On Culture and Architecture
Witold 
It is eight weeks since Shirley died. I still can’t get used to saying “I” and “mine” rather than “we” and “our.”
I look at old photographs a lot. This is one when she was a student in a convent school with the sisters of the Congrégation de Notre-Dame in Montreal. She is ten and all her best qualities are already in evidence in her forthright gaze: good humor, realism, intelligence, fortitude. And moxie—she is fearless.
A friend sent me these lines from Auden’s “Funeral Blues”:
. . . my North, my South, my East and West,
My working week and my Sunday rest,
Yes.
This morning at two o’clock, my wife Shirley died peacefully in her sleep. She’d been at home under hospice care for six weeks after an acute failure of her mitral heart valve. She was very brave and put up with the indignities of bed-care with good humor and without complaint, or at least without too much. Willful as always, one of her last acts was to turn down a medication I was offering her. She must have known she no longer needed it. It was a long goodbye and her death was hardly unexpected. I shan’t say “I’ll miss her”;
I recently wrote an essay for the catalog of the Polish pavilion at the London Design Biennale 2021. The theme of the exhibit of handwoven textiles was “The Clothed Home,” and the title of my essay was “Dress and Decor.” I think I first made this connection when I was writing Home, and looking at paintings of interiors. François Boucher’s enchanting “La Toilette,” painted in 1742 and currently hanging in the Museo Nacional Thyssen-Bornemisza of Madrid, was one of these. I was struck with how the dress of the two women, and the materials of the decor—the Chinese folding screen,
Several weeks ago I was interviewed by Carolyn Stewart for American Purpose. One of her questions was: “Are there any overlooked aspects of classical architecture – whether an element of design, function, or ethos – that deserve to be rediscovered in the current moment?” That reminded me of President Trump’s recent executive order promoting the classical style for federal buildings, subsequently withdrawn by the Biden administration. The idea that we should learn from the past raised the ire of many at the time, but yesterday’s buildings do offer real lessons. One concerns the presence of art, a long tradition in architecture.
Architectural history is sometimes recounted as if it evolved autonomously, architects attacking and solving architectural problems largely of their own devising. But because buildings are large, complicated, and expensive, architecture is subject—more than other arts—to outside forces, economic, political, social. Here’s a historical counterfactual. What if the Depression and the Second World War hadn’t happened? What if construction hadn’t been halted for more than a decade and the American modernist movement of the Twenties and Thirties that produced the Empire State Building and Rockefeller Center, the Folger Shakespeare Library and the Walter Reed Naval Medical Center, Omaha’s Union Station and Los Angeles City Hall,
The Architect’s Newspaper reports that two “historic Brutalist” buildings in Trenton, N.J. are in the process of being demolished. The early 1960s buildings, which housed offices and labs of the state government, are the work of Alfred and Jane West Clauss, both partners in Clauss & Nolan. The German-born Alfred Clauss (1906-98) worked briefly for Mies on the Barcelona Pavilion and after emigrating to the U.S. he worked for George Howe on the PSFS Building and was one of the Philadelphians whom Howe brought to teach at Yale (Louis Kahn was another). Jane Clauss (1907-2003), born in Minneapolis,
Art Nouveau lasted only a few decades; it appeared around 1890 and came to an end shortly after the First World War. Perhaps for that reason, it is often given short shrift by art historians who see it as a not altogether respectable prelude to modernism. “With novelty [Art Nouveau] must most certainly be connected, and liberty at least in the sense of license is applicable too,” sniffed Nikolaus Pevsner, who called it “suspiciously sophisticated and refined.” He did not explain why sophistication and refinement were disqualifying qualities. “Art Nouveau is outré and directs its appeal to the aesthete,
