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.

East Building of National Gallery Crumbling After Only 30 Years

NOTE: After writing this article I received the following message from the author of the WSJ article:

"I have read your blog about my WSJ article on Pei's E Bldg wall system but it contains what I believe is a major error--the notion that Pope used expansion joints on his W Bldg marble veneer. This is untrue. The W Bldg marble veneer is mortared as well as anchored to its concrete back-up on the lower level and bonded to a brick substrate on the upper/piano nobile level. The resulting mass obviates the need for expansion joints. The only movement joints on the building are for structural movement and they fall between the wings and the center/rotunda block. I checked this out with the Gallery in reporting the story."

In this week's Wall Street Journal, Catesby Leigh writes about the ongoing problems popping up at the I.M. Pei-designed National Gallery East Building. The WSJ article explains that the facade of the building, constructed using an experimental curtain wall system that the architect described as "a technological breakthrough for the construction of masonry walls," has become unstable. While the article delves into the technological reasons for the failures, it begs the question of why. Why would the architect make a conscious decision to ignore established precedents for the construction in favor of a new, unsustainable system. The answer has more to do with ideological constraints as much as a technological ones.

East Wing of the National Gallery (photo by Iainr, via Flickr)

The facade of the East Wing is constructed of a series of 2'-by-5', 438-pound marble panels that are held in place on a structure of steel hangers attached to a concrete frame. With the use of new rubberized gaskets to seal the joints between the stones and allow for movement to occur, the walls were supposed to last for a half-century or more before needing even minor maintenance. Pei described them as "a technological breakthrough for the construction of masonry walls." It is this system that the WSJ piece describes as the very reason why the facade failed.

But the bigger question is why the building employed such technology in the first place. The following line explains the why:

The [use of the new experimental] gaskets also would spare the East Building the need for wide, visually disruptive expansion joints—a standard feature of curtain wall veneer, running horizontally and vertically at regular intervals to accommodate thermal movement.

The clean lines and solid geometrical forms of the building's design simply could not be interrupted with unsightly expansion joints. I.M. Pei quite simply was shackled to his own modern design, constrained to have large uninterrupted geometries of stone, a technological solution was an absolute necessity. The earlier Main Building, designed by John Russell Pope, had no such constraints.

Expansion joints are hidden behind the pilasters. (photo by Boots)

What most people, even architects don't realize is that the Pope building, like the East Wing, is similarly constructed using a marble veneer over a structural core. What is different, however, is the extensive use of a well established conventions construction and the use of expansion joints. These expansion joints on the facade of the Main Building are cleverly hidden behind clusters of classical pilasters on corners of the facade. Pope, not being constrained by the ideology of modern architecture, was able to find a solution that was at once attractive and still working marvelously almost 60 years after completion.

The essential difference between these buildings is clearly the technology used, but that technology is a direct reflection of the architectural philosophies of each architect. In the former case the architect believed that new materials would provide a "technological breakthrough" to allow him to create the clean lines of modern architecture. Ignoring traditional solutions and the nature of the materials he was working with, it ultimately resulted in structural failure. The latter architect however worked using established precedents of construction that took into consideration natural forces such as expansion and contraction and gravity, and combined this with a sleight of hand possible through classical architecture, created a building that has stood over twice as long with no major failures.

The question of modern versus traditional when it comes to building technology has become more than just a question of style, but that of sustainability. The cladding of the entire East Wing will now have to be removed and restored at the cost of $85 million to the taxpayer. This works out to about 17% of the inflation adjusted cost of the original building ($500 million). Add to the financial cost the immense amount of fuel, energy, and building material waste produced by such a project, the justification for such buildings is becoming more and more difficult. Structural and facade failure in an iconic Modernist building is not without a number of precedents, begging the question of why architects insist upon continuing to build such unsustainable architecture in our enlightened times, again the answer is ideology.

