ANTA
Archives of New Traditional Architecture
PAGE 6 New towns,
PAGE 108 Essays on
buildings, and urban developments in Europe, Asia, and North America
the nature of urban interventions, the use of precedents, and responding to urban problems
s pr i ng 2023
PAGE 206 Analysis and reflections on and by visionary architects and thinkers of the past and present
Issue No. 5
W E I V E R P
In This Issue Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 From the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Projects Krier · Kohl · Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 New Town of Brandevoort Masterplan Dover, Kohl & Partners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 South Main
Atelier Xavier Bohl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 EcoQuartier des Bergères Hilmer & Sattler und Albrecht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Lenbach Area Masterplan Museum Barberini Rebuilding the Berlin Schloss
Treese Architekten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Eisenzahnstraße Achenbachstraße Emser Straße 36
HBRA Architects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Alderman Library Renewal Perkins Eastman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Garvey Hall
Yang Cho-cheng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 National Theater and Concert Hall
Essays Mark Wilson Jones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 On Precedent in Architecture Fritz Neumeyer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Alfred Messel: An Innovator in the Art of Building The Association of Architects and Engineers of Berlin-Brandenburg & Collaborators . . . . . . . . . 136 Unfinished Metropolis: Urban Development Manifesto for Berlin-Brandenburg
Emily Talen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Unfinished Metropolis and the CNU Charter: A Comparison of Manifestos From the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Syntagma Square and the King George Palace Hotel Facade Renovation, Athens, Greece Daniel Solomon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Creative Loathing: Resisting the Stumpie Scourge
Critique Kyle Dugdale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 The Hallidie Building by Willis Jefferson Polk, 1917–18
Conversations A Conversation with Vince Graham . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 “Not Houses Finely Roofed, nor Stones of Walls Well-Built”
Timothy Patitsas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 The City as Liturgy: An Orthodox Theologian Corresponds with . Jane Jacobs about a Gentle Reconciliation of Science and Religion
Historical Perspectives Harald Bodenschatz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 One Hundred Years of Green Urban Development in Greater Berlin David Frazer Lewis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 The Genesis of the Lutyens Memorial Volumes
Voices from the Past Ernesto Nathan Rogers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Fracturing the Myth of Modernism: Ernesto Rogers and Team 10: Commentary by Stefanos Polyzoides Continuity or Crisis?: Original Essay by Ernesto Nathan Rogers
Acting Locally James C. Brainard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Urbanizing an American Suburb: Carmel, Indiana
Recent Books Recent Books of Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Editors Richard Economakis Michael Mesko Julia Treese
Executive Editor Carrie Rulli
Copy Editor Heather Grennan Gary
Graphic Design
Editorial Committee Members Stefanos Polyzoides Selena Anders Kate Chambers Richard Economakis Michael Mesko Steven Semes Paolo Vitti Jonathan Weatherill Samir Younés
Christina Duthie
Front cover: New town of Brandevoort, Helmond, Netherlands: Townhouses on De Plaetse (main square). Photo: CKSA. Back cover: Market Pavilion, Brandevoort. Photo: Cornelis de Vries.
Archives of New Traditional Architecture is prepared by the staff and research associates of the University of Notre Dame School of Architecture and published twice yearly. ISBN: 979-8-9878979-1-1 We hope you'll continue to support ANTA and our efforts to promote robust architectural dialogue. To purchase past issues of ANTA for $20 each, please visit anta.nd.edu.
University of Notre Dame School of Architecture 114 Walsh Family Hall of Architecture Notre Dame, Indiana 46556 architecture.nd.edu Distributed by
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FOREWORD
An Architecture for All Time The education of the vast majority of architects in the world has been driven by the belief that theirs must exclusively be an “Architecture of Our Time.” The particular use of the word time in this context was initially used to describe a radical new Architecture imagined as a clean break with tradition. Over the decades, this once noble objective has become an unrelenting recipe: every project produced by every architect now and forever, from its initial conception to its construction, must somehow reflect the technical, economic, and social conditions prevailing at the time. Simultaneously, it must stand as a call for the perpetual rejection of tradition in any form and as an obligation to innovate at any cost: on all projects everywhere, whatever their location, scale, program, or symbolic purpose. The sense of time advocated through this kind of aesthetic ideal can best be described as a perpetual present. This is in complete contradiction to the common, three-part human conception of time as constant flow: a receding memory of all that is past; a fleeting pulse that is the present; and a constantly unfolding future. Traditional architecture and a common conception of time have been always linked in essential ways. Architectural ideas unfold over time. Construction materials and techniques are refined through time based on experience. Buildings reflect the passing of time as they weather and are subject to time-related use changes, physical internal modifications, external additions, external repairs, and maintenance. In time, many buildings age to the point that they become expendable and are demolished. Others are left to become ruins through a process of natural decay. Throughout their useful lives, and operating under the rhythm of commonly perceived time, these kinds of buildings, public spaces, urban infrastructure, and landscapes are most often linked together to form a life-enhancing and identity-building human habitat. But this is not equally true of design in the spirit of the “Architecture of Our Time.” Since the 1920s, architects have been seeking justifications for trying to slow historic time down to a trickle. The first motivation for doing so served radical leftist political ideas and ideals that promoted severing bonds with the social and cultural past in order to generate a new form of society that would be served by a more egalitarian and just urban environment. Later, and after the political movements that advocated this perspective fizzled out, architects turned to the governments of the Global North as instruments for realizing their ideals. When the bureaucratized version of this Architecture collapsed due to its theoretical emptiness and ugliness, Mainstream Architecture took its final and most fateful ideological turn. Beginning in America in the 1970s, architects attached themselves to the Market. Since then, Architecture worldwide has been rendered as an endless series of random acts of identity and financial portfolio-boosting transactions. As a result, in our day, what was once a vital human art has been reduced into an asset class and can no longer be easily recognized as an epochal style or as transmittable culture. Architecture operates less as creative expression and more as an exportable currency for economic and cultural transactions, on par with stocks and bonds. Most of our fellow citizens may believe the idea that Architecture should be operating within an intentionally interrupted and radically slowed time frame is innocent enough. But there is a price to be paid for the endless, obsessive search for new and unconventional architectural form: The chaotic fragmentation of our profession into tribes of an infinite variety frustrates the possibility of participating in a living building culture: learning by doing; sharing between colleagues; leveraging the knowledge of designing individual buildings and places into livable cities, cultivated landscapes, and a conserved nature; or promoting living local building traditions. It thwarts the transferring of design insight, specific knowledge, and care from generation to generation. This may be dismissed by apologists of the current status quo as a fair price to be paid for pluralism, progressivism, and, more recently, for inclusion and justice. But this is not exactly the case, based on the evidence. Take, for example, the case of the 2023 Venice Biennale, which focused on African and African American Architecture. It presented the continent’s aesthetic sensibilities on par with every other kind of world culture, and the potential protagonism of its authors at the national and international stage, as an important break-
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Left: Pyramid of Cestius, Rome, Italy, late first century BC. Right: David Adjaye, Kwaee Pavilion, Venice Biennale, Venice, Italy, 2023.
