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There are extraordinary connections between the natural world and the capacity for creativity in human beings. In his book Last Child in the Woods, journalist and author Richard Louv observes: “Nature inspires creativity in a child by demanding visualization and the full use of the senses. Given a chance, a child will bring the confusion of the world to the woods, wash it in a creek, turn it over to see what lives on the unseen side of that confusion.” He concludes that in nature, “a child finds freedom, fantasy, and privacy: a place distant from the adult world, a separate peace.” The architect Frank Harmon likewise wrote touchingly about the outdoors, woods, and water as perfect settings for cultivating a thirst for learning and discovery: “Children raised by creeks are never bored. Creek children don’t know about learning by rote, neither are they conditioned to working nine to five. Berries are their first discoveries, and birds’ nests, and watching the stars come out. Later they discover books. To creek children, learning is discovery, not instruction.”

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Steven J. Orfield's firm, Orfield Laboratories (OL), has spent 50 years in architectural design, research, and testing, dedicated to the premise that what matters in design is the end user, because design in the absence of user comfort, preference, and satisfaction is a failure. In this process, the firm has developed building performance standards for most commercial building types, and has now added to those standards the requirements for half of the world: people who are perceptually and cognitively disabled (PCD). The expense in doing this has been significant, but it has been one of the most important quests in Orfield's life.

This article was originally published on Common Edge

Four years ago, the Pritzker Prize–winner Tadao Ando spectacularly converted a 1920s apartment building in the Lincoln Park neighborhood of Chicago into exhibition spaces for a gallery named—in deference to its street address—Wrightwood 659. The gallery is currently staging a resourceful exhibition on wood-frame construction, the method by which more than 90% of U.S. houses are built. 

Rarely has wood-framing been the subject of an architectural show. It’s too mundane a topic—or at least it seemed that way until two associate professors at the University of Illinois Chicago, Paul Andersen and Paul Preissner, conceived the American Framing exhibition for the U.S. Pavilion at the 2021 Venice Architecture Biennale. One year after Venice, the much talked-about exhibition makes its American debut at Wrightwood 659.

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America’s housing crisis is a longstanding problem. But recent reports of private hedge funds buying up detached houses and townhouses is likely to make an already difficult situation even worse. When hedge funds purchase such properties, those homes are not likely to come back on the real estate market. They are gone for now—and probably for the long term.

This article was originally published on Common Edge.

Unions are a trend among college-educated young people, the New York Times reports. They seek solidarity—collective leverage—to bring about desired changes that are being resisted. While Amazon and Starbucks get the headlines, younger architects are also organizing. Doing so is urged on by The Architecture Lobby, a group that leans Democratic Socialist. The Manhattan-based firm SHoP was a recent, ultimately unsuccessful target of a group of its employees and a sponsoring trade union.

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This article was originally published on Common Edge.

The new, online NYC Climate Dashboard confirms that New York City is not doing enough to meet its climate goals. What’s worse, the goals don’t measure up to the challenge citizens face. A growing consensus among scientists says the world has only until the end of this decade to avert catastrophic climate change. Here in New York, the biggest contributions to greenhouse gasses come from our buildings and our driving. As an architect and urban designer, John Massengale shares what he believes the world is missing and some significant changes that the world can make for the sake of future generations.

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This article was originally published on Common Edge.

Can a piece of infrastructure literally kill a city? This is the question that writer Jim Krueger poses in his recent podcast, The Road That Killed a City. The place in question is Krueger’s current hometown—Hartford, Connecticut—which he grew up next to in the leafy suburb of West Hartford. Kruerger has lived in both towns, and that helps to balance the amazing story he uncovers about how Connecticut’s capital was impaled by a roadway (actually, two: east/west I-84 and north/south I-91 converge in Hartford in a sort of arterial highway ground zero). I spoke with Krueger about what prompted the podcast, some of what he uncovered about the history of this ill-fated urban “improvement,” and the legacy of a highway that continues to thwart Hartford’s rebirth—an inheritance shared by many cities across North America.

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While Stephen Zacks’ new book, G.H. Hovagimyan: Situationist Funhouse, is ostensibly about the life and work of the artist, there’s an intriguing and seemingly topical subtext looming in the background: the role of art and culture on the development and redevelopment of cities. It’s a complicated and sometimes fraught issue, prone sometimes to simplistic, even binary thinking. Zacks, a friend and former colleague at Metropolis, has always had a more nuanced view of the issue. Last week I reached out to him to talk about the work of Hovagimyan, the historic lessons of 1970s New York, and why “gentrification” needs a new name.

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Once upon a time, long, long ago, I was lucky enough to get a summer job with Robert A.M. Stern while I was in graduate school. Stern’s new memoir, Between Memory and Invention: My Journey in Architecture (MonacelliPress, 2022), has prompted my own mini-memoir, with some relevant details not included in the book.

I arrived at the office in the early summer, not long after the dissolution of Stern & Hagmann and then Bob’s divorce. I found two young architects-to-be, a sweet but disorganized secretary-receptionist-bookkeeper, and Bob. The office grew during the summer and beyond—and today there are over 200 in the office, including 16 partners in Robert A.M. Stern Architects (aka RAMSA).

