For Issue 04 of August Journal, I had the opportunity to write about two houses by Louis Kahn, one designed at the beginning of his career and one at the end, one in New Jersey and one just over the border in Pennsylvania. It was delightful to interview their current loving owners. The whole issue is devoted to architecture in New Jersey, and includes work by Thomas Edison, Michael Graves and Eero Saarinen, much of it photographed by Chris Mottalini.
August is a beautiful print publication, edited by my friend Dung Ngo, so the article is not online. Here’s how it begins:
Louis Kahn’s career was relatively short, his mature architectural output sandwiched between 1953 and his death in 1974. But at either end, a masterpiece.
Among the first buildings he completed that we recognize as KAHN was the Trenton Bathhouse, finished in 1957. Four pyramidal roofs touch down atop four solid concrete-block pavilions, one to enter the complex, two for his and hers changing rooms, one to exit to the pool. The open square between the roofs becomes the center not by architecture but default: a community space marked by a square of daylight. The dark roofs serve as beacons in profile, calling visitors in flip flops and bathing suits across the field, while the true entrance is a modest break in the wall, marked by one of Kahn’s abstract murals.
More recent scholarship has revealed we have architect Anne Tyng to thank for those roofs, as well as the play of shelter and light. Tyng, who was one of the first women admitted to the Harvard Graduate School of Design, worked with Kahn from 1945 to 1964. Inside and outside his office, her research and her designs focused on elemental geometry and, often, the space-frame. It was she who brought the triangle to Kahn, topping his earth-planted columns, cylinders and squares with pyramids and tetrahedrons that direct the eye up to the sky. When the Clevers thought of adding another room to their Kahn-designed house in 1972, they went straight to Tyng.
The world may be careening toward environmental calamity and our democracy may be in jeopardy, but fear not, your brave correspondents Mark Lamster and Alexandra Lange are here again, bringing you their annual architecture and design awards for the—yes!—ninth year in a row.
It has been a memorable year for them both, as they are each authors of new and critically acclaimed books, his a biography of that irascible wit (and sometime fascist) Philip Johnson, hers an exploration of how the design of toys, schools, and playgrounds shapes our kids and ourselves. The best holiday gift you could give them is a visit to your local indie bookseller to purchase one or both of these fine titles. And now on to who’s been naughty and nice…
2 LAZY 2 START FROM SCRATCH AWARD
BIG’s Oakland stadium proposal features the apartments and waterfront park from their Manhattan projects, snow-dusted pines from the Rockies, and a gondola worthy of a Disney theme park. There’s got 2B a baseball diamond in there somewhere.
THANK GOD IT’S OVER AWARD
Our long national nightmare of media speculation and mayoral grovelling ends with HQ2 split between New York and Washington.
NO AWARD BECAUSE HE’D CONSIDER IT CLUTTER AWARD
Dieter Rams, whose message of “Less, but better” has never seemed more timely.
As 2018 winds itself to a close (just us, or has it seemed so long?), we’re throwing it back to some of Curbed’s most compelling stories of the year. Here, we’ve got eight powerful additions to Alexandra Lange’s Critical Eye column. One prevalent theme in Lange’s work from this year is that an architecture critic’s job isn’t just about single-building reviews. (Though, if that’s your bag, don’t miss her take on the new Menil in Houston.) We’ve got teen space! We’ve got post-#MeToo architect profiles! We’ve got Black Mirror! We’ve got 1960s-era tram cars in a 630-foot-tall stainless steel arch!
The end of the architect profile, April 19, 2018
In which our critic takes a stand against perpetuating the solo artist myth in architecture writing. Excerpt: “Something, anything, to keep your reader from the truth: that your subject is an abstraction-spouting workaholic with a huge team of people who have drawn, rendered, detailed, supervised, constructed the work in question. The profile lives to serve the simplest possible narrative of architecture: one man, glorious inspiration, a building.”
Why Postmodernism is the palate cleanser we need, February 1, 2018
Our love-to-hate-it relationship with postmodernist architecture may be more important to design progress than we think, and 40 years on, it’s at a preservation inflection point. Excerpt: “Boring architecture is not the endpoint but the banal before the storm.”
“I try only to write about places that I’ve actually experienced … thinking about my own body moving through it as a small and vulnerable person in the city. How it feels, how it works for the regular person, what kind of barriers there are, and just being hyper aware of how design is shaping the experience at a lot of different scales. That’s another kind of training – you train your eye in school, and then your body living in the city and experiencing a lot of different places.”
Read my whole interview with Julia Gamolina for Madame Architect here.
Is it perfect timing or merely perverse to release a documentary promoting the design philosophy “Less, but better” during the holiday season? The opening moments of Gary Hustwit’s “Rams,” about Dieter Rams, is more likely to have you revising your gift list than tossing it out. As the camera pauses on the details of the eighty-six-year-old design legend’s single-story home, built in 1971 in Kronberg, Germany, you may find yourself wondering if you, too, need to buy a wall-mounted stereo (the Audio 2/3, designed by Rams for Braun, in 1962-1963) or a boxy leather swivel chair (the 620 armchair, designed by Rams for Vitsoe, in 1962), or to take up the art of bonsai, which Rams practices in his compact, Japanese-inspired garden.
After this montage, the sound of birds chirping is replaced by the sound of typing, and we see Rams seated in front of the rare object in his home that’s not of his own design: the red Valentine typewriter, designed by Ettore Sottsass and Perry King for Olivetti, in 1968. (Rams doesn’t own a computer.) If you listen to Rams—speaking his native German, with subtitles—rather than just look at the elements of his edited world, you will appreciate how his aesthetic and his ethic align. “Less, but better,” the title of his 1995 book, is, Rams says, “not a constraint, it is an advantage which allows us more space for our real life.”
In 1945, the year of his first collection for Herman Miller, George Nelson and Henry Wright published the seminal book Tomorrow’s House. “As soon as wartime restrictions end, the demand for housing will burst into a great building boom,” wrote the editors of LIFE, which printed a preview of the book. “This happened after the last war. But people did not know what they needed in a house. As a result they got homes which were outmoded before they were built.”
Nelson and Wright wrote with urgency: The window between the end of the war and the production of what would eventually balloon into 13 million new houses was short, and it was up to them to save America from its traditional self. Despite the title, their book was not a catalogue of technological advancement—when they write of climate control and solar heating, their suggestions include attic fans and concrete floors to store daytime warmth.
Tomorrow, to them, was social. Tomorrow, we would acknowledge that modern women work. Tomorrow, we would grant that kids need somewhere to play. Tomorrow, we would think about storage. Tomorrow, we would embrace how we use our homes today, rather than buying the ‘dream house’.