Port of Spain International Waterfront – Trinidad & Tobago

Port of Spain Waterfront

The Port of Spain Waterfront originally uploaded by Liam Boodoo

Stay tuned for my analysis of the Port of Spain Waterfront project. In the meanwhile, feel free to read our article on Waterfront Development here>>.

See more images of the Port of Spain Waterfront in our Flickr Album

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National Academy for Performing Arts Center – Video

National Academy for the Performing Arts

Brief video of the National Academy for the Performing Arts Center in Port of Spain, Trinidad (Caribbean).

Read previous Blogs on the Performing Arts Center:
architecturecaribbean.com/blog/?p=85
architecturecaribbean.com/blog/?p=249

Interview with Caribbean Architect – Outram Hussey

Outram Hussey (left)

Outram Hussey, AIA, Assoc. JIA, is a Jamaican born Architect who has been in the field for 36 years. In addition to having his own firm, he is a professor at his Alma Mater Howard University. His passion for the Arts and Sciences and other creative endeavors inspired him to study Architecture. In Part 1 of his interview with Architecture Caribbean, Outram gives his insight into the profession both as an Architect and an Educator. Here is a portion of the entire interview.

Architecture Caribbean: Who is Outram Hussey?
Outram Hussey: A lucky guy having an understanding wife and blessed with four wonderful children.

AC: Where did you study?
OH: University of Technology (Jamaica) & Howard University (Washington, DC).

AC: Have any other professions or types of work interested you?
OH: Teaching Architecture, Real Estate Development and Construction.

AC: Who are your favorite architects (International and Caribbean) and what do you admire about their work?
OH: Le Corbusier, Gropius (the Bauhaus years) and Wright because their passions compelled them to be different and to experiment. Mc Morris Sibley Robinson in the early years when every project was of a different stamp. Structure was integral and beautifully expressed. Also Wilson Chong, a man that truly understood the nature, power, strength and grace of concrete and the poetics of structural concrete.

AC: What skills are needed to be an architect?
OH: Integrity first and all else after. Good communications skills, good diplomatic skills, good leadership skills, but all rests ultimately on knowledge of your craft. The ability to create form and space, to understand what materials want to do and be, to understand the tectonic nature of things etc. Survival also rests upon financial and legal abilities.

AC: Why do you continue to teach?
OH: At first, I believed that it was because I was contributing to the profession and to the lives of young people. Our profession is very demanding and is intolerant of lesser abilities. It can also be tough. When I realized that these young men and women had to enter in and be successful, my focus changed. My mission is to prepare them, to do whatever it takes to ensure that they are fully equipped to stand their ground in the profession, and to be a success.

AC: What are the most rewarding aspects of being a teacher?
OH: It’s in seeing a student enter into a successful practice. Inviting me to their weddings, keeping me up to date on their projects, talking about fees, administrative and contract issues. Seeing pictures of their children and knowing that you were and still are a part of it.

AC: What is a possible positive response that Caribbean Architects can offer to the current economic downturn?
OH: Use the time to retool for a sustainable future. High energy costs create opportunities for design. Limited water resources create opportunities for design. Livable sustainable environments create opportunities for design. If architects through their designs can reduce energy/material imports significantly, the corresponding benefit to the country would be equally significant. Architects have the power to make significant contributions to the local economy, probably more than any other professional group.

AC: How do you think the role of the architect will change over the next twenty-five years?
OH: Architects must be more assertive, inventive and creative to reap the benefits of the future. It will be all digital, communications of ideas and integrations of systems and information will take center stage. Ideas is the currency that architects trade, it always was, is and will be tomorrow. To be successful, buildings will not only have to be aesthetically pleasing, but they will also be required to perform to very exacting environmental specifications. In other words, the designer of a plane knows that the design must conform to aerodynamic laws. Those laws dictate the shape. It will become increasingly the same for architects in the future, as buildings are shaped to capitalize on environmental forces and systems.

AC: What advice would you give to students entering the field of architecture?
OH: Seek to be financially independent. I do not subscribe to the service mentality and philosophy. Architecture is not only about design; it’s about construction and the creation of communities. You are the only person in all of academia and the learned professions that is master of the built environment. None other has the breadth of education. Many seek to encroach on the turf, but architects own it. I encourage students to assume their rightful position.

AC: What advice would you give to those currently in college studying architecture?
OH: Architecture is demanding. It is the only school in universities that go 24/7. Not Medicine, not Law, not Engineering. Learn you craft well and assume your leadership role in society.

