Showing posts with label Ada Luoise Huxtable. Show all posts
Showing posts with label Ada Luoise Huxtable. Show all posts

Wednesday, February 20, 2013

If Our Besieged Libraries Could Speak For Themselves: Maybe They Do! A Petition And Efforts To Save New York’s Libraries From Developer Deals

Wall of Brooklyn Heights Library reading: All that come here to seek treasure will not take away gold but the seeker after truth and instruction will find that which will enrich the mind and heart
Breaking news!  The Brooklyn Public Library has announced that (like the New York Public Library system administrating such services in Manhattan, the Bronx and Staten Island) it's got libraries to sell!. .

. . . the libraries for sale we have been officially informed about (at this time- there are more we haven't been told about) are the local branch library and Career and Business library in its Brooklyn Heights building on the border of Brooklyn’s Downtown Central Business District, and the Pacific branch library at Pacific Street and 4th Avenue just yards away from the new deeply subsidized “Barclays” arena.

These two Brooklyn library sites both happen to be next to what are now Forest City Ratner-owned properties (acquired with government assistance and no bids).   Through its spokesperson, the BPL has asserted, in absolute terms, that it envisions it may sell the library property to Forest City Ratner in what it would foresee to be a “public-private partnership,” notwithstanding that Forest City Ratner has notorious expertise in abusing such relationships that are actually better described as developer-driven private-public partnerships where the private developers take over and privately exercise government functions.

Not disqualifying and then actually going into such a partnership with Forest City Ratner, of all possible choices, would be a curious choice to initiate (and model) what the Brooklyn Public Library describes in its (top-down designed) strategic plan as the future program for all its real estate: The BPL: “will leverage its over one million square feet of real estate by launching partnerships . . .”

“Leverage” is a clever, banker-ish sounding term, used here to mean nothing more than “sell,” even if it strives for the promising ring of being something more.  That's because system libraries are owned by the city (not the BPL), which takes any money whenever property is sold off.  It can't be helped (see "fungibility").  For the last several years Mayor Bloomberg has established a pretty good record of withholding city funds from the libraries even as usage is way up.  Some would say Bloomberg just doesn’t care about libraries.  Others would say he consciously decided to starve the system into submission, the kind that forces the sort of  “creative” thinking that results in sale of library real estate and shrinkage.

Chart from Center From Urban Future report showing sharp decline in funding against escalating use.   That bump in funding? Read on.
Those suspecting the latter would be inclined to observe (see chart) how the decline of city funding for libraries coincided with the adoption of the strategic plan to "leverage/sell" them even while usage was going way up.  In other words, a strategy of "demolition by neglect" with library system officials racing to allege that buildings are more deteriorated than is really true.  The greatest shame of such a plan is that it, even if it shakes loose a few real estate deals, maybe a few every year, it is a travesty to continually drive all libraries and the entire system into the ground financially.

If library real estate gets sold, some juicy real estate deals can get handed out to the always influential real estate industry, with profits that can be particularly sweet if those deals are handed out in the form of developer-driven private-public partnerships that preclude effective competitive bids to protect the public.           

The lure of sweet deals. . . Can libraries protect themselves?

If they could, they would no doubt do so with words.

There is something about the physicalization of words.  We associate it with libraries.

Libraries are not places like a politician’s rally where spoken words just wash over us, soon to disappear into the ether of broken and forgotten promises.  Words exist solidly in libraries with a sense of permanence and history.

We also associate the physicality of words with magic, with faith, commitment and with binding moral oaths, like the phylacteries worn by observant Jews during weekday morning prayers, containing parchment with verses from the Torah, or the carefully phrased inscriptions inside rings and lockets, the Bibles we swear upon before delivering legal testimony in court. . . . In much the same way we often inscribe our buildings with words, much as if those carved words will serve as talismans consecrating our hopes of how a space, a place or building will be used.

