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Silver Lining for Pei Towers

silver pei silver pei
COURTESY LANDMARKS PRESERVATION COMMISSION 

Cover your ears, Jane Jacobs. On February 12, the Landmarks Preservation Commission (LPC) voted unanimously to calendar a public hearing on a Robert Moses–era slum clearance project known as the Silver Towers. The vote is a step toward victory for efforts to save one of New York’s precious postwar landscapes. But neighbors fear this tower-in-the-park could be sorely cramped by New York University (NYU), which is scouring the area for millions of square feet to accommodate planned campus expansion.

With a central courtyard dominated by the 36-foot-high sculpture Portrait of Sylvette, executed from a Picasso design, the Silver Towers are an unusually urbane case of urban renewal. Designed by I. M. Pei & Partners and completed in 1966, three concrete towers sit on a five-and-a-half-acre superblock between Bleecker and Houston streets. NYU acquired the property in 1963 and hired Pei to design two towers to house university faculty and a third tower that is ground-leased to residents of a Mitchell-Lama cooperative housing project. Built of cast-in-place concrete with deeply set windows, the towers pinwheel in plan, shifting on axis to break up what could have been a fortresslike slab into slender shafts that are deferential to the landscape—despite a Houston Street frontage that turns a cold shoulder to Soho.

“In spite of its flaws, there is so much about this design that is thoughtful and sensitive and innovative in a way that too few of its peers were,” said Andrew Berman, executive director of the Greenwich Village Society for Historic Preservation, which has been pressing for designation since 2003. “In some ways this is the exception that proves the rule.” Admirers cite stylish architecture under budget constraints (all three buildings met city cost-per-square-foot mandates) and particularly welcome designation since an earlier New York project by Pei, Kips Bay Plaza, has been marred by a cinema shoehorned onto the site.

Alas, that fate could befall Silver Towers, where two adjacent buildings (neither Pei-designed) house the Coles Sports and Recreation Center and a Morton Williams supermarket—both of which NYU owns and has considered for development. Preservationists had called for designation of those low-slung structures as “non-contributing” elements, but that seems unlikely, said Berman. Still, he added, “this gives us greater leverage to say to NYU, ‘You must be respectful and restrained in terms of what you do on those sites.’” (Through a spokesperson, the landmarks commission had no further comment.)

The Silver Towers debate unfolds against the university’s Brobdingnagian plans to add 6,000,000 square feet over the next 25 years. At a January 30 open house, NYU released the first concepts from a team led by design firm SMWM with Grimshaw, Toshiko Mori Architect, and Olin Partnership, who must orchestrate a high-stakes urban chess game to allocate new space among NYU’s core campus and outposts elsewhere in the city.

With few parcels left in the West Village, designers have targeted the Silver Towers block and, to the north, the apartment slabs known as Washington Square Village. With their generous open spaces, those blocks could add 2,500,000 square feet above and below grade, inviting scenarios such as razing Washington Square Village and restoring the street grid to that superblock. Near the Silver Towers, concepts include building at the Coles gym and supermarket sites, and even atop Alan Sonfist’s Time Landscape, a quirky miniforest evoking Manhattan’s precolonial flora.

Such audacious ideas have stirred little alarm, perhaps because last month NYU President John Sexton announced a pact with community groups affirming principles such as making development sensitive to building heights and densities. NYU also pledged to relocate displaced public uses nearby. And the university has backed the Silver Towers designation as “consistent with two of the agreed upon planning principles—employing a publicly oriented review process on an NYU project and sustaining the neighborhood’s character.”

With a landmarks hearing expected in the coming months, designers have a delicate task ahead. “The question remains: What is the best way to take advantage of the available square footage on that block in a way that’s respectful of those towers and their potential landmark status?” said Jack Robbins, studio director in SMWM’s New York office, who added that the team is studying options to one of the community’s least-liked scenarios, a tall building at the supermarket site. “I think we all believe there are potentially better solutions in terms of the design and the politics of the community relations,” he said.

That’s good news for Pei’s cooperative tower, where residents overwhelmingly support landmark designation. “We’re going to have to be negotiating with NYU very shortly,” said Paul Rackow, the co-op’s community relations chairperson. “There are alternatives right here on the site. The Coles gym takes up an entire block from Bleecker to Houston. That would be our first suggestion: Build there.” 

JEFF BYLES

First Jane Jacobs Medals Announced

New Yorkers love to grumble about how the city is getting ever more homogenized and polluted, but activists Barry Benepe and Omar Freilla are busy working to make it a more livable and ecofriendly place. On June 25, the Rockefeller Foundation announced it will honor eachwith aninaugural Jane Jacobs Medal accompanied by a $100,000 award: Freilla under the category of New Ideas and Activism,andBenepefor Lifetime Leadership.

 

The winners adhere to the spirit if not the letter of Jacobs’ creed. “We were happy to see that environmental justice was something that we could bring forward in this medal; it’s a different idea than the literal contributions that Jane Jacobs made but very much in the same tradition,” said jury member Marilyn Taylor, urban design and planning partner at Skidmore, Owings & Merrill.

 

Freilla is a recycling advocate trained in environmental science. Fed up with how impoverished neighborhoods such as his native South Bronx are used as dumping grounds, he became a proponent of a zerowaste city. In 2003 he founded Green Worker Cooperatives, an organization that is planning a retail warehouse for materials recovered from construction and demolition jobs.

 

Though trained as an architect, in 1975 Benepe cofounded Greenmarket, a New York farmer’s market program that has revitalized city neighborhoods and underused parks. He is also a cyclist who helped found Transportation Alternatives, which works to free the city from car dependence.

 

Benepe and Freilla will receive their medals at a ceremony on September 24, coinciding with the opening of a Municipal Art Society exhibition on Jane Jacobs. The Jacobs exhibition follows on the heels of a trio of exhibitions devoted to Robert Moses. It seems the old foes’ rivalry will continue even beyond the grave.

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How the Other Half Lives

Sometimes architects shake their heads at the decisions developers make, but their ideas can be just as baffling to the folks calling the shots. Architect Alexander Gorlin reaches across the divide, speaking with leading figures in both professionssdeveloper Ian Schrager and architect Gary Handell to find out what makes the relationship work. Portraits by Dan Bibb



The Developer's Architect
GARY HANDEL,
PRINCIPAL,
HANDEL ARCHITECTS


Gary Handel launched his firm in 1994 after leaving Kohn Pedersen Fox, where he specialized in designing office towers. Handel Architects has since grown to 90 people, and now has offices in both New York and San Francisco. The bulk of the firm's work is developer-driven, large-scale commercial and residential work in cities including New York, Philadelphia, Austin, Washington, D.C., and Miami. Handel is also an active board member of Friends of the High Line, and since Michael Arad joined the firm as a partner in 2004, has been involved in the design of the World Trade Center Memorial.

Alexander Gorlin: You started your own office in 1994 with a project for a developer [the Sony Metreon in San Francisco] and have done many more since then. What's it like to work with large-scale developers?
Gary Handel: I think it is interesting to work with them. The core of our practice is an investigation into how cities evolve and how each building can be used as a catalyst to further positive change. If you look at who built 90 to 95 percent of most cities, it's always been the private sector. In the model of modern urbanism we are operating in, I think the best we can hope for is intelligent public policy that has been fleshed out by enlightened self-interesttthe best of both private and public sectors.

Do you see a difference between developers in New York and other cities?
I think the difference is mostly one of perception. Chicago has an outstanding building culture, but in New York there is much more of an emphasis on quality design today than there was as recently as a decade ago. Developers have learned the lesson that design can pay off, and they have upped the qualityythey are now in the forefront as far as offering well-designed buildings. Up until 10 years ago, there was conventional wisdom about what an apartment building was, and no sense in the market that you were rewarded for good design. That has changed.

For our first residential building [Lincoln Square in New York, 1994] we had a great client. Metropolitan Housing Partners said, Here is your budgettwe'll give you a little more than for a standard project; use the money wisely.. It allowed us to challenge a lot of rules. At the end of the day, we built the building for a slight premium over what a conventional building would have cost. The marketplace responded and the developer was rewarded.

Developers realize there is a risk in not taking any risks. If you stick with conventional wisdom, there is no way to differentiate yourself. There is a risk in providing something that is just a commodity with nothing special about it. Finding the right edge is the core of our practice and some clients embrace it more willingly than others.

Is that a curtain wall at your project 505 Greenwich Street? Some developers get nervous when you even mention it.
That is part of conventional wisdom. The two street faces [of the 14-story, 104-unit building] are curtain wall, and the two side party walls and interior court are precast windows. We were able to buy that curtain wall very economically, and knew what that company was capable of. That curtain wall was more expensive then brick and windows, but the precast was less. So the average cost of that faaade is not more than a standard exterior. The developers, Metropolitan Housing Partners and Apollo Real Estate, looked at it and understood it would give them something to sell.

The difference between your building on Greenwich Street and some others nearby is night and day. I also build, and I understand you have to know how things are built, that there is a process of give and take. Some architects obviously haven't built anything and make big gestures without knowing how to put the whole thing together.
Doing developer work, you make a bargain, and have to be very responsible. Part of the reason why you get to do these explorations and challenge conventional wisdom is that there is a trust where you are committed to developing the program, perhaps in way the clients have not anticipated. If the developer knew the answers before they came to you, they wouldn't need you quite as much. If you understand what they are trying to do, you can show them ways to do it better. You have to provide them with what they asked for, but also get to the heart of what they were trying to do.

How would you characterize the process of building in New York?
What's interesting about New York is that there is zoning as-of-right for every site in the city. So it is possible to build your program if you are willing to live within the rules. New York is actually a relatively straightforward place to build.

I also think that this is a wonderful moment in the history of the city: It has sloughed off the decline of the 1960s and 70s and people have realized the possibility of reclaiming the waterfront. We really have the potential to transform how the city will grow over the next 20 years. I am a huge fan of what the Bloomberg Administration has done with zoning. We are working on projects in the Hudson Yards area and the Brooklyn waterfront, and are involved in the creation of the West Chelsea Zoning through the Friends of the Highline. Each of those rezonings is an attempt to capture what is unique about each place and to enable what it could be in the future.

How can younger architects convince a developer to hire them if they haven't already done a building?
You need to find smaller, younger developers, and help them find a project. It is a tough world to break into you, so look for people whom you can help in the early stages.





The Architect's Developer

IAN SCHRAGER,
CHAIRMAN,
IAN SCHRAGER COMPANY


Ian Schrager founded his eponymous company last year when he decided to expand beyond the design hotel businesssa category he pioneereddand move into residential development. He currently has eight projects in development, five of them in New York (all joint ventures with RFR Holdings), including 40 Bond Street, a condominium designed by Basel-based Herzog & de Meuron with Handel Architects, and 50 Gramercy Park North, a condominium designed by British architect John Pawson, adjacent to the Gramercy Park Hotel, whose interiors are being renovating by artist Julian Schnabel.

