 to the human-humane architecture to our volume two of the master's planning thing and we have the chance and are lucky to have been taken on an early spring break trip to Long Beach, California on the other side of the Pacific Ocean or on that other side by our friend Ron Lindgren, who's a lifelong friend and business partner of Edward Killingsworth. Welcome back, Ron. Thank you Martin. Can we quickly bring up page one and you quickly recap where we had stopped last time? Yes, I'm so honored in having the opportunity to show what I consider to be one of the most beautiful campuses and certainly in California some people have said even in the entire United States. There were reasons for that, enviable reasons, mostly because my boss, good friend, and design partner Ed Killingsworth was the campus master planner there for an incredibly long period of time, nearly 40 years. And here was a university willing to give real power to him and grateful for doing so. They supported his really unwavering clarity of vision for maintaining a certain single style of campus ambience that was based on Southern California mid-century modernism. And over 40 years in my mind it does not look passe, it does not look old-fashioned. It looks like a vital place for nearly 40,000 mostly computer students together for learning. Yeah, and I think it's due to the sort of clever trick of what I like to call architecture versus architecture, so replace the second C in the term with an X. I like that term. There's no question that this particular campus, California State University Long Beach, is a very successful hybrid of architecture and nature. One of the reasons that happened is that Ed Killingsworth taught the university into having a partner for him who was a very talented landscape architect, who was also given great powers to influence what the university would look like and how it would develop. And we'll see a few more slides of how beautiful the mature landscaping turned out to be. Yeah, and why don't we go and so this is the student union right there or the campus center right that you both designed first him and then you added on to that. What I have to say about the student union is always the most important building on any university campus, because it is literally the living room of the campus. And because there were so many students there nearly 40,000 today, there has to be a test of monument a monumentality in what otherwise was intended to be a rather modest looking campus with a very limited use of materials and so forth. So here's one way that students navigate from an upper campus to a lower campus. But nicely enough, that broad range of steps is so busily used as auditorium seating outdoors for a courtyard that you will see in the next slide where at the moment there are a lot of political actions going on at the university. But often there are musical events there and hundreds of students often during the lunch breaks are sitting on those steps and enjoying some sort of organized entertainment or informational event. Let's go to the next slide because we have a couple of them that show that theme. This is the opposite. This is cooking looking from from above sort of down into that central courtyard with all the trees and the umbrellas right Ron. Yeah, the fact is that from the from what is called the north campus, which is 30 feet below the southern campus, it does appear rather monumental, although we'll see how trees help to conceal most of that monumentality. But then from the south upper campus, this very large building disappears completely. There's a little pavilion to the left that turns out to be the elevator equipment overrun area, but it's just a roof of a building all used for a terrace seating because those terraces are adjacent to quite a few food venues to well, which would have been located left of that particular photograph. So monumental on one side, very retiring and very much lost in the greenery, which is what it prefers that buildings do. Let's move to the next slide. That sort of this helicopter or drone, we would say these days shot that shows again the sort of valley or the sort of bowl of activity framed with what you like to call structural expressionism, right? Indeed. And we can move to the next slide. Yeah, I'm assuming that next slide is suddenly all greenery and no architecture. Yeah, that's this one. We're on the right one now. You're right on. Keep going. This goes to show that because there is this great change between the two campuses, it was maneuvered rather handsomely with a series of very broad and shallow steps leading up down everywhere from terrace to terrace and all throughout the student union building, which is as I said the heart of the campus. Here's again what Ed always preferred to see when the mature landscaping finally makes its grand final statement. Here's an ally of trees and to the right would have been abused of the very monumental student union, but it's lost in the greenery and happily so. Yeah, that's there. And we already got ahead of ourselves. Sorry for that. But now we go to the next slide and you show us what happens when in the next slide, when other architects sort of take on and carry on the what we can call the genetic code of that ad had sort of implemented, right? Power station here. Yeah, right in the middle of the campus for very practical and technical reasons, all of a sudden the sort of code generation power plant had to be built on that grade change between campuses, which is walked next to by thousands of students each day. An architect came in with a very ordinary building. In fact, it wasn't a building, it was it was it was just a lump filled with mechanical equipment. Ed