AC: What do you think about Architecture Caribbean and its goal to highlight Architecture and the Arts in the Caribbean and other parts of the world?
OH: For the peoples of the Caribbean, let them see the value of architecture and how it can contribute to their lives, communities and to the success of their region. To those outside the Caribbean, the same, but let them see that Caribbean Architects can bring a particular rhythm and tempo to their lives through form, color, spaces and its relationship to nature and natural breezes. This is an asset. Sell it. And to you the Editor…bold move…much needed…and Good Luck!

Read entire interview>>

Stay tuned for Part 2 of this interview when Outram Hussey discusses his design philosophy, his firm and sustainable design with Architecture Caribbean.

Queens Royal College – Port of Spain, Trinidad

Queens Royal College

Queens Royal College originally uploaded by Liam Boodoo

Queens Royal College – Port of Spain, Trinidad. German Renaissance in style. Designed by Daniel M. Hahn. The foundation stone for the building was laid on 11 November 1902. In addition to being one of the historic pieces of architecture in the Caribbean, it has educated some of the best.

These include:

• Eric E. Williams – First Prime Minister of Trinidad and Tobago, Caribbean historian
• George Maxwell Richards – President of Trinidad and Tobago.
• Sir Vidia Naipaul – Nobel-prize winning author.
• C.L.R. James – historian, journalist, socialist theorist and essayist
• Peter Minshall – Artist, Costume designer, Emmy Award Winner.
• Richard Thompson – Athlete and 2008 Olympic medalist
• Marc Burns – Athlete and 2008 Olympic medalist

Queens Royal College

It stands strong as a testament to good architecture and good education. What is your architectural critique of Queens Royal College?

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National Academy for the Performing Arts – Trinidad & Tobago – part deux

National Academy for the Performing Arts – Trinidad & Tobago

The National Academy for the Performing Arts is currently under construction in the capital city of Port of Spain, Trinidad & Tobago. It will be the permanent home for the development of the Performing Arts, with particular focus on our national instrument, the steel pan, which was born in the 1940’s in Trinidad & Tobago. I applaud such a project in the Caribbean.

There are many opinions about it. I am glad that this project is being executed in Trinidad and Tobago; one that honors the talent and cultural contributions of Trinidad & Tobago to the world. Architecturally, what do you think of it? Some say it’s “out of proportion, ugly, devouring, fantastic, looks like Sydney Opera House, great design.” What is your architectural critique of it?

National Academy for the Performing Arts

I think the scale of the Project deserves a larger site, one with the landscape and site planning to compliment its grandeur. Look at projects like the New Parliament Complex in Canberra, Australia by Mitchell/Giurgola and Thorp. The building actually occupies only 15% of the site. There is a grand promenade and procession to the complex.

The Performing Arts Academy in Trinidad & Tobago is not able to have a dramatic procession with views and glimpses of it as you approach because of its site location. There is no procession…no approach, just an arrival. These factors are necessary in grand architecture I think. Driving around the Queens Park Savannah you see it, but again, that is not an approach, nor a procession. What if we built an island just for the National Academy for the Performing Arts? That is not impossible…costly, but not impossible. This was done in Sri Lanka for the Parliament building. A swampy site was dredged to create an island at the center of a vast artificial lake for the Parliament designed by Geoffrey Bawa. You notice the need for the scale of the site to match the scale and importance of the building.

How dramatic would it be to have to drive or walk along a grand promenade to the National Academy. The procession to it and catching glimpses of it would itself be a show, a build up to what was inside. I think this project needed or missed out on the opportunity for drama and the procession to it also being an event. In summary, congratulations to Trinidad & Tobago for a much needed facility, it’s about time! Architecturally, there is always room for improvement.

What do you think about the National Academy for the Performing Arts?

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Interview with Caribbean Architect – Marvin Goodman

Marvin Goodman

Marvin Goodman, FAIA, FJIA is a New Jersey born Architect who has been practicing Architecture & Planning in Jamaica since 1961. He is the Principal of Marvin D. Goodman & Associates and a visiting lecturer at the Caribbean School of Architecture. He was gracious enough to take time out of his busy schedule for an interview with Architecture Caribbean. Here is a portion of the interview, see below for the entire interview.

Architecture Caribbean: Who is Marvin Goodman?
Marvin Goodman: Architect

AC: Where did you study?
MG: University of Florida

AC: How did you end up in Jamaica?
MG: I was invited to come to Jamaica for 6 months to finish a hotel then under construction. Work went on for another year and then I was being asked to do some other jobs so I stayed for a while longer. I have remained now for many decades. I am married to a Jamaican and feel completely at home in my adopted country.

