connected rights of many images (especially vintage photos and other vintage materials) are often difficult determine. In all cases the materials are used in-good faith, and in fair use, in our non-profit, scholarly, and educational efforts. If any use, credits, or rights need to be amended or changed, please let us know.

When/If Wikimedia Commons links are provided, they are linked to the information page for that particular image. Information about the rights for the use of each of those images, as well as technical information on the images, can be found on those individual pages.

CREDITS, FROM TOP-TO-BOTTOM, AND LEFT-TO-RIGHT:

Ezra Stoller photographing Paul Rudolph: photo by Judith York Newman, © The Estate of Paul Rudolph, The Paul Rudolph Heritage Foundation; Cover of “Paul Rudolph: The Florida Houses”: from the Amazon page for that book; Photo portrait of Paul Rudolph, with the Yale Art & Architecture Building in the background: photograph by Ezra Stoller;  Cover of “The Yale Art + Architecture Building”: from the Amazon page for that book;  Cover of “Ezra Stoller: Photographs of Architecture”: from the Amazon page for that book;  Cover of “Modern Architecture: Photographs by Ezra Stoller”: from the Amazon page for that book;  Cover of “Ezra Stoller, Photographer”: from the Amazon page for that book;  Cover of “Ezra Stoller: A Photographic History of Modern American Architecture”: from the Amazon page for that book;  Esto page with Stoller portrait and Salk photo: screen capture from Esto website

Happy 99th Birthday to REYNER BANHAM - Tuesday, March 2, 2021

If architects that have passed—from Palladio -to- John Soane -to- Paul Rudolph—can have their own Facebook pages, then why not architectural historians too?! And so it is for one of the late 20th century’s most articulate, wide-ranging, and ebullient historians of design: REYNER BANHAM—whose page you can see here (and from which the above is a screen capture, showing his famously bushy and unmissable beard!)

CELEBRATING A GREAT ARCHITECTURAL HISTORIAN’S BIRTHDAY: tUESDAY, MARCH 2, 2021

REYNER BANHAM (March 2, 1922 – March 19, 1988) had a relatively short life, but he packed a lot into his brief span of 66 years. From the 1950’s to the 1980’s, he was an un-ignorable presence: tall, broad-shouldered, with a full bushy beard, and with the bright-spirited presence of a boisterous English Santa Claus. He was part of the architectural community’s consciousness via his continuous lecturing, teaching, traveling, captivating journal articles—and especially his books (of which he authored or collaborated on at least 20.)

Below is a mosaic of some of his many volumes. Among them is the one which initially brought him renown: Theory and Design in the First Machine Age; the one in which he opened our eyes to the wonders of a hitherto much-decried (at least by many architects) part of the US: Los Angeles: the Architecture of Four Ecologies; a book in which he explored the evolution and integration of mechanical systems into architectural design: The Architecture of the Well Tempered Environment; and a guidebook on which he collaborated, about significant buildings in Buffalo (a book which includes several Paul Rudolph projects): Buffalo Architecture: A Guide

Banham’s lively incarnations—whether in print or in person—always evoked a sense of wonder: he was able to convey his delight at what he had discovered, and yet did so without losing an historian’s rigor. For those who followed him, exploring areas of design history that been frozen into an “accepted” interpretation, he continually produced an intellectual and aesthetic thrill through newly introduced materials and fresh interpretations.

BANHAM: THE “FIRST APROXIMATION” HISTORIAN

His work on the history of Megastructures—research he initiated in the mid-1970’s—is an example of Banham engaging in what he called “first approximation history.” For each movement or historical event or era, somebody—some historian—will be the one to first try to grasp and describe its outlines and write that history (and also make an initial interpretation of its significance.). That historian is making a “first approximation” of the scope of the phenomenon—and its meaning.

Of course, there’s always danger in doing that kind of history, when one is so chronologically (or personally) close to the era and people being studied—for without the perspective and wisdom which comes from viewing things at a distance of years (or decades), no historian can, with a high level of confidence, discern what was truly significant about an event or period.

Yet, Banham asserted, somebody has got to be the first to take-on making an estimate and assessment of what happened—and that is what he did. He cited the megastructure movement (which, when he started doing the research on the topic, was passing out of its high-energy phase) as a subject for which he was acting as a first approximation historian. This courageous approach resulted in his 1976 book, MEGASTRUCTURE: Urban Futures of the Recent Past — which has recently been reissued in a beautiful new edition by Monacelli Press. [And you can read more about the book and megastructures—and their relationship to Paul Rudolph—in our article here.]

