Architecture

Several weeks ago I was interviewed by Carolyn Stewart for American Purpose. One of her questions was: “Are there any overlooked aspects of classical architecture – whether an element of design, function, or ethos – that deserve to be rediscovered in the current moment?” That reminded me of President Trump’s recent executive order promoting the classical style for federal buildings, subsequently withdrawn by the Biden administration. The idea that we should learn from the past raised the ire of many at the time, but yesterday’s buildings do offer real lessons. One concerns the presence of art, a long tradition in architecture.

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Architectural history is sometimes recounted as if it evolved autonomously, architects attacking and solving architectural problems largely of their own devising. But because buildings are large, complicated, and expensive, architecture is subject—more than other arts—to outside forces, economic, political, social. Here’s a historical counterfactual. What if the Depression and the Second World War hadn’t happened? What if construction hadn’t been halted for more than a decade and the American modernist movement of the Twenties and Thirties that produced the Empire State Building and Rockefeller Center, the Folger Shakespeare Library and  the Walter Reed Naval Medical Center, Omaha’s Union Station and Los Angeles City Hall,

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The Architect’s Newspaper reports that two “historic Brutalist” buildings in Trenton, N.J. are in the process of being demolished. The early 1960s buildings, which housed offices and labs of the state government, are the work of Alfred and Jane West Clauss, both partners in Clauss & Nolan. The German-born Alfred Clauss (1906-98) worked briefly for Mies on the Barcelona Pavilion and after emigrating to the U.S. he worked for George Howe on the PSFS Building and was one of the Philadelphians whom Howe brought to teach at Yale (Louis Kahn was another). Jane Clauss (1907-2003), born in Minneapolis,

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Art Nouveau lasted only a few decades; it appeared around 1890 and came to an end shortly after the First World War. Perhaps for that reason, it is often given short shrift by art historians who see it as a not altogether respectable prelude to modernism. “With novelty [Art Nouveau] must most certainly be connected, and liberty at least in the sense of license is applicable too,” sniffed Nikolaus Pevsner, who called it “suspiciously sophisticated  and refined.” He did not explain why sophistication and refinement were disqualifying qualities. “Art Nouveau is outré and directs its appeal to the aesthete,

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“I am not now and never have been a postmodernist,” said Robert Venturi twenty years ago; the quote appeared on the cover of the May 2001 issue of Architecture. But of course he was a postmodernist, although it is no wonder that he wanted to disassociate himself from that movement; after several decades PoMo had run its course, moreover in hindsight it appeared that it had done more harm than good. The best postmodernists had produced first-rate work—the Neue Staatsgalerie in Stuttgart, the Sainsbury Wing in London, the Beverly Hills Civic Center—but few architects were as historically knowledgable as James Stirling,

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Last night I listened to an ICAA Zoom lecture by the architect Tom Kligerman, whose firm—Ike, Kligerman, Barkley—specializes in beautifully crafted houses, which were the subject of his talk: “New Thoughts on the American Home.” While many of the designs could be described as traditional, others were distinctly modern, and some were an eclectic combination of the two. Evidently catholic in its taste, IKB was clearly not committed to a canonic approach to the classical past. Kligerman observed that in his opinion architects should aim to make history, not simply be inspired by it. This has surely been the motivation of all creative architects over the years,

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