Bruce Goff, or the "Michelangelo of kitsch" as Charles Jencks defined him, was born in Alton, Kansas, in 1904. At only 12, he became an apprentice at Rush, Endacott & Rush where he became partner in 1930. During his career, he designed over 500 projects and built almost 140.
He did not choose the academic route, even listening to Frank Lloyd Wright — with whom he first collaborated, and then refused a job as an assistant head of office, to avoid (in Goff's words) having to choose whether to consider Wright a genius who never made mistakes, or a despot and tyrant who stole lifeblood and ideas from his assistants.
Goff took the organic architecture concept from Wright and developed his theory of the "continuous present," as something resulting from a non-conventional spatial design system, without a beginning or specific goal, and without conventional spatial hierarchies. This was design that could be understood only over time and never at a single glance — flexible architecture, taking into consideration the needs of those who live in it.
An example can be found in the Bavinger House, which satisfies all of Goff's theoretical principles; it was designed in 1950 and built between 1951 and 1955 in Norman, Oklahoma for the artist couple Eugene and Nancy Bavinger.
Bruce Goff, for a Total Architecture
Visible structures and spatial complexity. Common materials used in uncommon ways. One house never resembles another. This is the eclectic architecture of Bruce Goff.
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- 07 April 2012
In response to the needs of the Bavingers, who asked for an open and continuous space for themselves and their two sons, Goff designed a single space created through the elevation of a spiral in the center of which a steel mast supports the roof anchored by a series of cables. Interior gardens and ponds occupy the irregular ground floor plan with the kitchen and the dining room.
The Bavinger House is also an expression of Goff's flexibility in using common materials in uncommon ways. Naval and aviation parts, a truck, six sewing machines, rock fragments and a walnut tree struck by lightning found on the site are some of the elements used by Goff in the construction of the building.
Bruce Goff juxtaposes forms and uses common materials in unexpected ways, in futuristic combinations of colors and textures. His interiors are unconventional, in terms of physical comfort and spiritual emotions. He designs for a "continuous present" with no particular reference to the past, present or future.
Filmmaker Hernz Emigholz helped us rediscover Bruce Goff. In 40 days between April and May of 2002, he filmed Goff in the desert and created a sort of "video catalogue" of 62 buildings designed and built by Goff over his 66 year career.Goff in the Desert was presented at the Berlin Festival in 2003.
This is the man who had the idea of using coal for walls
Originally published in Domus 500, July 1971
The Goff plans in "Bruce Goff in
Architecture " by Takenobu Mohri,
Kenchiku Planning Center, Tokyo,
are as delicious as those of Baroqua
churches of Sicily. Both are
always reminding you of something
else, always manmade, like lace
valentines or pinwheels. The Goff
plans are truly, as Herb Greene said
of Goff's design, "derived from a
multifarious world".
Published at the same time as the
Mohri book is a Goff portfolio prepared
by William Murphy and Louis
Muller for the Architectural League
of New York's Goff exhibition. Goff
writes in the foreword: "Any idea
that can be conceived in our time
can be created in our time". His
can; and the finished building comes
closer to the utopian plans
than, for instance, did Erich Mendelsohn's
to his sketches. Conversely,
more of the paper sticks to
the finished Goff building than to
Mendelsohn's. Goff thinks his plans
through once, apparently, and that
is it; but on the other hand it is
what gives to the buildings their
immediacy, Iike the spoken spontaneus
word.
Goff's extraordinary pray with scale
is clearest in such early works as
the 1927 Page Warehouse and 1928
Riverside Music Studio, designed in
his early twenties for the office of
Rush, Endacott and Rush where he
was an inlant prodigy apprentice.
The surfaces of both buildings are
like canvases covered from edge to
edge; they are as scale-destroying
as the mammouth screens of the
drive-in movies that loom up miles
away on the plains of Kansas where
Goff was born. (These compete with
grain elevators as the Romanesque
of the Prairie).
Goff's highly personal use of scale
in plan, elevation and section is
what forever distinguishes him from
Frank Loyd Wright. Except for
youthful projects which incorporate
such Prairie House elements as cruciform
plan, hipped roofs, broad
lascias and banks of windows,
Goll's early work comes closer to
late Art Nouveau, the Secessionists
and, in the attitude toward
scale to August Endell's Elvira Studio.
A 1927 church owes something
to the New York Setback style, out
of Hoffmann, which spread across
the U.S. in the 20s, and was the
last stand of mass before it succumbed
to volume.
Goff's generation could not have
avoided Wright, but Goff seems to
bite him olf piece by piece as he
can digest him. He also was nourished
by the technology he brushed
against in World War II; that of the
aircraft industry especially.
Goff writes in the foreword: "Any idea that can be conceived in our time can be created in our time". His can; and the finished building comes closer to the utopian plans than, for instance, did Erich Mendelsohn's to his sketches
Goff can take what might be a smallscale
Wright motif for a window
division or wood applique and blow
it up to form a frieze of seemingly
detached units in the 1935 Cole
house and again in the 1950 Wilson
house. The separation out into parts
in the Wilson house, achieved by
staggering the units and glazing the
joints, happens many times and by
a variety of means in Goff's architecture.