through. Acknowledging architects and architectures that have been traditionally underestimated, if not avoided altogether, is a very welcome idea. Whether these new images and sensibilities—or, for that matter, the fresh protagonists themselves—can escape the fatal embrace of “The Architecture of Our Time” remains to be seen. The chances are their work will be eventually devoured by the short fashion cycle. The elite Africanism of David Adjaye’s pavilion is as beautiful an avant-gardist “scream in the light” as Aldo Rossi’s floating Theater of the World was in 1979. What will certainly follow is the appropriation of its pyramidal form in whole or in detail by architects from everywhere in the world to briefly represent and monumentalize some power institution or individual: perhaps Princeton, Google, Elon Musk, the next great capitalist patron saint, or eventually, scores of run-of-the-mill developers. It does not matter whether it is Adjaye himself or other distinguished colleagues that will be responsible for the appropriation and consumption of the form of his celebrated pavilion. As ideas currently travel uncontrollably through iPhone cameras and video transmission operating at the speed of light, one could easily imagine that the images of Adjaye’s Venetian Biennale were already consumed in the moment they were first texted to his mother or published in the pages of the New York Times. By contrast, the pyramid of Cestius in Rome stands proud as an enduring monument. Connected to the source of Architecture by its geometry, tectonic composition, and symbolic content, it has exuded meaning and artistic excellence for twenty-one centuries. To reach that standard of quality, an entirely different architectural culture is necessary in the present: One that accommodates our social, political, and environmental diversity in enduring form. A more spiritual one that connects design to existential goals beyond consumption; serves communitarian interests; chooses sources for new design that invite a thirst to explore, not just to exceed or to cancel; imagines Architecture by combining the universal and the particular, history and contemporaneity, social service and cultural symbolism; steps away from the superficial image deluge of the last hundred years and the constant denial of the value of all that is culturally received. This culture will deliver, once again, for the people of the world, the objects and places that were once associated with their identity and their physical well-being. The Architecture so produced would most likely be more learned, more deliberate, more aware, more diverse in form, more socially attuned, more local in materiality and climate specificity, more permanent, more participatory, more respectful of local cultures and places, and, ultimately, more associated with the common good. This would be an Architecture that embodies constant learning and cultural continuity: An Architecture for All Time. S T E F A N O S P O LY Z O I D E S Professor and Dean The University of Notre Dame School of Architecture
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FROM THE EDITORS
From the Editors R I C H A R D E C O N O M A K I S , M I C H A E L M E S KO , A N D J U L I A T R E E S E
When the first issue of ANTA appeared in Spring 2021, the editorial team set an ambitious biannual production schedule. This was accompanied by some trepidation: would we manage to solicit projects, essays, interviews, and other content in a timely manner? How eager to contribute would professionals, critics, and scholars be, given ANTA’s newness on the publishing scene? Would our insistence on publishing print editions—as opposed to digital ones—be viewed as old-fashioned or impractical? Yet here we are, three years on, with Issue No. 6 in the works and No. 7 being planned. Already, ANTA ranks among the academic architectural publications with the longest runs, and our sights are fixed on nothing short of the horizon. Two things drive our ambition: first, dedication to traditional architecture and urbanism, and with these, beauty, moderation, and common sense in the design and crafting of buildings; and second, a sense of urgency in the face of our rapidly deteriorating built and natural environments. Our publication seeks to bring forth sound alternative arguments to counter present-day attitudes that either elevate idiosyncratic approaches to design over common sense and respect of tradition or cynically perpetuate urban sprawl. We are heartened by the enthusiasm shown by so many of our contributors and the steady growth of our readership. Today’s emerging architects find little if any encouragement to study the works of architects and urbanists from before the rise of modernism. The mainstream architectural press remains largely an instrument for the propagation of early twentieth-century radical ideas regarding the conception of buildings and the making of cities. These have failed to produce an alternative habitat with humane qualities comparable to the traditional city. In publishing terms, ANTA is a wake-up call for the architectural profession and a reminder to the public—especially those individuals involved in the planning, development, and legislation of new buildings—that a civic vision for the built environment exists, and that it drives the work of a significant and growing segment of the architectural profession. As editors of ANTA, we look to showcase projects and essays of the highest merit. In doing so, we also recognize that, no matter how laudable the intentions of a designer or essayist might be, poorly detailed buildings and poorly articulated ideas can bolster claims by detractors in the professional mainstream that a coherent alternative approach which embraces tradition is hopelessly flawed or beyond reach in the present age. The projects featured in this issue, as in all other issues of ANTA, demonstrate that quality and consistency can indeed be achieved if architects study the principles underlying traditional architecture. Columns and pilasters that rise to the ceiling and do not support beams—thereby negating the post-and-lintel logic that gave rise to them—have no place in these pages. Neither do arches that carry under-scaled cornices, lintels that fail to extend beyond openings, or jack-arches that do not splay properly. While there is plenty of room for expressionistic departures in traditional architecture, these must obey sound aesthetic and compositional strategies and remain grounded in tectonic reasoning. Too many clients assume that architects receive instruction in classical and traditional expressions as part of their education, and too many architects think themselves capable of producing competent traditional designs despite the conspicuous void in their education. This lacuna has been worsened by the normalization of junk culture, which devalues all forms of civil expression.
