Architecture

PAPER BLINKERS

The first university architecture programs appeared in the late nineteenth century, at MIT (1865) and the University of Pennsylvania (1868). Previously—and for a long time thereafter—most architects in the English-speaking world learned their craft through apprenticeship, on the job, working in an office. Frank Lloyd Wright, Edwin Lutyens, Charles Rennie Mackintosh, Charles A. Platt, Horace Trumbauer, Ralph Adams Cram, and Bertram Goodhue are prominent examples. While it is still theoretically possible to become a registered architect through apprenticeship, in practice formal education has taken over the training of architects. How does one teach someone to be an architect? Since architecture is not a science,

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TOPPERS

The Comcast Technology Center (Foster + Partners) in downtown Philadelphia is nearing completion. It’s not open yet, but its impact on the skyline is already apparent. Meh. The most that can be said about it is that it recalls a De Stijl composition of overlapping boxes. But the glass boxes—the building is all glass, of course—lack refinement and look as if a preliminary concept sketch had been rushed into construction. The clumsiest element is the optimistically named “lantern.” There are many interesting skyscraper tops, such as the mooring mast atop the Empire State Building, or the Chrysler Building’s Art Deco spire,

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CRITICS AND CRUSADERS

The Architects Newspaper recently asked a number of critics, academics, and architects “What do you see as the role of the critic in architecture today? Why is it important? What aspects of architecture are not being addressed today by critics?” and “What are the problems with criticism today?” Weighty questions that produced, in most cases, weighty—and lengthy—answers. You can judge for yourself. One of the more insightful comments was that of Frances Anderton, the British host of a weekly Los Angeles design and architecture radio show. “It was easier to be a critic when you were crusading for modernism,

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TOM WOLFE (1930-2018)

The first time I heard Tom Wolfe speak in public was in 1965 or ’66. I was a student at McGill University where he had come to lecture. One line has stuck in my memory; he compared himself to the “renegade cowboy,” the character in Western movies who has lived with the Indians and who comes back to town to tell the tale. I knew Wolfe’s writing from reading him in Esquire, and  The Kandy-Kolored Tangerine-Flake Streamline Baby may have been out by then. I remember From Bauhaus to Our House (1981) which came out first as an article in Harper’s (July 1981).

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PRESERVATION

Why do we renovate, restore, or otherwise preserve old buildings after they have become functionally obsolete? One reason is practical—the building is in good enough shape to be still useful, even in an altered state, or for a different purpose than originally intended. The second reason is cultural. Perhaps the building was once the home of an important figure—Mozart’s house in Vienna, for example, or Washington’s Mount Vernon—or maybe it was the site of an important event such as the signing of the Declaration of Independence. The third reason is aesthetic: the building is beautiful and incorporates artistry and craftsmanship that have made it the object of our affection.

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A MAN OF INFLUENCE

“But an influence is not necessarily a good influence” writes Joan Acocella in a  review of books about Bob Fosse. She’s right, of course. How often we describe an architect as influential, without qualifying the nature of that influence. Probably the most influential American architect of the late nineteenth century was H. H. Richardson—Richardsonian Romanesque libraries and courthouses grace cities and towns across the country. It’s hard to go wrong with this style. The only modern architect to give his name to a style was Mies van der Rohe, but his legacy is less certain.

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FUTURE SHOCK

One of the first buildings expressly intended to grow was the main library of the University of Pennsylvania, which opened in 1891. Frank Furness designed a head-and-tail building, with a magnificent four-story reading room as the head, and the stacks as an ever-expanding tail. The three-story stacks housed 100,000 books, but the end wall was removable so that the stacks could be extended, bay by bay—up to three times their length—increasing their size and capacity. Furness was correct about the need to accommodate more books, but he was wrong about the expansion. In 1915, the university erected an unrelated  building on the site of the future stacks,

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DESIGN AND RESEARCH

A recent article in Architect quoted Jérôme Chenal, a Swiss architecture professor: “Design is not research, that is just speculation . . .” Exactly so. For years I have heard design studio teachers maintain that what they do with their students qualifies as  research, and that it is an injustice that it is not recognized by the rest of the university as such. But Chenal is correct, design is speculation, not research. There is no real feedback. I suppose if a design were built and evaluated it might qualify as a sort of research, but studio work remains on paper—or,

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