Alexander Gorlin: I always loved the Palladium [a Schrager nightclub which opened in 1985]. Did hiring Arata Isozaki lead to your interest in architecture?
Ian Schrager: I always had an interest in architecture, but it was the ability to put anything in a nightclubbit's a stage settthat drew me deeper into the field. You've always encouraged people to push their own boundaries. Philippe Starck had never done interiors to the extent that he did at the Delano Hotel [Miami, 1995]. Now, you are working with Julian Schnabel at the Gramercy Park Hotel. I think I've taken the design hotel as far as it can go, and it really doesn't interest me anymore now that it has it's been adopted by the mainstream. It doesn't represent an alternative to the status quo, so [for the Gramercy Park Hotel] I wanted to come up with something else. The converted industrial loft artists have embraced has become a prototype for living, and it is a link with what they do and how they impact us. So I wanted to do a public place that was evocative of an artists' colony or studioonot an art hotel but something evocative of that kind of singular and personal expression that could just come from one person's brain.

Artist's studios have always had great allure, like Brancusi's studio in Paris.
Brancusi's studio is part of the inspiration. It looks haphazard but for some reason, the canvases on the walls and the water vases turned upside down all just sort of work. That was the inspiration for this new hotel.

With 40 Bond Street, you have what is actually not an extraordinary site, with views of a park, for example, but have nonetheless created a very powerful environment. What was your thinking?
We went to Herzog & de Meuron, with whom I had worked beforeewe hadn't completed the project, but had worked with them and Rem Koolhaas [on an unrealized hotel project for the Astor Place site where Gwathmey Siegel's curved tower now stands]. I think they are just brilliant in the way they put things together and their use of materials. They realized that there wasn't much opportunity [with the 40 Bond site] because it couldn't be a freestanding building and the zoning envelope is limited. The opportunity was in the apartment's function, the street facade, and the opening of the windows, so we just kept pushing the envelope. It was Jacques' [Herzog's] idea to take the cast-iron architecture of Louis Sullivan's Bayard-Condict Building around the corner on Bleecker StreettSullivan's only building in New York and a masterpieceeand redo it with modern technology and materials.

Do you regret that [the Astor Place project] didn't work out between Koolhaas and Herzog & de Meuron?
Yes, of course.

What happened? Did they not work well together?
No. I got frustrated working with Rem [Koolhaas]. And I wanted to continue on with Jacques and Pierre [de Meuron], but they couldn't. It was unfortunate, really, because I looked at that site as the gateway to downtown. Charles Gwathmey is a friend of mine; I like him very much. But people come down here to get away from buildings like that. It's in the wrong placeeand maybe its developer messed it up. If the building was transparent, it would have been okay, but I think they were concerned about people seeing in the windows.

There are so many missed opportunities in this city for great architecture.

What do you look for in an architect?
A sparkle in the eyeeI like architects who don't have a signature style, because you never know what you're going to get. I actually want the same thing architects want.

In all venues, your work has always been about changing the status quo, and I think that's also the definition of great art, because it changes the way we see things. It's very illuminating that you always see what you do as art.
Well, I don't see it as art, but I do see it as subverting the status quo. It is the same thing I was doing with my hotels. I couldn't compete with Marriott in terms of efficiency, or the Four Seasons in terms of service, so I had to come up with something innovative that would give me something to market. I looked for my little opportunity within the existing infrastructure. If it's not subverting the status quo, it really doesn't interest me. Then it's just about making money.

Why do you think New York is so conservative architecturally?
I have a weird theory about that: I think it goes back to when Robert Moses tried to build a highway up Hudson Street and Jane Jacobs was ableethank goddto stop it. It empowered the local community planning boards, and now you have amateurs commenting on professional's work. It made the process very arduous and difficult. That, combined with the pressure of interest rates, and the fact that the process itself doesn't encourage the latitude that a good architect really needs to design. But good architects aren't helping themselves, either, because they are not sensitive to those pressures, so they scare away developers. There has to be some meeting ground so you don't end up with banal boxes. What good architects need to do is to try to be a little more sensitive to that process, and then developers won't be put off by them.

Alexander Gorlin is the principal of Alexander Gorlin Architects, which has just completed a tower in Miami Beach, large homes in Houston and Southampton, and has just broken ground on 550 affordable town houses in Brooklyn. He is also the author of Creating the New American Townhouse (Rizzoli, 2005).

Homage: Laurie Kerr

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On Criticism

Architecture criticism, whether written for the profession or the general public, has one primary purpose: to parse the good from the bad. Of course, criticism involves much more than thumbs-up, thumbs-down assessments. Architecture is far too complex, demanding analyses on far too many levels. The critics interviewed here describe how their varied concerns—technological, political, ecological, cultural—have shaped their approach to a field they helped create. Meanwhile, a new generation of critics are joining ranks in what Ada Louise Huxtable calls "an uphill battle," setting out to prove that responsible criticism benefits not just the profession but society at large.

Ada Louise Huxtable

 

Born and educated in New York City, Ada Louise Huxtable pioneered the field of architecture criticism in the United States. In 1963, she became the architecture critic for The New York Times, a position she lobbied her editors to create, and which she held until 1982. She's still active today, at the age of 84, serving since 1997 as architecture critic at the Wall Street Journal. Over the course of her long career, she not only traced the trajectory of modernism, preservation, and urban development but influenced it.

Huxtable had worked as an assistant curator of architecture and design at the Museum of Modern Art from 1946 to 1950. She was a Fulbright scholar in Italy in 1950 to 1952, extending her research on modern Italian architecture, which she began as a master's student in architectural history at the Institute of Fine Arts. She emerged as a critic at a time when cities were in crisis, losing their built patrimony in the name of modernization and renewal. She built a mass audience for architecture criticism by bringing reason and passion together in straight-talking—sometimes sarcastic, always sophisticated—prose. When she won the Pulitzer Prize in 1970, her field was validated and papers across the country rushed to add architecture to their critical and journalistic beats.

Her newspaper columns are anthologized in Kicked a Building Lately? (Quadrangle, 1976), Goodbye, History, Hello, Hamburger (Preservation Press, 1986), and Architecture, Anyone? (Random House, 1986). She is also the author of The Unreal America (New Press, 1997), and Frank Lloyd Wright (Penguin, 2004).

What was the attitude toward architecture criticism when you were starting out?

There wasn't any! I'm proud of the fact that I convinced The New York Times that it needed to have an architecture critic. The very first thing I wrote for the Times, even before I started freelancing for them, was a long letter to the editor. This was 1959. The Sunday art section had a praising review of a photography show of a modernist housing project in Caracas. I had just been there and saw the project and the residents were having a terrible time—these were people from the countryside, having to deal with elevators and an alien type of architecture. The paper published my letter in full. Not long afterward, I got to do a cover story for the magazine, on the Guggenheim. I was terrified.

You were freelancing for the Times before they named you the critic. What shaped your story ideas and why do you think they grabbed your editors' attention?

I felt New Yorkers were entitled to more than they were getting from developers. There was so much building in the city but there was a total lack of understanding or care about architecture. I had just gotten married and my husband [industrial designer Garth Huxtable] was part of the team designing the interiors of the United Nations. I was just fascinated with architecture and construction.

The Times had plenty of real estate coverage. There were constant press releases about new buildings, all full of praise. These all came from real estate developers; at that time, there were no publicists for architecture. And I'd go to the editor and say, Good buildings don't just grow on trees, you know.

One day I walked in to see Lester Markel, who ran the Sunday magazine. I remember I had a notebook with a list of all the stories the Times was missing. Well, you tell an editor what he's missing, and he pays attention. I was a young, brash, believing woman. You have to be very naive. I was fixated on what I was interested in, so it didn't occur to me that you didn't barge in on an editor and ask for what you wanted. You have to give the Times a lot of credit.

How much input did your editors have in what you wrote?

Because they didn't know anything about the subject, they pretty much took anything I would suggest. And papers are always hungry for copy. Remember, too, this was a time of urban renewal and the total destruction of Lower Manhattan, when the beautiful warehouses on Front Street were being torn out for street-widening and Greenwich Village was being threatened. Most of the writing was crisis-oriented. You were crusading.

The paper didn't think we could do opinion pieces unless we first reported the facts of a story, so I would write news stories and appraisals that would appear in the daily newspaper. Then my critical columns appeared on Sunday. My criticism pieces were never edited because I was given the title of critic immediately. I don't know how it is at the Times today but back then, critics were edited for length and style. They never meddled with content.

After 10 years, they invited me to join the editorial board. I stopped writing for the daily paper and only wrote the Sunday opinion. That's when they hired Paul Goldberger to write for the daily paper.

How has the role of the architecture critic changed over the years?

The role is the same but the emphasis has changed. A critic has a lot of responsibility. It is largely informational and educational—to let the public know what's going on in the large and small issues and to let them know the difference between good and bad, how to distinguish a work of art. Today, I think the emphasis is too much on chasing celebrities, which has emerged all through society.

I want people to understand that architecture is an art. It's been my life's battle, to increase awareness of the field. But the way things have gone ...don't wish for what you ask for! Architecture is definitely more in the public eye today than before, but I don't think it's understood any better.

How do you deal with any controversy your pieces elicited?

It was always difficult but I'm not capable of doing anything else. I'm of a generation that was not brought up to work in a man's world, to deal with jealousies—I'm fairly thin-skinned. But the Times was always wonderful. There were times that powerful people demanded meetings with the publisher to protest my pieces.

One time, a developer pulled a big advertising section because of something I wrote, but I was never blamed. The publisher only asked me, "Do you have all your facts and are they right?" It's a great lesson for all critics. You've got to have all your facts.

My feelings of insecurity were always before I wrote. I would worry, "Am I going to be able to write this piece?" And I'd work doubly hard. I remember one the first pieces I wrote about Colonial Williamsburg. I wrote about how much of it was wishful thinking, how much was destroyed to build it, and how it was a false form of preservation that denigrated real history. I heard that later that they put up a sign there that read, "Ada Louise Huxtable is a Tory!"

Who do you consider your audience?

I don't really ask myself that question when I'm writing. If you have enough belief and pleasure in what you are writing, and write in an understandable manner, then an audience finds you.

One complaint I've heard from lay readers about architecture criticism—particularly of Herbert Muschamp's writings—is that they think they must have a background in the field to understand it.

That is the fault of the people writing it. A lot of writing has been self indulgent, really. You can imagine how I feel about it. The Times didn't know better, I suppose. It's as innocent about the field as anybody. Architecture criticism is still an uphill battle. That's why the responsibility of the critic is so great. It's the way my editor, Clifton Daniel, felt. He trusted me. He always said, "I knew if you got in trouble I'd hear about it soon enough."

I think my approach works for a changing field. I'm not dogmatic or doctrinaire. I stay open-minded. If you're rigid, you can't be a good critic. I wouldn't be in it if I didn't feel optimistic. I'm still full of wonder, I still love it. I like seeing what's going on with vernacular architecture now, for example. And the arguments over 2 Columbus Circle show that the preservation movement is upside down right now. When they compare its loss to that of Penn Station—I've got smoke coming out of my ears! It's not being lost, it's being transformed. I live and believe in the present. I don't live in the past and you can't live in the future. That's why I'm basically a modernist.

