As heroes need rivals, winners require competitors. Champions stay on top only when challenged. The status quo in any area of human endeavor lasts only when staving off oncoming alternatives. While change comes eventually—whether gradual or abrupt, graceful or under siege—habit, doctrine, or tyranny often stall its advent, and when change does come, it is often less than complete. Historic practices and traditional principles underpin progress with lingering connectivity: What’s best from the past informs progress or even pulls it back from misguided tangents when the test of time delivers a failing grade, like elevated highways slashing the urban fabric only to be cursed later as killers of community.
The stakes of such successive challenges to established orthodoxy are especially high in architecture, the most public of artistic disciplines. Shifting design solutions shape the bedrock business of construction and the lives of end users regardless of the relative awareness of polemical origins. Along the way, land-use regulations and profit seek to play their according roles, making change all the tougher.
Such a contentious continuum sets the historic stage for Hugh Howard’s lively depiction of the professional and theoretical rivalry of the two most renowned American architects of the 20th century: Frank Lloyd Wright and Philip Johnson. Early on in this all-too-rare design-professional page-turner, Howard sums up his premise: “They shared a deep commitment to the cause of architecture, but the two could have hardly been more different, separated as they were by age, region, and sexual orientation…the yin and the yang. In love and in hate, the positive and negative charges that gave architecture its compass.”
The reader might emerge wondering if at times the book tries too hard to portray a tense, ideal dual-personification of a central axiom of the 20th century’s design evolution: The Romantic (Wright) versus the Modern (Johnson), informed as capital “M” Modernism often was at its applied outset by an “enduring fondness for the classical.”
Yet the effort proves pleasurably worthwhile as a way to chronologically measure two legendary careers, enhanced by their silver-tongued exchange of competing visions. A shared penchant for righteous control loosened as their long careers unfolded, if more in deeds than in words. Theirs proves an oddness of mutual gain.
Their rivalry’s defining crucible, as Howard reveals it with justified relish, is MoMA’s fabled 1932 Modern Architecture: International Exhibition, organized by the precocious (and independently wealthy, thereby prematurely well-connected) 26-year-old Johnson, along with certifiable scholar Henry-Russell Hitchcock.
In a none-too-soon nod to the European upheaval in design, museum founder Alfred Barr gave the go-ahead, asking only for some trace of American participation. Despite joint skepticism and caustic distrust, Johnson and Wright finally cooperated with a never-built plan called “House on the Mesa.” MoMA visitor traffic received a boost from the inclusion of the best-known stateside practitioner, and an inspired Wright emerged newly invigorated, with the modernist masterpiece of Fallingwater carrying straight through to the final assignment of the Museum of Non-Objective Art (the Solomon R. Guggenheim Museum). The currency of polemical sparring started to pay rich creative dividends for all, no less than for Johnson himself who emerged as America’s official boy genius of design connoisseurship.
After his German flirtation with fascism and architectural studies at the GSA, Johnson took his place as Wright’s closely watched rival practitioner as well as critic, with his 1949 Glass House in New Canaan and the philosophical crossfire that it refreshed, according to Howard.
Howard quotes Johnson in response to Wright’s dismissal of the Connecticut retreat: “Was he born full-blown from the head of Zeus that he could be the only architect that ever loved or ever will?” Contrary to Wright’s insistence on originality, Johnson made no bones about his distilled use of precedent ranging from Ludwig Mies van der Rohe to Andrea Palladio, who likewise reacted to site in a “formal way that alludes to the classical past.”
What Wright denounced as a mere box or “monkey cage” instead took its enduring place. It represented not only the International Style taking further hold of America’s design imagination and marketplace, but also an architecture based upon ideas and historic interplay: the midwife of modernism. Howard summarizes, “Johnson wrote few melodies but he was a great orchestrator…with the application of a critical and evaluative intelligence rather than the inventions of an inductive creative imagination.”
This tension of romantic originality and New World self-assurance versus the cerebral, globally ecumenical distillation of built excellence both past and contemporary
defined the core theoretical crosscurrent during “The American Century.” Howard’s pairing succeeds at personifying this central debate, concluding: “Rather against his will, Johnson evolved into one of Wright’s most important public admirers. As a man who worshiped zeitgeist, he found that his old nemesis’s ideas retained remarkable vibrancy…work that transcended style and even time.”
Like the interpersonal artistic skirmishes enlivened recently by Sebastian Smee in The Art of Rivalry, attention should be given to a book that offers such engaging access to architectural theory and its visible results as sources for future impulse.