The cubes of the Wilson
house are mitred at top and bottom,
and the insloping glazing of the
roof and the diagonal line of the
loundation are out of industriai detailing;
the series of cubes gives
the impression of mobile homes
whose ends are decorated with
geometric wood designs.
The industriai product is more than
symbolic in the 1949 Hopewell
Baptist Church and the University
of Oklahoma Crystal Chapel of the
same year. The framing for the first
represents a recycling of waste industriai
material — discarded pipes
for oil lines; cut and welded in
shapes resembling airplane wing
struts, but the form is an indigenous
one, the Indian teepee. The
glass-roofed Crystal Chapel, a project,
was in 1949 the most complex
in section of any of his plans; the
folded surfaces are angular approximations
of a DC-6, lifted into mysticism
by transparency.
Mysticism is the end product of
much of Goff's work, especially in
houses, and particularly the 1950
Bavinger house. Here appear most
of his characteristics: the play with
scale (transformed after his early
work and involving plan, elevations
and sections); the dynamic interaction
of the parts — this to such a
degree in the Bavinger house that
to the observer the race around the
centrai mast is breathtaking; borrowings
from industry; found objects
— including uncut glass nuggets,
coal a material for walls;
separation out into parts, which can
here perhaps describe the suspended
saucers which became the living
areas lor the interiors, and the
strange collection of appendages
on the exterior; and laced through
it all a tribute to Wright. (Whether
the last would have fullilled Wright's
wish for young architects who would
understand him but not copy him,
I don't know: genius rarely makes
a serious search for successors,
and although Wright was deadly
serious l'm sure his rewards came
from shaping the malleable, whose
number is always legion).
A more direct tribute is the 1940
Ledbetter house and 1957 Price
house, the first with a decidedly unWrightian
stepped-down flagstone
wall with the romantic quality of a
ruin. The Price house is a museum
of cultural trophies rellecting most
of all the client. The Triaero weekend
house, on the other hand, an
upside down truncated pyramid,
has a spare intellectual play.
One wonders about the nature of
the region which can produce in
sufficient quantity the clients for
houses so consistent in their bravura.
Not only the ones mentioned,
but the encircling curvilinear forms
(silos is the image they create) of
the 1964 Dace house, or the glass
gallery of the Pollock house (a
remnant off the Crystal Chapel). But
there are historical precedents; indeed
much of originai (or nontangential)
architecture in the U.S.
was produced out of earshot of the
Academy. It seems to thrive especially
well on the air or bonanza
which occurs where fortunes are
made hand over fist.
Louis Sullivan's Chicago was the
scene of real estate speculation;
this rail hub of the nation, and the
center of distribution of beef and
wheat, lost ali trace of tradition
when the 1871 fire left five square
miles in rubble. The steel frame was
a shortcut to much-needed buildings
as well as the road to the Commerciai
Style — the Chicago Style.
The heat went out of it when at the
end of the century the Academy
moved in and Sullivan was repudiated.
Wright's Prairie Style grew up
around Chicago in response to a
middle class with new modest fortunes
and no fear of tradition.
The hysterical land boom in Los
Angeles and San Diego produced
fortunes overnight, and an approach
to architecture unhampered
by past styles. (In Berkeley in the
north, Maybeck dipped into styles
for fun, and Gill in San Diego discovered
in the Mission forms suitable
for concrete). There are other
parallels: Chicago's Haymarket
Riots and the suppression of labor
in Los Angeles were a part of the
total picture in which the new architecture
gained a foothold.
There was one other factor, as true
of Goff's Oklahoma as Neutra's and
Schindler's Los Angeles for the first
half of the century; Joe D. Price, a
Goff client whose father was client
for Wright's Price Tower in Bartlesville,
summed it up in his brief
tribute to Goff in the Mohri book
as the "stifling blanket of false
morality". This must have accounted
in part for not only the air of
mystery in the Goff houses but his
habit of keeping the glazed openings
high or balfling them from view.
The Price house and Dace house
are as secretive as Philip Johnson's
guest house. (The thousands of uninvited
guests viewed Johnson's
glass house over the years; need
for privacy as much as changing
aesthetics could turn any architect
from volume to mass).
It was the discovery of oil that made
Oklahoma boom country. Wildcat
oil strikes and windfall money crystalize
confidence in a region; acceptance
of new forms is easier.
Goff flourished in Oklahoma whereas
he might have perished in the
older and more stabilized cities of
St. Louis or Cincinnati. Television
and travel account for the changed
spirit in Oklahoma; the adventurousness
is gone. So is Goff. Clients
were scarce so he left the Price
Tower where he had his office and
moved to Kansas City. Now he is
in Tyler, Texas. This is the man
who had the fantastic idea of using
coal for walls. Esther McCoy