Cathy Lang Ho is an editor at The Architect's Newspaper.


From "Zoning: The End of the Line"
The New York Times Magazine
December 14, 1980
Ada Louise Huxtable

In an attempt to legislate an impossible balance between a profitable city and a livable city, New York has created a monster—call it Frankenstein zoning. The process by which good intentions and innovative practice are turned into an urban nightmare has been gradual and technically arcane. But what has been happening, insidiously and overtly, is that the whole idea of zoning has been turned upside down. It has been subverted from a way to control building bulk and size to a method for getting bigger buildings than ever.

If that seems like an anachronism, it is; exactly the kind of overbuilding is being encouraged that the law was designed to prohibit. The result, which is just beginning to be visible, is the rapid appearance of ranks of oppressively massive, sun- and light-blocking structures of a size that we have never seen in such concentration before. Their outline and impact appeared first on Madison Avenue from 53rd to 57th Street, with the 42-story, block-long Tishman building from 53rd to 54th Street, another tower across Madison at 55th Street, and the gargantuan AT&T and IBM buildings, from 55th to 56th, and 56th to 57th Street. This enclave of blockbusters was joined by the huge Trump Tower looming on the Bonwit Teller site at 56th and Fifth.

When the first of these immense projects designed under the city's revised 1961 zoning regulations appeared, such as Olympic Tower on Fifth Avenue or Citicorp on Lexington, they seemed unique; as singular structures they were more interesting than overwhelming. As a standard to be replicated, however, they have become cautionary examples. What must be understood is that this wave of bigger-than-ever New York buildings is not some overreaching passing fancy. It is the new and future norm. The bottom line is that the developers build what they are permitted to by law.

These new buildings, therefore, are equally revealing of the manipulative, negotiable, and mutable art that New York's zoning has become. And because what New York does in zoning is emulated by the rest of the country, whether it is innovative and constructive or dangerous and foolish, other cities will probably follow an example that has evolved from a reasonably system of controls, including creative attempts to balance restraints with public amenities, to an ad hoc exercise in horse-trading that is a clear environmental disaster.


Allan Temko

 

When Allan Temko started writing for the San Francisco Chronicle in the early 1960s, he didn't see himself as a regional critic, despite outsiders' perceptions to the contrary. Back then, the city was a fast-growing metropolis, the Golden State's financial capital. But Temko hardly limited his writings to the region. He wrote a book on Eero Saarinen and countless articles for Architectural Forum (he was its West Coast editor), Horizon, and other magazines. Still, Temko, now 81, is best known as an activist who unhesitatingly took on anything that threatened the Bay Area's soul—the first designs for the San Mateo Bridge, for example, and the horrendous plan to criss-cross San Francisco with freeways. Without Temko's voice, the Bay Area would be markedly different, and decidedly less beautiful, today. Fifteen years have passed since Temko left his post. One realizes, talking with him, that the people he wrote about were often his friends, despite his reputation for making enemies. He was admired, even by his targets, for his ability to place design in a cultural context he so clearly loved.

How did you become a critic?

When I left Columbia University in 1947, my professors helped me get an American Lectureship at the Sorbonne. I was in France, teaching American literature, for seven years. Most of this time, I looked at Gothic churches, which to me had everything—rational structure and daring new forms to suit new conditions. But I also saw modern architecture, like Le Corbusier's. Because there was no good book in English on Notre Dame, I wrote one. [It was published by Viking Press in 1955.] Lewis Mumford edited it. When I returned to the U.S., he suggested I do what he was doing for the New Yorker, but for a mass audience. I knew the executive editor of the Chronicle, Scott Newhall, so I went there.

What's changed since then?

In the 1950s and 60s, people talked about painters, sculptors, and politics. Now they talk about buildings, spaces, and important environmental problems. The need for good criticism has never been greater, but if you look around, it seems mighty sparse. There are some outstanding critics, like Blair Kamin of the Chicago Tribune, but not many writing today understand activist criticismm the need to get out there and fight with fang and claw. With a big metropolitan paper, you can accomplish a good deal. Looking back, we were much better at stopping bad things than creating good things, but we were far ahead of other metropolitan areas, especially when you consider our resources. One big difference between being the critic of the Chronicle and being one for a great newspaper like The New York Times is that New York is really unmanageable. Here, it was possible to have an effect—to stop the freeways and keep Fort Mason and the Presidio from being ruined.

How were you edited at the Chronicle?

Newhall read my things. So did the city guys, the assistant managing editors, and if they couldn't understand something, I'd rewrite it. They were good stand-ins for the public. Newhall encouraged me to be controversial and shielded me from the owners. When the architect of Pier 39, Sandy Walker, sued me for $2 million, the Chronicle defended me. Actually, Bill German, then the executive editor, told me that if I lost, the paper would pay half! The suit was thrown out, but Walker appealed. When I learned that the case was back in court, I asked Chronicle executive Phelps Dewey why I hadn't been told. "We want to win this thing," he replied. When you're trying to stop something, you have to go straight for the jugular. Most critics today don't have that instinct—but neither do their papers. I'm vain enough to think that I could have stopped the whole Bay Bridge fiasco if I hadn't been ill.

What influenced you as a critic?

My years in France led me to see art and architecture as expressions of great civilizations. I always cared about heightening the public's sensibility. I wrote for the educated public, but I wanted everyone else to be able to understand my articles and enjoy them. I saw my role as achieving better design for the whole region. I might have been the only architecture critic in this period who looked at cities at a larger scale—even as large as, say, the Bay Area's seashore, which became a national park. Today, you can walk on public land along the ocean for 50 miles north and south of San Francisco. That wouldn't have happened without people fighting for it, and stopping things like the nuclear reactor that PG&E wanted to put on Bodega Head. I played a big part in these initiatives, writing articles and then getting the Chronicle behind them. They were great victories. But I took on causes that ran the gamut—protecting Frank Lloyd Wright's store on Maiden Lane from retrofitting, sparing Market Street the mediocrity of the early design for San Francisco Center, taking Silicon Valley seriously, helping make the Presidio a national park. That's an appropriate range for a critic.

Did you make enemies?

Sometimes I was a bit harsh. People say I was brave, but that wasn't the point. It sold newspapers. It still would today but, despite media's resources, there's still not enough serious coverage of architecture and planning. One big difference is that when I was writing, I was often speaking for the paper as an institution. I would write a critical piece and then I would write an unsigned editorial for the Chronicle that supported my stance. Without that endorsement, there's no way I could have accomplished what I did.

What do you think of today's critics?

There are very few people writing things that you'd remember the next day. Part of our purpose, after all, is to be entertaining. Architecture is like tennis—there's a small group playing at Wimbledon, and the rest are playing on the neighborhood courts. Which is not to say that the small courts don't have big players. When I started as a critic, San Francisco was a magnet for good architects. Richard Rogers was among them—he appeared on my doorstep one summer, saying, " Lewis Mumford sent me,"—and I got Chuck Bassett to sign him on at SOM. That influx of talent gave us Bassett in my generation and Stanley Saitowitz in the next—architects whose work is original and unique but which also reflects what they found here.

John Parman co-edits "Commentary" for San Francisco's LINE.


From "Colossal Boondoggle: San Francisco's Airport Mess"
San Francisco Chronicle
April 20, 1964
Allan Temko

All that is maddeningly incompetent, stupidly complacent, brutally insensitive and almost incredibly extravagant in San Francisco—a city that perhaps did know how to build in William Howard Taft's time, but would be hard-pressed to erect a decent municipal doghouse today—is epitomized in our New Era Airport, which in fact is one of the most old-fangled, inconvenient, and wastefully designed air facilities in the nation.

As a gateway to San Francisco, it should be blazoned with the inscription of Dante's Inferno: Abandon all hope, ye that enter. For if this is the best we can do in the way of large public works that, precisely because of their staggering cost, are supposed to serve long-time needs, we had better give up hope for the future environment in this part of the world.

Rather than inaugurating a new era, this sprawling assemblage of malconceived and coarsely executed structures is already obsolete. Almost certainly the entire terminal—which even in its unfinished state measures about half a mile from end to end, and may yet be extended farther—will have to be extensively rebuilt if not totally demolished when the supersonic jets go into operation. Yet by rough estimate the city has thus far sank $45 million in terminal and parking facilities alone, and the end is not in sight.

The Public Utilities Commission—a veritable citadel of mediocrity—is cheerfully prepared to spend as much again, or more, to complete the master plan, which to me is not a plan at all, but a gross improvisation at the taxpayers' expense.

Surely this colossal boondoggle warrants a Grand Jury investigation, such as the one which yielded such fascinating information concerning the genesis of the late Charles Harney's multimillion-dollar beauty, Candlestick Park.

But the public is entitled to know who, precisely, made the efforts which saddled the city with the most unwieldy airport of its size in the country, and why a comparable metropolis, Washington, D.C., obtained at substantially lower cost a resplendent terminal in every way vastly superior to our own. Above all, we should find out what is wrong with the building procedures of the city government, and try to set them right before more damage is perpetrated. For in recent years we have been suffering from an onslaught of architectural butchery that might be likened to a St. Bartholomew's Day Massacre, administered by self-righteous hacks.

The airport, in truth, is merely one of a series of so-called civic improvements—the Geary Street expressway is another, and so is the new Hall of Justice, which is the most unjust building in town—which re really public excrescences.


Paul Goldberger

 

Paul Goldberger joined the staff of The New York Times in 1972 at the age of 22, and a year later was named architecture critic of the daily paper. For nearly 10 years, Goldberger was the junior critic under the paper's esteemed senior critic, Ada Louise Huxtable. Shortly after ascending to the role of chief critic in 1982, he won a Pulitzer Prize (in 1984). As critic for nearly 25 years at the newspaper of record, Goldberger was often a champion for architectural values in the civic realm and at other times, an easy target for those who considered his views one and the same with the Times. During the heady 1980s, he was one of the few critics who wrote favorably about postmodernism, fueling a lively debate that pushed architecture further into the public's consciousness.

In 1997, Goldberger left his New York Times post to succeed Brendan Gill as the New Yorker's architecture critic, a position he holds today, simultaneously serving as dean at Parsons the New School of Design. Goldberger has proven to be one of the most prolific and long-standing critical voices in New York.

He is the author of several books, including most recently Up From Zero: Politics, Architecture, and the Rebuilding of New York (Random House, 2004).

How did you get started in criticism?

I had been interested in architecture since I was a kid. I remember when, once for my birthday, some family friends gave me a subscription to Progressive Architecture, which I found amazing. I didn't understand what was in it but I read most of it and found it very enticing.

I love architecture and I love journalism. And I wasn't very good at making up my mind about which of those professions I wanted to pursue because each one seemed to exclude the other. So I was lucky enough to find the place where they intersected.

