https://en.wikipedia.org/wiki/King-lui_Wu
King-lui Wu (1918 – August 15, 2002) was a Chinese-American architect and professor at Yale University from 1945–1988.[1]
Life and work[edit]
King-lui Wu was born in Guangzhou (Canton), China in 1918. Wu's father was a businessman, but despising the work, he also pursued painting and poetry writing. As a boy, Wu attended the Lingnan Middle School in Hong Kong where he was further exposed to Western art, culture and ideas. Impressed by the engineering feats then occurring in industrializing China, he decided early in life to become an architect. In 1937, he entered the University of Michigan to begin his studies. In 1938, he transferred to Yale University, attending until 1942. He subsequently switched to Harvard University.
The graduate school of architecture at Harvard, at this time, was under the direction of Walter Gropius, former director of the Bauhaus, who had arrived in the United States in 1937. This was a transitional time for the study of architecture and design at the school. The curriculum had changed radically as Gropius invited other former Bauhaus instructors to join the faculty. Wu's classmates and instructors Marcel Breuer, Landis Gores, John Johansen and Philip Johnson would achieve fame for their subsequent groundbreaking modern work in New Canaan, Connecticut as members of the "Harvard Five." Other noted classmates included I. M. Pei, Paul Rudolph and Edward Larrabee Barnes.
King-lui Wu, 84, Architect And Longtime Yale Professor
King-lui Wu, an architect whose students at the Yale School of Architecture over four decades included some of the most prominent designers of their time, died on Aug. 15 at Yale-New Haven Hospital. He was 84 and lived in Hamden, Conn.
As his first principle in architecture, Professor Wu prized daylight, which he called the ''most noble of natural phenomena'' in the synopsis of his long-running course ''Daylight and Architecture. It may sound unexceptionable now, but his emphasis on using natural light in the design of buildings came during an era dominated by fluorescent fixtures and artificial illumination.
''Architecture had become completely energy dependent,'' recalled one of his former students, Robert A. M. Stern. ''The way one lit a building was that one flipped a switch. He emphasized that buildings needed to breathe and that natural light brought them to life.''
The breathing was not just metaphorical. James Stewart Polshek, another former student, recalled an influential home designed by Professor Wu for Benjamin Dupont in Woodbridge, Conn., in which the windows were sealed and the ventilation was handled by hinged panels below the glass, allowing for almost total freedom in the windows' size and placement.
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