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The worldwide proliferation of architectural kitsch reflects this failure in architectural education and its tolerance by present-day society. It is a problem that can only be remedied through proper instruction in the principles of traditional architecture and urbanism, and a commitment to propagate them in the broader social context. ANTA is an instrument in a larger effort to promote understanding of classical and traditional architecture and urbanism, be they Western or other, and to showcase exemplary new work. This issue showcases projects that range from realized masterplans of entirely new towns and neighborhoods (Krier . Kohl . Architects’ new town of Brandevoort, Helmond Province, Holland; Hilmer & Sattler und Albrecht’s Lenbach Area Masterplan in Munich; Xavier Bohl’s Ecoquartier des Bergères in France), to urban interventions and projects (Dover Kohl & Partners in Buena Vista, Colorado; Treese Architekten in Berlin; Hilmer & Sattler und Albrecht, in Berlin and Potsdam, Germany), academic campus buildings (HBRA Architects’ Alderman Library extension at the University of Virginia; Perkins Eastman’s Garvey Hall at Catholic University of America), reconstructions of important urban edifices (Thomas Albrecht’s rebuilding of the Berlin Schloss; Liakos Associates’ King George Palace Hotel facade in Athens), and new buildings housing cultural institutions (Yang Cho-cheng’s National Theater and Concert Hall in Taipei). In the Essays section, British architect and academic Mark Wilson Jones provides insight on the uses of architectural precedent, while architect and urbanist Daniel Solomon calls us to take action against the scourge of bland, boxy, double-loaded apartment buildings. Fritz Neumeyer tells the story of German architect Alfred Messel, whose important legacy has rarely been recognized since his death in 1909. Also in Essays, ANTA considers the salutary effects of sympathetic reconstruction of urban spaces, with the transformation of the north side of Syntagma Square in Athens. University of Chicago academic Emily Talen reflects on the remarkable Manifesto for Berlin-Bradenburg that has been spearheaded by the city’s Association of Architects and Engineers (a translation of which is included here), and compares it with the Charter for the New Urbanism. In Critique, architect and Yale University academic Kyle Dugdale discusses the lessons that can be learned from Willis Jefferson Polk’s early twentieth-century Hallidie Building in San Francisco, which made pioneering use of the curtain wall in elevating an urban edifice. In Conversations, ANTA engages developer Vince Graham on his life, inspiration, and work in South Carolina and elsewhere, including the realized new town of I’On near Charleston, while Orthodox Christian theologian Timothy Patitsas reflects on the “City as Liturgy,” a topic prompted by his remarkable correspondence with Jane Jacobs. In Historical Perspectives, architectural historian David Frazer Lewis discusses the genesis of Lutyens’s Memorial Volumes, and Harald Bodenschatz considers a century of Green Urban Development in Berlin. In the section Voices from the Past, Stefanos Polyzoides provides context for and commentary on the 1957 essay “Continuity or Crisis?” by the twentieth-century Italian architect and publicist Ernesto Nathan Rogers, and explains its impact as a clarion call to resist the cultural blinders imposed by the modern movement. Finally, in Acting Locally, James C. Brainard surveys the remarkable urbanization of Carmel, Indiana, that he oversaw in his years as mayor, and we highlight a selection of recent books that will be of interest to our readers.
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Projects Krier · Kohl · Architects New Town of Brandevoort Masterplan page 8
Dover, Kohl & Partners South Main page 22
Atelier Xavier Bohl EcoQuartier des Bergères page 32
Hilmer & Sattler und Albrecht Lenbach Area Masterplan Museum Barberini Rebuilding the Berlin Schloss page 44
Treese Architekten Eisenzahnstraße Achenbachstraße Emser Straße 36 page 64
HBRA Architects Alderman Library Renewal page 82
Perkins Eastman Garvey Hall page 90
Yang Cho-cheng National Theater and Concert Hall page 98
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PROJECTS KRIER · KOHL · ARCHITECTS
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Krier · Kohl · Architects
All images supplied by Rob Krier and Christoph Kohl Stadplaner Architekten unless otherwise indicated.
BERLIN, GERMANY
Opposite page, top: Plan of the new town of Brandevoort as currently being realized. Bottom: Aerial view from the southeast.
New Town of Brandevoort Masterplan Brabant, The Netherlands The new town of Brandevoort, on the outskirts of Helmond in the Dutch province of Brabant, was masterplanned by Rob Krier and Christoph Kohl in 1996. As the property’s developer, the Community of Helmond specified that they wanted a traditional “Brabantian” town to house some 20,000 residents. The 365-hectare site is situated on the Eindhoven-Dusseldorf rail transit corridor, which ensured that the new town would have its own new train station. The northern side of the site is bounded by a dual carriageway linking Helmond and Eindhoven. Ten kilometers to the south is the motorway to the Ruhr region. The site is therefore in an outstanding location for inter-regional connections. In addition, a waterway that runs across the southern part of the site has been adapted for recreational purposes. Brandevoort’s density (fifty units—most of them rowhouses—per hectare) approximates the fabric of traditional towns in the region, which has contributed to its appeal. Louis Jansma, then-director of Bouwfonds Property Development, explains that his most important planning goal was to entice people to move to an area where they would not otherwise have wanted to reside, on account of Helmond’s industrial character. In order to accomplish this, the community of Helmond awarded the brief to the planner Maarten Ouwens from the Wissing urban planning office, the land-
scaping to Paul van Beek, and the urbanism and architecture to the Berlin-based firm of Krier · Kohl · Architects. The project gave Krier · Kohl the unique opportunity to design an urban quarter in its entirety, which is to say a center with neighborhoods attached to it. Brabantian towns were carefully studied and analyzed, as were other Dutch town types that inspired the design. The first design step was the establishment of the road network. Topographic features of the site were identified, and principal roads were carefully situated in relationship to these. There was never any question about locating the train station on the northern edge of the town center—the so-called De Veste (“the stronghold”) since it recalls a fortified settlement. An old east-west country road that cut through the center of the site in a soft curve was maintained as an important feature. In the original masterplan, which was slightly different from the executed scheme, the market square was situated perpendicularly to this street near the center of the Veste, resulting in a classic “cardodecumanus” urban configuration. Two supermarkets, several shops, a covered market, the chapel, and the school are all situated around the market square.
Following pages, left: Original plans of Brandevoort by Rob Krier. Top left: Masterplan including future surrounding urban quarters. Bottom left: Plan of the new town showing the organic nature of the urban fabric and the integration of water. Following pages, right: Original sketches of Brandevoort’s central square (De Plaetse) by Rob Krier. Top: View looking south with the church as originally intended (unexecuted); Bottom: View looking north toward the covered market building.