Who influenced your criticism?

I went to Yale and studied architecture with Vincent Scully, who played a huge role in shaping my sensibility. If my eye was formed by anybody, it was Scully more than any other individual.

How did you end up at the Times?

I went to the Times first as an editorial assistant on the Sunday magazine. And I really missed architecture, and then I started to do freelance architecture pieces for the Times and elsewhere. But I was increasingly restless being away from architecture. And then I had an amazing opportunity, which was the chance to move within the Times, to become the architecture critic.

That's quite a leap.

It was quite a leap. I use the word lucky a few times. At the time, Ada Louise Huxtable was at the Times. She had been there for many years but she was moving to a new assignment—part time on the editorial board, and part time, she would continue to be the senior architecture critic. So they were very deliberately looking for someone who would be a number two to her. Not someone who had a huge independent reputation. If I had had a more established reputation, I might not have gotten the job. My guess is that she encouraged her bosses to choose somebody who would be quite junior to her, so there's no question who the senior voice was. And I fit the bill.

How did you go about picking your topics?

I was young, eager, loved the opportunity to put my passions into print and would do anything. And the Times had, and still has, a vast appetite for copy. The needs were enormous. I recall very few instances of being told, "No, it's not a good idea. Don't do it."

When you wrote a review, did they ever question your opinion?

I don't remember that happening too many times. The Times has traditionally been pretty good about backing its critics. I recall having two arguments with the executive editor while I was there. One was a piece about the Art and Architecture building at Yale. The editors thought it was too arcane. It was the only time I was ever told that. I was never told that about my writing any other time.

There was another thing that had nothing to do with the newspaper—a freelance piece in another magazine about the truly wretched design of the Times newsroom. This was the first time they re-did it to accommodate the first generation of computers. Big carpets, tile floors and horrible lighting, and fake-wood Formica furniture. It was really tacky. The executive editor was quite upset, and thought I was disloyal. As an employee, I was supposed to say positive things about the newspaper, no matter what.

When you were starting out, were you self-conscious about the role or responsibility of an architecture critic?

An architecture critic has a lot of authority but not much real power. Power is a much more raw and direct force. Authority is respect and trust. I don't think architecture critics have the power. It used to be said that The New York Times theater critic can close a Broadway show. Well, that's power. But nobody tears down a building if an architecture critic doesn't like it.

The most important responsibility of the critic is not to be stupid, not to be vicious, and not to be ad hominem. And I don't believe I've ever been any of those things as a critic. I was never interested in attacking people as people—I only wanted to discuss the work. Negative reviews are often interpreted as personal attacks, which obviously they are not.

Frankly, as I look back at what I did at the Times, I am proud of all of it. The things I might redo are not the times when I was too harsh on something, but situations where I think I was too kind and too generous, too patient and too forgiving.

You're willing to admit you're wrong?

I've been wrong on some things. I think I've been a little bit too generous about good intentions. Therefore what errors in judgment I've made over the years have come from the mistake of putting too much weight on good intentions, which can bring bad results.

What's the most important quality for a critic?

I would say a combination of a passion and a thick skin—two things that don't always go together. Angry responses or reactions are part of the territory. I am the happiest when people realize I'm just doing my job. I would hope [angry readers] would not personally direct their anger to me.

Speaking of having a thick skin, are you friendly with Michael Sorkin today?

Yes, we actually are. I have great respect for him. The issue on which we probably had our nastiest arguments was Times Square, many, many years ago. And that's probably—if I were going to give you any example where my inclination to think in terms of good intentions rather than results was most manifest—it was in my writing on Times Square. I was far too slow to realize how badly conceived that project was, and how bad [Philip] Johnson's design was initially. I don't believe I was wrong in thinking that the basic premise of the master plan was basically right—it was basically right. The basic design schemes were terrible, and I was much too forgiving of them.

Was it the thick of postmodernism that clouded your judgment?

I think that might be right. And I think I was probably a bit more forgiving of postmodernism in general, too, because that, too, was about intentions. In the end, most of that stuff was no more than transition architecture to wean us away from something. Now we've come to a much more mature modernism, a more intelligent modernism.

How has the role of the critic changed since you've left the Times?

Everyone interprets the role differently. I don't think the role or obligation changes very much. The critic of the Times plays a very central role in the civic dialogue of New York.

How is your job different now writing for a weekly magazine?

It's very different. At The New Yorker, we don't try or aspire to be exhaustive. We don't try to cover everything. The New York Times has an obligation to cover everything. It's like, "If a tree falls in the forest and Times is not there to write about it, does it make a sound?" It can tire you out after a while. But at the New Yorker, we just write about what interests us, and what, over the course of the year, would make interesting types of pieces.

Andrew Yang is an associate editor at AN.


From "Green Monster: A Startling Addition to Astor Place"
The New Yorker
May 2, 2005
Paul Goldberger

The first thing you think when you see the new luxury apartment building at Astor Place—a slick, undulating tower clad in sparkly green glass—is that it doesn't belong in the neighborhood. The tone of Astor Place is set by places like Cooper Union, the Public Theatre, and the gargantuan former Wanamaker store on Broadway: heavy, brawny blocks of masonry that sit foursquare on the ground. Louis Sullivan once described one of Henry Hobson Richardson's great stone buildings as a man with virile force—broad, vigorous, and with a whelm of energy. The new building, designed by Charles Gwathmey, is an elf prancing among men.

Of course, cities are often enriched by architecture that seems, at first, to be alien: the pristine glass towers of Mies van der Rohe and the sylph-like bridges of Santiago Calatrava have brought grace to countless harsh, older cityscapes. But this new building, which is on one of the most prominent sites in lower Manhattan, does not have a transforming effect. If, as Vincent Scully proposed, architecture is a conversation between generations, this young intruder hasn't much to say to its neighbors. Its shape is fussy, and the glass facade is garishly reflective: Mies van der Rohe as filtered through Donald Trump. Instead of adding a lyrical counterpoint to Astor Place, the tower disrupts the neighborhood's rhythm.

In an inelegant way, Gwathmey's building has exposed a truth about this part of lower Manhattan: inside those rough-and-tumble old masonry buildings is a lot of wealth. By designing a tower with such a self-conscious shimmer, the architect has destroyed the illusion that this neighborhood, which underwent gentrification long ago, is now anything other than a place for the rich. The thirty-nine apartments inside the Gwathmey building start at $2 million.

It is a paradox of the New York real estate market that nothing breeds gentility like harsh surroundings. Once, it all happened indoors—grimy factory floors in SoHo became expensive lofts. Sleekness was a private pleasure, not a public display. But the pair of exceptionally elegant glass towers designed by Richard Meier that went up on the western reaches of Greenwich Village a few years ago changed the rules. High-gloss modernism, preferably attached to the signature of a famous architect and dropped into an old industrial streetscape, became the hottest thing in Manhattan apartment architecture since Emery Roth invented the foyer.


Michael Sorkin

 

Michael Sorkin started his career in criticism writing for the Village Voice in 1978 and went on to write the alternative weekly's architecture column for ten years. In the Voice's permissive, freewheeling editorial environment, he developed an unflinching, pugnacious writing style—indebted as much to the gonzo journalists of the 1960s as to iconoclasts in the design fields, from Archigram to Jane Jacobs to Robert Venturi. He quickly became notorious as a silver-tongued antagonist of the architectural elite. Taking Philip Johnson to task for his Nazi past, as well as admonishing The New York Times architecture critic Paul Goldberger (one of his unforgettable pieces was titled "Why Paul Goldberger Is So Bad: The Case of Times Square"), Sorkin is the embodiment of the fearless critic, becoming a hero to many (and a thorn in the side of a few).

Since his Voice days, Sorkin, now 57, has continued to write, as well as practice and teach. In all his work, he has consistently championed environmental issues, sustainability, and social justice. With his regular contributions to the Critique column in Architectural Record, Sorkin continues to serve as the profession's voice of outrage—and of moral reason.

Currently, he serves as director of the Graduate Program in Urban Design at CCNY, a program that he founded. His New York-based architectural practice, Michael Sorkin Studio, continues to promulgate his idealist, socialist vision in both practical and theoretical projects. His Village Voice columns are anthologized in Exquisite Corpse (Verso, 1991) and most recent book is Starting From Zero: Reconstructing Downtown New York (Routledge, 2003) and he is currently preparing five other titles, including Indefensible Space: The Architecture of the National Insecurity State (Routledge), Work on the City (Monacelli), and Fifteen Minutes in Manhattan (Reaktion Press).

Why and how did you get started as an architecture critic?

I first started writing about architecture in college, but I had always been interested. My mother gave me a copy of [Lewis] Mumford's The City in History when it first came out, which was always a touchstone for me. For years I thought Vallingby [the Swedish sustainable New Town] was the omega point of urban civilization. Fortunately, I finally saw it! Having always been interested in both architecture and writing, criticism was a natural progression. When I got to New York I quickly started writing for the Village Voice, which allowed me to indulge another of my ardors, left-wing politics.

Do you feel that left politics was much more of a cultural motivator when you started? And did that carry over into the architecture writing of the era?

Absolutely. I was under the spell of the doughty Marxism of the day. But there was very little architecture writing at the time—almost none in the daily press. Ada Louise Huxtable was the major exception, but there was very little architectural journalism in general. There were a few influential documents around—Archigram magazine, The Whole Earth Catalogue, and Complexity and Contradiction in Architecture—that were beginning to unsettle the moribund architectural climate from very different directions.

Did you have any other influences?

My prose style was certainly influenced by an undergraduate subscription to Private Eye Magazine, which authorized a certain latitude for the ad hominem, not to mention egregious punning. And then there was the triple whammy of Lewis Mumford, Jane Jacobs, and Rachel Carson, who provide a lovely synthesis of architecture, city, and environment.

How do you choose your subjects?

I have no specific method for choosing my subjects. Part of it is looking for the social meaning of the formal. Part of it is settling scores. And part is just defending one's taste. I've always been a designer as well as a writer so part of my project has always been to advance the agenda of my fellow travelers. And the Voice is a local paper, so I wrote a lot about New York.

Speaking of the Voice, did your editors there have much input in terms of subject matter or the tenor or your articles?

Almost no input in terms of subject matter. It was quite a free situation. They were always happy when I went for the throat, of course.

Who do you consider your audience?

The profession, for starters. Many of my books are directed a little more broadly—to the remnants of the left as well as to a wider circle engaged in urban and environmental struggles. I do feel a bit parochialized, writing primarily in the architectural, rather than more broadly-based, media.

What do you see as the primary role of the architecture critic? And how has it changed?

I see my primary role as an advocate for urban civilization and the planetary environment. That's the big picture. The smaller picture is writing about people, objects, and places I love. That hasn't changed. Of course, the performance of critics fluctuates with the seasons. The majority of critics nowadays are simply flacks: There are too many fashionistas and too few street fighters. We've been taken up into the culture of branding. I think that it is possible for architecture criticism to embody resistance, but it seems in most cases that irony and analysis stops short of availing an original position. People are too accepting of the will of the leviathan and they want their piece of the action.

