Architecture

A HOLIDAY FROM HISTORY

I was listening to a conversation between Peter Robinson and Bari Weiss on the Hoover Institution’s Uncommon Knowledge podcast. I was brought up short by Weiss’s phrase: “a holiday from history.” Weiss and Robinson were talking about what she called The Great Unraveling, but it struck me that a “holiday from history” could easily refer to architecture, which since roughly the 1920s has turned away from the past. Where once architects had learned their art in part by studying history, whether in books or through travel, they now had their vision resolutely focused in only one direction—the future.

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CRYSTAL CITY

Paul Scheerbart (1863-1915) was a German writer of the turn of the nineteenth century; today we would call him a sci-fi author. In 1914 he wrote a novel with the unwieldily title The Grey Cloth and Ten Percent of White. The protagonist is an architect, more specifically a “glass architect,” and Scheerbart dedicated the book to Bruno Taut, a Berlin architect who promoted the idea of revolutionary all-glass buildings. Glasarchitektur (the title of another Scheerbart book) was an avant-garde obsession; Taut imagined “glowing crystal houses and floating, ever-changing glass ornaments.” When I look out my window I can see his crystal city come to life.

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HOUSE MEMORY

I met Marcel Breuer in October 1973 at his home in New Canaan, Connecticut. He designed the house, known as Breuer House II, in 1951, a low-slung affair with rough fieldstone walls, a slate floor, and an unpainted wood ceiling. Plate-glass windows looked out on a Calder stabile on the lawn, and nearby woods. We ate lunch sitting on Cesca chairs at a table that consisted of a thick granite slab. Breuer himself, 71, was courtly and engaging. Philip Johnson once called him a “peasant mannerist,” and there was something appealingly simple in his demeanor, as in the house itself.

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NOT THE POST OFFICE

One of the stated goals of the American Institute of Architects Strategic Plan 2021-2025 is “To ensure equity in the profession.” Equity may apply to pay, work opportunities, awards, or even, I suppose, to the makeup of the profession, that is, it should reflect the population as a whole. But the architectural profession is not the post office. It depends on the availability and preferences of clients, it depends on the swings of the economy, and success relies on individual drive and talent. Architecture is a zero-sum game, of course: there are a limited number of building commissions at any one time and if one architect gets the job,

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LET’S PRETEND

I’ve been watching a building going up a block from where I live in Philadelphia. 222 Market Street is a nineteen-story office block. The structure is steel, and except for a couple of odd slanted columns at one end, it is the sort of regular frame of I-beams that engineers have been designing for well over a hundred years; the first steel framed building in the U.S., was Burnham & Root’s ten-story Rand McNally Building in Chicago, erected in 1890. When the Market Street steel was topped off the structure reminded me of the high-rises that Mies van der Rohe put up in Chicago in the 1950s.

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FAME


I’ve just finished reading Roxanne Williamson’s American Architects and the Mechanics of Fame (1991). Despite some interesting historical research into the professional connections between architects and their mentors/employers, it is not a very satisfying book. The first question to ask about fame is “Who is judging?” The public, the architectural profession, the critics, architectural historians? Williamson considered only the last group. She compiled an “Index of Fame” by consulting twenty histories of architecture and four encyclopedias, and counting the number of times individual architects were listed. Since most recent historians (Giedion, Hitchcock,

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M. ROGERS

The architect Richard Rogers, 88, died yesterday. His obituaries invariably started by mentioning the Centre Pompidou, the seriously ill-conceived museum that turned the youthful Rogers and his partner Renzo Piano, into overnight sensations. I remember that when I was a member of the Commission of Fine Arts in Washington, D.C., a now seasoned Rogers came before us to present 300 New Jersey Avenue, an addition to an old office building near Union Station. The limestone building was designed in 1935 by Shreve, Lamb & Harmon (the architects of the Empire State Building), a fine example of early American modernism: a blend of practical engineering,

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RULES OF THUMB

At a time when most schools of architecture have courses in what is referred to as “history-theory,” I was struck by a sentence in Laurie Olin’s forthcoming collection, Essays on Landscape. “Contrary to many architects I knew, I believed that theory is developed in retrospect, to account for what had been or was being done in the field, and that it rarely preceded or led creative practice.” Just so. Some buildings are, in a sense, experiments, and when something works, and is taken up by others, it eventually becomes a rule of thumb, perhaps even a theory.

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