Brandevoort’s main square is flanked by irregular blocks that conform to the surrounding street pattern. Along the square’s visual axis to the north, the covered market catches the
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Essays Mark Wilson Jones On Precedent in Architecture page 110
Fritz Neumeyer Alfred Messel: An Innovator . in the Art of Building page 122
The Association of Architects and Engineers of Berlin-Brandenburg & Collaborators Unfinished Metropolis: Urban Development . Manifesto for Berlin-Brandenburg page 136
Emily Talen Unfinished Metropolis and the CNU . Charter: A Comparison of Manifestos page 142
From the Editors Syntagma Square and the King George Palace . Hotel Facade Renovation, Athens, Greece page 144
Daniel Solomon Creative Loathing: . Resisting the Stumpie Scourge page 154
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ESSAYS ON PRECEDENT IN ARCHITECTURE
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On Precedent in Architecture MARK WILSON JONES
Society attaches great value to originality, discovery, and innovation, not least in areas of technology and medicine, which have transformative potential to improve life, perhaps for millions. This value, both reputational and monetary, is tied to primacy, especially for acts of creativity that spawn new trends or movements. Where patents, branding, and profit are at issue, disputes turn on the temporal primacy of such-and-such an invention, device, or song. In the art world esteem accrues to originators and innovators but is denied to followers and imitators. The market for forgeries underscores this point. We revere blue-sky thinking and mythologize those talented enough, like Archimedes, to have had due occasion to jump out of the metaphorical idle bath to shout, Eureka!
This is hardly a recent development, for Archimedes’s fame goes back to antiquity. Modernity, however, has brought a twist with negative as well as positive implications: the avant-garde strategy of shock is a mightily effective route to media interest and popular attention. The greater the rupture with convention, the greater the interest and attention. Proponents of modernist architecture have triangulated originality, novelty, and shock to serve their agendas, simultaneously portraying classicism as mere perpetuation, meaning (by cleverly illogical logic) that it should be perpetuated no longer. Anyone who would employ forms associated with history is familiar with the pejorative charges of “pastiche,” “mere copying,” nostalgia, and worse.
precedent, and so too experience and memory. We learn through imitation from the very cradle. Taken literally, the tabula rasa is truly corrosive. Since we all copy from one another, to denigrate copying or pretend not to do it generates needless anxiety and invites lazy thinking, hypocrisy, and plagiarism (since sources tend to go unacknowledged given the pressure to keep up pretenses and cover the traces). The iterative feedback loop by which solutions are tried and tested so to be revisited and improved in the light of experience is just one casualty of the doctrine of rupture, not to mention the subtleties of human qualities associated with place and local culture. The lack of the glue of continuity opens voids that only alienation fills.
One might wonder why classical musicians or chefs who maintain regional traditions are not subjected to similar denigration, or why the Rolling Stones are not denigrated for borrowing from Muddy Waters et al. But the fact is that precedent has become hopelessly uncool in architectural circles. Indeed, most architecture programs encourage students to innovate almost from day one, even before they have learned the basics, while promoting the fiction of the solo genius creating, with the sweep of a felt pen or a crunkle of foil, an architectural concept ex nihilo. Inversion, subversion, and starting afresh from a tabula rasa may be useful studio strategies, but the latter is accompanied by the understanding that in reality it is impossible without denying all
Creativity, poesis, perforce has to do with mimesis. After all, there is no such thing as a spontaneous beginning, for “there are always antecedent causes,” to quote the novelist Ian McEwan.1 Or as Quatremère de Quincy observed before him (though I guess unknown to McEwan), “There ought to be an antecedent to everything; nothing whatsoever comes from nothing, and this cannot but apply to all human inventions.”2 Being relatively unconcerned with novelty and originality, and happy to be part of a continuum, artists and architects working with tradition suffer fewer anxieties when navigating precedent. Precedent presents no threat at all; on the contrary, it is a fertile resource—the spirit of which is so evocatively captured in Panini’s Picture Gallery with Views of Ancient
Opposite page: Giovanni Paolo Pannini’s Gallery of Views of Ancient Rome . (frontispiece; 1758, public domain) shows how those happy to learn from the past can repurpose experience, adapting or transforming past creations according to the merits of the case.
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Critique Kyle Dugdale The Hallidie Building by . Willis Jefferson Polk, 1917–18 page 164
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CRITIQUE THE HALLIDIE BUILDING BY WILLIS JEFFERSON POLK, 1917–18
Figure 4. Willis Jefferson Polk, Hallidie Building, San Francisco, 1918, photographed after extensive restoration, ca. 2013. Photo: Sherman Takata, Takata Photography.
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The Hallidie Building by Willis Jefferson Polk, 1917–18 K Y L E D U G DA L E
Students of architecture will be familiar with Ludwig Mies van der Rohe’s visionary rendering for Berlin’s 1922 Friedrichstrasse skyscraper competition (fig. 1). They may be less familiar with a grainy black and white photograph printed in a 1918 issue of The Architect and Engineer of California, announcing the recent completion of a commercial building in San Francisco’s financial district (fig. 2). In the foreground, the heavy masses of older masonry buildings form a dark silhouette, their overhanging cornices framing the space of the street below. Beyond rises a lighter, brighter, taller structure, enveloped in a sheer, reflective wall. Beneath the photograph is printed a bold claim: “The World’s First Glass Front Building.” As the article’s author explains, “Nothing like this building has ever before been attempted in the world. It has the germ of an idea which architects throughout the country will undoubtedly seize and develop.”1
If the first part of this assertion remains open to debate, the second is indisputable. Not only throughout the country but in cities around the world, from Accra to Zhengzhou, the curtain wall has come to define the global stereotype of architectural banality (fig. 3). But in 1918 San Francisco, the fully glazed facade was a novelty; it remained to be seen how its possibilities would shape the longer histories of architecture. “The ordinary business building heretofore has had a glass area of from 25 to 50 per cent. on its façades,” noted a contemporary review. “This structure has an all-glass façade.”2 The Hallidie Building (fig. 4) was designed by Willis Jefferson Polk (1867–1924), who had arrived in San Francisco in 1889 (fig. 5). The son of a carpenter, he had received his architectural training (as was traditional) not from schools, but within offices; he had worked with Charles Atwood and Daniel Burnham, and was deeply influenced by the architecture of McKim, Mead and White.3 He was prolific in his output: during the decade immediately after San Francisco’s catastrophic 1906 earthquake he put his name to more than a hundred buildings.4 He was a facile designer and a complex character; in biographical accounts he is variously described as arrogant, boisterous, clever, demanding, extravagant, gregarious, insecure, talented, unorthodox, and volatile. He
also considered himself a classicist; in 1893 he had insisted that the classical vocabulary “constituted the only viable precedent for work in the United States”—with the possible exception of the Gothic, which was however “unsuited to the majority of modern building types.”5 Gothic aside, Polk’s most significant commissions were indeed articulated in a resolutely classical vocabulary,6 contributing to a body of work that included a series of impressive substations for the Pacific Gas and Electric Company—which served as prototypes for designs by other architects while contributing grace and gravitas to San Francisco’s urban fabric. “The finest and the first” of these was a 1905– 1909 substation on Jessie Street, now a part of Daniel Libeskind’s curtain-walled Contemporary Jewish Museum (fig. 6).7 Polk was
This page, top: Figure 1. Ludwig Mies van der Rohe, “honeycomb” entry for Friedrichstrasse high-rise tower ideas competition, Berlin, 1922. Below, Figure 2. "The World's First Glass Front Building." Both images appeared in Architect and Engineer of California, 53, no. 1 (April 1918), 71; BauhausArchiv Berlin (2023). Photo: Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Bottom left: Figure 5. Willis Polk in his office, ca. 1913; photographer unknown. The names of Vitruvius, Brunelleschi, Bramante, and Sangallo are prominent in the background. Photo: Bancroft Library, University of California Berkeley, public domain. Bottom right: Figure 6. Willis Jefferson Polk, Jessie Street Pacific Gas and Electric Company substation, San Francisco, 1905–1909, photographed ca. 1975. A new structure rising in the background awaits its curtain wall. Photo: Charles Hall Page, San Francisco Heritage Archives.