Do you think that the same can be said of architecture these days? In which case how do you feel about the state of architecture?

I have mixed feelings. Most architecture and criticism is driven by motives too limited, by the bottom line or branding. But both are public projects and my architectural practice and my writing are always concerned with their social effects, their contribution to a more just environment. While I don't believe that architecture creates democracy, architects aren't mindful enough of the distributive effects of planning, the way in which architecture organizes privilege and equity. I think it's important for architecture to make propaganda for a better life, to resist the horror of Bush-world. I truly loathe the smug surfer culture that seems to be in the saddle these days.

Aaron Seward is Projects Editor at AN.


From "Let a Hundred Styles Blossom"
The Village Voice
March 19, 1979
Michael Sorkin

Reports of the death of modern architecture appear to have been greatly exaggerated. This, at any rate, seems to be the drift of the Museum of Modern Art's newly hung Transformations in Modern Architecture. The show has been breathlessly awaited by the architecture set for many years. When, everyone wondered, would Architecture and Design director Arthur Drexler make his move? While fierce controversy roiled over the fate of the modern movement, the museum remained strangely quiescent, almost aloof. The factions raged furiously, each hoping to win the museum to its cause. After all, MoMA virtually made modern architecture in America with its famous show of 1932, and a likewise definitive stand could conceivably have a similar impact today. For Drexler, the opportunity was enormous.

But so was the pressure. Anybody with any sense knew that old-fashioned modern architecture, with all its imputed evils, had to go, but what would replace it? The megastructural maniacs seemed to have been suppressed but did that mean that we were to have the quaint eclecticists or the nouveau neo-classicists? All that was certain was that everyone, except the most unreconstructed Miesians, was yapping for a change...

Still, MoMA temporized, hedging its bets, keeping up but never summing up: All hope for clarification was pinned on Transformations. Designers trembled over drafting tables, pens nervously poised, waiting to be told what to do next. Expectation was apoplectic; fortunes hung in the balance. Seventh Avenue shows a collection every season and the air is electric every time. The Architecture and Design Department makes a major statement only a few times in a lifespan. What was the word to be?

Alas, MoMA copped out. The show is like Hamlet on matte-board: Drexler couldn't make up his mind. Instead of a Cultural Revolution we get "Let a Hundred Flowers Blossom." Instead of leadership, vacillation.

Of course what's really interesting about the compilations is who gets left out. Here, the choices get wiggy. Virtually Philip Johnson's entire oeuvre is included but not a single Alvar Aalto. Anybody could become Philip Johnson given the right historical circumstances but only Aalto could have been Aalto. Vulgarians like Harrison and Abramowitz of Albany Mall fame survive the last cut but Pier Luigi Nervi doesn't even get the court. Is this sensible? Where are those splendid Dutchmen Herman Herzberger and Aldo van Eyck? Where are Steve Baer's Zomes and Bucky's geodesics? Where is SITE? Wasn't the Guggenheim finished in 1959? Some of this seems just plain bitchy. The whole town is asking why John Hejduk's fine work is not to be found with that of the other members of the New York Five, inexplicably reduced for the occasion to Peter Eisenman, Charles Gwathmey, Richard Meier, and Michael Graves...Ultimately, though, what do Drexler's peccadilloes matter: Group shows always entail a certain amount of grievance. Let them form a salon des refusés if they want.


Robert Campbell

 

Since 1973, Robert Campbell has been architecture critic of The Boston Globe and for many years, has been a regular contributor to Architectural Record's Critique column. At 68, Campbell is a consistent, informed voice on the scene, his writing enriched by his backgrounds in journalism and architecture.

In a September 2004 Architectural Record column, Campbell wrote, "I've always thought that a good model for any critic is Alice, the heroine of Alice in Wonderland and Through the Looking-Glass. Alice is constantly running into creatures who are crazy—the Queen of Hearts, the Mad Hatter, the White Rabbit—but they're crazy in a special way. They're obsessed by ideas, and they ignore real-world experience. Alice isn't fooled or overly impressed by her crazies, and neither should any critic be." Campbell's sobriety and unique insight, as one of the field's own practioners, earned him a Pulitzer Prize for distinguished criticism in 1996 and the medal for criticism from the American Institute of Architects (AIA) in 1980.

Why and how did you begin your career as a critic?

I was an English major and I didn't want to be a professor, so I went to Columbia University and tried journalism in New York for a few years, but I didn't like it. I decided to become an architect, and got my degree from Harvard's GSD in 1967. I had no thought of writing at that point, and didn't write for many years, while I was practicing. I met an editor from The Boston Globe and started writing for the newspaper in 1973. There was a great deal of enthusiasm about criticism at that time. There was an interest in preservation and the era of urban renewal was ending. Ada Louise Huxtable had begun writing for The New York Times in the 1960s and she essentially generated a career path for many others. Other papers were adding architecture critics to their ranks, like David Dillon at the Dallas Morning News and Paul Goldberger, who was already writing at the the Times as well.

What do you feel your role is, as an architecture critic for a major daily paper and at-large-advocate, observer, something else?

The architecture critic is not a consumer guide like other critics. The chief role of an architecture critic is to stimulate and participate in an ongoing conversation about the world we build and live in and what makes [projects] good or bad. When I started, as I said, there was a lot of interest. There have been periods of less interest. Today, it's hot again, but it is all about the star performer—characteristic of the media culture we're living in. This makes it incumbent on critics not to get sucked into the media whirlwind. We must weigh in on important issues. Blair Kamin does this well in Chicago.

What do you think of activist criticism, which Kamin, as well as Allan Temko in San Francisco, advocate?

I certainly think that activist criticism is appropriate and can be a positive force. Blair Kamin and Michael Sorkin, in different ways, are doing this. It is not my temperament to take that attitude, but it's certainly a valid strategy.

What are your feelings about what's going on in architecture today: the influence of computer technology on design, the rise of sustainable design, and other developments?

Certainly, computers are important. Young people are very good at them and they can make shapes that have never been made before. They are playing a game. It's easy to dream up new shapes, but it's difficult to give them meaning.

I am very interested in the growing importance of landscape architecture and the increasing integration of architecture and landscape. As for green buildings, many are largely symbolic. The bigger issues are sprawl and energy, I think. Certainly, symbols are important, and architects should take opportunities to make high-performance buildings that are also visually exciting in ways that are not just arbitrary. The only long-term green solution involves reorganizing the patterns by which we inhabit the earth.

How do you choose your subjects? How do you converse about a subject that many people may not understand?

I intuit what I think will be interesting. No one buys tickets to see buildings, so you have to think about what purpose you serve: to get people thinking and talking about the built environment. You might write about a building because it's great, bad, or otherwise important. I choose all my own topics. As for conversing about a subject that people care about but may not understand, I do the best I can. I enjoy making things clear.

What can be done to enhance the level of architectural literacy in this country, where only two percent of construction involves architects?

The level of architectural literacy is going up rapidly. The subject is in the magazines and newspapers more than before. Maybe people are more interested because more of them are moving from city to city, or because they are all traveling more.

Did you ever change your mind about anything you've written?

Of course I have; many times. But I don't go back to revisit. There's not much room at a paper to say, "I was wrong about that."

Do you think that having been a practicing architect gives you a special understanding as a critic?

Yes, in the same way that art historians or others bring special perspectives. I understand how collaborative architecture is, and the importance of time and money.

What critics have been significant influences for you?

Jane Jacobs was a huge influence, but beyond her, I can't really cite major architecture critics as my biggest influences. My models are from the English literature side of my background: Randall Jarrell, George Bernard Shaw, and Edmund Wilson.

You have talked about how the single-issue experts are to blame for poorly designed cities, and that generalists—such as designers and mayors—should be running the show. Why?

I don't think traffic experts and others should be deciding issues of city design. You need a broader perspective. The age of the expert is over. I think the worship of experts is way down; even doctors and lawyers don't get the respect they once did. But I'm not sure it's been replaced by healthy collaboration. In the the absence of experts, it is possible to get a kind of populist decision-making, or decision-preventing, in which every interest group or individual is consulted and, as a result, nobody can build anything that anyone dislikes. This leads to a kind of bland common-denominator world, punctuated by the occasional star icon.

Kira Gould is a Boston-based design writer.


From "What's Wrong With the MoMA?"
Architectural Record
January 2005
Robert Campbell

A critic is supposed to stimulate a dialogue, not be one. So wrote the great Clement Greenberg. I seem to be one of only a few critics around who wasn't crazy about the new Museum of Modern Art in New York. Maybe I'll change my tune after a few more visits; Greenberg reversed his judgments sometimes, and it's greatly to his credittand if I do, I'll perform a mea culpa. But for now...

It isn't that MoMA's bad. There's nothing bad about it. It's just that it isn't good enough. It's elegant, but it lacks life and imagination, and those are qualities we used to associate with modernism.

New museums often open with a blizzard of hype. It's hard for critics not to be caught up in the excitement. Years ago, that happened with I. M. Pei's East Building for the National Gallery in Washington. More recently, it happened with Herzog & de Meuron's Tate Modern in London. I didn't like either of them at the time and I still don't. And I think a consensus opinion, over the years, has borne me out. I say this despite the AIA's recent Twenty-Five Year Award to the East Building. I recall when the East Building opened, the architect Jean Paul Carlhian, who founded the AIA's Committee on Design, said, "It is an airline terminal." It was and it is, with most of the art crammed into residual spaces around the edges of a vast, self-regarding, nearly empty concourse.

Anyway, here are my problems with MoMA:

There isn't any architecture. The design architect, Yoshio Taniguchi, was quoted more than once as saying that if MoMA gave him enough money, he could make the architecture disappear. Unfortunately, he's succeeded. Most of the museum consists of an endless rabbit-warren of more or less identical white-walled galleries with track-lit ceilings. Every attempt is made to remove any sense of the presence of architecture. A typical gallery wall, for example, appears not to touch the ceiling, the floor, or the adjacent walls. Instead all surfaces are divided from one another by a thin recessed shadow line. The effect is to make the wall appear to be floating, without substance. It looks not like a wall, but like a white projection screen. The paintings on it, as a result, begin to feel like projected images. You are in the placeless, timeless world of the slide lecture. Because the wall doesn't feel real, neither does the artwork. You begin to feel unreal yourself. Architecture has failed to create a place that either the paintings or you yourself can inhabit with a sense of presence.

MoMA argues that it was trying to avoid creating a destination building, like Frank Gehry's Bilbao, the kind of building that can upstage its contents. "It's all about the art," one curator told me. But this is a false dichotomy. The choice is not between no architecture and too much architecture. What's wanted is the right amount of architecture. Many museums—to cite a few, the Kimbell and Mellon by Kahn, the Maeght and Miro by Sert, the De Menil, Beyeler and Nasher by Piano, the Bregenz by Zumthor, the Pulitzer by Ando, the Dia:Beacon by Robert Irwin and OpenOffice—all find ways to articulate space clearly enough to give the artworks a place within which to exist.


