1964 – Berkley Home and Studio

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Korean War, 1951-1955

“I was a Korvet. Four years down the tube”

El Camino College

“After the Korean War I studied design and art before sculpture or architecture. It changed my life. I had no interest in these things until I met an inspiring instructor there.”

California Camp, 1962

“It was Height Ashbury time. You can see the Golden Gate in the background. The main materials were wrecked cars. We used an old windmill to generate electricity for our campsite. It turned into a commune. We were kicked out of there.”

Foundry, 1963

“I set up a foundry in an old warehouse. I would go out at midnight and hook up to the gas and electricity.”

Studio in Berkley, 1964 ?

“This was when I went back to uni. I would often drop out of uni if I wanted to go skiing or sailing.

 I did a glass blowing course in Berkley. I did electroformed glass vases and cast glass pieces.

Even in those early days I was interested in the interface between architecture and art. There was an undertone of anti-elitism. Everyone can be an artist. Maybe I had a grudge against it. Mum made me dress up and go to art openings in San Francisco. I hated it.

At uni we had to do drawings. I couldn’t draw so I would make models of the buildings and photograph them. I had my own darkroom. I loved photography, the darkroom, the process.

Architecture was too slow for me. I preferred art where I could decide on the moment. Like the boat entrance way here.

Highway architecture is an integration of architecture and sculpture. The Opera House is another example of that.”