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Any set of decisions about design is inevitably influenced by cultural prejudice, no matter how intent an architect might be to avoid it.

Martin Filler

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Martin Filler
Age: 76
Born: 1948
Born: September 17
Journalist
Colorado Springs
Colorado
Martin Myles Filler
Might
Influenced
Matter
Architect
Cultural
Prejudice
Avoid
Decisions
Design
Intent
Decision
Inevitably

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The popular mythology of creative genius depends on beloved stereotypes of the artist in youth and old age: the misunderstood upstart who forces us to see the world afresh and the revered sage who shows us depths of insight attainable only through a lifetime of hard-won experience.
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Renzo Piano and Richard Rogers's Centre Georges Pompidou of 1971-1977 - the true prototype of the modern museum as popular architectural spectacle - wound up costing so much more than planned that the French government solved the shortfall by cutting support for several regional museums.
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Always beware an unsigned architectural design.
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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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Elevated locations imply elevated purposes, even in American cities departing as radically as Los Angeles does from the traditional planning patterns of the Eastern Seaboard.
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The first half of the 1960s was the apogee of what might be termed the Age of Cool - as defined by that quality of being simultaneously with-it and disengaged, in control but nonchalant, knowing but ironically self-aware, and above all inscrutably undemonstrative.
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The tall building, concentrating man in one place more densely than ever before, similarly concentrates the dilemma of our public architecture at the end of the twentieth century: whether the new forms made possible by technology are doomed by the low calculations of modern patrons and their architects.
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From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.
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Nineteenth- and early-twentieth-century exponents of prefabrication were certain it would supplant age-old traditions of individualized design and handcrafted construction. The building art would be revolutionized by freeing designers and construction workers from repetitive tasks, and democratized by making high-style architecture more affordable.
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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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The skyscraper style first advocated by Louis Sullivan - a tower of strongly vertical character with clear definitions among base, shaft, and crown - has remained remarkably consistent throughout the history of this building type.
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One of the Age of Enlightenment's most hypnotic images is Ledoux's rendering of his neoclassical theater of 1775 - 1784 in Besancon, surreally reflected in the colossal eye of an unidentified cosmic being.
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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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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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High among the unpredictable variables that endanger the survival of worthy buildings are the vagaries of taste.
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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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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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A turning point in the public's perception of the building art came with the publication of Frank Lloyd Wright's 'An Autobiography' of 1932, a picaresque narrative that captivated many who hadn't the slightest inkling of what architects actually did.
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Despite the persistent image of the architect as a heroic loner erecting monumental edifices through sheer force of will, the building art has always been a highly cooperative enterprise.
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Avant-garde architects have never been able to depend on the support of the establishment, since the customary patrons of this most conservative and slowly moving art form have historically been resistant to innovation and experiment.
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