Altes Museum (Old Museum) Berlin

The Altes Museum by Karl Friedrich Schinkel. Finished in 1830 the building was the height of Greek style architecture. (Thomas Gordon Smith refuses to use the term "Revival" in speaking of the style, and so do I) The building survived vicious fighting during WWII and survived the fate of the Communist regime after the war. The Royal Palace once stood on the same island in the Spree but was unceremoniously replaced with a hideous modernist block, (which is now being torn down to rebuild the Palace).

Main Elevation

Colonnade


Main Atrium, modeled on the Pantheon in Rome.



Main stair hall landing on the second floor.

Modern the Right Way - Otto Wagner

Kirche am Steinhof, Vienna, Austria by Otto Wagner, 1907.

The chapel of the local insane asylum, the beauty of the church is striking. It manages to retain the essence of classical architecture while not being completely classical. The church is filled with remarkable and exquisite figurative art, thus maintaining an essentially Catholic character. The main altar is just astounding.

If all modern were like this, I'd hardly complain.

What a Good New Classical House Looks Like

A New Classical Townhouse in Chicago (completed 2006)

You don't have to make a house look like a McMansion to have a classical house. Here's an example in Chicago that fits into the neighborhood and is beautiful. Perhaps I wouldn't choose the French Empire Style but the house works and will doubtless be treasured for generations.

Speaking this Friday on Beauty and Harmony

A good part of the reason I've not been blogging lately is that I've been preparing a lecture and presentation for a conference this weekend. The architecture schools of Catholic University of America and the University of Notre Dame are co-sponsors of A Living Presence - Extending and Transforming the Tradition of Catholic Sacred Architecture.

I will be speaking on the topic of Harmony and Beauty, a difficult philosophical concept for a very long book, but one that has proven to be even more difficult to shoehorn into a 15 minute presentation.

My slot will be in the 1:30 -3:15pm session on April 30, titled: Beauty and Abstraction.

The Importance of Beauty to the Catholic Church

A new column by Art Lohsen entitled "The Importance of Beauty to the Catholic Church"

Westminster Abbey Competition for the Design of a New "Corona"

The London Times reports on a (possibly) exciting competion to complete Westminster Abbey's long unfinished crossing spire. The Abbey, site of coronations and royal weddings for nearly a millenia, has over time been added upon and improved by the likes of Sir Chrisopher Wren and George Gilbert Scott. However, the spires and towers proposed by numerous architects for the crossing have never been built. The crossing now is to be surmounted by a "corona" to mark the 75th anniversary of the coronation of Queen Elizabeth II, and likely to celebrate the crowning of the Prince of Wales as King Charles III.

The Corona would replace the small pyrimidial crossing cap seen today.

Now since Prince Charles is likely to be at least personally interested in this project, one has to wonder who will be chosen to submit the design and what will the design be like? Will the Royal Institute of British Architects reign supreme over this project and demand a modernist scheme? Will the nonsensical preservationist criteria of designing in a markedly different style (meaning exclusively modern) be trotted out?

Or will sanity be preserved and the design be classical/gothic and be more sympathetic to the historic church? Given the amount of vitriol and venom recently spewed in the direction of the Prince for his offering of an opinion on the Chelsea Barracks plan, one is likely to see the level of attack on classical architecture and Prince himself to reach a fevered pitch. If a classical scheme by Quinlan Terry is even part of the discussion, the charges of royal interference in the benighted practice of architecture (as if patrons don't have a choice), and how Prince Charles is singlehandedly trying to destroy architecture.

Could a design such as this top the famous royal church?

However I think HRH will yet again appeal to the common sense of beauty and tradition in the face of such barbs, and will yet again be backed not by the popularity of the architectural elite, but of his people. The Abbey has yet to unveil the designs for the corona, so there is still reason to hope that a classical design will be chosen, far better hope than we might have here in the US in a similar situation. The tide is changing in England, and as I've said before, it is in no small part due to the Prince's good opinion and taste for the traditional and classical beauty found still in Britain.

Prince Charles: A Champion for Classicism

On March 25, His Royal Highness Prince Charles spoke out against a proposal by architect Richard Rogers to build a massive modernist apartment block in a historic district of London. The Chelsea Barracks scheme calls for superblock of glass and steel apartment buildings standing in a rambling anti-urban park setting, ala Corbusier, directly adjacent to the historic and beautiful Royal Navy Hospital built by Christopher Wren.


