Martin Filler

Critic

1948-09-17

Books by Martin Filler

Louis I. Kahn
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Makers of Modern Architecture
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Quotes by Martin Filler

Considering my specialization in architecture, I'm not surprised that the first graphic novel to thoroughly engage, not to say captivate, me is Chip Kidd and Dave Taylor's 'Batman: Death by Design.'
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There is no sadder tale in the annals of architecture than the virtual disappearance of the defining architectural form of the Modern Movement - publicly sponsored housing.
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One of the stated goals of the postmodern movement in architecture was a greater sensitivity to the people who live in or use newly designed buildings.
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During the nineteenth century, the rapid emergence and proliferation of new manufacturing methods and building technologies led to the establishment of polytechnic schools that concentrated on the practicalities of engineering and construction rather than the niceties of stylistic correctness or adherence to established precedent.
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Picasso's superhuman gift for draftsmanship might have made him lazy about pursuing the full potential of color. It was not unusual for him to build a composition by first outlining figures and objects in black and then filling the interstices in a perfunctory manner that can put one in mind of a museum-shop coloring book.
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Although prefabrication has a long history - the ancient Romans shipped pre-cut stone columns, pediments, and other architectural elements to their colonies in North Africa, where the numbered parts were reassembled into temples - the idea took on a new impetus with the technological advances of the Industrial Revolution.
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The form a city assumes as it evolves over time owes more to large-scale works of civil engineering - what we now call infrastructure - than almost any other factor save topography.
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Winning the Pritzker assures a flood of work in one's seventies and eighties, jobs necessarily carried out by assistants as the demands of modern-day cultural stardom and the inevitable waning of physical capacities prevent many architects from attaining the transcendent final phase more easily achieved by artists in other mediums.
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Truly great architecture always transcends its stated function, sometimes in unanticipated ways.
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Before the professionalization of architecture in the nineteenth century, it was standard for an aspiring mason or carpenter to begin his apprenticeship at fourteen and to become a master builder by his early twenties.
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Cost overruns are not uncommon in architecture, particularly for designs that depart from structural or technological norms, or demand a finer quality of execution than commercial schemes - conditions typical of buildings for cultural institutions. Budgets are exceeded for many reasons, not all of them within an architect's control.
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When Oscar Niemeyer died on December 5, 2012, ten days before his 105th birthday, he was universally regarded as the very last of the twentieth century's major architectural masters, an astonishing survivor whose most famous accomplishment, Brasilia, was the climactic episode of utopian High Modern urbanism.
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During the modern period, the vanguard architect has usually relied on small residential jobs both to supply a steady income and to serve as 'sketches' for ideas that are often later translated to the larger scale of public commissions.
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We take from the art of the past what we need. The variable posthumous reputations of even the greatest artists and the unpredictable revivals of interest in even the most obscure ones tend to reveal more about those who make revisionist assessments than about those who are being reassessed.
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High among the unpredictable variables that endanger the survival of worthy buildings are the vagaries of taste.
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Architectural kitsch is most common in the commercial pop vernacular - typified by the Big Duck of 1931 in Flanders, New York, a Long Island roadside poultry stand resembling a duck, which Venturi and Scott Brown made a cult object through their writings.
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The Frankfurt Museum of Decorative Arts is a handsome building, which takes its cues from the riverside Biedermeier villa next to it, and it is well-integrated into an overall scheme for a group of small museums.
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Some museum boards think that choosing an architect can be reduced to a science, but it comes down to a matter of taste, pure and simple. A shortlist of prospective designers speaks volumes about the likely outcome. If the candidates' styles are too divergent, the search committee doesn't know what it wants.
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The danger for any artist whose work is both recognizable and critically acclaimed is complacent repetition - the temptation to churn out easily identifiable, eagerly welcomed, and readily salable designs.
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By 1970, the first stirrings of the revolt against Modernist orthodoxy in architecture had been felt, although it would be several years more until Postmodernism was widely accepted and made classical motifs permissible in high-style building design for the first time in decades.
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