Architects

A HUNGARIAN ARCHITECT IN AMERICA

I watched The Brutalist yesterday. My reaction? An implausible story poorly told and awkwardly stitched together; the Holocaust connection seemed gratuitous; a ham-handedly written script, the audience actually snickered at some of more pompous utterances of the Guy Pearce character; distracting bursts of portentous music at odd moments; and glitches, like Tóth saying square meters when he knows his audience understands only square feet, or producing the kind of expressionistic sketches that are out of character for a Bauhaus-trained architect—more like something the great Eric Mendelsohn would draw. As for the title, while Tóth was definitely brutalized, it made no sense to me,

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RADOSLAV ZUK (1931-2024)

Rad Zuk was a longtime colleague of mine when I taught at McGill for two decades, but my first encounter with him was when I was a student there in the 1960s. I was in the penultimate year of a six-year course. Zuk had joined the faculty a year or two earlier, and I had not had him as a teacher, but somehow I ended up briefly working for him. I can’t remember if he approached me, or if I saw a want ad on the school bulletin board. The job was to draw up a project he was working on—a church.

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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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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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DOUGLAS KELBAUGH (1945-2023)

Sorry to hear of Doug Kelbaugh’s passing. I met him at Seaside when he was involved in the New Urbanism movement, but I first heard of him in 1973, in connection with a solar house that he built for himself in Princeton. It made an impression because unlike most solar-heated houses of that period, which had sloping solar collectors and resembled wedges of cheese, the Kelbaugh House had real architectural qualities. The house was passively solar heated by means of a Trombe wall, named for its inventor, Félix Trombe (1906-85), a French engineer who was in charge of building a 1000 kW solar furnace in southern France.

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CHARLESTON RENAISSANCE MAN

My friend Ralph Muldrow has just published a book on the life and work of Albert Simons (1890-1980), an architect of Charleston, South Carolina. Simons (rhymes with persimmons) is an interesting figure. Trained as a classicist he practiced during the period when architectural modernism was emerging and gaining predominance. He was also a leading figure in the Charleston architectural preservation movement, which means he was a leading figure nationally, for in 1931, Charleston passed an ordinance creating a historic district—the first American city to do so. You can read my Foreword here.

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JACK DIAMOND

The architect Jack Diamond (1932-2022) died last week. He was perhaps Canada’s leading architect. Yet no-one would refer to him as a starchitect. “It’s easy to do an iconic building,” he once said, “because it’s only solving one issue.” Diamond’s designs were never one-dimensional. His opera house in Toronto is a traditional horseshoe-shaped auditorium situated within an unprepossessing blue-black brick box whose chief feature is a glazed lobby facing one of the city’s main streets; dramatic, but hardly iconic—very Canadian. At $150 million in 2008, the cost of the Four Seasons Centre was modest as opera houses go, but more important was how the money was spent—on the hall and the interiors rather than on exterior architectural effects.

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CAREERS

Moshe Safdie has just donated his architectural archive of correspondence, drawings, and models, as well as his apartment in Habitat, to his alma mater, McGill University. His is a remarkable career, not least for its long span. Of course Safdie started young, he was only 29 when Habitat—his first project!—propelled him into the limelight. Most architects who experience a break-out project do so at a relatively advanced age—Louis Kahn was 52 when he came to the public’s attention, Frank Gehry was 49. Edwin Lutyens, an exception like Safdie, skipped school and designed his first house at 18, and was nationally known by the time he reached his mid-30s (he died at 74).

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