b'Acknowledgements The sketches in this book are by the authorI have Peter Chermayeff of Cambridge 7Fortunately Peter was very approachable and and are support documents that attempt toAssociates to thank for giving me my first jobsociable. During one dinner with friends, he implement the Design Architects intent for theafter Harvards GSD, drawing curtain wall detailsasked me if I would like to move to London to building envelope. As such, credit for the designsfor the new England Aquarium with wax leads onwork in the Lightweight Structure Laboratory at belongs to those firms named on these pages.mylar. Arup. Part of my job was to fly periodically to Sometimes the intent is expressed in a phraseStuttgart to help Frei Otto, the designer of the such as maximize transparency whereasIn particular, I want to thank Richard Rogerstent-like German Pavilion at Expo 67 in Montreal, in other circumstances the modulation andand Renzo Piano for hiring me off the streets ofdevelop the special structures for the Saudi expression of a faade is highly detailed in theParis to work on the design of Centre Pompidou,Arabian Houses of parliament. Needless to say, concept phase and the consultants role is toa project often compared to the Eiffel Tower inI accepted. I have Peter to thank for this and for make it happen as drawn. its audacity and brilliance. It was there that mya joyful and productive three years in London. colleagues Alan Stanton, Mike Davies and ShunjiSadly Peter passed away at the age of 57, soon For a young architect, it helps to see the handIshida revealed to me how to work with handafter receiving the RIBA Gold Medal.drawing process in action in a meeting or sittingsketches to quickly create design studies.side-by-side with an experienced designer,Frei Otto was an inspiration from my days engineer or architect. I was fortunate enough toWhile working in Paris, I met Peter Rice whoin graduate school, especially from his book be instructed and inspired by the likes of Michaelwas the engineer from Ove Arup and PartnersSTRUCTURES and his work at the Institute for Graves, Renzo Piano, Frei Otto, and Normanin charge of Centre Pompidous innovativeLightweight Structures in Stuttgart. He drew Foster, who each always had a pen or felt-tipstructural design. Having just completedbeautifully and encouraged me to sketch details handy during a design session (green in the casethe design for the Sydney Opera House, hisbased on the hanging chain models we were of Renzo). The fluidity of a hand-drawn line byreputation proceeded him, and most of us atworking on for the Houses of Parliament.one of these masters was always a source ofPiano and Rogers were in awe of his brilliance.inspiration yet also an essential tool to create a coherent design.4'