Distinctly Montana Magazine

tions, and international building codes, as well as local ordinances. Changing the color of your front door can be a crime in some developments. Creativity suffers in the face of unnecessary regulation, and the artist/architect has been moved to the back of the bus. I hope that the digital age will spawn another movement and we might see the arts merge again to rebuild our deteriorating environment. You cite The Architecture of Happiness as an influence on your work and your perception of architecture. Could you elaborate? There are a few timeless architectural books such as Design with Nature by Ian McHarg, Poetics of Space by Gaston Bachelard and Learning from Las Vegas by Robert Venturi. I also like Alain d'Botton's, The Architecture of Happiness, because it takes a humorous look at architecture, which is generally far too self possessed and serious. It is also an insightful critique of why architecture is important to us. I agree with d'Botton's theory that the architect's task is to inspire a joyful environment. Certain resonant forms, tex- tures, planning ideas resonate with us as time tested and pleasing forms of shelter; they are born out of the mind of the generalist, who understands art, the natural world, structure, color, ergonomics, etc. The generalist begins with what is possible, absorbing and translating the vision into a sustainable form of art. Who are the great generalists and what makes them so? Tadao Ando, Frank Gehry, Luis Barragan, Renzo Piano, Adolf Loos, Renne' Mackintosh, the Greene Brothers and Bernard Maybeck. Architecture should be the blending of art and the science of construction. A true generalist admits the critical tension between the art of architecture and the driving commercial forces making architecture, but prefers to celebrate the art of architecture. The simplicity of Tadao Ando's Chapel in Japan and its stark, unadorned form is the where the poetry lies. Another example, Gehry's Art Center in Bilbao, Spain, is a series of curious waves of polished metal, contrasted with the ancient city's original architecture. Both buildings can inspire profound introspection. Let's turn to the business of architecture. Describe for us your fa- vorite type of client. What makes for a good relationship with Keith Anderson, architect? A client with a creative outlook, who asks much of the design and so the architect. I like to be challenged by a unique site and a requisite budget. A large budget is the least important factor in creating an interesting design. We have all seen large, expensive homes poorly built. I would imagine your approach to architecture limits you to a few special clients at any one time? "CERTAIN FORMS, TEXTURES, PLANNING IDEAS RESONATE WITH US AS TIME TESTED AND PLEASING FORMS OF SHELTER" 62 DISTINCTLY MONTANA • SUMMER 2012

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