As Christopher Hawthorne moves on from the Los Angeles Times and as new forms of criticism proliferate, we asked the architecture community what the role of the critic is today, and what it might be missing. What do you see as the role of the critic in architecture today? Why is it important? What aspects of architecture are not being addressed today by critics? What are the problems with criticism today? Here are the responses we received from those who felt that architecture criticism is inherently political and should be approached as such, from across the country and abroad. How can women and people of color be included in the conversation when the field has typically buried their voices? This article was originally published in our May print issue, and was preceded by a selection of answers from architecture critics themselves and those who thought that the internet has fundamentally changed the field. Nolan Boomer Arts critic and editor of Take Shape. “At the core of architectural criticism is the realization that setting is not the backdrop of humankind’s story, but actually a character that shapes its plot...some of the best criticism appears in other genres like fiction and poetry, but it often isn’t considered as such.” Alice Twemlow Head of Design Curating and Writing Masters at Design Academy Eindhoven and professor of design at The Royal Academy of Art, The Hague. “If you take architecture to be less about individual buildings, and more about the structural, political, and conceptual framing of the shifting relationship between public and private space, (which I do) then the role of the architecture critic merges with that of the social critic and, in that respect, is immensely important. When that framing is thoughtful and brilliant, she should make sure we hear about it; and when the framing is uninformed or unfair, she should also make sure we hear about it. She should remind us of the past, respond to the current situation, and anticipate or lead future moves. She should advocate for the right of every public citizen to access the aesthetic and practical benefits of the built environment whilst being protected from it failings and harmful effects. And if that sounds like hard work, and that it encroaches on the territory of urban planning, social politics, environmental science, ethics, and philosophy, that’s because it is, and it does.” Mitch McEwen Assistant professor at Princeton University School of Architecture and partner of A(n) Office. “Architecture has made so many heroic and visionary claims, and also failed so many people for so long. The architecture critic can sort through these claims and failures and new potentials, both for us and for a wider public.” Mark Foster Gage Principal of Mark Foster Gage Architects and the assistant dean of the Yale School of Architecture. “I think there is an old notion of a critic who tells you if something is good or not. This is outdated and it probably comes from [Gene] Siskel and [Roger] Ebert on television, watching movies—‘thumbs up’ and ‘thumbs down.’ Here the critic is an arbiter of taste. It’s not helpful: it’s about judgment rather than a new opening of discussion. It’s a closure, stopping conversation cold. Once you call a movie bad, why discuss it? I believe a critic is a person that opens people’s eyes as to WHY certain things are notable in various disciplines (or outside of them). A critic should be opening conversations, prompting curiosity, and inciting interest. I also think it is the responsibility of the critic to focus on contemporary work and issues—‘the new’ is always in most need of support and discussion, especially among those who feel intimidated or uncomfortable about it. This is what the critic is supposed to do, make it possible to bring more people into the conversation about any type of work. They are stewards of curiosity and interest, not judges of success or failure.” Enrique Ramirez Writer and architectural historian based in Brooklyn. “This question presumes that criticism is important to the discipline and practice of architecture. To say so is to admit to a certain kind of hubris. Criticism is not needed, for no matter if critics decide to take on the mantle of an investigative magistrate and try to shed light on a particular issue, to watch different actors scurry about once their particular malfeasances become exposed, to say: ‘Aha, Architecture...YOU’VE BEEN CAUGHT’...this is criticizing, but is it criticism? I used to think, ‘Yes, it is.’ It’s not. An architectural critic may tell you, ‘Look at this building ...Modernism is EVIL!’ or ‘Postmodernism is TRITE!’ or ‘Everything coming out of UCLA or Michigan is MAGENTA and CORNFLOWER BLUE!’ Okay, but so what? If that is the mode of engagement that architectural critics prefer, then I want no part of it. As critics, we need to look at colleagues in other fields to see how they advocate for the cultural relevance of their object of inquiry, for this is at the heart of criticism. Architectural criticism seems stuck in a kind [of] mode that conflates ‘criticism’ with ‘criticizing,’ one that privileges the dressing down of a building over everything else. Architecture lives in the world at large, and as critics, we need to state how this is the case.” José Esparza Chong Cuy Associate curator at the Museum of Contemporary Art Chicago. “I believe that an informed public opinion of what needs to be celebrated and denounced is more important than ever. Contemporary life is shaped by so many invisible mechanisms that need to be exposed to the day-to-day eye. There are so many things at play regulated by sociopolitical, economic, and environmental factors in the spaces we inhabit that we need to have thought out critical positions to be able to act accordingly, both socially and professionally. Having a better understanding of these invisible mechanisms could potentially open new ways of operating. Moreover, I believe that all critical mediums should make an attempt to cover rural environments. It is clear that city-living is not the only option, but critics should make an effort to cover stories about rural life and the rural landscapes