Architecture

In the public debate over Frank Gehry’s design for the Eisenhower Memorial, there have been frequent calls to scrap the current design and hold a national design competition, open to all. Again at the recent National Capital Planning Commission meeting that “disapproved” Gehry’s proposal, the claim was made that national competitions are the way that Washington, D.C. memorial designs have always been chosen. Let’s look at the historical record.

Washington Monument: in 1836, public competition won by Robert Mills.
Grant Memorial: design competition won by Henry Merwin Shrady, sculptor, and Edward Pearce Casey, architect.
Lincoln Memorial: an invited two-man competition between John Russell Pope and Henry Bacon,

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The other day, I walked by the memorial to Richard Morris Hunt that stands on Fifth Avenue, next to Central Park. Not many architects get to have a memorial. The only other one I have seen commemorates Andrea Palladio, a lifesize statue in a small square in Vicenza. Hunt’s is more elaborate:  a bronze bust of the architect is set in an exedra that includes two female statues, one representing Architecture the other Art. The sculptor was Daniel Chester French; the architect, Bruce Price. The inscription reads: “To Richard Morris Hunt, October 31, 1828 – July 31,

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The WTTW documentary movie on Driehaus prizewinner Pier Carlo Bontempi, “A Taste for The Past,” begins with food, a lunch in the architects office in Parma. The analogy between architecture and cooking has always struck me as compelling: they both combine practicality with taste, they both transform physical materials, and in both the eater/user is at the center of the experience. Food needs to be cookable (buildable) and edible (comfortable). There is innovation in cooking—nouvelle cuisine, foams, fusion—yet all cuisines have a base that, for most people, remains the foundation of everyday eating.

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I  don’t always agree with Aaron Betsky, but his current Architect column about why he only writes about buildings that he has actually seen is spot on. In architecture, experience is all; photographs are a poor substitute, especially as photographers regularly crop out the surrounding context. Moreover, you should experience a building over an extended period of time, as users do, at different times of day, in different weather. And not only on press day—before the building is put to use—but several years later,

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Tom Kligerman, of Ike Kligerman Barkley, was showing me his new 3D printer the other day. His firm specializes in high-end houses, mostly though not exclusively traditional in design. Their printer, about the size of a Smart Car, is used to produce iterative study models that are extremely detailed, as if made by a Swiss watchmaker or a particularly obsessive ship-in-the-bottle hobbyist. 3D printers are all the rage in architecture schools. I can see why they’re popular with students. It’s sort of like having an in-house professional modelmaker—he can make even your half-baked efforts look good. But is it a good learning tool?

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A new building for Yale’s School of Management designed by Norman Foster was formally opened on January 9. New B-school facilities are sprouting like ragweed, not only in the United States but globally. The reason is not hard to find. Their alumni are among the richest on the planet, and demand for MBAs and business degrees has skyrocketed. The best schools want to improve their facilities; the newcomers want to jump on the bandwagon, and a fancy new building helps to attract students. Virtually all of these buildings are the work of prominent architects such as Norman Foster (Imperial College,

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