On one hand, architects wisely are beginning to embrace sustainability, but with the other hand cast aside traditional detailing and traditional architecture because of a ideological bias against such architecture. We need to use architecture, all of its lessons to create a better and more sustainable future, here at GGW it seems most everyone looks to tradition when it comes to urbanism, so too we should embrace it in architecture. For architecture to truly be sustainable it must not only welcome back into its repertoire the lessons that traditional and classical architecture have to offer when it comes to construction, but also must be willing to embrace them.

Quite Literal Vertical Cul-De-Sac Rises in Manhattan

Leon Krier has in times past called the skyscraper a "vertical cul-de-sac," and a developer in New York is taking the idea to the next logical step, bringing cars right up to your door in a skyscraper. According to an article in Architectural Record the "new residential building, designed by Selldorf Architects, takes the privacy and parking ease of a gated community from the burbs to the "urbs" and turns it on end."

Cross section of a new "Sky" Garage in New York's 200 Eleventh Avenue.

I struggle to find the words to describe how bafflingly stupid and absurd this development is, but Krier quite correctly notes that skyscrapers carves out a vertical, rather than horizontal space separate from the street network below. It then seems only natural, that the inclination to have the car be the measure of all things, follow from the horizontal suburban gated enclaves or "burbclaves" to vertical "urbclaves."

A suburban garage in a vertical format where one need not see anyone till safely home.

In Detroit I remember seeing an old theatre in a historic tower turned into a parking lot so that the office workers would never have to exit their secure vehicles until they could safely exit into the building. This apartment tower with its so called "Sky" Garages simply pushes that idea to the logical extreme that one finds in the suburbs, where one is locked in the car from door to door, eliminating all unwanted human contact.

The Michigan Theater parking lot, victim of suburban paranoia.

It is a truly sad development that now in the city, where one is accustomed to deal with people, where one ought to find community interaction, one need not interact with anyone they do not wish. The auto-centric mindset is not one that is promoting cars as transit, but as vehicles to pursue an anti-communitarian ideal of security fed by a paranoia towards interacting with anyone, even to the level of the ubiquitous New York doorman.

Preservationism Stands in the Way of Transit Options

Preservationists on Chicago's South Side are calling for local officials to stop the demolition of a small building standing in the way of a planned Metra Commuter train stop because the building was designed by Mies van der Rohe.

The "Test Cell" Building stands in the way of a proposed Metra Stop

This insignificant tiny bland box was designed by the German Modernist architect van der Rohe during his tenure as the architect of the Illinois Institute of Design and should be saved. According to one silly preservationist, this brutish little eyesore is akin to doodle by Rembrandt. One has to wonder when the hijacking of the preservation movement by ideologically driven modernists will come to an end and common sense will begin to prevail?

It seems to me that this building logically fails in almost all criteria that a building should have to mandate preservation.

1. The building is great - Lets face it, the building is like the Tribune says "a clunky brick box" only an idiot would think this building is intrinsically great.

2. The building is a significant example of its style - Go to any college campus in this country and you'll find a dozen of these miserable boxes cluttering up the landscape. As for an argument that it's the hand of a master, I doubt that Mies personally even drew the plans, like the Third Church of Christ Scientist, the architect didn't design this, his underlings probably did. If he personally laid the brick on this building maybe I could see it, but that isn't the case either.

3. The building is irreplaceable - Some buildings, like Penn Station were masterpieces that when they were torn down are lost forever. One could theoretically rebuild it, but the costs and the circumstances of today effectively render this impossible. This bunker could be built to the original plans in probably two or three days virtually anywhere, but what would the point be?

Some would claim that that would be "dishonest" but then I don't understand the obsession of modernist preservationists with "original materials." Architect drew the plans, the form is the important part, that's what makes it architecture, the hundreds of buildings reconstructed in Europe over the past 60 years after World War II are testament to this, they ARE great buildings, built to the designs of architects great and small, that they are new materials is irrelevant. One wonders if some sort of 60s new age thought got into preservationism? It's as if the stone and brick itself were somehow sacred by being arranged by the master, or the workers infused the brick with its zeitgeist of its particular time.

