Architecture

ROCK CENTER REDUX

There have been a number of articles about the new Hudson Yards project in New York: Michael Kimmelman in the New York Times, Michael J. Lewis in the Wall Street Journal, Alexandra Schwartz in the New Yorker. Schwartz is forthright: “what Hudson Yards really feels like is a nice airport terminal, with the High Line as its moving walkway.” Lewis likes the observation deck of the tallest skyscraper. Kimmelman doesn’t say much about the architecture but like Lewis he points out the paucity of urban design in the master plan, and both compare it unfavorably to Rockefeller Center.

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THE GEHRY TOUCH

Last October the Philadelphia Museum of Art re-opened its restaurant. It is designed by Frank Gehry, whose firm is doing a major do-over of the museum. I thought I should take a look and we went there for lunch. The small (75 seats) restaurant, somewhat mysteriously titled Stir, is inauspiciously located behind a frosted glass wall off a banal corridor—hardly an elegant setting. The PMA describes the restaurant decor as having an “ebullient Gehry touch.” I suppose that is a reference to the heavy trellis made of curved laminated Douglas fir beams that is suspended in the middle of the room like some sort of woodsy Calder mobile.

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PAPER BLINKERS

The first university architecture programs appeared in the late nineteenth century, at MIT (1865) and the University of Pennsylvania (1868). Previously—and for a long time thereafter—most architects in the English-speaking world learned their craft through apprenticeship, on the job, working in an office. Frank Lloyd Wright, Edwin Lutyens, Charles Rennie Mackintosh, Charles A. Platt, Horace Trumbauer, Ralph Adams Cram, and Bertram Goodhue are prominent examples. While it is still theoretically possible to become a registered architect through apprenticeship, in practice formal education has taken over the training of architects. How does one teach someone to be an architect? Since architecture is not a science,

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TOPPERS

The Comcast Technology Center (Foster + Partners) in downtown Philadelphia is nearing completion. It’s not open yet, but its impact on the skyline is already apparent. Meh. The most that can be said about it is that it recalls a De Stijl composition of overlapping boxes. But the glass boxes—the building is all glass, of course—lack refinement and look as if a preliminary concept sketch had been rushed into construction. The clumsiest element is the optimistically named “lantern.” There are many interesting skyscraper tops, such as the mooring mast atop the Empire State Building, or the Chrysler Building’s Art Deco spire,

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CRITICS AND CRUSADERS

The Architects Newspaper recently asked a number of critics, academics, and architects “What do you see as the role of the critic in architecture today? Why is it important? What aspects of architecture are not being addressed today by critics?” and “What are the problems with criticism today?” Weighty questions that produced, in most cases, weighty—and lengthy—answers. You can judge for yourself. One of the more insightful comments was that of Frances Anderton, the British host of a weekly Los Angeles design and architecture radio show. “It was easier to be a critic when you were crusading for modernism,

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TOM WOLFE (1930-2018)

The first time I heard Tom Wolfe speak in public was in 1965 or ’66. I was a student at McGill University where he had come to lecture. One line has stuck in my memory; he compared himself to the “renegade cowboy,” the character in Western movies who has lived with the Indians and who comes back to town to tell the tale. I knew Wolfe’s writing from reading him in Esquire, and  The Kandy-Kolored Tangerine-Flake Streamline Baby may have been out by then. I remember From Bauhaus to Our House (1981) which came out first as an article in Harper’s (July 1981).

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PRESERVATION

Why do we renovate, restore, or otherwise preserve old buildings after they have become functionally obsolete? One reason is practical—the building is in good enough shape to be still useful, even in an altered state, or for a different purpose than originally intended. The second reason is cultural. Perhaps the building was once the home of an important figure—Mozart’s house in Vienna, for example, or Washington’s Mount Vernon—or maybe it was the site of an important event such as the signing of the Declaration of Independence. The third reason is aesthetic: the building is beautiful and incorporates artistry and craftsmanship that have made it the object of our affection.

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A MAN OF INFLUENCE

“But an influence is not necessarily a good influence” writes Joan Acocella in a  review of books about Bob Fosse. She’s right, of course. How often we describe an architect as influential, without qualifying the nature of that influence. Probably the most influential American architect of the late nineteenth century was H. H. Richardson—Richardsonian Romanesque libraries and courthouses grace cities and towns across the country. It’s hard to go wrong with this style. The only modern architect to give his name to a style was Mies van der Rohe, but his legacy is less certain.

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