suggested that the roof of that particular code generation plant be treated as an enormous terrace. And so up in the upper left, you'll see how the architect responded to that criticism and idea by creating a raised stage area. And that is that the whole area is so heavily used again for musical theatrical productions and various schools in the spring use the roof as the site for commencement graduation ceremonies. And at the lower left, we see an architectural model of that again, been done by the pretty big fingers of as you call and characterize your partner and friend, Larry Stricker with his viking hands. He made this intricate tiny little model that we're going to see reoccurring through the show. So let's go to the next slide. And I think it's already yeah, there's at the very top left, you can see once again, this is from Larry's model. And now we're in Egypt, right? Here's, here's another case where Ed had a great influence on what an architect would do or should do or even could do in the midst of what was again, a rather low scale, fairly modest campus. There had to be an enormous building, at least in scale, at least relatively relative to the scale of all the other buildings on campus, to house indoor athletic activities like volleyball and basketball and so forth. And it could have been a behemoth that was just out of scale and was very problematic to the vision that he had had for the school. But his very good friend, an architect who he'd also gone to public schools with in Long Beach was easily convinced that he could have his ego monument, but at the same time it could become a background building. And by that, I mean that the pyramid is placed far away from the academic central portion of the campus. It's completely scale-less, so there's no way to know how large it is. And it just sort of fades away in the background. And it's hard to tell from the photograph, but that building is absolutely the tallest in the campus by far, because it's the very apex of the pyramid is 18 floors above grade. Yeah. And as you said, you know, probably not in this sky, but other sky where the sky is very blue, it kind of blurs and blends just into the blue sky. It just proves how open-minded and liberaritarian it was. And not authoritarian, right? We were just doing another show about the president and his sort of classicism and date, right? And he was open-minded and he understood, you know, superimposing his all brick and white metal over this too big mass would have been wrong, right? So he was, you know, open enough to allow a reasonable exception to his rule, correct? Yes. And one of the reasons that you can have these happy relationships with other architects was that he had taught the art counselors of the university system into establishing that the only architects that should work on campus should be local Long Beach architects or architects in joining cities. And this meant that Ed had grown up with, who had been involved in professional organizations with them, knew their capabilities, knew their wives and children. And there was a very happy acquiescence among everyone to have down the egoism that can appear in buildings and instead look and maintain that larger vision. Yeah. And that could easily be abused by the sort of the auntie and uncle method, as we call it here, right? But there was a strong father, right? Ed and Ed sort of controlled them in a very sort of, again, as we just said, libertarian and very sort of warm, but sort of, you know, under a warm guidance, I guess we could say. And let's move on to the next slide here, Ron, which is again. I'd like to comment on the fact that the university was eternally grateful for Ed's 40 years of being such a diplomat that he could get everyone to work together so convincingly and relatively happily to create this wonderful campus. And this image on the left actually shows a brochure cover after Ed's passing, just a few years afterwards, the university had a sort of campus-wide celebration for what Ed had accomplished to him. And someone very cleverly used some sort of residentially-scaled aspects of Ed's own architecture. He did provide six buildings of his own on campus. And here you see very slim white structures, gate structures, putting that ever-changing shadow play onto the common peach brick wall that was used all over the campus. A real living memorial to Ed, however, is to the right. The woman architect who now owns the former Killings River Office building built this drive-through university public information building. And she pulled all the stops using every sort of architectural strategy that Ed used on the buildings that he designed all into this very small drive-through structure. Nice homage, yeah, definitely. Let's go to the next slide, which is sort of concluding our sort of retrospective reflection, which shows we're talking at the very bottom. These are all on the right are buildings by the architects again. They run at the bottom, an older one, and the very top one. Here's one shared with me who said, probably Ed would have been a little bit more strict with a colleague about maybe a little bit too expansive a palette of materials and how the brick boxes are jammed into this sort of alakabund elevator shaft. So maybe here we were talking if we call this genetic code, maybe this is a little mutation, but the organism that came out of the genetic code is so strong that these sort of little system eras don't really matter, right? You know, I always go out to the campus really quite often and see what's happening, and especially I'm interested in new construction sites. The very new lab building on the upper right still has the very congenial hoots-brick material, but