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Conversations A Conversation with Vince Graham “Not Houses Finely Roofed, . nor Stones of Walls Well-Built” page 182
Timothy Patitsas The City as Liturgy: An Orthodox Theologian . Corresponds with Jane Jacobs about a Gentle . Reconciliation of Science and Religion page 198
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CONVERSATIONS “NOT HOUSES FINELY ROOFED, NOR STONES OF WALLS WELL-BUILT”
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“Not Houses Finely Roofed, nor Stones of Walls Well-Built” A CO N V E R S AT I O N W I T H V I N C E G R A H A M
Vince Graham is a developer based in Mount Pleasant, South Carolina, who combines time-tested urban and architectural principles with contemporary lifestyle. In 1991 he founded the traditional walking neighborhood of Newpoint in Beaufort, South Carolina. Since then he has participated in building eight other neighborhoods in South Carolina: The Town of Port Royal, Broad Street, I’On, Morris Square, Hammond’s Ferry, Mixson, and Earl’s Court; and East Beach in Virginia. These neighborhoods have garnered numerous design and environmental awards and have been featured in the Wall Street Journal, Builder, Landscape Architecture, and National Geographic, as well as on HGTV, CNN, and the BBC. Graham stands out among developers for his appreciation of the ways by which traditional urbanism and architecture adapts to regional climatic, environmental, and cultural parameters. In this exclusive interview with ANTA, Graham talks about the events that shaped his career, from his childhood experiences in suburbia to his university studies and relocation from Georgia to South Carolina, and his initiatives promoting compact, walkable, mixed-use neighborhoods. He describes his first ventures in development around Beaufort and his love historic towns of the region, including Charleston, which served as inspiration for the new town of I’On. Graham describes how I’On was conceived and masterplanned; the challenges he encountered; and the collegial, competitive spirit that he helped to establish among the craftspeople and designers who were involved in realizing the new town. The interview offers valuable insights in new traditional urbanism, from the vantage point of a developer who understands the value of beauty and the importance of creating all the right incentives and opportunities for professionals engaged in the building arts. ANTA: When and how did you get involved in the “new urban” or traditional approach to development? VINCE GRAHAM: I grew up in the Atlanta suburbs. My parents met while studying at Emory University; my mom was from Blairsville, a small town in the North Georgia mountains, and my dad was from Rock Hill, in the upstate of South Carolina. I grew up in the Atlanta suburbs, living in conventional apartments and then a 1960s-era residential subdivision relatively close to the city center. I knew about small towns from visiting my grandparents.
I went to the University of Virginia and spent four years walking around Jefferson’s amazing Grounds, loving it and admiring it, but not appreciating it as much as I did later. I
aspired to be an architect but majored in economics. People familiar with UVA told me it was harder to gain admission to the architecture school, and that it was better to get into the College of Arts and Sciences then transfer to architecture later. I started down that path, but I got distracted by other things I was studying and I saw how hard the architecture students worked. In the end I majored in economics and took a lot of business and history classes. After graduation I returned to Atlanta and took a job with First Atlanta Bank. The bank wasn't too exciting and I didn’t like the commute, so I left after a year and worked in a commercial real estate brokerage for a couple of years. I pursued and was hired by fellow UVA alum-
Opposite page, top: View of lakefront houses in I’On, South Carolina. Photo: Mark Cowell, CC BY-3.0. Bottom: Houses on canal, I'On. Photo: Vince Graham.
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Historical Perspectives Harald Bodenschatz One Hundred Years of Green . Urban Development in Greater Berlin page 208
David Frazer Lewis The Genesis of the Lutyens . Memorial Volumes page 216
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HISTORICAL PERSPECTIVES ONE HUNDRED YEARS OF GREEN URBAN DEVELOPMENT IN GREATER BERLIN
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One Hundred Years of Green Urban Development in Greater Berlin H A R A L D B O D E N S C H AT Z
The relationship between urban development and green space presents itself differently in the village, in the town, and in the metropolis. In this centennial celebration year for Groß-Berlin [Greater Berlin], I would like to focus on this relationship in the metropolis. I would also like to reflect on the past— not for the sake of history, but because of the challenges that the past poses for the future. Without historical reference, the view forward remains clouded. My perspective is that of an urban planner with a social science background, a perspective that is certainly not appreciated by all, since urban planners often romp about uninvited and not always sensitively in the field of landscape design and theory, but it is a perspective that enables an integrated view of various interrelated thematic issues and the dialectics of building development, open space, and social action. ACHIEVEMENTS OF GREATER BERLIN
The metropolis was a completely new phenomenon at the end of the nineteenth century. For the first time they appeared in large numbers in Europe and North America, expanded at what seemed like an unstoppable rate, rolled over villages, forests, and agricultural land, and grew without a plan, chaotically, with wild competition from private transportation companies, private building land companies (“developers,” in today’s parlance), large private banks, and many small as well as large municipalities. Despite the chaos, one thing became obvious: The metropolis is in many ways a child of the railroad. Railroad stations marked new hot spots of inner-city densification. They allowed for development to reach out along the rail lines, but development was especially strong around train stations themselves. Thus, the previously dominant ring-shaped growth was overlaid by a radial one. A corollary of this breathtaking growth was the uneven distribution of green space in the individual neighborhoods. While inner-city working-class neighborhoods lacked front gardens, courtyards, and street trees—and had access to only a few allotment gardens and parks, such as the large Humboldthain and Friedrichshain —the suburbs were a different story. Large villa colonies (the most expensive in Grunewald
This reflection was written in 2020, on the 100th anniversary of the Greater Berlin Act (officially, the Law Regarding the Creation of the New Municipality of Berlin), a law passed by the Prussian state government in 1920 that greatly expanded the size of the Prussian and German capital of Berlin.
