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ARCHITECTURE: Review

Goldberger, Paul ; Paul Goldberger is the architecture critic of The New York Times

New York Times, 1987

New York, N.Y: New York Times Company

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  • Título:
    ARCHITECTURE: Review
  • Autor: Goldberger, Paul ; Paul Goldberger is the architecture critic of The New York Times
  • Assuntos: Adam, Peter ; ARCHITECTURE ; BOOKS AND LITERATURE ; Eisenman, Peter ; GOLDBERGER, PAUL ; Gray, Eileen ; Jencks, Charles
  • É parte de: New York Times, 1987
  • Descrição: CHICAGO ARCHITECTURE 1872-1922: Birth of a Metropolis edited by John Zukowsky (480 pp., Prestel-Verlag/Art Institute of Chicago/te Neues, 15 East 76th Street, New York, N.Y. 10021, $60) is a lavish and thorough homage to this incomparable city, truly America's first city of architecture. The theme here is not merely Chicago itself, but the connections between Chicago architecture and architectural thought in the rest of the world, with particular attention to Europe. Several of the essays here break away from the tendency to think of Chicago mainly in terms of modernist architects like Louis Sullivan and John Wellborn Root; there are chapters on hotels and apartment houses, and one on the eclectic Wrigley Building. TURN LEFT AT THE GROPIUS MODERN ARCHITECTURE IN EUROPE: A Guide to Buildings Since the Industrial Revolution by Dennis J. De Witt and Elizabeth R. De Witt (335 pp., Dutton, Paper, $19.95) and THE LE CORBUSIER GUIDE by Deborah Gans (192 pp., Princeton Architectural Press, Paper, $17) are the kind of books I have been waiting for, I think, for the better part of my life. Nothing is more frustrating to architecture buffs than to travel across a continent to see a celebrated building and then, since scholarly histories never deign to offer practical information, not be able to find it. Everyone knows, for example, that Le Corbusier's celebrated Chapel of Notre Dame du Haut is at Ronchamp, in eastern France, but how do you actually get to Ronchamp and how do you see the building once you are there? It took me, as a young student, days to arrange my own visit; if I had had Deborah Gans's superb book, life would have been vastly easier. Her excellent text is more detailed than the De Witts', but its scope, obviously, is limited to the work of a single architect; the De Witts range far afield to direct us to virtually every important modern building in Europe. Both books contain excellent maps and photographs. The prolific architecture historian Charles Jencks loves to write history as it is happening, which is why POST-MODERNISM: The New Classicism in Art and Architecture (360 pp., Rizzoli, $60) is his fifth book on the post-modern movement. This, however, is the big one - at least the big one for this year, as opposed to his big one about all contemporary architecture, ''Architecture Today,'' which appeared a few years ago, or his big one on his own post-modern house in London, which appeared two Christmases back. For all that he is known as a passionate advocate of the post-modern movement, Mr. Jencks is by temperament a classifier and assembler, and much of this book is taken up with his attempt to put every important artist and architect into some sort of category. The insistence on seeing art history as a rigid pattern is redeemed by Mr. Jencks's splendid descriptions of individual buildings (he is especially good on James Stirling and Michael Wilford's great Staatsgalerie in Stuttgart, West Germany) and by the up-to-the-minute photographs. POSTMODERN VISIONS: Drawings, Paintings, and Models by Contemporary Architects (357 pp., Abbeville, $55), edited by Heinrich Klotz, is dull as dishwater by comparison to the spirited Jencks book, but here, too, the pictures are good. Written to accompany a major exhibition of the work of post-modern architects that originated at the Architecture Museum in Frankfurt, West Germany, and was recently shown in New York, this is a serviceable compendium, with a range that goes from the highly theoretical work of architects like Raimund Abraham and [PETER EISENMAN] to the more practical post-modernism of Michael Graves and Robert Venturi. ''Postmodern Visions'' is, however, richer in its presentations of drawings and unbuilt work than the Jencks book.
  • Editor: New York, N.Y: New York Times Company
  • Idioma: Inglês
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