it slams into some kind of metal tower, no doubt an elevator tower in terms of something that hadn't been used on the campus before. And there are some cracks in maintaining that limited palette of materials, as sort of clear glass is replaced with black reflecting glass, which has no place on this campus. But as you say, Martin, the vision is holding as the years go by, we can only hope that it continues to hope. Yeah, there is hope for that. Let's go to the next slide, which gets us to the conclusion. It's about universities run on the principle and method of peer review. So if you do something as part of the university and academic and you say I did something great, the kind of university says prove that. And so you have to have equal peers and share with us what a great peer view this one here is of this of this work. Yeah, very happily, not long after Ed made the first master plan presentation for the campus, and that is shown in the lower left of John Intenza, the owner, the publisher of Arts and Architecture Magazine, an extremely powerful design magazine for all new ideas in the arts, cited on a two page spread of what the campus might be developing into. And he highlighted three drawings that Ed actually drew himself, I'm happy to say. So here, the peer review is that is that John Intenza saw what could happen at Cal State Long Beach if this plan were carried out by Ed Kelly. And this we're going to take a breaking point here of from the sort of documentary and you sharing this wonderful campus and the sort of story of success behind to getting you and our third kids from the block to Soto who is stuck at the Bishop Museum with technological problems and lots of projects he has to accomplish. So he had to step out and we're going to have him with us sort of virtually and we'll speak on behalf of him. But I'm going to drag you off your documentary role, Ron, and share me here on a panel discussion that we're going to have because we want to compare this to our campus, the University of Hawaii up at Manoa. And let's go to the next slide. We want to sort of introduce And even before that, I'm happy to see your example of University Campus Architecture in terms of a kindergarten building, which also in essence became a hybrid of architecture and natures. If you could tell us about that. Yeah, thank you. And I don't want to, there's probably not the place, but thank you. And I call I have a name for that too. I call it Archescape. So it's a hybrid between landscape and architecture. This was us at Germany's oldest university in Göttingen. We're charged to build a kindergarten for the kids of students and teachers and equally sort of harmoniously work it into a arboreum campus. And so the building at the center picture so next to me, that green thing is actually the building, but it's the roof and you don't see it's a building while up there is the southern facade, which is in the temporal climate is harvesting the sun as to heat the building in the wintertime. In the middle there is an upcoming publication in this topology. Again, this is sort of explaining why I'm on the panel because I've been doing buildings or this building here on a similar campus. Let's go to the next slide. And this sort of method of Archescape reminded us we now want to walk through several buildings on the UH campus again. And this is actually campus center. And also the architects have done use the same strategy of basically sort of very cleverly taking advantage of a change of grades of the building having been sort of ungrade accessible on one side on the other side, as you can see on the top left is the sort of cascading downstairs. And our friend Don Hibbard had just collecting materials for buildings that earned 50 and are from the 70s. And he claimed us to be a Wernicke. And Wernicke is who Richard Lowe at the top right had worked for. And Wernicke was the architect of our capital. And as you pointed out, Ron, before that there are the living rooms of campus centers and student unions are the heart. And you call it the living room. Or we can say here are the capitals of universities. We're going to throw in and we're going to explain in a minute where we pulled this from, but there's this little plan. And in this little plan, they promised us they color coded they won't touch the building, but they have green washed, repainted it. It was formerly beige, the infill. And now it's green. And now they're doing some pretty serious kind of construction. So we're hoping they're doing it within the genetic code of that. Again, once again, not, not insignificant author, or call Wernicke. Let's go to the next slide. And our third panelist qualifies because he and with my support has been doing three shows about the history of the University of Hawaii, Manoa, and walking through each and every building. Also on the new campus at West Oahu, designed by Miami and John horror, which you can see at the bottom right. The next slide is is a bitter pill, because we had to say, this is a exemplary for what we can call the evolution at the bottom right, something that started out great. This was a young upcoming firm, same era as you guys had started that campus mid century, a group 70 lab with Gordon T R the arts building. And then within the firm, the business people took over is something that impresses me that you guys have always avoided, by the way, over half of a decade of almost 2000 buildings. But in many of the local firms, somehow business took over the arts. And so the School of Architecture is a victim of that, as we had reported before. And other buildings here, like, you know, Edward Durrell stone had been sort of a microwave banana has been jammed into that