Architecture

IRONY

Describing the Königliches Schloss, the rebuilt imperial palace in Berlin, Michael J. Lewis wrote recently in The New Criterion: “It is not so much a recreation of the palace as a workmanlike scale model of the original, placed on the original site, and with something of the gift that Robert Venturi gave to historic preservation, which is a saving leaven of self-aware irony.” This is a useful insight: irony is a way for modernists to deal with the past without actually acknowledging its primacy. But was Venturi’s “leaven of self-aware irony” a gift or a poison pill?

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WITHOUT THINKING

[et_pb_section fb_built=”1″ _builder_version=”3.22″][et_pb_row _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”3.27.4″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”]The philosopher Alfred North Whitehead wrote that “Civilization advances by extending the number of important operations which we can perform without thinking about them.” It seems to me that this profound observation can be applied to buildings. I open a door, the door handle is at a certain height, near the edge of the door that swings open into the room I am entering. If it is a lever handle, I turn it down—not up—to open the door. Where is the light switch? On the inside wall,

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THEORY

I recently came across two interviews on YouTube on “Theory of Architecture,” one by Mark Wigley, the other by Patrik Schumacher. Wigley sounded like a middle-aged architecture student. Schumacher was rather pedantic in his Germanic way, and he made some outrageous claims: Romanesque and Gothic buildings were not really architecture because they didn’t have architects, drawings, or texts. The last seemed important to him: you needed the “discourse” to make real architecture.

Schumacher did say one interesting thing. That the architect needed to understand his time in order to function properly. He did not elaborate,

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VENERATION

I recently spoke in Charleston at the first national meeting of the Institute of Classical Architecture & Art. The ICAA is, in its own words, “committed to promoting and preserving the practice, understanding, and appreciation of classical design.” Exactly what is “classical design”? According to Wiki, “classical architecture usually denotes architecture which is more or less consciously derived from the principles of Greek and Roman architecture of classical antiquity.” That is the art historical definition, but judging from the Professional Portfolio regularly published in the ICAA’s journal, The Classicist, Gothic, Moderne, Art Deco, and various vernacular residential styles such as Shingle Style,

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MULTIPLE EXPRESSION

I heard a new architectural term today: “multiple expression.” It refers to changing the architectural style of the facade of a large building to make it appear to be two or more smaller buildings. This strikes me as profoundly un-architectural. It’s true that architects in the past have sometimes combined different styles to give the impression that a building grew by accretion over a long period—Addison Mizner did this in his shopping alley in Palm Beach. But this had to do with chronology, not size. Generally architects have welcomed the challenge of designing a looong facade, whether it was Bernini in St.

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LOOKING BACK

For some reason the YouTube algorithm has been sending me videos of my old lectures: a recent lecture at Penn on ornament, a 2002 Toronto ideacity talk on Palladio, a 2013 talk at McGill University on architecture,and a talk about the history of the chair at the New York School of Interior Design. In 2011 I gave a lecture at the National Building Museum in Washington, DC. The occasion was the publishing of Makeshift Metropolis, a book about the ideas—good and bad—that have influenced the planning of our cities over the twentieth century.

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GOOD COMPANY

My friend Michael Imber sent me this. From Russborough House, a famous Palladian house in County Wicklow, Ireland, designed in 1741 by the German architect Richard Cassels, who introduced the style to Ireland. Cassels, known locally as Castle, also designed Leinster House, which was James Hoban’s model for the White House.

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STREAMING

Wally Byam (1896-1962) built the first Airstream trailer in 1937 (it cost $795). He was trained as a lawyer but had a checkered career. In the 1930s there was a fad for travel trailers, and he tried that. The Airsteam was monocoque construction, streamlined and very light. Although the exterior looked like a Dymaxion car or an airship, there was no bare aluminum inside—wood paneling, over-stuffed seats, pretty curtains. Lots of plaid. Starting in 1951, Byam led “caravans,” groups of up to 200 Airstream owners, touring the US, Canada, Mexico, and Europe. The last caravan was from Capetown to Cairo! At night the Airstreams formed large circles, … Read more