Architects

In a recent interview in the Huffington Post, Boston architectural critic Robert Campbell makes a striking comment: “Since the death of Kahn way back in the 1970s I’m not sure we have a figure of comparable standing.” When I read this I was at first taken aback. Kahn is one of the great American architects, up there with Mies, Wright, Richardson, and Jefferson, but in forty years have there really been no successors? On reflection, I think Campbell is right. No one in Kahn’s generation—not Saarinen, Rudolph, or Pei—quite measures up. Certainly not that great dilettante, Philip Johnson.

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A few weeks ago I wrote about Leon Krier’s auditorium at the University of Miami. Yesterday I came across a painting by Giorgio de Chirico, The Nostalgia of the Infinite, painted in 1912-13. I was struck by the similarity to several towers that Krier has designed, the same classical references, the same evocative mood. Indeed, “nostalgia for the infinite” is not a bad capsule characterization of Krier’s architecture, which seems to long for—not so much another time—as another place.

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Robert A. M. Stern brings glamor to this year’s Driehaus Prize. Glamor is something the Driehaus sorely needs. Founded in 2003 by Chicago investment manager Richard H. Driehaus, the prize is intended to balance that other Chicago architectural award, the Pritzker Prize. While the Pritzker is relentlessly avant-garde in its selections, the Driehaus honors classical architecture and traditional urbanism. Although the public generally favors traditional over modernist architecture, the Driehaus Prize has not had a high profile. Maybe having two major architecture prizes is simply one too many, or maybe the Pritzker simply staked out the “Nobel prize of architecture” territory first.

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Visual Acoustics is an exceptional film about the architectural photographer Julius Schulman and California modernism. It is a reminder of the extent to which photography was important in spreading the idea of modernism, especially since many of the early modernist buildings in Los Angeles and Palm Springs were houses that were not accessible to most people. The film also shows the influence that Schulman’s photography had in portraying modernism not as an abstract ideal but as a backdrop for a certain kind of everyday life—simpler, uncluttered, closer to nature. An interesting comparison of Schulman’s work with that of the other great architectural photographer of the period,

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The big architectural news of the last decade is not the notoriety of starchitects or the Bilbao Effect, it is the growing predominance of the megafirms, multi-city and multi-national practices whose employees number in the thousands, and whose revenues are measured in hundreds of millions of dollars. Large firms date back to McKim, Mead & White in the early twentieth century, and later Skidmore, Owings & Merrill. But in 1920, the widely respected McKim, Mead & White Monograph could be found in drafting rooms across the nation, and SOM, at least in its early days, produced some modern classics such as Lever House,

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