The real shame is that this miserable little junky building is standing in the way of real progress, a train station that will help revitalize the area. As the Tribune article says, hundreds of cars will be taken off the freeway adjacent to the school, and to stop genuine improvement for an ugly banal minor work by an architect that SOME people claim a master, is not simply stupid, it's the most irresponsible sort of architectural hubris imaginable.

Great Buildings of the Past Century: The National Gallery of Art

It seems to me that a great bulk of my critical writing here is often profoundly negative towards the practice of architecture. Frankly a lot of the blogosphere tends to be that way, and its human nature to complain and in architecture particularly there tends to be a lot less good news going on than bad. I've therefore decided to be a bit more positive and seet out buildings that are really great and give some good reasons why. I've decided to limit myself to building from the last century or so, roughly from 1900 on, I think it might be interesting to see how many great buildings I can find from this era.

The National Gallery of Art - 1941 - John Russell Pope

The National Gallery of Art was one of the last built works of the great classical architect John Russell Pope. Derided by his critics in during the rising tide of modernism as "the last of the Romans" Pope was a master of a sedate and serene classicism that one could adequately call modern.

This modern classicism is typified by Pope's use of the more robust classical orders such as the Doric, and greater ratio of wall to openings than other more Beaux-arts architects. His use of articulations tends to be more subtle, preferring slight changes in plane rather than deep bays and openings like one might find at Burnham's Union Station. Ornament, while not absent, is less used, but only at points of emphasis, and in proportionate manner, and like so much ornament of the interwar years, tends to be more planar and more spartan.

Corcoran gallery

Comparing his National Archives to Ernest Flagg's victorian 1897 Corcoran Gallery, the Archives appears lighter, with broader expanses of stone, widely spaced and small widely spaced acroteria and a shallow simple cornice. The Corcoran's use of deep recesses, heavily sculpted and staccato use of acroteria and festoons on the cornice and particularly the rusticated base give this smaller building a very heavy presence.The National Gallery continues Pope's style to its logical end. No figurative ornamentation is found on the exterior of the building, and only small wreaths in the frieze and small leaf patterns ornament the doors. This points to the idea that Pope saw this building not like another work of art on display, but rather as the frame.

Exterior ornament is limited to architectural detail.

The parti or plan of the building is remarkably clear and orderly. The central rotunda clearly modeled on the Pantheon flanked by block wings, each with long corridors ending at light courts is both pleasing and easily understandable. Comparing this to the often confusing layouts of so many museums its not hard to see why it's considered the best museum in the world. Other details make this building a remarkably wonderful place to view art. Diffuse light streams from above in the galleries, courtesy of the double layer of skylights brilliantly designed to bring in light but not cast shadows or cause glare.

The Pantheon-like central hall.

The building is despite it's appearance also extremely modern in a technological sense. The museum was one of the first buildings designed to be entirely air conditioned. The brilliance is found in that the air vents are placed above the cornices of the interior doorways, concealing this unattractive detail from the viewers standing on the floor below. The returns are tasteful grilles placed behind benches that sit in the halls.

The Pantheon oculus motif, giving beautiful diffuse light.

There is one final amazingly brilliant detail that no one sees, and probably only a very few people even know about is the use of expansion joints on the facade. Most buildings built today need expansion joints, this is due to the different materials that go into a modern building, usually a steel frame with stone as durable exterior material. The problem is when the building heats up the steel and the stone expand at different rates, necessitating some sort of joint to allow the expansion to be absorbed. Without this the stone would crack and fail.

Expansion joints are hid behind changes in plane.

