Clever House (1962) by Louis Kahn and Anne Tyng. Photo by Chris Mottalini.

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.

Illustration by Alyssa Nassner.

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.

Illustration by Franziska Barczyk.

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.”

Dieter Rams c. 1970. Photo by Abisag Tüllman. Courtesy Gary Hustwit / Film First.

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.”

Artwork by Mike Perry.

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’.

Photo by Simon Luethi/Ford Foundation.

When the Ford Foundation’s 12 stories of mahogany-colored granite, Cor-Ten steel, and transparent glass opened on 42nd Street in 1967, urban observers saw it as a gift.

Designed by Kevin Roche John Dinkeloo Associates with Dan Kiley as landscape architect, the building—comprising offices for the foundation’s several hundred employees, all wrapping a vertical indoor botanical garden—could have been two and a half times larger as of right.

The Ford Foundation didn’t have to open its garden atrium to the public, either. What was considered so benevolent five decades ago, however, doesn’t seem like gift enough in 2018. Good design, quality materials. Public-facing design, quality materials: these remain elements that we praise but, as critics of the time noted, they should be the minimum. For a philanthropic organization like the Ford Foundation, the challenge was to apply those 21st-century values to a monument of the 20th century.

Mr. Rogers visits the Pittsburgh Toy Lending Library, 1986.

On July 30, 1942, then–New York City Mayor Fiorello La Guardia was uptown in Harlem, playing with toys.

“Harlem Gets First Toyery,” announced a Paramount newsreel heralding the opening of the neighborhood’s first toy-lending library, a storefront on West 135th Street stocked with 1,000 playthings and sponsored by a branch of the Domestic Relations Court.

Ida Cash, a city probation officer, had conceived of the “toyery” in the late 1920s upon “contrasting the barren homes she found with the happy lot of her own children.” Philanthropic New York women decided to support the project, likewise concerned that children were being arrested for stealing toys.

By the 1930s, the Heckscher Foundation for Children ran two toyeries where children could play with toys, check them out, and make crafts. Others followed suit. A consensus had formed that, as with playgrounds and book libraries, funds should be set aside for playing with toys. Monkey bars worked their bodies, reading worked their minds, but there was something else, something both physical and mental, that happened when they worked their fingers. Imagination. Socialization. Freedom.

Scholar’s Cloister, Menil Drawing Institute. Photo by Richard Barnes.

When Renzo Piano’s Menil Collection building opened in 1987 critics called it “just perfect.” Johnston Marklee’s Drawing Institute improves on perfection

Is it an insult to say my favorite part of the museum is the trees?

Not in the case of the Menil Collection campus in Houston. The opening of the institution’s latest building—the Menil Drawing Institute, on November 3—was also the occasion for replacing a diseased tree with a 25-year-old live oak, which arrived wrapped like a sculpture and necessitated closing a street.

This particular tree was on an open lawn opposite the Menil Collection building, the two-story Renzo Piano-designed pavilion that opened in 1987 and launched Piano’s career as architect of silvery rectangles with complicated roofs, as later seen in Basel and Chicago and Dallas and New York and Los Angeles. The first is the best—and was for many, including me, a revelation of how a museum could be.