Architecture

FEELING GOOD

Walking down a corridor of Pennsylvania Hospital in Philadelphia I came across a decorative mosaic panel hanging on the wall. An accompanying label explains that it is a portion of the lobby floor of the Elm Building, which was demolished in 1981 to make room for the building in which I’m standing. The Elm Building was built by the hospital in 1901, a photograph on the hospital website shows an attractive one-story brick and limestone building with a pedimented temple front. Clearly a building of some consequence, it housed administration offices and an assembly room. The unidentified architect took trouble with the lobby floor,

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THE RIGHT STUFF

The Associated Press reports that President Emanuelle Macron has approved a plan to rebuild the roof and spire of Notre-Dame cathedral exactly as it was before last year’s fire. Hurrah! That means an oaken structure supporting a lead roof and a spire according to the nineteenth-century design of Eugène Viollet-le-Duc. A thousand three-foot diameter oaks are being felled to provide the timber, which must be allowed to season for at least eighteen months. According to the cathedral’s rector, Patrick Chauvet, the entire reconstruction is expected to take ten to fifteen years.

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ROLL OVER BEETHOVEN

A musician friend sent me a recent article in the Telegraph reporting that “Musical notation has been branded ‘colonialist’ by Oxford professors hoping to reform their courses to focus less on white European culture . . . Academics are deconstructing the university’s music offering after facing pressure to ‘decolonise’    the curriculum following the Black Lives Matter protests.” According to the British newspaper, music professors said the classical repertoire taught at Oxford, which spans works by Mozart and Beethoven, focuses too much on ‘white European music from the slave period.’” Actually, Habsburg Austria-Hungary, where the pair lived and worked,

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PLUS ÇA CHANGE

As one gets older one tends to spend an inordinate amount of time visiting hospitals. Ours is Pennsylvania Hospital, which bills itself as “the first in the nation” and was co-founded by Benjamin Franklin in 1751. The original building was designed in 1754 by Franklin’s friend, Samuel Rhoads (1711-84), a self-taught carpenter/architect. Rhoads, who was later a delegate to the First Continental Congress and would serve as the city’s mayor, laid out two wings connected to a central pavilion. Only the east wing, a sturdy Georgian brick structure, was built before the Revolution. The west wing and the central pavilion,

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THE PAST AND THE FUTURE

I was listening to a podcast of “The Remnant” the other day, on which Jonah Goldberg made the observation that while political conservatives have usually gotten their ideals from the past, progressives have looked to the future. It struck me how much this applied to the history of architecture. Architecture has traditionally been conservative, not only because buildings were expensive and had to last a long time, but also because clients—the monarchy, the Church, and the merchant class—were conservative. For centuries, architectural ideals were rooted in ancient Greece, Rome, and the Middle Ages. This began to change at the end of the nineteenth century,

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NEW BLOOD

I recently came across an article in The Architect’s Newspaper titled “The future of our profession depends on diversity.” The author argues that the architectural profession needs to take specific steps to increase diversity. “The architecture profession runs the risk of becoming irrelevant if we do not adapt and create pathways for minorities to enter and lead the profession,” he writes. Received wisdom, but is it true? Or, rather, hasn’t it always been true? When I studied architecture in the 1960s, there were no women in my class, no blacks, and no aboriginal Canadians. But we were a mixed group: five immigrants (two from Hong Kong,

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IN MEMORIAM

Ten years ago I joined the jury of the Driehaus Prize for Classical Architecture. I came to know Richard H. Driehaus (1942-2021) as padrone of the prize and as a munificent host on my periodic trips to Chicago. But his passing this week touched me in an unexpected way—I had lost a friend. Like anyone who met him, I was impressed by his curiosity and intelligence. And by his generosity. Over the years I occasionally sent him pieces of my writing that I thought would interest him—and everything interested him: people, buildings, art, cars. I once introduced him to a public gathering as a true son of the great Daniel Burnham.

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THE REAL THING

My wife and I live in a downtown Philadelphia loft in the Larkin Building, a 12-story industrial building built in 1912-13. The builder was the Larkin Company, which a decade earlier had hired Frank Lloyd Wright to build its headquarters building in Buffalo, N.Y. Our building was designed by a lesser light. C. J. Heckman was a Buffalo-based architect about whom the internet provides no information at all. Was he the Larkin house architect, or did he simply specialize in industrial buildings, the lowest rung on the practitioner’s ladder?  Perhaps the latter, because our building is a very early example of reinforced concrete construction,

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