Bruce Goff's Design Vocabulary

Teacher

The alphabet he used was unlimited, the grammar was creatively defined, and the language knew no bounds what's-so-ever. This was Bruce Goff’s design vocabulary at work. It may present a mystery to some, a sense of strangeness to others, yet a welcoming to those seeking a profound dedication to the art of architecture. We all owe a debt to this daring organic architect and master of a true and honest synthesis of music, art and architecture. He said: "After I was appointed head of the School of Architecture at the University of Oklahoma, I exposed the students to everything I could, old and new architecture, no matter what. I wasn't trying to say this is what I believe, and this is what you should do. I wanted students to realize that all architecture is related in the way that basic ideas were used, for instance geometric forms or free-flowing forms. they could take it from there and think about any architectural form and do their own thing."
Photo: Gary McCowan

Architect

Bruce Goff was totally guided by his own individualistic theory about design, and it was totally inclusive. He produced a continuously brilliant display of floor plans sections and elevations, resulting in unique spaces. He felt that each project should be approached as a blank sheet and as something that has never been done before. Each design would be representative of the needs and desires of a client. Formal design theories and principals were few, but the unusual uses of materials were without end. He had few prejudices and said that "any idea carried to its extreme would include the opposite."
Photo: Philip Welch

Artist

Bruce Goff had been producing compositions ever since his early days in Tulsa, OK., as he was starting his career as an architect. They have always been an integral part of his life. They were done as studies in form and color. They were done as relaxation as well. Whatever the reason, an enormous number of compositions exist, outnumbering his buildings. Numerous ones grace the pages of this book, as chapter openers and several portfolio-type pages. His interest in art extended beyond paper and paint. Many of his homes employed artwork he incorporated into the design, in the form of murals and other ornamental touches. In the Price Studio Tower addition, it reached its zenith as he designed and executed colorful glass designs for the windows and doors. Goff commented, "the artists said I should stick to architecture, and the architects said I should stick to art." Whichever one he did, it WAS art.
Photo: Nelson Brackin

Composer and Music Lover

To fully get the benefit of Goff’s design vocabulary, an awareness of the structure and forms of musical elements was absolutely necessary. It was obvious to me, after hearing a few sessions of music that he played throughout the entire year, that he loved modern music, and he loved to play it at full volume. That allowed us to concentrate on the sounds alone. It was a surprise to learn that Goff was both a composer and an architect. He performed publicly as a pianist in his youth. Goff composed his own works, and created pieces for a player piano by cutting patterns in paper rolls. At age 30 and with little professional training in music or architecture he felt that he had to make a choice; thankfully, he chose the latter.
Photo: Nelson Brackin

Testimonials

"Just a note to tell you I think your e-book is very splendid. So comprehensive and inclusive. I think the best publication put together about Bruce Goff's life and work. The images are stunning. I hope the word gets out, all over the world, about your work here. There should be a new compassionate and substantive understanding of Bruce Goff's life and work and the accomplishments of his many students and apprentices as a result of your wonderful work." Tom Hart, Architect, Friend and Associate Architect with Bruce Goff 1966-1982	"Ernest, this is a monumental work of love, professionalism and erudition. Bravo, congratulations, thank you."Rick Meghiddo, Meghiddo Architects "Ernest Burden's new e-book delves deep into the world and work of Bruce Goff and unpacks his many sources of inspiration. The book presents many little-known projects and buildings by Goff as evidence of his approach to the act of creation. Burden brings together the vast knowledge and experiences of the Friends of Kebyar members and publications, scholarly accounts, and personal recollections. It includes rarely seen photographs not only of Goff’s artwork and buildings but also, and importantly, of the incredible work of his students. As one of Goff’s students, Burden shares his firsthand account of what it was like to study architecture at the OU in the 1950's and even gives us a tour of his own projects as examples. Transcripts of Goff’s lectures interspersed throughout the text bring Goff’s voice to life and give us a front-row seat to the radical educational experience he shaped." Stephanie Z. Pilat, Ph.D., FAAR '07, Associate AIA Dir., Division of Architecture, University of Oklahoma	"Bruce Goff was one of the finest architectural talents and educators of our time. Long overlooked by main-stream critics, he has finally received an insightful tribute to his visionary and inspiring designs and philosophy. This book pays proper due to one of the most visionary architectural thinkers and designers in history." Fred A. Stitt, Director,San Francisco Institute of Architecture
"Ernest Burden analyzes Bruce Goff's work from a peculiar and interesting point of view: that is, one of a pupil. In this sense, Burden's book tells us more about Goff as a teacher, architect and artist. Far from the cold academic style that characterizes too many scholarly publications, Burden explains not only the architectural principles learned from Goff, but conveys the passion and aspirations shared by every creative mind in architecture." Luca Guido, Visiting Associate Professor University of Oklahoma	"Ernest, this is a monumental work of love, professionalism and erudition. Bravo, congratulations, thank you." Rick Meghiddo, Meghiddo Architects	"Ernest Burden's new e-book is amazing! The stories of BG’s youth is something I’ve not heard before. I’m still in awe of not just Bruce Goff’s designs but also his impact on so many people and there’s a true love for him over half a century later. The book layout is clean with crisp images and an easy to read format." Zachary T. Hicks, Alumna University of Oklahoma

Author: Architect, Bruce Goff's Student

Some of the text in this book is taken directly from tape-recorded interviews conducted with Goff by friend and instructor, the late Phillip Welch, author of the book Goff on Goff. Other quotes are taken from those made to me or my classmates, many of which have already found their way into fine articles and books. Classmate Paul Nicolaides interviewed Goff extensively and also interviewed his mother, Maude Rose Furbeck Goff Waful, to uncover significant and often revealing details about his upbringing. Architectural historian and author, the late Dennis Sharp, corroborated many of the stories around how Bruce Goff transitioned from composer to become an architect. Other text, particularly in the chapter “Pushing the Boundaries of Architectural Form,” came directly from my personal lecture notes, the results of attending the fourth-year design class that Goff taught at Oklahoma University and supplemented by additional notes from fellow student, Bill Haney.

Previous Published Books:

While developing innovative visual techniques for presenting planning projects, I assembled the information I had learned into a best selling reference book, Architectural Delineation: A Photographic Approach to Presentation, which was published by McGraw-Hill in 1970. This was the first of nearly a dozen titles on design and presentation, including Entourage: A Tracing File for Architects and Interior Designers, plus a series of illustrated dictionaries: one on architecture, one on building design and construction, and one on architectural preservation. I also authored Visionary Architecture: Unbuilt works of the Imagination, all published by McGraw-Hill. I then received a Master’s degree in Architecture and Architectural Preservation for those works.