Architects

THE ONE THAT GOT AWAY

Robert A. M. Stern has just published Between Memory and Invention: My Journey in Architecture. This is not a review; I’ve only read the first chapter—on Amazon—which details the author’s childhood. But Stern’s book is not exactly an autobiography; the publisher calls it “a personal and candid assessment of contemporary architecture and his fifty years of practice.” In fact, architectural memoirs are few and far between. With the exception of Frank Lloyd Wright’s famously unreliable An Autobiography, I only know of two modern examples, Nathaniel Owings’s The Spaces in Between: An Architect’s Journey (1973),

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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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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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INSTRUCTION AND INSPIRATION

A reader recently wrote to me citing Frank Lloyd Wright as a model for the future. “Wright’s discipline itself offers us an antidote to the wandering efforts of rudderless students: it can be understood and undertaken by those with a little personal aptitude and a readiness for hard work to design buildings of real point, character, freshness, and charm.” How likely is a Wright Revival? Historical examples of revivals abound: Inigo Jones revived Palladio, Wren revived Bramante, Lutyens revived Wren. More recently, Richard Meier launched his career by reviving early Corbusier, Tadao Ando learned a lot from Kahn, and Thomas Phifer has revisited Mies.

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PHILLY PHLASH

Helmut Jahn (1940-2021) died three days ago in an unfortunate bicycle accident. I don’t know if the world is a better place thanks to his flashy, in-your-face architecture, but his Liberty Place project, once the tallest in Philadelphia, does not make the city a better place. Ostensibly a take-off of the Chrysler Building, the pair of skyscrapers has always struck me as an uncomfortable presence on the skyline. First off all, Philadelphia has always had its own distinctive tall buildings, beginning with John McArthur, Jr.’s city hall tower (1894), Howe & Lescaze’s PSFS Building (1932), and Ritter & Shay’s U.

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POST-MODERNIST

The headline in Hugh Newell Jacobsen’s obituary in the New York Times describes him as a “famed modernist.” Famed he was, especially as the designer of exquisite high-end houses, but to call him a modernist is inaccurate. He was, rather, a post-modernist. That other post-modern master, James Stirling, was critical of mainstream modernism.  “The language itself was so reductive that only exceptional people could design modern buildings in a way that was interesting,” he said.“It got stuck and it will have to unstick itself to move one.” Stirling’s unsticking involved broadening the language by introducing historicist motifs and color.

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