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Jeremiah Eck

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More Lessons From the Father of Postmodernism, Charles Moore

This article was originally published on Common Edge.

About 50 years ago, the renowned architect, educator, and author Charles Moore was hired by Frederick and Dorothy Rudolph to design a vacation house on Captiva Island, Florida, and about a decade later, in the late 1970s, they hired him again to design their permanent residence in Williamstown, Massachusetts.

Moore was often called the father of Postmodernism and was a prolific proponent through such books as The Place of Houses. With the exception of his small houses, however, I was never a big fan of his work. But I still have a tattered copy of that book, because when I read it, it was the first time that someone had articulated the process of designing a house, including a programmatic checklist to follow.

Witold Rybczynski on Charleston, Small Scale Development, and the Need for “Locatecture”

This article was originally published on Common Edge.

In late May, my friend Witold Rybczynski published Charleston Fancy: Little Houses & Big Dreams in the Holy City (Yale University Press), about a group of architects and developers building small infill housing in Charleston, South Carolina. Having recently witnessed too much large scale development in my hometown, Boston, the topic piqued my interest so I called up Witold to talk about his new book.

Witold Rybczynski on Charleston, Small Scale Development, and the Need for “Locatecture” - Image 3 of 4

4 Proven Artistic Principles That Can Help Make Better Architecture

This article was originally published by Common Edge as "Enduring Principles of Art That Also Apply to Architecture."

It is safe to say that architects, academics, critics and even the public have been arguing about the merits of architectural style for centuries. Even during the course of my own career, the more general style categories of contemporary-vs-traditional have continued in an unabated battle. For better or worse, contemporary has generally won out as the default position for most schools and publications, probably because of the sheer visual entertainment value it offers, and the lucrative merits of its two stepchildren, branding and advertising.

I’d like to propose another position: that certain enduring principles of art, rather than any temporary style—and, remember, they are all temporary—should be our real architectural goal. This presumption means you must be agnostic when it comes to style and put aside any notion of an ideological stance regarding the right or wrong of your architectural preferences. There are those, of course, who say that to imagine that “my art” is better than yours, or even that I can define real art in the first place, is a fool’s errand.

I think otherwise.