to connect the practice or architecture to these settings as well. We tend to forget how interconnected the rural and urban contexts are, and the critic should use its platform to inform how one setting feeds off the other and vice versa.” Bika Rebek Founding principal of Some Place, and an adjunct assistant professor at Columbia GSAPP. “A master of expansive writing reaching all fringes, and perhaps my favorite critic is Karl Kraus. While architecture is just one of his wide-ranging interests, his writing is personal, angry, funny, extremely timely and unconcerned with the consequences. Contemporary architectural criticism would benefit from this fearlessness and sense of humor. With more pointed controversy, critics could attract wider audiences and become part of an age-old dialogue, spinning the web further through the lens of our time.” Jesse LeCavalier Designer, writer, and educator whose work explores the architectural and urban implications of contemporary logistics. He is the author of The Rule of Logistics: Walmart and the Architecture of Fulfillment, assistant professor of architecture at the New Jersey Institute of Technology, and the Daniel Rose Visiting Assistant Professor at the Yale School of Architecture. “Foucault’s appeal to a kind of criticism focused on curiosity, attention, stewardship, and imagination remains, for me, an appealing statement about the potential role of the critic: ‘I can’t help but dream about a kind of criticism that would try not to judge but to bring an oeuvre, a book, a sentence, an idea to life; it would light fires, watch the grass grow, listen to the wind, and catch the sea foam in the breeze and scatter it. It would multiply not judgments but signs of existence; it would summon them, drag them from their sleep. Perhaps it would invent them sometimes—all the better. All the better. Criticism that hands down sentences sends me to sleep; I’d like a criticism of scintillating leaps of the imagination.’ While thoughtful and perceptive engagement with buildings will always be important, I feel like now more than ever we need to develop an expanded understanding the larger forces shaping the built environment, from our own consumer choices to larger policy transformations, their implications, and ways to engage them.” Kate Wagner Creator of McMansion Hell and a graduate student at Johns Hopkins University researching concert hall design in transition from late- to post-modernism. “Architecture is inherently political on its own! While the city is relevant to the building, we should avoid using the city as a crutch.” Fred Scharmen Teaches architecture and urban design at Morgan State University’s School of Architecture and Planning. His first book, Space Settlements, will be out later this year. “I saw a joke on Twitter the other week that said: ‘Every academic discipline has another academic discipline which watches them, occasionally making sarcastic comments.’ For architecture, criticism gets even weirder, because this shadow discipline is supposed to do at least two more other things: it’s meant to be internalized, so architects should be working and self-critiquing at almost the same time; and it’s also supposed to be outward-facing, to explain what’s going on inside the discipline to an external audience. So somehow we’re all meant to be our own worst and best critics, hecklers, and narrators, all at once. This situation is messed up.” Peggy Deamer Professor of architecture at Yale University, an architect practicing in New York, and content coordinator of the Architecture Lobby. “The role of the critic is to inform both the public and the discipline about what aesthetic, economic, cultural, or social value is potentially embedded in that discipline and point out examples that are good or bad in relation to that potential. Critics aren’t identifying the connection between how we in the discipline work—with illegal, economically naive, sexist, and formally myopic protocols—and the poverty of what we are asked to work on (rich peoples second houses; the occasional private institution) and the consequent lack of respect and financial stability.” David Grahame Shane Adjunct professor in the Urban Design program at Columbia GSAPP. “Architectural criticism is not important as there is so little architecture of quality produced today by large firms or clients to consider. Look at Hudson Yards or the World Trade Center, and weep. The profession is BIM-ed and value-engineered to death. Public commissions and competitions that once gave openings to critics and young firms have disappeared along with small bookstores and magazines. Chat rooms and the academy remain as hermetic critical fortresses with their own private codes and handshakes. Sadly public intellectuals and critics are a disappearing breed, dying off in the new architectural ecology, occasionally spotlighted by museums as avant-garde and remote insights. It’s not a pretty picture, but surely in the future people will regain a sense of shared communities in the city and countryside and a new breed of architectural critics and architectural practice will re-emerge.” Michael Sorkin Architect, author, educator and founding principal of Michael Sorkin Studio. “The critic’s duty is resistance! As the country careens toward full-on fascism, its environment assailed and warfare looming, we must defend the social architectures of civility and not lose ourselves in the artistic weeds. A critic who fails to assail Trump, supports him.” Kelsey Keith Editor-in-Chief of Curbed. “Architecture as a study and as a practice has done a lot to isolate itself. I think that the built environment matters so much because it affects and influences people in the places they live. I speak not as an academic or as a critical theorist, but as someone who genuinely loves all this, wants it to be better, and believes that end is achieved in part via criticism. An architecture critic’s role in society today is to contextualize—whether the point is to educate, or entertain, or satisfy some curiosity: ‘Why are A-frames suddenly so popular again? Why is it important to preserve the work of a rare woman project lead from a midcentury architecture firm?’ Most critics are too busy broadcasting their own well-formed opinions to actually listen to the zeitgeist. Dialogue is important, but so is listening to others—as a knowledge-gathering tool or when their perspectives differ from your own.” Abdalilah Qutub (Abdul Qutub) Co-founder of Socially Condensed Fully-Built Enviromemes. “The role of the architectural critic today goes beyond the immediate issues surrounding a building, but also includes the larger ethical practices and impacts in which the participants in the architectural field might be involved. There are two main themes that are not really being fully addressed today: Workers’ rights issues and the overwhelming whiteness of the field. The dominance of white men now only further keeps alive the whiteness of the field that has been passed on by previous generations. Recent efforts within the #MeToo movement and the allegations that have recently come out against Richard Meier further reveal some of the underlying power structures in the field and how they are being abused. Criticism alone is not going to solve these problems without the provocation of direct action from the architectural and associated fields (strikes, demonstrations, and protests).” Nicholas Korody Co-founder of the experimental architecture practice Adjustments Agency, co-curator of the architecture store domesti.city, and editor-in-chief of the architecture publication Ed. “The role of the critic today is first and foremost to draw attention to the architecture of architecture—that is, the ways in which ‘architecture’ is not a given, but rather something constructed and therefore mutable. Within the discipline and profession, we take for granted that certain things, from exploitative labor practices to rampant sexism and even assault, come with the territory. They do not have to. Alongside this, we accept with little criticality the complicity of architecture with capital, with the end result that not only do we now design only for the select few, we also help fuel the conversion of our cities into playgrounds for speculative finance. This relationship is historically specific, and the role of the critic is to both point this out and to imagine alternatives. Critics today tend toward the myopic. They see a form and not what’s behind it: labor relations, environmental degradation, capital accumulation, displacement of people. Every act of construction has cascading effects far beyond the building site. Critics must contend with this. Broadly speaking, it is a conservative field. Many supposedly liberal or even leftist critics are in fact advocating for a maintenance of the status quo, which is a violent position to take. There are far too few voices demanding truly radical change within the discipline. Criticism is itself a form of practice, a way of imagining possibilities where others see none. Integral to that is looking far beyond the discipline, far beyond buildings. Most importantly, critics must take positions—albeit ones capable of change—and fight for them. Political neutrality does not exist. A good critic loves architecture so much they despise everything about it.” Ana María León Trained as an architect, León is a researcher and architecture historian at the University of Michigan. “Critics link the discipline not only to a broader audience, but also to larger concerns that often escape architecture’s purview. If good histories take a critical view of the past, good critiques are able to historicize the present. Our current political moment urgently needs more critical voices. Critics are still overwhelmingly white, male, and Western. This is not to say that white, male, Western critics are unable to look beyond their own identities, but representation matters, and a diversity of voices tends to insure a diversity of opinions and points of view. I would love it if say, The Architect’s Newspaper reached out to critics in South America, Africa, Asia, and asked them to review events and buildings there for a broader public.” Eva Franch i Gilabert Architect, educator, curator, founder of Office of Architectural Affairs (OOAA), current executive director of the Storefront for Art and Architecture and future director of the Architectural Association. “A critic is the historian of the present, or the present future, or as Reyner Banham’s intellectual biography points out, of the immediate future. To understand the power of architecture, unveil it, and transmit it to a larger audience is the most benevolent image of the critic, but the most seminal and most needed is to allow the field to find positions beyond obsessions; to position design culture in relation to the most important issues affecting contemporary culture and the built environment. Any critic needs to go beyond the cliché, the commonplace assumptions behind good design, and understand radical, powerful designs that are able to produce more equitable societies. A critic that is able to read beyond press releases, instant gratifications, three minute impressions of what should be and help us all imagine what actions, ideas, and form could be. The problems with criticism today are the same as the ones with architecture: it is extremely hard to go beyond client-oriented work, to produce designs that question the status quo and the forces at play. The making and buying of history in the PR age is an issue to be investigated thoroughly. It is extremely hard for editors, critics, and architects to keep a critical distance. While this might not be any different than in times past, at least I think there is now a more transparent understanding of sponsored articles, and the influence and power of certain lobbies. The real difficulty of being a critic is that we do not have editorial structures that support criticism in its full flesh. As in many other fields false criticism, sensationalism, scandalous headlines, ...are more in vogue than rigorous - maybe less sensationalist- forms of criticism. The problem is that bad criticism is more profitable in terms of business models; good criticism needs of idea models, less business models....”