AC: Who are your favorite architects (International and Caribbean) and what do you admire about their work?
MG: Frank Lloyd Wright, Oscar Niemeyer, Eero Saarinen, I.M. Pei

AC: Are there important projects in your body of work which you’ve designed that haven’t been built, or plans that haven’t carried out?
MG: One project I would like to see re-appear is a Hotel I did for Caesars at Rose Hall. It was very Caribbean, incorporated water and nature throughout.

AC: What advice would you give to Architecture students?
MG: My advice to students in Architecture is:

1. Travel. Looking at the built environment in many places will open your eyes
2. Learn (don’t just talk) about Green Architecture in all its facets. It is not that easy; good design is very complicated and requires balancing any number of inputs to come up with a useful solution.
3. Learn to draw. Travelling and sketching is the time-honored way to actually ‘see.’ The computer is an indispensible tool but it also gives the illusion that the design is understood when it is not. Many schools are now banning the use of computers in the first two years of study.

Read entire interview>>

Interview with Marumiyan – Japanese Graphic Artist

Princess Lotus - Marumiyan

Marumiyan is an extremely talented Graphic Artist from Japan. His work is a wonderful collage of photography and drawing. In addition to producing work for magazines, CD jackets, posters, apparel and website design; he has been involved in several exhibitions including the 2009 Taiwan International Illustration Festival. Marumiyan was gracious enough to take time from his busy schedule to speak with Architecture Caribbean. Here is a portion of the interview.

Architecture Caribbean: Who is Marumiyan? Where were you born? live? What do you do?
Marumiyan: Graphic Artist, born in Fukuoka City, Japan in 1985. I live in Fukuoka.

AC: What are the main features and elements of your work? Why?
M: I like to illustrate natural objects such as flowers and animals.

AC: How do you formulate your ideas and develop them? Where do you go for inspiration?
M: I usually draw freely as I like unless there is a subject that a client wants me to draw on. Whenever I create I listen to music. Music inspires me. When I hit new enchanting music, I can make a good piece of work.

AC: Tell us about your working process? How do you start a piece?
M: Firstly, I take an image that I want to create on the subject, draw many objects that have a good match for my image, and sometimes combine photos that I took.

AC: What tools and programs do you use to produce your pieces?
M: I mostly work in Photoshop with Pentab, sometimes in Illustrator, combining many graphic elements.

AC: The colors in your pieces really stand out, they’re extremely eye-catching…How do you determine the colours used in your pieces? In addition, how is this part of your design method?
M: I don’t always choose colors beforehand; colors are decided then and there in the process.

AC: Which are your favorite works?
M: Mongrel, Wellspoken, Harmony, Princess Lotus

Rastafarianism

AC: What do you think about Architecture Caribbean’s goal to highlight Architecture and the Arts in the Caribbean and other parts of the world?
M: I’d like you to continue introducing many exciting artists.

I find Marumiyan’s work intriguing. The vibrant colors, the details, the complexity, the contrast, the unique nature of his work. Every time I see something I never noticed before. Rastafarianism is a religion with roots that go back to the island of Jamaica, and he blended his art with a culture hundreds of miles away to produce a beautiful piece. Not only did he capture the recognizable dreadlocks/ braids and beads in the hair, but he captured the movement. Notice his other pieces and how “still” they are, however, in Rastafarianism, the braids are in motion. Whether because of the wind, the movement of the head on which they are, or both I am not sure, but it stands out because it captures the spirit of Caribbean people. That spirit of movement, dancing and celebration. Well done Marumiyan!

Read entire interview>>

See his work>>

Renzo Piano\’s Cultural Center in Greece: The genius and The genius loci

Sketch

Renzo Piano (RPBW) has been chosen as the architect for a new cultural center in Athens, Greece, which will house a National Library and Opera House. The Stavros Niarchos Foundational Cultural Center (SNFCC) will fund the $580 million building, expected to open in 2015. The SNFCC will honor Greek culture by enabling both Greek and global visitors to experience art, education, and green space. The site is approximately 187,800 square meters.

Site Model

“We were extremely honoured by the Stavros Niarchos Foundation’s invitation to play a role in such a generous gift to Greece,” noted Renzo Piano. “The Cultural Center’s proximity to water, and the natural warm breezes and light of Athens were particularly inspiring during the design process. It was immediately clear that we must take advantage of all these elements to ultimately design a zero emissions building that expresses movement and energy.”