The Rogers design had a great deal of local opposition, and during an event at the Wren Hospital, Prince Charles weighed in and backed the opposition and also wrote to the chief financial backer of the scheme, the Emir of Qatar, urging him to reconsider the design. Predictably, the modernist establishment went apoplectic. Some accused Charles of "high-handed arrogance" and one architect said that his opinions were a return to the "era of the divine right of Kings."
In one "news" article the Terry design was described as "a classical pastiche," an overused cliche if there has ever been one.


Now I'm not going to comment so much on the designs themselves, I think readers of this blog will be able to predict my sentiments fairly well. (Feel free however to debate in the comments the merits or demerits of either scheme, I'll save my comments on the designs for then.) What I really want to comment on is the vital role that Prince Charles takes in the debates in the UK about architecture.

Prince Charles is no stranger to debates about architecture. Back in 1984, a modernist scheme had been proposed to the Sainsbury Wing for the National Gallery in London, and in an address to the Royal Institute of British Architects, described the proposed addition "like a monstrous carbuncle on the face of a much-loved and elegant friend." The speech hit the architectural establishment like a sledgehammer, and did more than sink the design, it turned the entire architectural establishment on its head and allowed the door to open just enough to let classicism return to life.

Classicism by the 1980s was left for dead and for all intents and purposes, was dead. The number of architects who practiced architecture with a mind to tradition and beauty probably numbered only a dozen or so in the whole world. From this speech by Charles and further comments and speeches that followed over the years, he raised doubts about modernist architecture and its inevitable march, he raised the question, why not beauty?


Before Prince Charles gave his carbuncle speech, modernist architecture reigned supreme, triumphant and defiant. The few who would question the modernist establishment would have a difficult time even making it through university, and none would be able to rise to a level of authority to be a critic of the hegemony. But in the Prince of Wales, by virtue of his royal birth, classicism had for the first time in half a century a champion who would be listened to. Charles was a real voice for those who before had been dismissed as "nostalgic" and "backwards-looking." Certainly the architectural establishment still sneered at him for his traditional and classical leanings, but to the public at large he could not be ignored.

In the UK today modernism still reigns as the dominant force in architecture, but it has lost its monopoly hold on the culture. Today the work of classical architects such as Quinlan Terry and Robert Adam are routinely seen in the architectural press. Now reviews of classical work are dismissive and downright mean, they are not ignored in the way they are in the architectural press in the United States. To architects working in London, Robert Adam is as recognizable name as Lord Foster, whereas here in the US, classicists still labor in anonymity. I would venture that few architects outside the classical community even know of Allan Greenberg or John Blatteau, let alone recognize any of their work.

Prince Charles' criticism of modernism and patronage of classical architecture has opened architecture up for debate. That debate has been rancorous and uncharitable more often than not, but at least classicism is no longer ignored. I only wish that here in the US, good classical architects be taken as seriously as they are across the pond and not simply dismissed.

New Chapel at Thomas Aquinas Finished

This weekend I was fortunate to have been on the campus of Thomas Aquinas College (my alma mater, undergraduate) to celebrate the dedication of the brand new Our Lady of the Most Holy Trinity Chapel. The chapel only seats about 600, even with overflow, so I wasn't enough of a VIP to attend the actual dedication itself, but the college has posted up photos from the event, which I will attach to the next post.

I was able to however attend the first Mass the day after the dedication, a Traditional Latin Mass celebrated by the head of the Fraternity of St. Peter, Fr. Berg, a graduate of TAC in 1993. As an interesting liturgical aside, there seems to have been zero problems having the Traditional Latin Mass in the new church, as well as the Ordinary form, or Novus Ordo Mass as well. Blogger, and prolific Matt Alderman has written an excellent piece in First Things about preparing new Catholic churches for the use of both forms of the Mass, and it's great to see a new church functional for both.


One commentator here thought the church was renovated or was in Italy, but no, it's BRAND NEW. This church is in my opinion the best church built in America in the last 40 to 50 years. I'd be hard pressed to find a more beautiful church built since World War II anywhere else in the world. There are a few others which are fine churches, though as I said, very few, and certainly none that have been built in my lifetime even come close. If someone can find one I'd love to see it.

We are, it should be said, in just the opening stages of a renaissance with New Classicism and the church's few minor quirks are only to be expected. When one can honestly say that 30 years ago there were probably just a handful of Classical architects working in the world, and nothing like this was being built anywhere. The few practitioners there were out there were only able to preserve so much knowledge. Today we can see how far we've come in such a short time, but also knowing that this is only the beginning, and much is yet to be discovered and learned anew.


