Architects

I recently watched Intersection, a 1994 flick with Richard Gere and Sharon Stone cast as a husband-wife architect team. We know that Gere is a creative soul–he has long, unruly hair–and that he is financially successful and glamorous–he wears Armani and drives a classic Mercedes 280SL. Stone, oddly cast as an ice queen, runs the business. So far, so good. The setting is Vancouver. The director, Mark Rydell, enlists Arthur Erickson’s Museum of Anthropology (actually almost two decades old, but looking great) as a stand-in for Gere/Stone’s latest architectural triumph. But except for a scene where Gere throws a temper tantrum on a building site,

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Some architecture students had Louis Kahn, or Paul Rudolph, or Jose Luis Sert; I had Stuart A. Wilson. He taught the third-year design studio of McGill’s six-year course. His class was famous–or infamous–as a sort of boot camp. A grueling boot camp: students regularly repeated that year; some dropped out altogether, following his advice that they would be better off in another field. Wilson gave all sorts of design assignments: book jackets, posters, graphics, as well as hands-on exercises conducted in the carpentry shop, his private domain. The semester-long design problem required each student to build a large scale framing model of their project at 1/2 inch to a foot–every stud and joist in place–and to prepare a complete set of construction drawings.

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The death of architect Natalie De Blois, who worked on some of SOM’s best projects in the firm’s heyday–Pepsi Cola, Lever House, Union Carbide–has again raised the question of gender and architecture. We are reminded of many unheralded collaborating female architects–Marion Mahoney with Frank Lloyd Wright, Lilly Reich with Mies van der Rohe, Charlotte Perriand with Le Corbusier, Aino with Alvar Aalto–as if there were a plot to suppress giving proper credit to these women. Yet, the architectural profession, while it is a team endeavor, has always asserted the creative role of the individual practitioner. Architects themselves have fostered this useful illusion.

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Nicolai Ouroussoff called the Cooper Union Building “a bold architectural statement of genuine civic value.” Paul Goldberger described it as “the most exciting, energetic, and well-composed academic building to go up in the city in at least a decade.” James Russell was only slightly more circumspect: “Mayne’s high-wire act may offer an important lesson in creativity for Cooper’s students.” How could so many New Yorkers be taken in? I thought to myself as I looked across Cooper Square at the building. The photographs I had seen did make the building appear bold and exciting. The impression in real life was very different.

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I visited the Isabella Stewart Gardner Museum in Boston the other day. I had been there before, but not since the new addition, designed by Renzo Piano. Piano has become a specialist at adding to prominent buildings (Ronchamp, the Morgan Library, the High Museum, and soon the Kimbell Art Museum) and I was curious how he would respond to this rather eccentric museum–a Venetian palazzo in New England. At first glance, the new addition, clad in a green rain-screen, is distinctly odd. It seems to share nothing with its historicist neighbor. But it grew on me. I think that’s because Piano’s architecture has a certain inevitability;

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Whenever I hear of complaints about the makeup of the architectural profession, whether  it concerns race or gender, I think of a comment by my old teacher, Norbert Schoenauer. He observed that a disproportionate number of the architects working in the housing field in Canada were either Jews or immigrants. He cited Irving Grossman, Jack Diamond, Peter Dickinson, Oscar Newman, Sandy and Blanche van Ginkel, Len Warshaw, Andre and Eva Vescei–and himself. Schoenauer surmised that since housing commissions were less lucrative, they were neglected by established architects, and hence became an opening for “outsiders.” Incidentally,

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