Many leading 20th-century architects, including Philip Johnson and Mies van der Rohe, were openly disdainful of the public’s preferences. On occasion they evinced subtle and overt racism. In 1913, in one of the most influential essays in the history of Modernist architecture, “Ornament and Crime,” the Austrian architect Adolf Loos declared that modern man (read: white northern Europeans) must go beyond what “any Negro” could achieve in design, and strip away all that is superfluous, all that is morally and spiritually polluted. It is Papuans and other primitives who, like innocent children, ornament themselves with tattoos. Loos’ race has superseded them: “the modern man who tattoos himself is either a criminal or a degenerate.” The same held for ornament in architecture. (To this day, architects — who continue to believe they are the vanguard of civilization’s progress — find ornament retrograde. Yet ordinary people stubbornly continue to adorn themselves with cosmetics, jewelry, and, yes, tattoos.)
In the 1920s, during the time he was a member of the French Fascist party, the seminal architect Le Corbusier said he was disgusted by the “zone of odours, [a] terrible and suffocating zone comparable to a field of gypsies crammed in their caravans amidst disorder and improvisation.” He also chimed in with Loos: “Decoration is of a sensorial and elementary order, as is color, and is suited to simple races, peasants, and savages … The peasant loves ornament and decorates his walls.”
More recently, indicative of architecture’s current race problem, in 2006 the aforementioned highly influential dean of Tulane’s architecture school, Reed Kroloff, wrote the embarrassingly tone-deaf, flat-footed essay “Black Like Me.” (As I discuss below, he collaborated with Betsky on a post-Katrina project.) Kroloff — the privileged, self-described gay white Jew from Waco, Texas — announced that he was now black, that the Hurricane Katrina disaster had made him feel first-hand the African-American predicament. His piece was subject to much ridicule. No wonder the Mods have chosen to insulate themselves from the un(brain)washed masses. Architecture has become a gated community.
Betsky, to his credit, doesn’t pretend that architects should even try to make outreach. Showing little sympathy for democracy, he says that appeals to the public are “mystical.” The people — the 99% — do not deserve a seat at the table. Yet Betsky would have us believe that he and the architecture he supports are “progressive.”
Justin Shubow, “Architecture Continues To Implode: More Insiders Admit The Profession Is Failing”, Forbes, 2015-01-06.
February 15, 2020
QotD: Architecture’s lingering racism
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