and Dahlem) featured green squares, parks, landscaped streets, and huge private gardens. Semi-urban neighborhoods with tenement houses could also be found—for example, the Bayerisches Viertel [Bavarian Quarter], with its large green squares (Bayerischer Platz and Viktoria-Luise-Platz), or the Rheinisches Viertel [Rhineland Quarter] with its unique garden terraces and the green Rüdesheimer Platz. In the very north of Berlin, a new suburb named Frohnau was designed from the outset with green urbanism principles. It had a green center, green streets and squares, a large park, and sports facilities. The real estate firm in charge —the equivalent of a developer today—even hired a landscape architect, Ludwig Lesser, for the project. To this day, Frohnau is considered a model of green urbanism with international standing. A marketing strategy for this new town called it Gartenstadt [GardenCity]. Socially and economically, Frohnau had little to do with the garden city movement, but urbanistically it was outstanding. Another often overlooked element of the green metropolis is the street tree found along the major arterial roads, the lifelines of the metropolis. The transformation of Greater Berlin’s major interurban roads into inner-city main streets was accompanied by careful landscape
Opposite page, top: “Plan von Berlin mit nächster umgebung” (Plan of Berlin with immediate surroundings), 1877 map by Julius Straube, published by the Geographical Institute and Map Publisher, Berlin. Norman B. Leventhal Map & Education Center. Image: collections. leventhalmap.org/search/commonwealth:kh04p686f. Bottom left: Bayerischer Platz. Bottom right: At the Ringbahnbrücke Frankfurter Allee. Photo: Archive Ralf Schmiedecke.
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Voices from the Past Ernesto Nathan Rogers Fracturing the Myth of Modernism: . Ernesto Rogers and Team 10 . Commentary by Stefanos Polyzoides page 228 Continuity or Crisis? . Original essay by Ernesto Nathan Rogers page 230
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VOICES FROM THE PAST FRACTURING THE MYTH OF MODERNISM: ERNESTO ROGERS AND TEAM 10
Fracturing the Myth of Modernism: Ernesto Rogers and Team 10 S T E FA N O S P O LY Z O I D E S
The seminal essay “Continuity or Crisis?” on the following pages was penned in 1957 by Ernesto Nathan Rogers while he was editor-in-chief of the influential Italian architecture and design journal Casabella. At the time, Rogers was involved with building the highly controversial Torre Velasca building in Milan. In 1953, a younger group of architects had begun to form within CIAM (the International Congresses of Modern Architecture) in order to challenge the rigidity of the organization’s modernist architectural and particularly urbanist canon. By the number of its members, the group was called Team 10, and Rogers was one of its key leaders. This intellectual conflict between the old guard and the Young Turks within the ranks of orthodox modernism intensified throughout the 1950s. The younger group of architects began to experiment with a kind of modernism that rejected the normative globalist formalism of their elders. Their buildings adopted a neorealist approach to design, paying attention to regionalist precedents and incorporating direct programmatic responses to local social needs and political trends. Torre Velasca was one of the iconic buildings produced that supported their argument that the work of Team 10 still belonged under the umbrella of modernism.
By the end of the decade, the conflict had grown into a bitter controversy that eventually bore some dramatic historical consequences. The architects who had founded CIAM, true believers in the authority of its intellectual premises, argued that the group of younger modernists had crossed a significant red line into traditionalism. They attacked Rogers directly and considered his Milan tower as proof of architectural heresy. Rogers responded by advocating for a modernist continuity based on a common set of ideological roots and compositional principles, but including projects that were more diverse and of a form particular to their place and culture of origin. Team 10 warned that a crisis would ensue if modernism remained generationally defined and defended by the small group of its founders. In 1959 and under intellectual fire, CIAM, the vanguard of modernism and the brainchild of Le Corbusier and his pan-European allies, was dissolved. Beginning with its first Congress in 1960, Team 10 replaced CIAM as the less orthodox but still leading force of modern Euro-
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pean and world architecture. But the primacy of its ideas was also short-lived. The collapse of CIAM fractured the myth that modernism was a new tradition. In the 1960s the modern movement unraveled further: First through a quest for contemporary architectural form that by individual architects’ choice emulated the different compositional predilections of its protagonists, Le Corbusier, Mies van der Rohe, and Alvar Aalto, among others. And then, as the great modernist heroes passed away, through an explosion of “starchitectural” relativism, in as many architectural styles as there were individual and commercial clients to be served and architects to service them. When Team 10 disbanded in 1981, the eclipse of the foundational ideals of both an originalist and reformist modernism was now total. Modernism was dead, and the age of a perpetual architectural present had begun. The crisis that Ernesto Rogers had feared was hastened by his architect elders, their academic friends, and their intellectual offspring being taught in virtually every university in the world.
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This page: Torre Velasca by Ernesto Nathan Rogers, in context in Milan. Photo: GNU FDL.
Since then, contemporary architecture has further fragmented into different style-tribes. The catastrophic worldwide urban and environmental performance of buildings built in the last decades has shaken the illusion that the modern movement may still be a positive cultural force worth heeding. Societies have lost faith in their architects as place- and culturemakers. Architects themselves are pessimistic about the worth of their own work beyond its short attention-grabbing and transactional value. These trends have generated a strong cultural reaction seventy years after the Casabella editorial was published: the emergence of a new traditional architecture that challenges the architectural status quo even more radically than Rogers ever could have imagined.
Ironically, this new challenge is arguing for another kind of continuity: A traditionalist continuity based on the place- and culture-specific classical and vernacular architectures of the world, the very architectures that modernists tried to eliminate, beginning three generations ago. The ones that ANTA is committed to documenting and supporting. Today, almost seventy years after the Rogers article was written, one should ponder its title in reverse. Continue with contemporary architectural chaos, or return to architectural order? Crisis or Continuity? STEFANOS POLYZOIDES is the Francis and Kathleen Rooney Dean of the School of Architecture and professor at the University of Notre Dame.
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Acting Locally Urbanizing an American Suburb: Carmel, Indiana James C. Brainard page 236
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ACTING LOCALLY URBANIZING AN AMERICAN SUBURB: CARMEL, INDIANA
Urbanizing an American Suburb: Carmel, Indiana JAMES C. BRAINARD
I first stood for election for mayor of Carmel, Indiana, in 1995. As part of the election process, I knocked on thousands of voters’ doors to ask for their support and hear their hopes and dreams for the place they had chosen to raise their families and spend their lives.