Deyan Sudjic

 

Deyan Sudjic lives in an elegant Victorian house on the fringes of Regent's Park. In contrast to the opulence of the neighborhood, the room where we talk is rigorously stripped of detail, with austere white walls and a vast bleached wood table—not a book in sight. "Truth is," says Sudjic, " I'm between books right now." His latest, The Edifice Complex (just out in the U.S.) has, perhaps understandably, drained his formidable energies. The book, subtitled How the Rich and Powerful Shape the World, is a visceral, uncompromising analysis of the 21st century uber-architect, whom Sudjic criticizes as venal, opportunistic, only too eager to deal with tyrants.

This critical stance is characteristic of Sudjic, who co-founded Blueprint in the mid-1980s precisely to provide an alternative perspective on the profession. Sudjic also made time to write books, including the highly acclaimed 100-Mile City (Harvest/HBJ Books, 1992), a scholarly assessment of late-20th century urbanism. A supreme networker, Sudjic was named editor of Domus in 2000. His stewardship of the Milan-based magazine transformed it into a truly international forum for architecture, art, and design, which in turn made him an obvious choice to direct the 2002 Venice Architecture Biennale. He has also curated London exhibitions at the British Museum, the Royal Academy, and the Institute of Contemporary Arts. He is currently architecture critic for The Observer, the Sunday edition of the daily newspaper The Guardian.

How did you come to write about architecture?
My father was a journalist and my mother was hell-bent I shouldn't follow in his footsteps. I guess that's why I chose to study architecture in the first place but once at university I was forced to realize the dramatic limitations of my skills—not least during my year out in the Chelsea offices of Chamberlain Powell & Bon, architects of the Barbican complex in East London. I was also editing the student newspaper; Gordon Brown, UK Chancellor and Tony Blair's right hand man, was news editor at the time! Given a dearth of architecture work—this was the early 1980s—I reckoned that writing was, despite my mother's dire warnings, the way forward for me. Peter Murray, then editor of Building Design, gave me my first break. After a year I realized I was having a fantastic time. I certainly learned a great deal more about architecture as a writer than I had done studying it.

It wasn't long before you started Blueprint. What prompted you to do it? Did you feel architecture in the UK was too polite or clubby?

Blueprint was meant to be a bit of fun, a youthful sense that the existing UK magazines were run by managers with only a limited sense of what a magazine could be. It was meant to be a co-op, run collectively. We—the writers, designers, photographers and illustrators who got together to do it—all wanted a new, challenging outlet. I was also keen to broaden architecture's perspective, to make it a part of a wider visual culture, I guess influenced by Domus which dealt with art, industrial design, fashion, graphics, and urbanism.

Of course we were clubby too, but every generation succeeds by trashing their predecessors, so we just started another club. Encouraging good writing was also important.

Can you pinpoint key priorities you bring to your work as a critic?

If you are not entertaining, people will not read you. But that does not mean that you should be shallow. I think that you have a duty to be interesting, and interested, to use your eyes as well as your head. It's also important not to take architecture at face value. I would also rather not accept financial support from owners or architects to travel to see projects, but in the currrent climate of reduced budgets at newspapers and ever-more-far-flung projects it's hard to avoid it if you are going to keep up with the key buildings. Of course seeing them gives you a strange world view: Nobody else, not even the architects themselves, see Herzog & De Meuron in California one week, Daniel Libeskind in Tel Aviv the next, Norman Foster in Beijing the month after, followed by Rem Koolhaas in Porto.

What was the climate of criticism when you started out and how has it changed?

There were great people: Reyner Banham was a marvelous inspiration, in his style, and his range of subject matter, and I wanted to be able to write like that. I wanted to ensure that architecture could get into mainstream newspapers, and that meant having a direct approach—approaching the subject not from the preconceptions of architects or taking the work at face value.

You write today for both the general and specialized reader. How difficult is it to switch tone, frame of reference, et cetera? Do you feel a sense of responsibility to educate your lay audience?

The word "educate" really sets my teeth on edge when applied to journalism. You operate by seducing and surprising your audience into reading you. That means being as stylish a writer as you can, and trying to make sense of complex things in as direct a way as you can. I have not only written for specialists and a lay audience, but I have simultaneously been an editor and a writer—useful in terms of acquiring a sense of perspective.

Have you ever regretted a piece you've written?

I certainly regretted some headlines. By far the worst was for my obituary of Philip Johnson for which some bright spark came up with "A Nazi Piece of Work." There's no going back from that one!

Can you identify key differences between criticism in the UK and that of the U.S., or Italy, where you worked?

These are three very different cultures. Doing Domus I was acutely aware how different the Anglo-Saxon discussion was from the Italian—I could never be sure if it was the quality of the translation, or the sometimes maddening diffusion of the Italian language. Sometimes Anglo-Saxon directness translated into Italian offended people. I remember Mario Botta complaining to the magazine's owner that I had hired a gang of English mercenaries to disparage him. I suspect that Americans think that the British are a bit limited. We do not have the same intellectual rigor. In the newspapers, the U.S. gives its critics more space—2,000 words is common in The New York Times, whereas 800 is a standard length here. Personally I prefer not to write a detailed architectural description, I tend to talk about what a project means, rather than how it looks.

In a recent interview, Neil MacGregor, director of the British Museum, suggested that the basic principles of a museum should celebrate John Locke's civic humanism. Can you point to leading architects whom you feel champion the notion of civic humanism?

I believe great cities are the product of an exchange of ideas. What I fear most is no conversation, no discussion. Don't get me wrong, I'm not against shift-making buildings, but let's not just grab the next tower off the shelf, dust it off, and build it. There are inspired architects, great architects who want to engage in real ideas. The key thing is to create a forum where that's possible and it's the role of the critic to build that debate.

Do you believe that criticism has a direct effect on the evolution of architecture? Is there, or should there be, a tangible link?

No. As Charles Jencks says, critics are the messenger boys.

Robert Torday is associate director of ING Media, London, and contributes to Architects' Journal and ICON magazine.


From "Landmarks of Hope and Glory"
The Observer
October 26, 2003
Deyan Sudjic

Last week the East of England Development Agency launched what it described, with Pooterish grandiloquence, as an international competition to find a visionary plan for a landmark, or series of landmarks. The agency says it is looking for an icon that will foster a sense of identity for the region as a whole—to underscore its message that the East of England, is a region of ideas. All that was missing from its litany of threadbare received wisdom was a passing reference to its world-class ambitions.

No site has been specified, nor has the development agency committed any money to the project, which hardly inspires confidence, but Yasmin Shariff, an architect who is also a board member claims that this piece of wishful thinking is a fantastic opportunity for us to come together as a region and decide how to present ourselves to the rest of the world.

It's not hard to imagine what an Angel of the East might look like, or for that matter, a Lincoln opera house, faced with titanium fish scales, designed by Frank Gehry as a free-form blob, or an eccentrically exhibitionistic Santiago Calatrava footbridge across the Cam as being the sort of structure that the agency is after. Competitions such as this have become ubiquitous, leading all but inevitably to the kind of architecture that looks best reduced to a logo on a letterhead or to the confined spaces of one of those Eiffel-Tower-in-a snow-storm paperweights. It claims to be about inspiration but ends only in the obvious. The search for the architectural icon has become the ubiquitous theme of contemporary design.

Leaving aside the wounding possibility that the rest of the world is likely to remain just as indifferent to the fate of the Fens and Humberside, however they choose to present themselves, as it has ever since the collapse of the wool trade in the Middle Ages, the agency has a fight on its hands. If it is to stand out from an endless procession of decaying industrial backwaters, rural slums, and development areas that are equally star-struck, equally determined to build the icon that will bring the world beating a path to its door, then it must come up with something really attention-grabbing.

This is the way to an architecture of diminishing returns in which every sensational new building must attempt to eclipse the last one. It leads to a kind of hyperinflation, the architectural equivalent of the Weimar Republic's debauching of its currency. Everybody wants an icon now. They want an architect to do for them what Gehry's Guggenheim did for Bilbao, Jorn Utzon's Opera House did for Sydney, and Piers Gough's green-tiled public lavatory did for the Portobello Road.

Current Criticism

Fewer than 45 of the approximately 140 newspapers in the United States, with a daily circulation over 75,000 have architecture critics, according to a 2001 survey by the National Arts Journalism Program (NAJP) at Columbia University and only a third of them pursue architecture criticism full-time. Amazingly, cities like Houston, Detroit, and Las Vegassplaces that have undergone huge building booms in recent yearsslack a regular architecture voice. Of the papers that do have critics, half feature fewer than two dozen stories a year; that's less than one every two weeks. And while architecture implicates not just aesthetics and culture but so much elseepolitical economy, ecology, social welfareethese stories are normally relegated to Arts, Style, or Home sections. Thus, as the NAJP study concludes, major buildings and developments routinely go up with no public discourse on their practical or aesthetic meritssthe most public of art forms receives the least amount of arts coverage.. (The study was overseen by Andrrs Szzntt, director of the now defunct NAJP.)

If this state of affairs is lamentable, it's necessary to acknowledge that architecture journalism for the mass public has long been a rarity in this country, with notable exceptions like Montgomery Schuyler at the New York World in the late 19th century and Lewis Mumford at The New Yorker during the middle decades of the twentieth. It was Ada Louise Huxtable, beginning her tenure at The New York Times in 1963 amid that decade's urban upheavals and preservation battles, who coalesced a wide audience for engaged and outspoken architectural criticism. Today, while the issues affecting the built environment are no less contentious or ripe for debate, architecture criticism in its various local venues inevitably finds itself inflected, and distracted, by a far more advanced and globalized culture industry.

The following brief survey of four contemporary critics at high-profile American newspapers is based largely on a reading of articles published over the last year:

Robert Campbell has been architecture critic at the Boston Globe since 1974. Trained as an architectthe received his MArch from Harvard's GSD in 19677Campbell, now 68, garnered the third architecture Pulitzer (after Huxtable and Paul Goldberger) in 1996 for his knowledgeable writing on architecture.. His short-ish articles are conversational, descriptive, and well-mannered. He complains about conservative Bostonn while at the same time betraying a constitutional mistrust of avant-garde pizzazzz; his taste runs to plain old-fashioned modernism.. This doesn't prevent him from acknowledging that Steven Holl's new Simmons dormitory at MIT, if perhaps too inventive,, is daring and beautiful; he likewise reserves final judgment on Gehry's Stata Center, which, despite appearances of being a big, arbitrary sculpture,, reflects serious thinking about how people live and work.. He frequently covers significant events outside Boston, but writes most often and generously about lesser-known architects at home. His interest in architecture as a register of urban and social history is reflected in a regular city sceness feature for the Sunday magazine section on which he collaborates with photographer Peter Vanderwarker.

