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Witold Rybczynski and I clearly do not have the same taste in architecture. But he raises an interesting point about the relationship between architecture and art in this recent post. Here's an excerpt:
In the name of renouncing the past—and denouncing anything that smacks of decoration—modernism has largely done away with art, the lonely Henry Moore stranded on a plaza, notwithstanding. The problem is that when you strip away figural and allegorical ornament, what is left are mute building materials, mechanical-looking details, and abstract space.
There is a long-standing tradition of integrating art, and other ornament, into architecture. But modernism viewed this sort of decoration as being superfluous. It wasn't functionally necessary and so why include it?
This has led us to today where there is a joke that investing in public art means investing in some sort of add-on that sits outside of your building and that can be classified as art. Perhaps something by Henry Moore.
The result, Witold argues, is that we have lost something critically important in our buildings: meaning.
But is allegorical ornament really all that different from a freestanding art piece? Don't both tell a story? And don't they both get applied, in a way, to a building that could surely continue on without it?
At the same time, what is meaningful art? Does it need to include bas-relief and/or figural representations? Or could it be a signed urinal on a pedestal in the lobby with an accompanying digital NFT?
There's no question that buildings need meaning. We all crave stories. But sometimes they communicate in different ways.
Photo by David Vives on Unsplash
https://www.instagram.com/p/CNI4oM4M9Oz/?utm_source=ig_web_copy_link
I came across the above photo this morning. If you can't see it, click here. It's a photo of the Koblick House in Los Angeles designed by Richard Neutra and Gregory Ain for art professor Harry Koblick. Built into the hills of Silver Lake in 1937, the house is a three-storey duplex with about 1,620 square feet according to some sources. (I couldn't find any plans or drawings, but I'd really like to see the section.) The upper unit has 2 bedrooms and 1 bath. And the lower unit has 1 bedroom and 1 bath.
Richard Neutra was a prolific modernist and designed numerous "international style" buildings, like the Koblick House. His work was included in the seminal 1932 MoMA (New York) exhibition on modern architecture, which was an important moment for modernism in the United States. It helped to import the international style from Europe at a time when exhibitions did things like that. It is perhaps easy to forget that ideas didn't spread as quickly around the world back then.
I love the simplicity of this house. The double car garage that services the two units. The side stair that leads to the front door. And the two large terraces that probably look out over some kind of landscape. Over 80 years later and it still feels contemporary. Perhaps some of you will be equally inspired by this archive photo.
This week it was announced that US president Joe Biden has revoked a number of Presidential Actions, one of which is Executive Order 13967 -- Promoting Beautiful Federal Civic Architecture.
Signed on December 18, 2020 by former president Trump, the order, which I wrote about last February, encouraged the use of "classical and traditional architecture" for all federal buildings.
Part of the argument was that too many buildings are being made for only architects to appreciate. This includes, you know, modern architecture and styles like brutalism.
Well that order has been revoked and that means that "beautiful" federal civic architecture is now free to be anything it wants. Look to the past, look to today, and/or look to the future.
This is the way things should be.
Witold Rybczynski and I clearly do not have the same taste in architecture. But he raises an interesting point about the relationship between architecture and art in this recent post. Here's an excerpt:
In the name of renouncing the past—and denouncing anything that smacks of decoration—modernism has largely done away with art, the lonely Henry Moore stranded on a plaza, notwithstanding. The problem is that when you strip away figural and allegorical ornament, what is left are mute building materials, mechanical-looking details, and abstract space.
There is a long-standing tradition of integrating art, and other ornament, into architecture. But modernism viewed this sort of decoration as being superfluous. It wasn't functionally necessary and so why include it?
This has led us to today where there is a joke that investing in public art means investing in some sort of add-on that sits outside of your building and that can be classified as art. Perhaps something by Henry Moore.
The result, Witold argues, is that we have lost something critically important in our buildings: meaning.
But is allegorical ornament really all that different from a freestanding art piece? Don't both tell a story? And don't they both get applied, in a way, to a building that could surely continue on without it?
At the same time, what is meaningful art? Does it need to include bas-relief and/or figural representations? Or could it be a signed urinal on a pedestal in the lobby with an accompanying digital NFT?
There's no question that buildings need meaning. We all crave stories. But sometimes they communicate in different ways.
Photo by David Vives on Unsplash
https://www.instagram.com/p/CNI4oM4M9Oz/?utm_source=ig_web_copy_link
I came across the above photo this morning. If you can't see it, click here. It's a photo of the Koblick House in Los Angeles designed by Richard Neutra and Gregory Ain for art professor Harry Koblick. Built into the hills of Silver Lake in 1937, the house is a three-storey duplex with about 1,620 square feet according to some sources. (I couldn't find any plans or drawings, but I'd really like to see the section.) The upper unit has 2 bedrooms and 1 bath. And the lower unit has 1 bedroom and 1 bath.
Richard Neutra was a prolific modernist and designed numerous "international style" buildings, like the Koblick House. His work was included in the seminal 1932 MoMA (New York) exhibition on modern architecture, which was an important moment for modernism in the United States. It helped to import the international style from Europe at a time when exhibitions did things like that. It is perhaps easy to forget that ideas didn't spread as quickly around the world back then.
I love the simplicity of this house. The double car garage that services the two units. The side stair that leads to the front door. And the two large terraces that probably look out over some kind of landscape. Over 80 years later and it still feels contemporary. Perhaps some of you will be equally inspired by this archive photo.
This week it was announced that US president Joe Biden has revoked a number of Presidential Actions, one of which is Executive Order 13967 -- Promoting Beautiful Federal Civic Architecture.
Signed on December 18, 2020 by former president Trump, the order, which I wrote about last February, encouraged the use of "classical and traditional architecture" for all federal buildings.
Part of the argument was that too many buildings are being made for only architects to appreciate. This includes, you know, modern architecture and styles like brutalism.
Well that order has been revoked and that means that "beautiful" federal civic architecture is now free to be anything it wants. Look to the past, look to today, and/or look to the future.
This is the way things should be.
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