Carmel is an inner-ring city next to Indianapolis. At that time, it was similar to many other bedroom suburbs scattered across North America outside older, larger cities. It had a great public school system, tremendous public library, and upscale housing subdivisions, but no downtown or center except a few dilapidated blocks of old and poorly built buildings from when it was a small farming community of a few hundred residents. Carmel in 1995 was simply row after row of housing estates, built along former country roads that became more and more clogged with traffic as development sprawled further out from the center of Indianapolis. The comments I heard from voters revolved around why America’s new cities had no soul or heart. I gleaned from their comments a yearning for a traditional city that had beautiful and inspiring architecture and a walkable downtown filled with stores, restaurants, and public buildings that they could admire and enjoy. Some suggested they had no place
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to take visitors from out of town. Many asked why Americans couldn’t build new cities with the same beauty, pedestrianism, and inspiring architecture as eighteenth- and nineteenthcentury European cities. Carmel’s residents wanted to have sidewalks that led somewhere beyond another residential cul-de-sac. They were longing for a better planned traditional city with a center, where everyone who lived or worked in the city could feel ownership and pride. They wanted to be able to walk to a restaurant, sit and chat with neighbors on their front porch, and do errands on foot. They wanted to be able to walk somewhere they actually needed to go. The question was why our cities were not better designed, so I turned to recent history to see what had changed. The answer was the invention of the automobile. For the last eighty years we had broken with more than a thousand years of lessons learned from trial and error; we designed our new cities for cars, not people. Our highway standards, single-use zoning stan-
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dards, and single-story construction all contributed to the problem. We decided to reconsider our approach and implement changes.
All photos courtesy of Mayor Brainard and the City of Carmel unless otherwise noted. Opposite page: Street scenes in Carmel’s new downtown.
Almost thirty years later, Carmel has repeatedly been named one of North America’s best small cities. We have attracted over a hundred corporate headquarters because the employees they need to succeed in business will be happy living in our city. We succeeded at building a walkable, beautiful city with interesting and inspiring architecture in our downtown. How was it done? We knew that for centuries successful cities had focused on moving goods and people safely and efficiently. Automobiles, of course, move people quickly, but not always safely, and certainly not efficiently. Many newer cities in our part of the United States had used the old milesquare county road system instead of a traditional 400-foot, pedestrian-friendly block pattern. When public officials and residents asked city traffic engineers to fix congested streets, the standard solution was to add more lanes to get more cars through the green cycle of the lights. Carmel took a different approach by adding intersection capacity rather than lane capacity. We learned that modern roundabouts (as opposed to the more dangerous older large rotaries) moved roughly 50 percent more cars per hour than a signalized intersection, reducing the need for wider streets and allowing the installation of beautiful green boulevards with flowers and trees. Since all vehicles are required to slow down at our roundabouts, we also lowered our personal injury rates by close to 80
This page, top: James C. Brainard, Mayor of Carmel, Indiana, at the entrance to Carmel's Arts & Design District. Photo: Michelle Pemberton. Bottom left: Skating in the Christkindlmarkt. Bottom right: Street scene in the Arts and Design District.
percent and our traffic fatality rate to onesixth the national average. The climate benefits of not idling and starting from a complete stop are also substantial. Counterintuitively, pedestrian injuries are almost nonexistent at our roundabouts because the center islands and lower speeds allow for a greater response time when an error is made. Our roundabout centers also provide the perfect place for beautiful, inspiring sculpture and flowers and trees. Many cities build sculpture parks, but only those who make an effort to go look at the sculpture actually see it. I wanted our public art to be disbursed so that every resident and visitor can see it in their everyday travels through the city. Carmel is built on a flat plane of former agricultural land with little obvious natural beauty. This requires us to work harder than other places to build a city that is beautiful and inspires our residents and visitors.
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Recent Books Recent Books of Note page 248
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RECENT BOOKS RECENT BOOKS OF NOTE
Recent Books of Note A.S.G. Butler, with George Stewart and Christopher Hussey The Architecture of Sir Edwin Lutyens ACC ART BOOKS, 2023
Edwin Lutyens, one of the most famous architectural names of the twentieth century, died in 1944. As a memorial, three large volumes of his drawings and photographs were commissioned from the thousands found in his office. Originally published by Country Life in 1950, all three volumes are being republished in 2023 (The series was reprinted once previously, in 1984). The first volume, Country Houses, contains Lutyens’s own plans, elevations, and copious details of the finest examples of his domestic buildings, on which his reputation principally rests. Volume 2, Gardens, Delhi, Washington, includes the Johannesburg Art Gallery, the Washington Embassy, and the Viceroy’s Palace in New Delhi. The final volume, Public Buildings, Etc., has not yet been released. The genius of Lutyens is now universally recognized. In the work featured in this series, we see the professionalism of a great architect as well as the loving care with which he set down the most minute detail. The result is that the books in this series are some of few in existence that can be used to provide working drawings.
Georg Ebbing and Christoph Mäckler, editors Der Eckhausgrundriss: Stadthäuser (Bücher zur Stadtbaukunst series) JOVIS VERLAG, 2023
The basic research of the corner house floor plan of the German Institute for Urban Architecture systematizes floor plan examples from the last 200 years and uses different apartment floor plans to explain the principles for dealing with the urban corner house. This German-language volume (The Corner House Floor Plan: Townhouses) serves as an architectural design guide to the corner house, representing an essential part of the urban block and illustrating the immanent connection between the morphology of the city and the house. The editors explain how clearly defined open or closed urban spaces require the design of corner houses with good floor plans, as these make a decisive contribution to the quality of the adjacent streets and squares. This third edition of the volume expands the existing collection of corner floor plans with examples that have been realized by twenty-nine architects in recent years, as well as some classics of the corner floor plan, illustrating the regained relevance of this type in current practice.
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Cesare Leonardi and Franca Stagi The Architecture of Trees PRINCETON ARCHITECTURAL PRESS, 2019
This large format (10" x 15") volume shows each of the 550 hand-drawn illustrations in stunning detail. The Architecture of Trees is the result of over twenty years of dedicated study by landscape architects Cesare Leonardi and Franca Stagi. This new edition, translated into English for the first time, preserves the original scientific illustrations and text. Each of the 212 tree species presented in the book are drawn to a scale of 1:100, with and without foliage. Complete with detailed looks at branches, leaves, and fruit, as well as tables of seasonal color variation and projections of shadows cast during the hours of daylight and season by season, this botanical masterwork is an invaluable reference for students of landscape architecture, botany, dendrology, architecture, and illustration. The drawings, essays, and detailed charts are essential for large scale landscaping projects and a helpful tool for backyard renovations. Landscape designers will think in new ways about the effect of seasons and the time of day on trees, and anyone interested in nature and trees will be captivated by the stunning illustrations.