in a law school building addition. And then there is a life science building under construction. And while we're very suspicious of what you see at the middle on the left, or from the renderings in reality picture at the top right, actually turned out to be even worse. This is the newest building and the neighbor is I am pay and he recently, you know, lives in his grave and probably would turn around because this is so so ashamed and you what was in the rendering already visible, kind of glazing fixed glazing to the south becomes, you know, detrimental true in the reality. And then some stucco and plaster and fixed frame windows with these sort of mullions that we were talking a while ago, you don't need anymore because we're not in the medieval ages. So this is something. Yeah, chip in run. Let me jump in on that photographs at the upper left. Here is where technology sort of is is doing the expression of architecture because of instead of using such simple things as expansive roof overhangs or maybe some elegant wide prela shading devices. The architect is is putting glass right, you know, right to the plane of the building's wall is using no doubt very expensive triple pane glazing so that the building can can perhaps stay comfortable inside. But he's doing it in a way in which shaving devices are not used and thus the humanizing aspect of those are lost through what becomes a kind of bald faced architecture. No, thanks for that critique and we have to add and there's no secret because we've been referring to that before that architect of that firm used to be the campus architect at the time when he mandated the school of architecture almost what Trump wants to mandate now to be classicism but not cultivated classicism but uncultivated in that. So there was no plan to begin with but there was a planner and then the whole thing you know his plan that he didn't had gets increasingly out of control and that's really something that we're worried about right. Let's go to the next slide and this is where you know we pulled from this was distributed sort of amongst the deans at some point some few months ago here so there's a plan and the plan is color coded and to the right is the legend so everything that sort of has no color is no worries because they're not going to touch it but then when it has a color the darker the better because they it will be retained and then the lighter it gets in the more colorful in the yellow the more worrisome and the bright yellow is the most worrisome because then we're going to lose it so go to the next slide this is actually not even on campus it's just off the but it belongs the university left school and and you look up the map at the top this is entirely to be raised and not that U shaped building which is a WC Dickey so the father of all modern architects on the island here he designed that so they're going to spare this out but everything else and the brush here on the right was done by our school of architecture so many years ago and it also points out that the master plan was by Dickey so just erasing that is is is questionable to begin with at least we want to know some more information about that go to the next slide and further down further up the road just one block over on the other side one of the underwriters of this program here is the etherton family and this is the etherton house this pink house that was built at the last turn of the last century and all of a sudden you you said Martin this is very fuzzy yes because it's spyware because there was this sort of informal pre-presentation at the very bottom and I just had to try to increase that so what you barely see but you see it shocking me is that like Godzilla is sitting on that poor old building and on the right side is some kind of attempt to make the inside of Godzilla looking modern so this is like very very kind of suspicious to say the very least and next slide this is the etherton why and the etherton why it's going to be bulldoze down and there's denises with his coffee line in there and he's an institution and his institution in the building is published in the wallpaper fade and magazine so there are people from all over the world that come here they want to see that and if we don't have that anymore or anything better that we have to show and the tradition of campus unfortunately doesn't have a good track record with that as we just talked before then they're going to be really disappointed about that one so the next slide and then we as you already suspected we didn't make it through nearly as many slides as we wanted but we will do in the one last shot we have in the volume three of this one here so we're going to leave it with this one here we're going to look at other sort of rumors and hints before we then next show show the reality because the university came out of the bushes and out of the closet and presents us with what they want to do we're going to be the three architectural critics to talk about that again everything and you know in front of the background of that beautiful campus that you had shown us and that you had designed with ad and that's the benchmark so until then thank you all for having been here thank you Ron you have a presentation coming up this Thursday in Ed's former house right yes to some some new owners who nicely enough are going to give the house over to visiting scholars to stay at the public tours and for holding a great many no doubt parties as philanthropic and charity events all right well good luck with that I wish I could be there but you will be back here we'll be back together next week so join us again for volume three of this show and until then stay as masterfully as Ed and Ron bye bye