WorldArchitectureNews.com

Site Section

Section

It was the SNFCC and RPBW’s mission to create an emissions neutral facility, with the highest standards of environmental sustainability. Again, the roof is the key element in the environmental control system – a series of interconnected photovoltaic cell panels which will cover the structure’s needs, taking advantage of the pure “green” solar and wind energy.

I have always appreciated the work of Renzo Piano having studied his work and visited some of his projects including Potzdamer Platz. He is a master of finding that balance between history and invention as well as strengthening the sense of place. Piano starts his projects from sociology, and anthropology, not architecture. Not from the form, but from the life…creating places for people.

Building Section

His sensitivity reminds me of many Caribbean Architects, including Colin Laird (Trinidad & Tobago) who lets the genius loci (spirit of place) of a site inform his architecture. Laird often mentions the palimpsest; defined as a manuscript, usually written on papyrus or parchment, on which more than one text has been written with the earlier writing incompletely erased and still visible. Architecturally speaking this means seeing the previous life and history of a site, especially as there is always one.

I congratulate Piano for another winning design, and congratulate numerous Caribbean Architects who design with similar sensitivity and mastery of the genius loci and the environment. Stay tuned for my post on the National Library of Trinidad & Tobago.

See photos of Piano’s Potzdamer Platz Project in Berlin (see Flickr album).

To contribute your Flickr images:

• Join and add photos to the architecture caribbean pool, and/or
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References

Baird, George. The Architectural Expression of Environmental Control Systems. London: Spon Press, 2001.

Webb, Michael. “Required Reading: With Extensive New Accommodation, above and below Ground, Renzo Piano Brings Unity and Order to the Morgan Library.” The Architectural Review June 2006

Grenier, Cynthia. “Architecture Renaissance Man: An Interview with Renzo Piano.” World and I Oct. 1998

http://archrecord.construction.com/news/daily/archives/090727piano.asp

http://www.nytimes.com

http://www.arcspace.com/architects/piano/snfcc/snfcc.html

http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_id=11041

Interview with Courtenay B. Williams, President of The Art Society of Trinidad & Tobago

“Tic Tac Toe” by Peter Sheppard

Architecture Caribbean presents its interview with Courtenay B. Williams, President of The Art Society of Trinidad & Tobago to discuss the Wall Projects recently unveiled at the Queens Park Oval and the Hyatt Waterfront Art Gallery in Port of Spain. This is a portion of the interview, see below for the entire interview.

Architecture Caribbean: can you tell us about the Wall Project?
Courtenay Williams: The Wall Project was the result of collaboration between the Label House Group who assembled the technology to print large scale reproductions and to use software to obtain as true a color reproduction as is possible of the original pigments used in the paintings.

AC: How did the idea come about?
CW: We were approached by the Label House Group to help in the selection of artists and execution of the project.

AC: How were artists chosen for the project?
CW: Initially the launch date for the project was so close to when we were first approached, that we had to have resort to Art Society members for selections to be made for the first phase along Tragarete Road. The intention was that every six months or so, the work would be retired but whilst up, a theme would be announced and artists would paint for that theme so that when the first set of work came down there would be new work ready for installation drawn from artists who responded to the theme (whether they were Art Society members or not). It was the intention that works would be juried by the Art Society using the kind of criteria we use for our own shows.

AC: What benefits have arisen from the Wall Project?
CW: People have become alive to the possibility of embracing art and what it says about them as human beings when they respond to it. It is not for the middle classes, it is our expression of the human condition which touches us all.

AC: What is the present state would you say of art and artists in Trinidad & Tobago and the Caribbean?
CW: That is a very very broad question which it is impossible to answer within the confines of this short interview process. I will say this: the Caribbean has a unique story to tell and even within the Caribbean, the Cuban experience is different to the Jamaican experience which is different to the Trinidad and Tobago experience which is different to the Surinamese experience and so on. I lament in Trinidad and Tobago that the general perception is still that children are not being encouraged to pursue careers in art because it is still perceived that artists cannot make a decent living from it.

AC: Is there a particular space in the city or country that you would love to do a grand exhibition for artists if you had the opportunity?
CW: A biennale or a true art festival is a dream of ours.

AC: What concerns do you have with regard to the Arts in the Caribbean/ T&T?
CW: Art is still perceived in some countries as not available to the general public, and that it is elitist.

AC: What advice would you give to young artists?
CW: Stay the course and improve your craft and technique and if it is your intent to do so, source good help and formal education and use it as best you can.

