Architecture

TRUMPED UP

serveimageCampus buildings, if they were Classical in style, used to display their names in Roman lettering incised into the entablature; Collegiate Gothic buildings made do with medieval script. In either case the lettering was discreetly integrated with the architecture. No more. A growing trend in university buildings, especially high-rise buildings, is to display the name at billboard scale (thank you Robert Venturi). This started with medical buildings, but I have noticed other campus buildings sprouting overblown signs (the LeBow College of Business at Drexel is illustrated here). What drives this disturbing practice which gives university buildings the appearance of motels or casinos?

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PACESETTERS

In April 1970 the Historical Society of Chestnut Hill, an old garden suburb of Philadelphia, organized a public panel to discuss the future of their community. The venue had to be changed to accommodate the 800 people who showed up. I suspect that the audience, which included many students, was drawn less by the subject than by the panelists: Louis Kahn, Robert Venturi, and Romaldo Giurgola. The local newspaper referred to them as “three of America’s foremost architects” and “today’s pacesetters.” Kahn was already a national figure; Venturi had built little and was probably best known for Complexity and Contradiction in Architecture,

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PHENOMENA

I came across the following passage recently.

There have always been dazzling personalities that flashed out of the surrounding gloom like the writing on the wall at the great king’s feast; but they are not manifestations of healthy art. They are phenomena. The sanest, most wholesome art is that which is the heritage of all the people, the natural language through which they express their joy of life, their achievement of just living; and this is civilization,—not commercial enterprises, not industrial activity, not the amassing of fabulous wealth, not increase of population or of empire. These may accompany civilization,

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MOUNT CUBA

serveimageThe other day we drove to Mount Cuba, a horticultural center in Delaware. The forest garden is part of an estate built in the 1930s by Lammot du Pont Copeland and his wife Pamela, a branch of the mighty Delaware family. We went to look at the trillium garden, but I was also impressed by the house, a very large Colonial Revival mansion that was completed in 1937. The beautiful brick architecture was exquisite, simple to the point of distillation. The design was the work of Victorine and Samuel Homsey. Samuel (1904-1994), a native of Boston, graduated from MIT and met and married Victorine du Pont (1900-98),

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HOOPLA

serveimageThe newly completed Oculus in Manhattan is not just misnamed (an oculus is a round opening, not a slit) it is misconceived. It is not a question of design, or execution, or cost, but rather of the entire concept. Does a daily commute really require  this level of architectural rhetoric? Even if this were a substitute for Penn Station, it would be a dubious proposition. It made sense for our forbears to celebrate long distance train travel, when railroad terminals really were the “gateways to the city.” Today, that is no longer the case. Even air travel has become a mundane,

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SENTIMENT

In September 1900, the office of Walter Cope and John Stewardson (who had died a few years earlier) produced a report in conjunction with their plan for the new campus for Washington University in St.Louis. The report is titled “Explanation of Drawings,” and a large part is devoted to a discussion of architectural style, specifically of Classical and Gothic. The authors argue for the latter (the firm more or less invented Collegiate Gothic), on the basis of cost, adaptability, scale, and appropriateness to an educational institution. They also point out the sentimental connection that exists between Gothic and institutions of higher learning,

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THE OBAMA LIBRARY

The announcement of the seven finalists for the Obama Presidential Library in Chicago is puzzling. First of all, why such an announcement at all? It has become common practice for museums and concert halls planning new buildings to draw out the architect selection process to the max. First the announcement of a competition; then revealing a short list; then the unveiling of actual designs; then the finalists; and finally—drum roll here—the winner. This process is calculated to generate the maximum amount of media coverage and publicity to assist in fund raising. This appears unnecessary—not to say unseemly—for a presidential library.

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LIVES OF THE ARCHITECTS

serveimage“Architecture is the picture frame and not the picture” is a memorable quote attributed to the mid-century California modernist, William Wurster. Wurster, a notable teacher as well as an architect, was reminding his students that architecture is always a setting, not the main event. I thought of Wurster’s observation recently when I was writing an essay for Architect on the challenges of architectural biography. Why are there so few first-rate biographies of architects, I asked? Or, to put it another way, why don’t first-rate biographers such as David McCullough, Edmund Morris, and Walter Isaacson,

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