BANHAM AND HIS “NEW BRUTALIAM”

The genesis of the term “Brutalism” is ongoingly debated. “Origins”—plural—may be a better way of looking at that question, as the label’s emergence seems to have been the result of multiple sources and energies. [One of its most intriguing origin stories comes from the memoir of architect Guy Oddie (1922-2011): “Learning From Lutyens.” Oddie asserts that the term “Brutalism” derives from the nickname of one of his old friends—one of the most famous (and early) practitioners identified with the style—Peter Smithson. That nickname: “Brutus”]

Banham’s landmark 1955 article “THE NEW BRUTALISM” appeared in The Architectural Review.

Perhaps we’ll never arrive at an ultimate and final answer for the “true” origin of the label “Brutalism”—but it cannot be disputed that Reyner Banham was key to the spread of the term—and here too he was acting as a “first approximation” historian.

The manifestation of this was his article in the December 1955 issue of the distinguished British architectural journal, The Architectural Review, titled THE NEW BRUTALISM. The article combined a wide view of the panorama of architectural history, an examination of the the label, and a consideration of the trend’s possible significance—its-formal (and “anti-formal) aesthetic and philosophical import. It also prominently included a photo of the Hunstanton School, which Banham labeled “The first completed Brutalist building by Alison and Peter Smithson.” [You an read the full article on the Architectural Review’s archive page, here.] This was followed, about a decade later, by Banham’s 1966 full book on the topic (which was also titled THE NEW BRUTALISM.)

About a decade after Banham’s too-early passing, an anthology of his essays was published: A Critic Writes: Essays by Reyner Banham. It includes over four-dozen superbly-chosen gems which show his sparkling intelligence, breadth of interests, and lively writing style—-and, among these fascinating texts, is his original 1955 article on Brutalism.

To encounter Reyner Banham—in-person or on-the-page—was an unforgettable experience, and we are glad that still we have his many works to delight and enlighten us.

SO TODAY, 99 YEARS AFTER HIS OWN EMERGENCE, WE WISH A HAPPY BIRTHDAY TO REYNER BANHAM—AND CELEBRATE HIS MANY CONTRIBUTIONS!

DOCOMOMO's “Auction For Modernism” (and we’re donating something you’ll definitely want to bid on!)

DOCOMOMO US HAS A CLEAR AND COMPELLING MISSION:

Enriching our communities and our culture through the understanding, appreciation and preservation of modern architecture and design.

DOCOMOM US does that through advocacy, education, documentation, and providing leadership and knowledge to demonstrate the importance of modern design principles for these important parts of American history and culture.

They’re energetic, creative, resourceful—and they never stop!

Whether it’s fighting to preserve significant buildings, advising on adaptive reuse, or serving as a resource for local groups and activists, they’re always ready to generously share their knowledge and positive energies. At right you can see part of their recent newsletter, with some updates on what they’ve been involved with—including our fight to save Paul Rudolph’s Burroughs Wellcome building.

THE AUCTION FOR MODERNISM (IT’S STARTING NOW)

To keep their DOCOMOMO US’ work going forward, they’re having the most amazing fundraising auction—The Auction For Modernism—and we’re proud that the Paul Rudolph Heritage Foundation is participating.

What can you bid for? Superb examples of Modern Design: furniture, architect’s original drawings, rare books, architectural prints and photos, private tours, original artworks, jewelry, ceramics, overnight or weekend stays in modern masterworks (and even an I.M. Pei doll!)

BID FOR: A VIP TOUR OF A PAUL RUDOLPH MASTERWORK

We’re helping: the Paul Rudolph Heritage Foundation is donating—for you to bid on—a private tour of the Paul Rudolph-designed Modulightor Building, and the winning bidder will also receive two books on Rudolph’s life and legacy.

At the top of this post and below you can see photos of some of the richly layered private interiors in the Modulightor Building. You and your guests will get a VIP tour, and have time to explore these intriguing, intimate spaces in a building designed by Rudolph at the height of his powers.

To see all of auction’s many tempting items, go here.

But if you want to go directly to bid for your Modulightor Building tour and book package, go here.

PHOTO CREDITS:

Evening view of the exterior of the Modulightor Building: Photograph © Joe Polowczuk, The Paul Rudolph Heritage Foundation Archives

Interiors of the Modulightor building: Photographs © Anne Broder, The Paul Rudolph Heritage Foundation Archives

Auction page view (at top) of an interior of Modulightor Building with Picasso sculpture and staircase: Photograph by Donald Luckenbill © The Paul Rudolph Heritage Foundation Archives