Blair Kamin is strongly civic-minded and devoted to nurturing architecture culture in his home city. A self-proclaimed activist critic,, he uses the platform he has held at the Chicago Tribune since 1992 not as a bully pulpit so much as a lectern from which to educate the public and to prod architects and municipal officials in socially constructive directions. A graduate of Yale's Master's of Environmental Design program and, like Campbell, a Pulitzer Prize winner (in 1999), the 48-year-old critic has collected his articles of the last decade in a book, Why Architecture Matters: Lessons from Chicago (University of Chicago Press, 2001), that reflects his broad-based but Chicago-centric concerns. Didactic, thoughtful, and judicious, he is given to relative judgments and careful distinctions. Less concerned with architectural form-making as such than its impact on people, he dwells on how skyscrapers meet the ground, the livability of tall buildings, the urban vibrancy produced by the clash of styles in Chicago's downtown. At the same time, in a city dominated during the 1990s by its mayor's retro tastes in civic improvement, he often finds himself arguing for contemporary aesthetics. But the shoddy detailing at IIT's Campus Center irks him, notwithstanding the brilliance of Rem Koolhaas' conception.

Nicolai Ouroussoff is younger than Kamin, at 43. Educated at Columbia's architecture school, he was anointed Herbert Muschamp's successor at The New York Times in the summer of 2004. Muschamp's departure was accompanied by demands for a less star-obsessed, more ecumenical replacement. Ouroussoff was quickly presumed to be in the same mold as his predecessor, however, albeit not as self-involved or flamboyant. Indeed, one of Ouroussoff's debut articles, entitled The New New York Skyline,, applauding a trio of luxury towers by Richard Meier, Santiago Calatrava, and Frank Gehry, picked up seamlessly, jumping on Muschamp's favorite hobbyhorse: Manhattan's skyline was once a monument to the relentless forces of modernity, but for decades now the city's reputation as a center of architectural experimentation has been losing ground to London, Barcelona, Beijing, and Shanghaii? Similarly Muschampian was a shrill attack on MoMA's architectural leadership and, in a tribute to Philip Johnson, a description of the Four Seasons as one of the sexiest rooms in the city, with beaded steel curtains that conjure up a woman's slipp?an embarrassing echo of Herbert's evocation of the Guggenheim Bilbao in terms of Marilyn Monroe's skirts. If Koolhaas for years dominated Muschamp's fevered imagination, Ouroussoff's admiration for Gehry and Thom Mayne has likewise already occasioned a lot of New York newsprint. Nor have international celebrities like Herzog & de Meuron and Coop Himmelb(l)au escaped his appreciative attention as, befitting a paper that sees its beat as the whole world, Ouroussoff has begun to file from offshore datelines. At the same time, a string of recent pieces reflecting a firsthand look at New Orleans, and more generally on preservation and urban revitalization issues from Cairo to Columbus Circle and Ground Zero, are evidence of his willingness to take on challenging issues beyond aesthetics.

Christopher Hawthorne, the youngest of the four critics at 35, was appointed to his post at the Los Angeles Times after Ouroussoff's elevation to New York. A graduate of Yale architecture school, he was previously architecture critic a Slate.com. Hawthorne writes lucidly and forcefully, appreciates the complexities of urban planning and the pragmatics of building construction, and doesn't hesitate to tackle intractable issues like the politics of sprawl. He is interested in the back story, and not afraid to state his opinion, even if it's unlikely to win friends. He reserves a certain irony with respect to high-wattagee architecture, as he calls ittnot that he's hostile to it, just streetwise enough not to swallow it whole. Hawthorne effortlessly combines smart visual commentary with informed historical contextualization. It's hard to say whether his greater-depth approach is sufficiently accessible to the general readership. I'm impressed, though, and look forward to following his writing more closely.

It is hardly surprising that in each case the critic reflects the newspaper and city in which he writes. It is also the case that, while all four write professionally, fluently, and at times with passion and verve, none approaches the commanding intellect and culture of, say, a Mumford, or the witty acuity of a Reyner Banham. Huxtable, in her classic Will They Ever Finish Bruckner Boulevard?? period, used her podium to galvanize a broad base of support for urban improvement, as Jane Jacobs did during the same epoch with her blockbuster Death and Life of Great American Cities. More recently, Muschamp, for all his excesses, was able to grab the public imagination with a maverick style that interspersed flashes of genuine insight and originality. In a more political vein, sharp critics like Mike Davis and Michael Sorkin, contributing to publications like The Nation and the old Village Voice, have attracted loyal adherents, although it's difficult to imagine either of them writing for a mainstream newspaper.

The architecture critic at the general-interest publication has the obligation to write for both a specialist and nonspecialist audience, walk a fine line between advocacy and partisanship, and do more than register new trends. Writing without benefit of historical retrospectionnmost of the time before the project has ceased to be a construction site or computer renderingghe or she has the job of exposing the conditions in which architecture is produced and consumed; to paraphrase Manfredo Tafuri, it's a matter of going backstage rather than continuing to observe the spectacle from a seat in the audience. Beyond this, it helps to love architecture and cities, and to write with a deep knowledge of history, a strong commitment to the public and environmental good, a precise understanding of how buildings are constructed, and (not least) a discerning eye.
Joan Ockman, an architectural historian, teaches at Columbia University and is the director of the Temple Hoyne Buell Center for the Study of American Architecture.

 

Marisa Bartolucci reads the trades and special-interest magazines,
and sympathizes with architects who say they don't.

This era of kaleidoscopic change shouts out for sagacious critics. We need them to parse the shifting scene and discern imaginative and ethical arcrhitectural esponses. Yet the critical offerings in general interest magazines and the architectural trades are scant. Why some choose to feature criticism, and others don't is bafflinggand depressing. With so much development going on in the city, how can New York magazine be without a critic?

Of what's available, according to this writer's informal poll, little of it is read by architects. Why? Insipid and irrelevant is a common claim. Maybe that's why not long ago a readers' survey at Architecture magazine revealed that its most widely read sections were the editorial and protest pagessthe only places serving up opinion on topical matters.

After perusing an admittedly haphazard sampling of criticism in trade and other special-interest media (i.e., literary, shelter, or weekly publications), I contend there is work out there that's penetrating in analysis, even pertinent to private practice, although little is exhilarating in vision.

Alas, there's no Lewis Mumford on the horizon. (And that may be the fault of magazine editorssgood critics need nurturing.) The Skyline column in The New Yorker long served as the podium for that great thinker. From its heights, he championed Frank Lloyd Wright when others declared him dated; warned against technology dominating human purpose; and railed against the mediocrity of the design for the United Nations Headquarters. (How little things change.)

Today a critic dubbed the great equivocatorr occupies that podium. Although he wields great power, Paul Goldberger seldom strays from consensus views. On occasion, when he does advocate, people listen. A recent article urging that the present plan for Ground Zero be dumped in favor of incorporating cutting-edge residential architecture may have helped galvanize Mayor Michael R. Bloomberg to make noises about wresting control of the project.

But if we are not to find challenging architectural criticism in The New Yorker, where else can we look? To the online opinionmaker Slate.com? There, the professorial Witold Rybczynski regularly teaches Beltway readers how to evaluate buildings and understand the forces that shape them. His brief essays range from book reviews to project critiques. An article on why architect-designed emergency housing seldom works was right on the money. But his taste is stale: He applauded David Child's latest version of the Freedom Tower as the best yet.

Until recently, Martin Filler held forth at The New Republic. Why he has absented that post is a mystery and a loss. He is a terrific critic. Flinty principle sparks his writing, which is subtle, but mordant. He insists that great architecture encompasses more than aesthetics. He doesn't shirk from attacking big names.

If the decision makers at Ground Zero had read his review of Daniel Libeskind's Jewish Museum they might not have mistaken schmaltz for architecture. In a prescient line about the museum, Filler summed up all that would be wrong with Libeskind's Freedom Tower plan: There is such a thing as architecture being too artful for its avowed function, and the Jewish Museum in Berlin is a fine illustration of that conundrum..

While at The New Republic, Filler tackled the usual celebrity suspectssprobably the only ones his Washington-focused editors considered worthy. Every so often, for The New York Review of Books, he contributes long, probing essays on subjects like the rebuilding of Berlin or the rebuilding of Ground Zero. These pieces allow him to show off his ample erudition and his fine eye. Architects, take a subscription.

Meanwhile, in his bimonthly column for shelter magazine House & Garden, his choice of subjects has been eclectic, ranging from a celebration of the planned community of Radburn, New Jersey, to a trenchant critique of Yoshio Taniguichi's Museum of Modern Art. The big new MoMA amounts to little, architecturally,, he writes. It is no small irony that the museum that codified the International Style and thus exerted a profound influence on 20th-century architecture again finds itself in a building markedly less distinguished than the unequaled modern treasures it contains..

Filler's unflinching assessment is noteworthy in light of the vacillating judgments of his peers. In Architectural Record, Suzanne Stephens intrepidly enumerated the $450 million building's numerous flaws, but in the end, still heaped on the praise: It's what the Modern always wanted to be.. Is it any wonder why practitioners don't read these journals? Reportedly, even Taniguchi is disappointed.

At this architecture tabloid, Julie Iovine brings bracing realism to her new Crit column. Last July, she took a detached look at the sudden wave of wildly ambitious urban development schemes being proposed for the city and their suspiciously enthusiastic civic and critical embrace. If such clear-thinking, straight-talking works are what's ahead, this column may become a must-read.

But few publications provide the gritty evaluations of what works and what doesn'ttthe information architects crave because it relates to their practices. This should be a service of the trades, as important as their reporting on the latest developments in materials and building science. Instead, they focus only on presenting glossy images of flashy, big-name projects. These are carefully described, but only superficially assessed. Rushing to publish as soon as the last nail is hammered, as if buildings were the latest Paris fashions, leaves little time to gather reports on how a building functions. Without such information how can true judgments be made of an architect's achievements, both aesthetic and technical?

Architectural Record's regular Critique column features alternating essays by Robert Campbell and Michael Sorkin, which ruminate more than provoke. But sometimes sparks do fly. Last April, Campbell carped about the notion of architecture as symbol. Two issues later, Sorkin ambushed him. It wasn't sporting, but in a series of dazzlingly erudite thrusts and parries, he shredded Campbell's argument.

Face-offs like these energize everyone's critical thinking. Last June, The Prospect, a British monthly, published a series of letters between Deyan Sudjic and Charles Jencks debating, coincidentally, the merits of iconic architecture. Following the divergence and convergence of their views on subjects ranging from aesthetics to professional ethics was fascinating.

The most brilliant critic on our shores may be Sorkin. His essays can take you on a thrill ride through learned discourse, lefty idealism, pop culture, and occasionally, Jewish shtick. Why he never won a Pulitzer when he was at the Village Voice is a scandal. (Huxtable, Temko, Goldberger, Campbell, and Kamin all have them.) Sorkin may be a smarty pants, but he is fearless. He skewered Philip Johnson when he was architecture's minence grise. (Most critics waited until after his death to bury him.) A year ago, Sorkin called Frank Gehry on the moral incongruity of designing a satellite to the Los Angeles Museum of Tolerance in Jerusalemma city with little tolerance for its own Palestinian citizens and neighbors. Eminence has its responsibility,, he observed, which extends beyond the realm of professional practice.. An intrepid thinker, a joker, a scholar, a moral iconoclast, Sorkin represents what every young architecture critic should aspire to be.

