Architecture

Collegiality

During his acceptance speech at the Driehaus Prize ceremony in Chicago a couple of weeks ago, laureate Thomas Beeby made an interesting point: architecture is turning into an uncollegial profession. Of course, architecture has always been highly competitive. Building is a zero-sum game, that is, only a limited number of commissions are available at any one time, so if one architect gets to build, another doesn’t. Established, experienced practitioners have always had the inside track and access to the best jobs and the best clients; novices get whatever’s left over. But Beeby was making a slightly different point. Despite the competitive nature of the profession,

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Big John

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I was in Chicago recently for the Driehaus Prize ceremony, and I was staying in a hotel across North Michigan Avenue from the John Hancock Center, in fact my fortieth-floor room looked directly at the building. Built in 1969, and designed by Bruce Graham and Fazlur Khan of Skidmore Owings & Merrill, this has always been one of my favorite Chicago skyscrapers. The characteristic tapered silhouette is much more successful than the Sears Tower (another Graham-Khan collaboration), and the crisscrossing bracing remains an evocative expression of its structure. I could see Mies’s 860 Lake Shore Drive from my hotel room,

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The White City

During the last decade or so, Washington, D.C. has undergone a little-noticed but remarkable transformation: a city of stone is becoming a city of glass. Ever since the McMillan Plan, and even before, important civic buildings in the capital were built out of marble, limestone, or concrete. There were a few early brick outliers such as the Smithsonian Castle, and the Pensions building, but generally architects followed this custom. This was not a question of style, since modernist as well as postmodernist architects—Breuer, Bunshaft, Pei, Stone, Obata, Erickson, Graves, Freed—all followed the age-old practice, which had been virtually codified by Burnham,

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Driehausville

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Carl Laubin has painted a beautiful capriccio to commemorate the tenth anniversary of the Richard H. Driehaus Prize. He portrays an imaginary town made up of the works of the first ten Driehaus laureates, among whom are Léon Krier, Quinlan Terry, and Demetri Porphyrios, as well as Allan Greenberg, Jaquelin T. Robertson, and Michael Graves. In the foreground is the Choragic Monument of Lysicrates, a bronze miniature of which is presented to each laureate. It’s fun to try and identify the individual works in this large (5½ by over 8 feet long) painting.

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Day One

I live in a neighborhood with many old houses. There are plenty of late nineteenth-century examples, but the ones I like best are from 1900-1930. The acknowledged masterpiece of this period is George Howe’s High Hollow, but there are plenty of runners-up, the work of accomplished Philadelphia residential architects such as Wilson Eyre, Frank Miles Day, Robert Rodes McGoodwin, H. Louis Duhring, and Edmund Gilchrist. These old houses seem to improve with age—the slate roofs get a bit mossy, the stonework acquires a patina, and the heavy hardware gets burnished with use. Their architects worked in more or less revival styles,

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No Hoopla

Much has been written about the recently completed FDR Memorial in New York, designed by Louis Kahn. It was the great architect’s last project, and he had just completed it when he died in 1974, almost four decades ago. Kahn’s design reminds us how much has changed in forty years. First, the commission was not the result of a competition, no hoopla, no wowing the jury, no rush. Instead Kahn was given the time to ponder and reflect—which is how he worked, anyway. Second, although the site covers about three and a half acres on the tip of Roosevelt Island,

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Secret History

If I were compiling a secret history of architecture—those unpedigreed works of genius that stand outside the mainstream—I would include Gaudí, of course, but also many lesser figures: Henry Chapman Mercer, the builder of several amazing concrete structures in Doylestown, Pennsylvania; Paul Chalfin, the creative force behind that ebullient Baroque pile, Vizcaya, in Miami; and Simon Rodia, creator of Watts Towers in LA. I would also have to add my friend, George Holt in Charleston, whose Byzantine concoctions have no contemporary analog. There would also be a number of women in this company: Theodate Pope whose Avon Old Farms School anticipate Hobbits;

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Architect Laureate

dante

The United States has had a poet laureate since 1937. Why don’t we have an architect laureate? An architect laureate could be responsible for advising on important national monuments and memorials, or on makeovers of the Oval Office. The U.S. poet laureate is appointed by Congress, so an architect laureate might have advised congress to be a little more restrained in the $621 million Capitol Visitor Center, or perhaps referee the Eisenhower Memorial imbroglio. But I doubt Congress would look favorably on such a position. After all, building buildings costs money, poets are cheaper (currently $35,000 a year).

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