Paul Rudolph’s Testing Ground
Yale University has inaugurated a new arts complex, with a restored and
revitalized building by Paul Rudolph (1918–97), influential chairman of
nes.
Yale’s architecture department from 1958 to 1965, as its centerpiece.
Completed in 1963, the imposing Brutalist style building, the off-set out-
croppings of its cliff-like façade puncutated with cavernous fenestration, had
suffered under several previous renovations. Now renamed Paul Rudolph
Hall, it has not only been upgraded with such contemporary requisites as
Photograph: Richard Bar
air conditioning and state-of-the-art technology, but it has been returned
Above Yale University arts complex at night, 2008.
to the architects original vision, with the clearing of partitioned spaces, the
reopening of blocked views, the upgrading of fenestration and the intro-
duction of furniture and lighting either specified by Rudolph or in keeping
that originally marked the north end of Rudolph’s building
with his aesthetic approach, all under the supervision of Charles Gwathmey,
serving as a fulcrum to link the three structures.
of Gwathmey Siegel & Associates Architects.
New Haven, dubbed the Model City in the late 1950s
Gwathmey has also created an addition, the
for its focus on urban renewal, offered Rudolph fertile
Jeffrey H. Loria Center for the History of Art,
ground for developing his architectural approach. Thirteen
following Rudolph’s original expansion con-
of his numerous area projects, both built and unbuilt, are
cept for a lot to the north of the building. The
the subject of an inaugural exhibition at the renovated
new Haas Family Arts Library bridges both
School of Architecture: Model City: Buildings and Projects
buildings at the ground level, with the tower
by Paul Rudolph for Yale and New Haven, runs through
February 6, 2009. The symposium Reassessing Rudolph:
Left Paul Rudolph on Chapel Street with
Architecture and Reputation, takes place on January 23
Yale University Art & Architecture building in and 24. For more information, call 203/432-2288 or visit
background, ca. 1963.
www.architecture.yale.edu. —Andrea Truppin
Real ModeRn:
A New Constellation in the Collector Firmament
Hoover has re-introduced Henry Dreyfuss’s famed Constellation canister
vacuum of 1954, one of the most sought-after midcentury appliances. The
original Constellation, Model 82, was intended to sit stationary in the center
of a room, while its long hose reached everywhere needed. In 1956, Dreyfuss
created a new version of the Constellation, Model 84, to make clever use of
something ordinarily wasted: the exhaust, which was directed into its skirted
base and made the machine float above the floor, giving it mobility without
wheels. The resulting household Hovercraft was an instant hit, remaining in
production until 1975; a brief discontinuance in 1969–70 was rescinded by
consumer demand. The new version, which hews closely to the design of
th America.
1958’s Model 86, is available in a white painted finish or stainless steel.
Cleaning ability has been increased with a more powerful motor and the
addition of an air-powered “turbobrush” rug tool; filtration has been upgraded
with a HEPA system. The new Constellation is available directly
th America.
from the Hoover website at www.hoover.com; the white
version costs $105, the stainless steel $250. —SM
mission of TTI Floorcare Nor
Left The hugely popular Hoover Constellation,
tesy TTI Floorcare Nor
designed by Henry Dreyfuss, floated above
the floor on its exhaust.
Cour
Right The new Constellation resembles
Model 86, introduced for Hoover’s 50th
Fred Nelson Collection, by per
anniversary in 1958.
www.modernismmagazine.com 21