rybczynski

Contemporary Is Not An Option

Planned communities like Celebration, Florida have proved well-planned towns designed to higher densities – enabling walk-able neighborhoods and public spaces – are very well received and successful. As Witold Rybczynski notes on Slate, 10 years after Disney’s town was completed, the planning works well; and the residential architecture is not bad, just a bit bland.
Disney’s Controversial Town, a Decade On
By Witold Rybczynski
“To avoid cookie-cutter uniformity, Disney gave builders the choice of several architectural styles such as Colonial Revival, Victorian, and Craftsman. “Modern,” given the preferences of American home buyers, was not an option. Yet an impression of sameness persists, for the houses share the same contemporary building materials and details. All too often they also share a bland, middle-of-the-road civility. This is understandable, since builders can’t afford to antagonize buyers, but too much politeness can be a bore. The happy exceptions are the bumptious “Mediterranean” houses that occur here and there. They exhibit a good-natured Floridian vulgarity that is refreshing among all the good taste.”

Architecture that succeeds without showing off

There are some “show-off” buildings that I love; the uplifting Bilbo is one such building, but all too often signature buildings that overreach can become a self-indulgent mess. In the world of prefabricated homes this is probably even truer as a decadent display will seem even more pretentious when repeated in multiples.
Witold Rybczynski’s succinct article in Slate makes the case for a little more restraint:
In Praise of the Anti-Icon
By Witold Rybczynski
“Painter Paul Klee once wrote that while painters could make wheels square, architects had to make them round. Not any more. In the past, public and institutional buildings were expected to convey a sense of solidity and order; today they can just as easily suggest collapse and disharmony. In his forthcoming book, Architecture of the Absurd, John Silber takes aim at architects such as Frank Gehry, Steven Holl, and Daniel Libeskind, who, in a desire to create iconic architecture, frequently make their wheels square.
Silber, the outspoken president of Boston University for 25 years, excoriates these architects—and, by implication, their clients—for disfiguring, as he puts it, what should be a practical art. His spirited, if sometimes perfunctory, essay raises an interesting question: if not architectural high jinks, then what?
The new addition to the Seattle Art Museum, which opened last summer, provides one answer: an anti-icon. Instead of architectural pyrotechnics, the designer, Brad Cloepfil of Allied Works Architecture, opted for what, at first glance, appears to be almost corporate blandness. Almost, but not quite. The dull stainless steel suits the often overcast Northwest light, and the sliding shutters that control light entering the galleries create changing patterns on the exterior wall. The upper floors of this loftlike building, currently leased as offices, can be converted into gallery space in the future, when the museum expands. This pragmatic approach gives the museum maximum flexibility, although at the price of somewhat uninspired interiors.”
To read the full article, go to:
http://www.slate.com/id/2175080/