Urbanisms

A feature in this month's Architectural Record puts alongside one another six short interviews with architecture critics writing from six cities across the U.S. — Following, excerpts from four of them.

Robert Campbell, Boston Globe:

Campbell views the hot topic of sustainability as perhaps finally putting an end to the debates about arcane design theory, and becoming a new version of what had been considered Regionalism. "Sustainable design is a great opportunity for architects to sell themselves as environmental experts," he says. While sprawl is not as much a concern in Boston — a well-developed historic city — as it is in faster-growing cities, Campbell says the biggest environmental concern for the city remains the prospect of rising water levels, which he sees few architects addressing. "I can’t believe people are still developing big buildings on the harbor near sea level," he muses. He also laments the view that high-rise buildings are the only answer to increasing urban density in the name of sustainability. "The density of Paris is just as high, if not higher, than cities that have tall buildings," Campbell says. "In Midtown Manhattan, where every block is a single building with a single door, it becomes oppressive."

Blair Kamin, Chicago Tribune:

Kamin surveys the landscape of contemporary American architecture and sees a lot of Modernist projects he considers "one-offs," buildings that visually register within a city but don’t always contribute to street life. Exceptions include David Chipperfield’s Des Moines Public Library, which Kamin sees as part of an overall strategy of enlivening that city’s downtown. "The city is a project that takes generations to realize," he says. "To think that architects alone have the silver bullet that will change a downtown’s fate is ridiculous." But Kamin says more architects need to stop getting caught up in style wars and the obsession with sustainable "gadgets" — to borrow the Chicago architect and urbanist Douglas Farr’s terminology — that have the tendency to marginalize the profession. "Sustainability and architecture are ultimately about how we are going to live," he says. "You can’t ignore the small picture, so, yes, buildings should be green, but the real architects are the planners, politicians, and people who write codes."

David Dillon, Dallas Morning News:

Echoing most critics, Dillon says affordable housing remains a challenge for architecture. "If you ever wanted a real laboratory for developing affordable housing and prototypes, New Orleans is it," he says. "But what I’ve seen mostly is just a lot of New Urbanism stuff that doesn’t seem to get to the real problems of accessibility and affordability." Dillon, in his teaching role at the University of Massachusetts at Amherst, studies affordable housing in the U.S. "It’s not a style exercise; it’s a community-building, economic exercise," he says, explaining why high-design architects don’t pursue the arduous process of piecing together funding for such projects. "Dallas is 40,000 units short in terms of affordable housing, and the houses built by Habitat for Humanity and community development corporations don’t even begin to touch this need."

Christopher Hawthorne, L.A. Times:

"People are starting to lead more local, circumscribed lives, because it takes too long to drive to the other side of town. Much of the appeal of L.A. has been having access to the whole area — Malibu, Santa Monica, downtown, Pasadena," he says. Traffic jams, more planning, and more regulation "may well change the local myth of architectural freedom." For the past 30 years, architects like Gehry and Thom Mayne have drawn inspiration from industrial construction and the commercial strip, redefining what is ugly and what is beautiful. "We’ve been evaluating architects in Los Angeles on the basis of expressiveness and virtuosity. I don’t know if that’s appropriate anymore." With the new generation of L.A. architects working on tighter sites where freestanding expressions are less possible, "we may need a new way of thinking about these designers and whether they’re succeeding. Their work may be less loud, less in-your-face."