Posts tagged with "Mitch McEwen":
As a part of Detroit's Wasserman Projects exhibition, Desire Bouncing, a panel discussion addressed the future of architecture and art in Detroit. The panel was moderated by Reed Kroloff, principal of Jones Kroloff and former director of Cranbrook Academy of Art and Art Museum. The panel included exhibiting artist Alex Schweder, associate curator at MoMA's Department of Architecture and Design; Sean Anderson, architectural critic; Cynthia Davidson, Venice Biennale U.S. Pavilion co-curator; and Mitch McEwen, assistant professor of Architecture at Taubman College of Architecture and Urban Planning at University of Michigan. Detroit is physically changing. Some of its architectural treasures and thousands more of its abandoned homes have been demolished. But now that Detroit is undergoing the slow process of rebuilding, what kind of architecture will replace it? This and other questions were discussed among an expert panel of architects and critics that gathered last Friday at Wasserman Projects, a gallery and event space in a renovated fire truck maintenance facility in Detroit's Eastern Market. Around 50 guests attended the panel discussion, called "Architecture By Any Means Necessary." Kroloff began by asking the panelists, "What are things architecture can do beyond creating a city environment?" "Structures are receptacles for stories, for meanings," said Alex Schweder, an artist who often combines performance and architecture in his work. "The structures in Washington D.C. are a manifestation of stories we tell about our country." "Buildings can perform things we never thought were possible," said Mitch McEwen, a founding partner at A(n) Office and Principal of McEwen Studio. Her example of Le Corbusier's Carpenter Center in Cambridge, Massachusetts, which changed her conception of architecture, lead to an argument about the interaction between a building and its visitors. Cynthia Davidson described her distaste for Detroit's Renaissance Center, the headquarters of General Motors, often criticized for its confusing walkways and lack of synergy with downtown. "[Designer John] Portman makes you realize how controlling architecture can be," she said. In response to a question about what new architecture in Detroit should do, Schweder advocated architects and city managers give up some control. "Our roles can be collaborative with client and users," he said. "People want voice and agency in the look and use of their city." The discussion took a turn towards political issues and actual implementation of these ideas. Sean Anderson, acknowledged the difficulty Schweder's proposal. "History is often not recognized by developers that come and rebuild cities." During the audience question portion of the panel, someone mentioned that vast areas of Detroit that have no architecture, but "only the ghosts of architecture." He then wondered if this "absence" was worth preserving. "Detroit is a city of single family homes," answered McEwen. She felt that memorializing vacancy was the wrong approach. "I hope the city rebuilds, but with respect for the logic of the single family home." Desire Bouncing will be on show through April 9th at the Wasserman Projects at 3434 Russell Street, #502, Detroit, Michigan 48207. https://www.youtube.com/watch?v=ScgU9lB3Ves
It might have been the first time that the works of Jay-Z, Malice, and Nas were evoked under the great dome of Columbia’s Low Library, but given the trend among young academics to cite rap alongside Socrates, it’s probably won't be the last. That the quotes were used in the panel discussion called “Suburbs, Cities and Crisis,” spoke to a slightly skewed perspective of discussing the suburbs within the confines of Manhattan. The panel discussion was held last Saturday by GSAPP and Temple Hoyne Buell Center to compliment the the Foreclosed exhibit at MoMA. CUNY’s Setha Low was joined by Robert Fishman of University of Michigan, Superfront’s Mitch McEwen, and Newark’s Urban Design Chief Damon Rich. McEwen compared Jay-Z’s “exalted freedom” within housing projects to that of Nas’s lack of hope impressions. Given the content, it might seem safe to believe McEwen was referring to conditions in the inner city, but she pointed out that the “suburb as ghetto” isn’t that far from current reality. She noted Parisian suburbs are experiencing the trend, but so are the Oranges of New Jersey. The show at MoMA responds to demographic and economic trends that were exacerbated by the foreclosure crisis. “Architects are repositioning to undo this violent work that we as architects and planners have undertaken,” said Rich. “The built environment helped create the crisis.” Rich also addressed criticism that Forclosed show was too theoretical. “It takes a theory to makes something happen,” he said. Later when the discussion opened to the floor, the general consensus was that theoretical work done at the architecture school often gets dismissed by the schools of economics, business and international studies—the very audiences architects need to engage. “How do we hitch them so that we do connect reality to theory,” he asked. “If the folks in development told us what research to do we wouldn’t have parametrics,” quipped McEwen. Fishman said that perhaps developers should have paid more attention to work coming out of architecture schools. “The economics didn’t take into consideration that the demographic movement was going back to the core,” he said. He added that the subdivisions promoted sprawl, and while they may have been cheap to build, developers never factored in eventual transportation costs. Quite often when developers do consider design a factor it's not always top notch. He cited advertising for Toll Brothers that trumpet “award winning design” but never tell you what award they won. Low encouraged the theoretical approach provided it kept in mind "the people holding the bag" of the foreclosure crisis. "There's a material reality that ripped us apart," she said.