May 23, 2016
I did not attend this year’s AIA convention in Philadelphia, and regret my decision not to do so. First, because I missed the chance to see Denise Scott Brown awarded the Gold Medal. Second, because I love Philadelphia and studied architecture there. Third, because I missed the plenary talks by Neri Oxman and Rem Koolhaas.
I have spilled plenty of ink on the inane ideas of Mr. Koolhaas, and he apparently performed his role as provocateur with typical detached aplomb. Neri Oxman was new to this scene, so I checked out her ideas on the web. She is clearly an intelligent and photogenic new force in design. But there are flaws in her approach.
Oxman is a descendant of D’Arcy Thompson, Bruce Goff, and Bucky Fuller, among many who have advanced the cause of “organic” design. Armed with bio-technology machines and 3-D printers, she has produced a startling array of experimental designs at MIT using mainly student labor. Her talks are popular with the smart set on TED.
All of her designs have a George Lucas, wizardly quality that will appeal to many techno-geeks. None have any appeal to those of us who want more beauty in our environment. Yes, they harness the miracles made possible by computers, nano-technology, and materials science. They do not, however, come from a deep understanding of nature, contrary to Ms. Oxman’s rhetoric.
Michelangelo and other classical artists were trained to view nature not only as she created her wonders, but also as an aesthetic scaffold for making beautiful things. The distinction here is between natura naturans: the activity of nature, and natura naturata, the principles behind all natural phenomena. Ms. Oxman pursues only the former in her work, and ignores the more important lessons behind how animate things are organized and constructed. She looks for natural things that are “not constructed out of parts,” but can be realized as a seamless organism at the level of single cells. Of course, everything in nature is constructed of parts that are larger than the single cell. The order of the natural world, understood by thinkers from Plato to Darwin to Einstein, demands this. Things in nature are beautiful not because of the process by which they are produced but because of their orderly disposition of parts, what Alberti called concinnitas.
I can’t explain these concepts in a blog, but it is clear that many young thinkers today, such as Ms. Oxman, have not been educated to understand them. That is a pity, because she is a gifted scientist and engineer with much to offer.
May 18, 2016
My last post lauded the American Institute of Architects for its long overdue recognition of Denise Scott Brown, who, with her husband Robert Venturi, will receive its Gold Medal this week in Philadelphia. I trust that when the honor comes the Institute will find the right words to celebrate this extraordinary pair.
Unfortunately the official journal of the AIA, Architect magazine, could do no better than print a few pages of doodles and paragraph-long reminiscences of the architects in its May/June issue. Though the magazine’s cover suggested extensive coverage of a long career, most of the editorial content went to other architects receiving design, planning and interior honors. True, there are a lot of these smaller prizes, but where should the body focus its praise? On upstarts? It is doubtful that Louis I. Kahn received so little coverage when his medal was awarded.
Indeed, the “tribute” provided to Bob and Denise was trivial in comparison to their historic importance to the development of American architecture and urbanism. No scholar was invited to write about their role in the 1960s critiques of International Style modernism. No contemporary master, such as Frank Gehry, offered a summary of their impact on his work or that of others. No journalist took the time to consider the monumental body of work produced by these scholar architects during their most productive years.
The myopia that has infected our profession during the past twenty-odd years has resulted in pervasive ignorance much like that shown by the American electorate in its support of a buffoon in the upcoming presidential contest. I doubt that the editorial staff of Architect had any idea whom to approach for a truly enlightening, newsworthy piece on these world changing designers. They even wasted the talents of Witold Rybczynski on a review of one of the worst concert halls ever designed–a new bauble in Paris. Three text pages in one of the thickest issues published in past five years? I expected better.
May 11, 2016
In a week and a half the American Institute of Architects will meet in Philadelphia for a historic convention. Though there will be silly presentations by Starchitects like Rem Koolhaas, and a talk by Kevin Spacey, the real star of the show will be a woman nearing her 87th birthday. At long last, Denise Scott Brown will receive the Gold Medal that she has richly deserved for decades.
I was fortunate to spend my apprenticeship under Denise and her husband, Bob Venturi, during the 1970s. She was then the most influential female in the profession–both a planner and an architect–who had written extraordinary books and articles that changed the nature of design. Strangely, after practicing with her husband for decades, she faded from the limelight during the past two decades or so.
It is puzzling to me that Zaha Hadid, a woman of middling accomplishment compared to Denise, would be hailed as a pioneer following her untimely death. How did a brash, arrogant, iconoclast like Hadid overshadow a thoughtful, powerful intellectual like Scott Brown? I think that history will forget the former and eventually celebrate the latter.
As Denise receives her honor from the largest group of architects in the world, we should take a moment to recall her gigantic impact. She fought for women in the profession during the 1950s, after the example of her mother, an architect in South Africa. She studied with the great Jane Drew in London. She taught beside Louis I. Kahn and Romaldo Giurgola at Penn, and influenced planners around the world. She wrote a number of seminal articles and was the leading force in the production of Learning From Las Vegas. Perhaps most important, she integrated historic preservation into the planning process, proving its economic impact in Miami Beach, Galveston, and Philadelphia.
I trust that when she steps on the dais to receive her medal, the world takes notice. She is a true hero and giant in our profession.