Certainly, he is a model for Philip Nobel, who has enlivened the pages of Metropolis for the past few years. Nobel sure writes well. Like adolescent love letters, Nobel's columns can ache with emotion. And that's not a bad thing. He makes you believe great buildings matter. But the trouble with adolescents, who like Nobel swing between idealism and cynicism, is they're self-absorbed. No matter what Nobel writes about, it always comes back to him. At times he verges on slipping into Muschampian territory, which can lead, as we all know, to critical oblivion.

Architecture needs smart, brave voices. Nobel's got one. If he can concentrate on substance, he might make more architects into readers. And just maybe improve the profession.
Marisa Bartolucci lives in New York and writes about design.

 

Vittorio Gregotti ruminates on criticism in Italy, the epicenter of
architectural publishing, and asserts its inextricable link to history.

The state of architectural criticism in Italyyand probably in much of Europeeis rooted in a theoretical attitude that belongs to the tradition of architectural history. The members of this tradition include the critics and historians of my generation, whose most important representative was Manfredo Tafuri, who was a follower of Giulio Carlo Argan, a Marxist and one-time mayor of Rome, and the most important critic and historian of modern architecture between 1930 and 1960. Two other important critics of the 20th century, albeit ones coming from a different and opposing point of view, are Leonardo Benevolo and Bruno Zevi, who despite their scholarship, were inclined to write occasionally for non-specialized public- ations, such as daily newspapers and weekly magazines. A special position within this generation was occupied, too, by Ernesto Nathan Rogers, known for his accomplishments as an architect, editor of Domus, and Casabella, and cultural polemicist.

In Italy, architecture critics, in the strict sense of the term (thus excluding historians and university professors of history), operate in a relatively narrow field because the mass media are not interested in the specific problems of architecture as a practice and culture. Only two daily newspapers in Italy express an ongoing critical interest in architecture: the economics newspaper Il Sole 24 Ore and the general interest La Repubblica. Fulvio Irace writes for the former, while I myself have been contributing to the latter for about 10 years. Of the general-interest weekly magazines, only L'Espresso publishes a regular column dedicated to architecture, which was written for many years written by Bruno Zevi and has been written by architect Massimiliano Fuksas since 2000. Printed articles in other daily newspapers and weekly magazines are both rare and infrequent. Italian television offers few opportunities to speak about architecture; when it does, it is usually in relationship to exceptional exhibitions or events, and done in a very general and superficial manner. When mainstream media does look at architecture, it is to gawk at technical marvels, scandalous episodes of building speculation, and sometimes sociological issues, for example, concerning housing. In recent years, the aesthetic novelties proposed by architects have also generated interest, with special focus on bizarre elements, justified by a generic idea of creativity. Such coverage tends to make architecture resemble objects of mass consumption and entertainment.

Italy naturally boasts a vast range of specialized architectural magazines: Area, the newest and most luxurious publication, is solidly focused on architectural construction; Architettura, cronaca e storia, founded by Bruno Zevi, is now decisively on the wane; Parametro and Abitare, suspended somewhere between interior design and architecture; and Rassegna, which has recently returned with a more aesthetic and technological focus. Op. Cit is a small magazine full of critical reflections that is published in Naples. Lotus occupies a special position because of its thematic format and its attitude towards confronting various issues on a more theoretical level. Giornale dell'Architettura, directed by Carlo Olmo and published every 15 days, appears to be more innovative and aimed at uniting the criticism, discipline, and politics of architecture.

Italy can boast no relevant publications by any architecture school, despite the exorbitant number of studentssroughly 60,0000which is far out of proportion to the actual demand for architects in the country. There are more fashion, furniture, and design magazines that cover the middle ground shared by architects' activities and the problems of architecture.

The saddest story affects the country's two most important architectural magazines, which were once so influential. On the one hand, Casabella (which I myself edited from 1982 to 1996) has lost its traditional critical influence and position in the debate about architecture. On the other, Domus has assumed a conventional and modish take on architecture as fashion. Domus has opened itself to the strong influences of the visual arts or those who wish to substitute buildings with events,, influenced by Koolhaasian sociology of spontaneity.

If we exclude the publications that deal strictly with the history of architecture, even the history of modernist architecture, the architectural essays typically produced in Italy can be divided into two major types: monographs on currently practicing architects (Italian and non) and specifically critical essays. While the specimens in former group are over-abundant, even in the rhetoric of their editorial presentation, examples of the latter are quite rare and tend to receive much less attention. A third type of publication is the architecture exhibition catalogue. In this category, particular importance is helddin my opinion, entirely negativeeby the architectural exhibitions of the Venice Biennale, the Triennale di Milano, or other elaborate, event-like productions, such the 2004 Arte e Architettura exhibition organized in Genoa by Germano Celant, who contributed to confusing architecture and the visual arts, attempting to reduce the first to the second.

Naturally, plenty of writers are producing treatises about fashionable topics, such as computer-generated design, the politics of urban planning, ecology, or general aesthetic trends. These theoretical philosophies are, in general, hurried deductions and poorly interpreted.

The debate between ancient and modern is particularly relevant in the Italian historical-geographical context. It is contested on the one hand by the globalist and anti-contextual ideology that tends to make any work of architecture an enlarged design object, and on the other by institutions that tend to concentrate debate on single, monumental examples rather than dealing with the design of the urban environment or the landscape as an essential part of the actual construction of architecture. In this arena, Salvatore Settis is undoubtedly one of the most seriously involved figures operating at the critical level. The professor at the Scuola Normale Superiore in Pisa and former director of the Getty Research Institute for the History of Art writes for diverse publications, including Il Sole 24 Ore.

Practicing architects write very little, unless it is for reasons of self-justification. If I had to name two writers who are dealing intelligently with theoretically-based issues, I would limit myself to mentioning Bernardo Secchi, who teaches urban planning at the University Institute of Architecture of Venice, for his investigations into urban and territorial issues related to the city and the landscape; and architect Franco Purini for issues dealing with the logic ofarchitectural morphology.

In any case, Italian architecture currently lives a general crisis of uncertainty. It is totally dependent on the ideologies of the global market, marginally concerned with technique and science, and hiding behind the neo-avant-gardism of the diffused aesthetic of consumerism. As a result, critical voices who understand architecture as capable of serving as the foundation for a civil society have become increasingly rare.
Architect, city planner, and author, Vittorio Gregotti is the principal of Gregotti Associati. He contributes the regular architecture criticism column to La Repubblica.

Because the entitlements of loss and grief are the third rail of the [WTC] rebuilding effort, no one has challenged the subversion of the aims and intent of the plan. The parts that speak of hope and the future have not been able to survive the pressure for a single-minded commitment to the tragic past ... No one has had the courage, or conviction, to demand that the arts be restored to their proper place as one of the city's greatest strengths and a source of its spiritual continuity. We have lost what we hoped to gainna creative rebirth downtown. At Ground Zero, what should be first is last. An affirmation of life is being reduced to a culture of death.
Ada Louise Huxtable, Wall Street Journal, April 20, 2005

 

 

 

 

Rem Koolhaassnow the most overexposed architect since Frank Gehry, is likely to be the token avant-garde contestant. He has already declared his interestt?I seem to be one of the few architects who liked enormously the World Trade Centerr? Self-serving though that tribute to Minoru Yamaski's behemoths may sound, Koolhaas has indeed always indulged a perverse weakness for Nelson Rockefeller's most bombastic architectural boondoggles, particularly those designed by his court architect Wallace K. Harrison, to whose chilly 1950s-style urbanism he paid homage in his retrograde master plan for the French city of Lille.
Martin Filler, The New Republic, September 6, 2002

 

 

 

How skyscrapers meet the ground is as important as how they scrape the sky. It is not encouraging that Calatrava's tower will emerge from a tiered, four-story podium like a stripper popping out of a cake. That is a crude way to bring a skyscraper to the street. It makes this tower resemble a piece of sculpture on a pedestal, fit for an on-the-make, look-at-me Persian Gulf boomtown like Dubai. But this is Chicago, where we don't need to put ourselves on the map. We need great architectureeand the thoughtful civic debate that is essential to creating it.
Blair Kamin, Chicago Tribune, July 27, 2005

 

 

 

We have high expectations of our best artists because their work and words carry special weight. It is not possible to build this project [Museum of Tolerance in Jerusalem] without an opinion on larger issuessreal issues of toleranceein the region. What is Gehry's? This is not a question of the use of titanium versus Jerusalem stone. It is one of justice.
Michael Sorkin, Architectural Record, June 2004

 

 

 

What twins [Marilyn Monroe] and the [Guggenheim Bilbao] in my memory is that both of them stand for an American style of freedom. That style is voluptuous, emotional, intuitive, and exhibitionist. It is mobile, fluid, material, mercurial, fearless, radiant and as fragile as a newborn child. It can't resist doing a dance with all the voices that say ''No.'' It wants to take up a lot of space. And when the impulse strikes, it likes to let its dress fly up in the air.
Herbert Muschamp, The New York Times, September 7, 1997

 

 

 

If the very idea that has, arguably more than any other, helped define Southern California for a century has been rendered obsolete, what does that mean for the region's vision of itself? Will density spell the end of the unique relationship between Angelenos and their houses? Will residential architecture simply fade as a factor in defining the city in the coming century? The great challenge for the city's residential architects over the next couple decades will be making the old model of affordable charisma fresh and relevant again for a post-sprawl (or even a post-post-sprawl) Los Angeles.
Christopher Hawthorne, Los Angeles Times,
July 7, 2005

 

 

 

Even at this early stage, the [planned East River] esplanade is one of the few current projects to give voice to a young generation of architects intent on redefining our vision of the contemporary metropolis. Along with the High Lineewhich transforms a section of gritty elevated tracks in downtown into a public gardennit represents a clear and much-needed break from the quaint Jane Jacobssinspired vision of New York that is threatening to transform Manhattan into a theme park version of itself, a place virtually devoid of urban tension. It proves that there are still some in the city who are culturally daring, even if their numbers at times seem to be dwindling.
Nicolai Ouroussoff, The New York Times,
June 28, 2005

 

 

 

Lincoln Center has sometimes seemed less the vibrant source of the neighborhood's energy than the empty hole in the middle of the doughnut. Often there is more buzz on the sidewalk in front of the multiplex theater a couple of blocks north, or amid the parade of mall-like retail stores that now line Broadway, than there is at Lincoln CenterrLincoln Center needs, desperately, a shot of adrenalinee
Paul Goldberger, The New Yorker, July 7, 2003

Jane’s Jeremiad

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Still Radical

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