Christoph Mäckler, editor Handbuch der Stadtbaukunst JOVIS VERLAG, 2022
This volume (Handbook of Urban Architecture: Guide to the Design of Urban Spaces), printed in German, provides basic knowledge for urban design. Urban spaces, courtyards, squares, and street spaces are shown, analyzed, and compared to scale using 150 examples from over seventy German cities. The four-volume work impressively documents the qualities of the European city described in the Leipzig Charter: beauty and durability, mix of uses, social diversity, density, and the separation into public and private spaces. Editor Christoph Mäckler builds on the textbooks by Cornelius Gurlitt, Raymond Unwin, and Josef Stübben from the early twentieth century and provides a well-founded guide to the city as a building. Contributors include Vittorio Magnago Lampugnani, Christoph Mäckler, Werner Oechslin, Alexander Pellnitz, Jan Pieper, Birgit Roth, Mirjam Schmidt, Wolfgang Sonne, Jürg Sulzer, and Anne Pfeil, as well as Thomas Will.
Craig P. Williams David M. Schwarz Architects: 1976–2020 IMAGES PUBLISHING GROUP, 2023
Washington DC-based David M. Schwarz Architects has realized a broad and diverse body of project types, including civic, institutional, cultural, commercial and retail, office and residential, educational, sports and entertainment, healthcare, and planning projects, as well as historic preservation. This book provides detailed and informative commentary on forty projects across the United States. Full-color photographs illustrate the architectural and planning design work of a firm with a significant focus on how buildings relate and contribute to their surroundings. Essays in this volume are based either on Craig P. Williams’s firsthand recollections or direct conversations with his colleagues who worked on those projects. Williams has been associated with David M. Schwarz Architects for over forty years, starting in 1979 during his spring break from the University of Maryland School of Architecture; he progressed from intern to job captain to project architect to project manager, and finally to principal. Projects he is most proud of include the Ballpark in Arlington, Bass Hall, 1133 Connecticut Avenue, Severance Hall, the American Airlines Center, Schermerhorn Symphony Center, Sid Richardson Museum, and the Charleston Gaillard Center. Williams continues as a design, technical, and history resource for the firm and advises on legal matters, ongoing business development, and at-large design critiques.
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The Richard H. Driehaus Prize at the University of Notre Dame complements the School of Architecture’s classical and urbanist curriculum, providing a forum for celebrating and advancing the principles of the traditional city with an emphasis on sustainability. Established in 2003, the Richard H. Driehaus Prize is awarded to a living architect whose work embodies the highest ideals of traditional and classical architecture in contemporary society, and creates a positive cultural, environmental, and artistic impact. In conjunction, the School presents the Henry Hope Reed Award to recognize achievement in the promotion and preservation of those ideals among people who work outside the architecture field. Together, the $200,000 Driehaus Prize and the $50,000 Reed Award represent the most significant recognition for classicism in the contemporary built environment.
“Beauty, harmony, and context are hallmarks of classical architecture, thus fostering communities, enhancing the quality of our shared environment, and developing sustainable solutions through traditional materials.” —richard h. driehaus
past laureates, 2003–2022
2022
2017
2012
2007
2021
2016
2011
2006
2020
2015
2010
2005
2019
2014
2009
2004
2018
2013
2008
2003
Rob Krier Sebastian Treese Ong-ard Satrabhandhu Maurice Culot Mark Breitman and . Nada Breitman-Jakov
Robert Adam Scott Merrill David M. Schwarz Pier Carlo Bontempi Thomas H. Beeby
Michael Graves Robert A. M. Stern Rafael Manzano Martos Abdel-Wahed El-Wakil Andrés Duany and . Elizabeth Plater-Zyberk
Jaquelin T. Robertson Allan Greenberg Quinlan Terry Demetri Porphyrios Léon Krier
Visit driehausprize.nd.edu for nomination information and to learn more about the prize.
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ben pentreath Richard H. Driehaus Prize, 2023
Ben Pentreath, architect, designer, educator, and author, is the recipient of the 2023 Richard H. Driehaus Prize at the University of Notre Dame. “As a luminary within a rising generation of architects, his work encompasses what the prize celebrates most: beauty, durability, and commitment to place.” —Jury Citation Statement
adele chatfield-taylor Henry Hope Reed Award, 2023
In conjunction with the Driehaus Prize, the 2023 Henry Hope Reed Award recipient is Adele Chatfield-Taylor, president emerita of the American Academy in Rome, historic preservationist and nonprofit administrator. Her dedication to historic preservation expanded its narrow focus from individual buildings to the stewardship of entire cities and one that includes the well-being of citizens.
“For 25 years Chatfield-Taylor directed the American Academy in Rome with a deep commitment to promoting an educational mission based on the lessons that the Eternal City can impart for resolving the design challenges of the present.” —Stefanos Polyzoides
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University of Notre Dame School of Architecture The need for right dwelling and shelter, for a sense of place, is deeply embedded in the human character. Over the centuries, architects served this need as makers of buildings and cities, shaping the structures and, like arteries, they cradled the very pulse of human existence and fostered communal living. As shown in the vast theater of memory that we call history, our most successful modes of dwelling occurred when Nature, the City, and Architecture achieved a mutual congruence, accord, and balance. That is why humanity’s great edifices stood not only as testimonies to our collective journey and our highest aspirations, but also as exemplars of wise building practices. In all corners of the planet, the monotonous sameness in architecture today compels the rational observer to ask: Where is home? Where is the sense of place?
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At the University of Notre Dame School of Architecture, we hold the conviction that tradition and modernity are not opposite. Rather, they can be complementary concepts. Put differently, various traditions and modernities are kindred spirits within the architectural experience all over the world. For over thirty years the great achievements of the classical tradition have underpinned the teaching of the School of Architecture and continue to inspire our students to excel. We impart to our students the significance of the continuity of ideas and forms, of architecture as the shaper of collective living, of architecture as a solid and durable expression that is measured by centuries and not by a mere few years. Durability, here, is understood on ecological and architectural levels, and on a planetary scale. Because of that, our students have undertaken projects in many parts of the United Statess and countries around the world—places where attention to Nature, the sense of place, the regional traditions, the composition of edifices, and solid construction are of paramount importance. The lines our students etch, the watercolors they paint, and the digital models they build are meant to serve the larger good, where spirits take flight and communities flourish. As we shape our structures, so in turn, they sculpt our lives. We believe architecture’s greatest triumphs and humanity’s finest moments lie ahead. Learn more about the program at architecture.nd.edu.
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