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Giddy for Giedion
Sigfried Giedion gets a fresh look in new book
Was it an ironic coincidence or part of the modern movement’s DNA that the heroic architectural avant-garde of the 1920s and 1930s was accompanied, promoted, and memorialized by historians even as protagonists like Walter Gropius vaunted breaking the shackles of history? Despite protests to the contrary, the key 19th-century concept of historicism—the idea of the spirit of the age as form-giver—was inherited by a generation of historians and polemicists. Gropius found the first of his genealogically inclined historian champions in the German art historian Nikolaus Pevsner, who published Pioneers of the Modern Movement: From William Morris to Walter Gropius in English in 1936 with the Museum of Modern Art.
By then, Le Corbusier had already found his James Boswell in art historian Sigfried Giedion, a fellow Swiss. Giedion collaged Le Corbusier’s work in the form of both images and paraphrased slogans into his first historical manifesto in 1928 with Bauen in Frankreich, Bauen in Eisen, Bauen in Eisenbeton. The book took the tradition of Wöfflinian art history into a millenarian manifesto mode with its use of startling transhistorical photographic juxtapositions.
For decades, Giedion would serve as secretary and scribe of CIAM, the Congrès Internationaux d’Architecture Moderne, founded the same year that Bauen in Frankreich was published—even as he continued to lecture, publish, and compose novel illustrated volumes in which he inscribed the present in an ever lengthening historical trajectory that ultimately took him back to the prehistoric. It has always been held, however, that his most lasting and influential work, Space, Time, and Architecture, published in 1941, derived as the concrete result of the first of his many trips to the United States to give public lectures at Harvard between 1938 and 1939, the very years the Bauhaus masters were settling into teaching positions in Cambridge and Chicago. Like Pevsner’s Pioneers, Giedion’s book, which was also originally published in English, has remained continuously in print for over 75 years, exerting an enormous influence even as it has transitioned from being read as a source for the history of modern architecture to being analyzed over and over again as an artifact of the modern movement in the historiographic turn in architectural history of the last 20 years. But Reto Geiser’s book demands that we take a longer look at the historian himself.
Giedion has indeed now found his own historians. In 1989, soon after his papers were organized and opened to researchers in Zurich, a first intellectual biography—simply titled Sigfried Giedion—was published by the collection’s then-curator, Sokratis Georgiadis. Now Reto Geiser’s Giedion in America is both an homage to a fellow Swiss historian’s mastery of integrating images and text and a subtle reflection on the important role that America—as a place, idea, and culture—played in the formation of one of the most influential intellectual projects in 20th-century architectural history.
Geiser organizes his analysis less in a strict chronological fashion than as a series of four extended essays on different interpretations on the theme of Geidion as a figure “in between” countries and cultures. In the process, he weaves together cultural influences that go far beyond any previous analyses of Giedion’s involvement with American intellectual life, while also underscoring a number of paradoxes and ironies of his career. The first of these is language, since Giedion’s less than perfect command of spoken English contributed to the innovations of his visual layouts, first in slide lectures and then in the meticulous care with which he worked on the mock-ups of his page layouts—many of which are illustrated in Geiser’s book—in collaboration with book designers like Herbert Bayer and Jaqueline Tyrwhitt, the handmaiden to the readability of his text.
No less does it set the stage for the chapter “In Between Approaches,” which analyzes Giedion’s engagement with the published works of established figures of American thought such as philosopher Alfred North Whitehead and cultural historian Lewis Mumford. Indeed, the dialogue between Mumford and Giedion in establishing the American contribution to the development of modern architecture is the subject of some of the most consequential passages in a book that zigzags between a rich orchestration of information about this “art historian’s central role in a global network of modern architects” and astute analysis of his evolution as a historical thinker. This is one of the chief contributions of Geiser’s study.
On the Swiss side, the most interesting revelations concern Giedion’s frustration with failing to ever find a position in the academic establishment in Zurich, despite the prestige he held at Harvard. This plagued Giedion throughout his career.
Geiser is the first biographer of Giedion to give full attention to the genesis and impact of his fascination with the art and architectural expressions of prehistoric and pre-Hellenic cultures, from the cave paintings discovered at Lascaux in 1940 to Sumerian ziggurats and Egyptian pyramids. These fascinations were first honed and presented for the general audience attending his 1957 Mellon Lectures at the National Gallery in Washington, D.C., and then expanded into The Eternal Present: The Beginnings of Art, a two-volume work. But Giedion scarcely lost himself in the dawn of time—even if his ever-patient art historian wife Carola Giedion-Welcker claimed that it took him for a time away from “all architectural problems.”