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When the estimable Blair Kamin stepped down as architecture critic of the Chicago Tribune in early 2021, it left the city without a daily critic at any of the local news outlets. That sad state of affairs was partially corrected recently, when the Chicago Sun-Times announced that Lee Bey would begin a monthly architecture column. The writer, historian, photographer, and critic brings a wealth of experience to the task: he was architecture critic for the Sun-Times for five years in the late 1990s, served as deputy chief of staff for planning and design in Mayor Richard M. Daley’s administration, directed governmental affairs at SOM, and taught at IIT. His most recent book is Southern Exposure: The Overlooked Architecture of Chicago’s South Side. Last week I talked to Bey about the new role, how the city has changed since his last stint as a critic, and the unique importance of architecture to the city.

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There’s a famous quote—it’s usually attributed to Winston Churchill—that goes, “History is written by the victors.” This cynical and largely erroneous belief could only be true if history was fixed, settled, static. It never is, and that’s precisely why we have historians. It might be more accurately said that history’s first draft is written by the victors. But first drafts, as any writer will tell you, are famously unreliable. So it is with architectural history. Women have played significant roles in the field since the start of the profession, but that is not how history has recorded it. A new book, The Women Who Changed Architecture (Princeton Architectural Press), a collection of more than 100 mini-biographies of important women architects, covering more than a century, hopes to take a step toward correcting that oversight. Recently, I spoke to Jan Cigliano Hartman, the editor of the volume, about creating the book, important and overlooked figures, and why this isn’t a definitive list.

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Compared to that of the West and East, awareness and knowledge of the architecture of sub-Saharan Africa—Africa south of the Sahara Desert—is scant. A new book intends to mitigate this oversight, and it’s a significant accomplishment. Architectural Guide Sub-Saharan Africa (DOM publishers, 2021), edited by Philipp Meuser, Adil Dalbai, and Livingstone Mukasa, was more than six years in the making. The seven-volume guide presents architecture in the continent’s 49 sub-Saharan nation-states, includes contributions by nearly 340 authors, 5,000 photos, more than 850 buildings, and 49 articles expressly devoted to theorizing African architecture in its social, economic, historical, and cultural context. I interviewed two of the editors—Adil Dalbai, an architectural researcher and practitioner specializing in sub-Saharan Africa, and Livingstone Mukasa, a native Ugandan architect interested in the intersections of architectural history and cultural anthropology—about the challenges of creating the guide, some of its revelations about the architecture of Africa, and its potential impact.

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In the early 1980s, when I first saw the film The Social Life of Small Urban Spaces and then read the book, both by William H. Whyte, I was enthralled. I had met Holly, as he was affectionately known, while I was still a reporter at the New York Post in the 1970s, and we had great discussions about New York City, what planners got wrong, what developers didn’t care about. By the 1980s I was at work on my first book, The Living City: Thinking Small in a Big Way, and having conversations with Jane Jacobs, who would become my good friend and mentor. Jacobs had validated the small, bottom-up community efforts around New York City that I was observing and that would be the too-often-unacknowledged sparks to jumpstart the slow, steady rebirth of the city. My observations were resoundingly dismissed—even laughed at—by professional planners and urban designers, but they were cheered and encouraged by both Whyte and Jacobs, and today they are mainstream.

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What, exactly, is the point of architecture criticism? The word “criticism” is derived from the Greek term krinein, meaning to separate, to sift, to make distinctions, to discern, to examine, or to judge. According to Wayne Attoe, an architect and educator who writes about architecture criticism in his book Architecture and Critical Imagination (now sadly out of print), this does not necessarily mean to disapprove of, or to find fault with. It can be favorable or unfavorable; it can praise or condemn.

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In case you missed it, our world continues, after two years, to suffer cultural spasms in response to unseen, unrelenting, and deadly infective agents that continue to wash over entire populations, spreading fear, illness, and death. 

The U.S. is also suffering a quieter—but equally invasive—architectural plague, metastasizing into every part of the country. This architectural contagion has largely escaped criticism, but not since the raised ranch has an architectural “type” so fully transformed communities. In the 1950s, thousands upon thousands of dumbed-down Prairie Home allusions swept across fallow suburban farm fields like a wildfire. More than style, the half-buried lower level and split floors (one half-stair run apart) were a new way to explore how buildings could house people, especially in rapidly suburbanizing America.

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Recently, the Nobel laureate economist Paul Krugman wrote in the New York Times about the causes of unaffordable housing in New York City. He blamed the crisis on a few things, including a powerful financial “monoculture” in the city, NIMBYs, and the city itself blocking new construction. That last element, however—that the city blocks new construction—is an increasingly popular myth that needs examination.

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In April 1782, just six years after the Declaration of Independence was signed, John Adams arrived in Amsterdam as the first U.S. Ambassador to The Netherlands. Three months later, a consortium of Dutch bankers provided a 5 million guilder loan (equivalent to $150 billion today) to the new republic, a clear sign of my country’s confidence in the U.S. While I can’t provide a loan, as a Dutch water engineer I can offer something else to Americans: my country’s five centuries of experience living, working, and thriving below sea level. This is surely knowledge and knowhow that the U.S. will desperately need as water levels continue to rise and countless coastal communities are threatened.