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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.

Martin Filler

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Martin Filler
Age: 76
Born: 1948
Born: September 17
Journalist
Colorado Springs
Colorado
Martin Myles Filler
Decades
Outset
View
Modernism
Design
Prohibition
Moma
Views
Museum
Bauhaus
Even
Museums
Hinted
Strict
Skewed
Followed
Decorative
Prejudice
Pioneering

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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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Any set of decisions about design is inevitably influenced by cultural prejudice, no matter how intent an architect might be to avoid it.
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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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What a museum chooses to exhibit is sometimes less important than how such decisions are made and what values inform them. To have the crucial role of museum professionals usurped by self-serving tycoons in the name of economic imperative threatens not only the integrity of individual institutions but the very principle of art held in public trust.
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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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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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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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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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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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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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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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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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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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Truly great architecture always transcends its stated function, sometimes in unanticipated ways.
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One of the most persistent yet elusive dreams of the Modern Movement in architecture has been prefabrication: industrially made structures that can be assembled at a building site.
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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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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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High among the unpredictable variables that endanger the survival of worthy buildings are the vagaries of taste.
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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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