One of the most fascinating relationships that Geiser takes up is Giedion’s relationship to Marshall McLuhan, an earlier admirer of the historian, who understood from the outset the relationship of the medium of the book (or the slide lecture) to a message about the historical dimension of even the present moment. Appropriately enough, Giedion’s relationship to McLuhan, to György Kepes and the early years of the MIT Media Lab, and the creation of the Carpenter Center for the Visual Arts at Harvard—for which Le Corbusier would supply his only building on American soil—come together in Geiser’s final chapter, “In Between Disciplines.” Not only does this expand our understanding of Giedion’s role into the postwar period, but equally of Giedion as a historian protagonist as important to the evolution of media studies as he was to modern architecture and its history. Despite the numerous chronological backtrackings and the repetition of salient quotes that mar the text, Geiser has shed light on facets of Giedion’s long trajectory that recast a figure whose books were perhaps too long ago moved to an upper shelf with other college texts.
Barry Bergdoll is a professor of art history at Columbia University and recipient of the 2019 Cattedra Borromini professorship at the Accademia di Architettura in Mendrisio, Switzerland.
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Although the Office of Metropolitan Architecture (OMA) has been in business for decades and keeps a steadily growing constellation of offices around the globe, the firm has, until recently, had a relatively modest profile on the American West Coast.
But things are changing. As West Coast cities pursue new building efforts—including new neighborhoods, ecologically sensitive public parks, and experiments in multiuse complexes—OMA’s brand of frank intellectualism has slowly found a preliminary foothold in California.
The firm’s expanding Golden State presence includes a recently completed urban master plan for Facebook’s Willowbrook campus in Menlo Park, a residential condominium tower in San Francisco, as well as a trio of inventive projects in Los Angeles. Over the next few years, these projects are poised to join the Seattle Central Library and the Prada Epicenter Los Angeles, both from 2004, OMA’s only completed West Coast projects to date.
The latest westward push represents an ascendant energy emanating from the firm’s New York office, where OMA partners Jason Long and Shohei Shigematsu lead many dynamic projects taking shape across the continent and in Japan. When asked if a new California outpost was in the works for OMA, Shigematsu replied, “It’s always been a dream of ours,” before adding that current conditions were favorable but not exactly right for a potential OMA West branch. “Maybe if we get more projects out here.”
First and Broadway Park (FAB Park)
Also created in collaboration with Studio-MLA, the new First and Broadway Park in Los Angeles is set to contain a playful 100,000-square-foot retail, food, and cultural programming pavilion that anchors the ecologically sensitive park. The pavilion will be capped with an edible rooftop garden and a dining terrace that overlooks L.A.’s City Hall.
Along the ground, the park will be wrapped with ribbons of bench seating, elements fashioned to create interlocking outdoor rooms and plazas surrounded by native oak and sycamore trees. Water-absorbing landscapes around the seating areas are designed to harvest and retain rainwater while solar collection and a “Golden California” landscape lend the project its ecological bona fides.
The Avery (Transbay Block 8)
Related California’s crenelated 575-foot tower, known as The Avery, is part of a larger development created in conjunction with Fougeron Architecture for a blank site in downtown San Francisco’s bustling Transbay District.
For the project, the designers have carved a generous paseo through the buildable envelope for the site, creating a new retail and amenity plaza while also lending a tapered look to the 55-story tower. The gesture animates views for a collection of condominiums, market-rate apartments, and affordable housing units while also bringing sunlight down into the paseo and to the mid-rise block designed by Fougeron. Currently under construction, the tower is expected to open in 2019.
Audrey Irmas Pavilion
The Audrey Irmas Pavilion is the firm’s first cultural and religious project in the region. The trapezoidal building shares a site with the Wilshire Boulevard Temple and is made up of three interlocking volumes that connect to the outdoors via a sunken rooftop garden designed by landscape architecture firm Studio-MLA. An arched portal connects to a shared breezeway between the pavilion and the temple, which is framed by the leaning pavilion. The latter was designed with a pronounced slant both out of deference to historical structure and to illuminate the courtyard.
Referencing unbuilt proposals for Universal City and the L.A. County Museum of Art, Rem Koolhaas, OMA cofounder, said, “[The Pavilion] is part of a very consistent effort to do things here. It’s exciting if one thing happens to succeed, because architecture is a very complex profession where maybe a quarter of all attempts get anywhere.”
The Plaza at Santa Monica
Shigematsu explains that one concern driving the firm’s California projects involves delving into the region’s rich history of indoor-outdoor living. The approach is fully on display in The Plaza at Santa Monica, a 500,000-square-foot staggered mass of interlocking buildings intended to create a new mix of public outdoor spaces.
With a cultural venue embedded in the heart of the complex and ancillary indoor and outdoor public spaces laid out across building terraces, the complex aims for a unique take on the regional indoor-outdoor typology. The building is set to contain offices, a 225-suite hotel, as well as a market hall and public ice-skating rink.