Architects

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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Ron Thom (1923-1986) is not a name any longer familiar to many, but in the 1960s he was one of Canada’s leading architects, second only to his fellow Vancouverite, Arthur Erickson. Like Erickson, Thom started small, designing prize-winning houses in a woodsy, modernist style that became associated with the West Coast. Like Erickson, he had difficulty translating his exquisite personal designs into the world of large, corporate commissions, and the arc of both architect’s careers contains more tragedy than triumph. Nevertheless, Thom produced at least two masterpieces of collegiate architecture, Massey College (1963) in Toronto and the new campus of Trent University (1963-79) in Peterborough,

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My friend George Holt and I were talking about how architectural education ill-prepares young architects for the world of practice. “Is this sort of detachment from the realities of the profession a deliberate agenda that’s perhaps for some other useful purpose that escapes me?” George asked me. I don’t think so. In part, the detachment is a legacy of the art school tradition that shaped architecture schools since the Ecole des Beaux-Arts and the Bauhaus. Of course, artists have always worked on commission, too, just like architects, but the unspoken ideal is the self-sufficient artist—Van Gogh, Gauguin, Matisse—whose inspiration was entirely personal.

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Paolo Soleri died yesterday at 93. I first heard of him when I was a college student. A classmate, Ray Catchpole, had spent the summer at Soleri’s desert compound in Arizona (he had several sand-cast bronze wind bells in his room), and he encouraged me to go if I had the chance. That year—1964—I was editor-in-chief of Asterisk, a student magazine, and it must have been through Ray that we got Soleri to send us an article: “Computer, Craft, and Art Architecture.” I admired Soleri’s work, several bridge designs, as well as a desert house with a retractable dome roof.

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In 1985 Léon Krier published Albert Speer: Architecture 1932-1942, a monograph on the work of Hitler’s architect. The book, assembled with Speer’s assistance, was received with almost universal opprobrium, Krier was vilified, Speer’s version of classicism was ridiculed, the whole thing written off a sick joke. Now, almost thirty years later, Monacelli has produced a facsimile edition of the book, together with new material by Krier and a foreword by Robert A. M. Stern. Perhaps this time the reception will be different, but I doubt it. Speer’s brand of stripped classicism is so much associated with Nazism,

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In a history of postmodernism (history written on the fly since the book was published in 1984) Heinrich Klotz wrote: “James Stirling has received only one commission in his own country since he made his change to postmodernism, yet what stands in the way of postmodernism in Great Britain is not so much a lack of commissions as a continuing faith in modernism.” As evidence, Klotz cited the successes of Norman Foster, Ove Arup, and Richard Rogers. The persistence of modernism in Britain in the eighties was undoubted, but Stirling’s lack of commissions was due to something else.

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