Normally when a building has a long expanse of wall, like at the National Gallery, these expansion joints are simply run right down the front of the building. Pope however, just like he does with the skylights, and the AC vents, conceals this. Here it is concealed behind the places on the facade where the planes slip behind each other. The joint runs from top to bottom of the facade, but BEHIND the folds of the building. Simply brilliant. Without the flexibility of the classical language, this detail would be difficult, if not impossible to pull off, leaving the usual nasty looking line of plastic grout.

The National Gallery is a great example of how to build a truly modern building, with all of the conveniences necessary to its operation and construction, but yet maintain the dignity and beauty of the classical language.

A Comparision of Houses

This last weekend, I took a pleasant spring day to explore some of the great architecture that is found in the Greater Washington Area. Just down the road in the southern part of Alexandria, amongst the sprawl that has grown about George Washington's plantation of Mt. Vernon, is the little known gem of Woodlawn.

The garden front of Woodlawn Plantation by William Thornton

Built for Major Lawrence Lewis and Nelly Custis, the adopted granddaughter of George Washington, the house is little known outside the area other than to architecture and history buffs. The house was built by William Thornton, the architect responsible for the original design for the Capitol of the United States. Finished in 1805, the house is a prime example of Georgian design in the United States, and in my opinion, one of the most beautiful houses in the DC area.

Now just down the hill, a more striking comparison is not likely to be found anywhere, with an icon of Modernism sitting nearby. One of Frank Lloyd Wright's "Usonian" homes, the Pope-Leighey house sits in a wooded glade, deigning to be equal claimant to the mantle of architecture. Built in 1939 in Falls church, the house moved to the plantation by the National Trust for Historic Preservation when in the 1960s highway construction threatened its destruction.

The contrast between these houses makes for an excellent lesson in the failures of modernism and the sucesses of traditional construction. Now some might argue that comparing a two hundred year old plantation manor to a seventy year old modest suburban house is unfair, but I'll take a shot. The details of each house show fairly well the widely different philosophies of their designers. Woodlawn shows an attention to and understanding of natural forces and how to deal with them. The Wright house shows how the modernist ignores the nature of his materials and forces in favor of a ideological design aesthetic. I think that despite their budgetary differences, the two houses are fairly emblematic of each designer and their architectural philosophy.

Frank Lloyd Wright's "Usonian" Pope-Leighey House

After all, many of the architectural details to be found in Woodlawn were commonly found in traditional houses built by architects well into the 1920s from manors on down to even the most modest bungalows. The principles that Wright exhibits in the Pope Leighey house are fairly consistent with the design mentality of his other houses as well, so I think the comparison is fair at the level of detail.

Woodlawn itself has had some bad times over the 200 years of its existence. The foundation stones are showing a bit of wear, the brick moulds have dried out a little bit, so the shutters have had to be removed, but all and all, for its age the house is in good shape. It was hit in 1896 by a hurricane, but I doubt much of the slate roof has had to be replaced, and the cornices look like they may have had a few coats of paint and maybe gotten replaced here and there. But the structure of the house looks to be intact. (I'm not exactly sure about the history, but I'm just guessing this based on inspection.)

The slate roof of Woodlawn looks great even after 200 years.

The Pope Leighey house on the other hand looks haggard in comparison. The unpainted wood siding is starting to dry out and look rough. The "cornices of flat unpainted boards look to be literally falling apart. Other than the brickwork, which looks decent, and likely was rebuilt entirely when the house was moved in the 1960s, the house's exterior is in rough shape. One detail in particular as you'll see is striking. Frank Lloyd Wright's trademark cantilevered roofs, found here as anywhere, are failing.

The inherent problems of the cantilever, the sag is apparent and problematic.

Looking at this photo, you can see how the cantilever has sagged so far as to separate it from the wall it is next to. Elsewhere you can see how over time, the wood of these cantilevers has succumbed to the trials of time and begun to sag. When snow falls on this flat roof, and has no where to go, the stresses on this roof must be tremendous, and thus the roof begins to fail.