AC: What do you think about Architecture Caribbean and its goal to highlight Architecture and the Arts in the Caribbean and other parts of the world?
CW: I support it.

Read entire interview>>

Interview with Trinidadian Architect – Rudylynn DeFour Roberts (Pt. 1)

Rudylynn DeFour Roberts

Rudylynn De Four Roberts, TTIA, is a Trinidadian Architect with a love for old buildings and Historic Restoration. She is a director of De Four Farmer & Associates Ltd. and was a visiting lecturer at several Institutes including the Caribbean School of Architecture. As the former head of the Trinidad and Tobago Government Historic Restoration Unit she was responsible for monitoring government restoration projects, and advising government regarding preservation issues. She was kind enough to take some time to do an interview with Architecture Caribbean, and we have placed parts of the interview here for you.

Architecture Caribbean: Who is Rudylynn De Four?
Rudylynn De Four Roberts: I am a Caribbean woman, an architect with a love for Old buildings.

AC: Where were you born?
RDR: I was born in New York USA while my Father was at University doing his second degree. Both my parents are from Trinidad & Tobago. We returned to Trinidad when I was six years old.

AC: Where did you study?
RDR: I studied at Howard University. Washington DC. USA

AC: What inspired you to study/practice architecture?
RDR: I come from a family of Engineers and Architects. My father was a Civil and an Electrical Engineer. He established the first locally owned engineering consultancy practice in Trinidad & Tobago. I myself was an artist and my Dad encouraged me to study Architecture like his brother and cousin.

AC: Have any other professions or types of work interested you?
RDR: I enjoy lecturing, and speaking to students about historic Architectural Patrimony. I suppose I could always go back to Art.

AC: How long have you been in the field?
RDR: I graduated from Howard University in 1974.

AC: What was your first architecture job, doing what?
RDR: My first job was in Alexandria Virginia. I did the usual as a new graduate, working drawings for design architects, I also did site planning and landscaping drawings. My first architectural design job was the Restoration of a 200 year old Lutheran Church. It was an adaptive re-use. We converted it into a community theatre. I was responsible for doing the design, the drawings, and the specs….everything.

AC: What did you learn during that experience?
RDR: I realized that I loved restoration, and I began what was to become my life’s vocation. My appreciation of historic architecture came from my love of History and seeing my Grandfather’s buildings. He was a builder and joiner. In his early days he built houses with Fretwork and stained glass. I loved to watch the sun pouring through the fretwork creating patterns on the floor and walls; and the coloured glass always fascinated me. When I was a child, Port of Spain looked like a miniature New Orleans.

AC: What about architecture excites you?
RDR: Creating spaces that conform firstly to the user’s needs ….and using shape, colour, art and craftsmanship to make the spaces comfortable, pleasing and efficient.

AC: Who (or what) were the biggest inspirations for your career?
RDR: The biggest inspirations in my career are my father and the late Trinidadian architect, Anthony C. Lewis. My father Fenrick De Four, for his support, encouragement and example. He felt strongly about ethics in the workplace, serving and contributing to nation building, and supporting local enterprise. Anthony Lewis was an architect, planner and artist, who established the first local architectural consultancy in Trinidad and Tobago. His firm is responsible for many of the landmark buildings in Port of Spain.

AC: Who are your favorite architects (International and Caribbean) and what do you admire about their work?
RDR: Internationally – Frank Lloyd Wright, architect, interior designer, writer and educator. I admire his ability to use Nature as inspiration in his organic designs. In 1991 the AIA declared Wright “The greatest American Architect of all time.” Locally- Anthony C. Lewis who was an architect whose concepts expressed an organic and environmentally friendly architecture. He used sunlight, flora and fauna as inspiration in his designs. As an architect he was always conscious of creating a living space for optimum human comfort and visual stimulation. This was reflected in his use of the natural elements and indigenous materials.

AC: What do you think about (Architecture Caribbean) and its goal to highlight Architecture and the Arts in the Caribbean and other parts of the world?
RDR: An admirable project, with lots of scope. Although we are all from the Caribbean islands, there is so much diversity in culture and architecture. From earthquake prone Trinidad to islands in the hurricane belt…………Our colonial heritage is varied and each old world intervention has left its indelible mark. Cuba – Spanish heritage; Barbados- British heritage; Curacao- Dutch; Martinique and Guadeloupe –French and Trinidad and Tobago a pleasant mix up of French, English, African and East Indian Heritage resulting in our eclectic architecture.

Read the entire interview>>>