Architecture

Real and Unreal

My colleague Enrique Norten sent me a copy of TEN Arquitectos: The Limits of Form, which is hefty catalog of a retrospective exhibition of his firm’s work on display (March 3 – June 4) at the Museo Amparo inPuebla, Mexico. Actually, judging from the illustrations in the book, there are no limits to the forms that have been explored by TEN Arquitectos; the catalog is a dizzying array of commercial and institutional projects, rectangular, angled, round, square, torqued, canted, and slightly askew. As architects tend to do, Norten has included unbuilt as well as built work.

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The Death of Criticism

In 1997, my friend Martin Pawley wrote a column for The Architect’s Journal titled “The Strange Death of Architectural Criticism.” The leading architectural critic of his generation, Martin died in 2008, but I wonder what he would have to say about the latest demise of his craft? The New York Times has a “chief architecture critic” who hardly ever writes about architecture. Paul Goldberger, our leading critic, has not appeared in the New Yorker since September 2011. I always check to see what Sarah Williams Goldhagen, the interesting critic of The New Republic,

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Tiny Palladian House

Last summer I visited Charleston and saw an interesting house designed by George Holt and Andrew Gould. It’s basically a tiny version of Palladio’s Villas Saraceno, or at least its central portion, with the characteristic triple arch. No room for a loggia here, just a single room, barely 12 feet deep, but with a wonderfully tall ceiling that maintains the original villa’s regal scale. A small house with a big attitude. The ingenious plan has a two bedrooms above (each with a bathroom), with two separate staircases which allows one of the rooms to be rented out.

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Corridors

Jon Gertner writes an interesting article in the February 25 New York Times on technological innovation. It is illustrated by a 1966 photograph of researchers standing outside their offices in the Bell Lab building in Murray Hill, N.J. An endless, featureless, rather wide corridor with a strip of fluorescent lighting straight down the center of an acoustic tile ceiling. A model of dreary, unimaginative, bureaucratic design, right? Wrong. As Gertner writes, the building was conceived by Mervin Kelly (who later became Bell Labs’ chairman of the board) in 1941, and the long corridor,

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Dress Code

I finally had a chance to see the modifications that Diller Scofidio + Renfro have made to Lincoln Center. These changes were much ballyhooed by the New York press, but they strike me as self-conscious one-liners, calculated to draw attention to themselves. Like a Hollywood star who dresses for the Oscars in a tuxedo and colorful sneakers. The, perhaps unintended, and surprising consequence at Lincoln Center is that the 1960s buildings actually look like coherent works of architecture by comparison with what come across as art installations.

 

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Corbu in Chelsea

524 West 19th Street in New York’s Chelsea District is a small residential building designed by Shigeru Ban, with Dean Maltz. The 11-story block contains only 8 units which the developer calls “houses,” since they are two-story duplexes that extend through the building, front-to-back, recalling the units in Le Corbusier’s unité d’habitation in Marseilles. The Chelsea houses have two-story living rooms, too, and shallow loggias. There the resemblance ends, since these are expensive ($3.6 – $11.25 million) condominiums with Corian kitchen islands and Miele cook tops. Press a button and the entire motorized 20-foot glass wall,

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Hotel Rooms

I have stayed in some memorable hotels—Brown’s in London, and Cipriani’s in Asolo—but for some reason the hotel rooms I remember best are the ones that were, let us say, sub par. My most memorable hotel experience was in a small town whose name I forget, on the shore of Lake Atitlán in Guatemala. I was visiting a rural development project  in a nearby village. It was the late 1970s, some years before the military coup that devastated this small nation, and while the city was awash in young soldiers, the countryside was quiet. My wife and I checked into a hotel that was like something out of a B.

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Nude Pei

I. M. Pei’s East Building of the National Gallery of Art in Washington, D.C. is currently undergoing repairs. The cladding of the 33-year-old building is being entirely re-hung to rectify a problem with the anchors that support the marble slabs, a project that is expected to take four years and cost an astounding $85 million. It’s worth taking a look at Pei’s denuded building. The familiar triangular prisms turn out to be concrete frames in-filled with brick, quite unlike the effete geometry that we are used to. It is as if a businessman removed his pin-striped suit to reveal a muscle shirt.

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