TAC's chapel isn't perfect, and though it is hard to believe today, but new and BETTER churches will be built. This church is the sign that we can do it. It is a sign to architects everywhere to what is possible. It is sign to the all churches of what a sacred place can be, and how beauty can exist.

Swiss National Museum's new wing already out of date

Often a criticism weighed against contemporary architecture is that the buildings built today will within a few years time appear dated, out of style and silly. Rarely has that criticism being levied against a building that isn't even built yet.

The Swiss firm Christ & Gantenbein Architects was reported to have just received funding to begin construction of an addition to the Swiss National Museum in Zurich. The only problem is that in the time waiting to wade through the red tape of government bureaucracy the design has apparently grown mold sitting on the shelf. According to the article in Architectural Record, the critics, and the architects themselves admit the design is a bit stale:

"Given that the design is now six years old, [architect Emanuel] Christ acknowledges that what seemed striking and original may appear less so today."

I couldn't agree more, excepting that the design was probably never terribly striking or original, looking like a rather boxy knockoff of any random Lebeskind museum.

It begs the question whether a more traditional design would have elicited such a response to the design languishing in governmental committee? Would a design that harmonized with the original museum have to resort to such chicanery as the architects propose to repackage their design?

"Indeed, the Swiss Nation Museum extension’s tessellated planes have become a common motif in contemporary design. As a result, currently the studio is considering slight changes to its addition, such as cloaking it in a gradation of color that would dramatize its geometry."

In other words, the design no longer is fashionable today, with its bare concrete walls of angling planes, but rather should be like this years fashionable colored buildings.

Architecture is not fashion. Architecture is the expression of the highest ideals of humanity, those ideals which are unchangeable and as such architecture is unchangeable. Sure, tastes and styles change, but a truly good building will age well and continue to tell the same story and express beauty in the same way, whether it's six years after it's design or six hundred.

What Beauty Is

Aristotle on Arts
Ethics Bk VI: Ch. 3

“state of capacity to make, involving a true course of reason. ”

St. Thomas on Beauty
Q.5. A.4
“Obj.1 Its seems that goodness has not the aspect of a final cause, but rather of the other causes. For, as a Dionysius says, Goodness is praised as beauty. But beauty has the aspect of formal cause. Therefore goodness has the aspect of a formal cause.

Reply Obj.1 Beauty and goodness in a thing are identical fundamentally, for they are based upon the same thing, namely, the form; and this is why goodness is praised as beauty. But they differ logically, for goodness properly relates to appetite (goodness being what all things desire), and therefore it has the aspect of an end (the appetite being a kind of movement towards a thing). On the other hand, beauty relates to a cognitive power [intellectual virtue], for those things are said to be beautiful which please when seen [or heard]. Hence beauty consists in due proportion, for the senses delight [pleasure being key to learning here] in things duly proportioned, as in what is like them – because the sense too is a sort of reason, as is every cognitive power. Now since knowledge is by assimilation, and likeness relates to form, beauty properly belongs to the nature of a formal cause.”

Aristotle on Beauty
Metaphysics XIII Ch. 3

"Now since the good is distinct from the beautiful (for the good is always s in action but the beautiful may also be in what is immovable), those who assert that the mathematical sciences say nothing about the beautiful or the good speak falsely. For they do speak about and show these, and in the highest degree. The fact that they do not use the names, while they do exhibit construction and theorems about them, does not mean that they say nothing about them. Now the most important kinds of the beautiful are order, symmetry, and definiteness, and the mathematical sciences exhibit properties of these in the highest degree. And since these (that is, order and definiteness) appear to be causes of many things, it is clear that the mathematical sciences must be dealing in some way with such a cause, that is, the cause in the sense of beauty."

Poetics
“that which is beautiful, whether an animal or any other thing which is composed of a number of parts, should have not only these parts [properly] ordered but also a magnitude, and not any chance magnitude. Indeed, beauty exists in magnitude as well as in order;”

“for the visual grasp of it and of its parts does not take place simultaneously, so its unity and wholeness are lost for the viewer.”

“The proper limit of [a good tragedy or plot] according to its own nature is this: the greater the length up to the limit of being grasped as a whole.”


Leon Batista Alberti
Ten Books of Architecture Bk VI Ch2

"I shall define Beauty to be a harmony of all the parts, in whatsoever subject it appears, fitted together with such proportion and connection, that nothing could be added, diminished or altered, but for the worse."