This one detail alone illustrates how the ideology of the cantilever, the flat roof is hardly a good thing. And this house was meant for the working class! (Wright however was never able to make his Usonian houses as cheaply as he promised.) Now all buildings need maintenance, but to unnecessarily compound problems of snow, water and wind are in this case not just stupid, but criminal. This is the sort of architecture that is being held up as the ideal. Thanks Frank. Thanks for giving us a house that after seventy years is falling apart.

Cornices of the Pope-Leighey House are falling apart.

I would be willing to bet any amount that per square foot, per year, the costs of maintenance for Frank Lloyd Wrights house are not only greater but likely outstrip the costs at Woodlawn by a fair stretch. I'd also wager that a house built contemporary to Wright, and of wood and of similar modest budget with traditional details is unlikely to be suffering such calamitous problems.

The side pavilions of Woodlawn could easily be a modest home.

We do a tremendous disservice to our future generations by ignoring the very real problems with modern architecture and its inherent failings and unsustainability. When architects overlook them because of the ideology that everything must be new or innovative is a profound mendacity. Until we expose the falsehoods of the Modernists who say that their architecture is just as sustainable and good as traditional architecture, we will continue to have an intellectual and financial millstone tied about our necks.

Leon Krier on the True Sustainability: Tradition

Many many apologies for the long hiatus yet again in posting. A few big projects came down the pipe these past few weeks so blogging has fallen to a lower priority rung. However these next few weeks should be much more sane.

Tonight I attended a lecture by architect, theorist and urban planner Leon Krier at Catholic University of America right here in DC. For those of you in the DC/Maryland Area, Mr. Krier will be speaking this Wednesday at University of Maryland on the same topic, the Architecture of Community.

Leon Krier (taken with cell, sorry for quality)

Tonight Krier spoke mainly on traditional urbanism, which makes up the bulk of his scholarship, but in light of our increasing awareness of environmental concerns and energy concerns. He gave a very good argument as he usually does for both traditional urbanism which centers planning around the 10 minute walk, ie, according to human scale and nature, but also on traditional architecture itself.

In previous posts I have made the argument that traditional architecture not only looks better, but that it is more sustainable. I have given a number of arguments showing how traditional construction details, and traditional materials are more adept at dealing with natural forces of wind and weather than experimental modernism. I have tried to show how tradition is not just an aesthetic choice, but is an actual functional part of a building. Tonight Krier was able to sum this up with just one statement, one that I think ought to be declared an axiom of architecture:

"Tradition is not about style, it's about technology."

Krier made the argument that traditional details, traditional construction is not about a style, not about aesthetics, but is entirely about technology. Not about experimental technology in the modern sense, but technology that works. Criticisms were raised in the questions after the talk about traditional architecture simply historicism. Krier gave the brilliant response that technology that works, such as the wheel or other discoveries, are not simply historic events, but are truths, and as such are outside of time.

We use wheels all the time, but don't worry about when they were invented, but that we simply recognize their utility and incorporate them into our lives. So too would the case be for construction technology, we simply don't need to reinvent the wheel.

So if it ain't broke, don't fix it!

Progress photos from Thomas Aquinas College Chapel

Work is finishing up at Thomas Aquinas College's Our Lady of the Most Holy Trinity Chapel. Some great work by New Classicist architect Duncan Stroik, another major work finished just under a year after Our Lady of Guadalupe.

Here are some photos I was forwarded the other day from a fellow alum. The solid marble statue of Mary sculpted by Tony Visco is being hoisted into place to crown the facade of this great new project. Reports I hear say that the interior is nearly finished, though the baldachino and the altar rail are not yet installed.

UPDATE: I've been corrected, Tony Visco is not the sculptor for this piece, though was to do some work here, circumstances worked out that his work was not used.
This piece is by Giancarlo Buratti as well as all the other exterior sculptural work.