The Brooklyn Heights library, now so greedily eyed for a lucrative developer partnership that would shrink it, is inscribed (see picture above) with a pointed warning that seems as if it was presciently worded to ward off any ill-motivated real estate developer with the building in its sights:
All that come here to seek treasure will not take away gold but the seeker after truth and instruction will find that which will enrich the mind and heart
Foreground: The lion Patience , of Patience and Fortitude fame, in front of 42nd Street Research Library whose research stacks will be sacrificed.  Background:  Mid-Manhattan Library that will be sold in system shrinkage plans
In Manhattan, the Central Library Plan involving a consolidating shrinkage and sell-off of important Manhattan libraries is further along than the plan to sell the Brooklyn Heights libraries into a developer-driven private-public partnership.  Two of the four Manhattan libraries involved in that (never fully publicly revealed or discussed ) plan for consolidation, shrinkage and library real estate sell-off are the library's landmark main building at Fifth Avenue and 42nd Street.and the Mid-Manhattan circulation and branch library across Fifth Avenue. . .

. . .As it so happens those libraries too might gain protection from the aspirational physical words surrounding them, so much so that a petition (now with more than 7000 signatures in less than two weeks) incorporates some of those words in making its case to protect the libraries:
“The knowledge of different literature frees one from the tyranny of a few”
          -Jose Marti
The quote is just one of many on a series of plaques on 41st Street’s Library Walk (the local street sign proclaims the street to be “Library Way”) that leads to the libraries from the east.

The library petition (click on link to go to the page where you can sign) is:
I should disclose that the petition was posted by wife when she became passionate about doing something about these library sales after attending the meeting where plans to sell off the Brooklyn Heights library site were described to the community for the first time.

There are many other plaques along Library Walk, including multiple others with quotes that are similarly appropriate in defending the value of libraries and providing the reasons they should be spared and protected from this attack by those who put other interests ahead of them.  (Click to enlarge any image below- And there is more of this article following the quotes and images.)
 
“Books are the treasured wealth of the world and the fit inheritance of generations and nations.”
    Henry David Thoreau

“Information is light.  Information, itself, about anything, is light.”
    Tom Stoppard (Night and Day)
“Where the press is free and everyman able to read, all is safe.”
    Thomas Jefferson
“I want everyone to be smart.  As smart as they can be.   A world of ignorant people is just too dangerous to live in.”
    Garson Kanin (Born Yesterday)
“There are words like Freedom
Sweet and wonderful to say,
On my heartstrings freedom sings
All day every day.

There are words like Liberty
That almost makes me cry,
If you had known what I know
You would know why.”
    Langston Hughes
“Truth exists. Only falsehood has to be invented.”
    George Braque
“If you do not tell the truth about yourself, you cannot tell it about other people.”
    Virginia Woolf
“...the reading of good books is like a conversation with the best men of past centuries—“
    René Descartes

“In the reading room in the New York Public Library
All sorts of souls were bent over silence reading the past,
Or the present, or maybe it was the future, patrons
Devoted to silence and the flowering of the imagination...”
    Richard Eberhart, (“Reading Room: The New York Public Library”)

Plaques like this are at the end and the beginning of Library Walk
Another brass insert into the sidewalk of Library Walk, a notice defending the line between private and public property, in this case for the private property owner's sake.
Just in case the libraries can’t actually speak with sufficient eloquence on their own behalf in this fashion, there are others have been speaking up for them.

Ada Louise Huxtable, famously the first architectural critic for the New York Times for whom that job was created, and Michael Kimmelman, who holds that Times position now, both wrote excoriations of the Central Library plan.   It was Ada Lousie Huxtable’s very last column, written for the Wall Street Journal, just weeks before her death:
•    Wall Street Journal: Undertaking Its Destruction, by Ada Louise Huxtable, December 3, 2012.
“There is no more important landmark building in New York than the New York Public Library, known to New Yorkers simply as the 42nd Street Library, one of the world's greatest research institutions. Completed in 1911 . . . . it is an architectural masterpiece. Yet it is about to undertake its own destruction. The library is on a fast track to demolish the seven floors of stacks just below the magnificent, two-block-long Rose Reading Room for a $300 million restructuring referred to as the Central Library Plan.”
•    New York Times: Critic’s Notebook- In Renderings for a Library Landmark, Stacks of Questions, by Michael Kimmelman, January 29, 2013.
“this potential Alamo of engineering, architecture and finance would be irresponsible. . . a not-uncommon phenomenon among cultural boards, a form of architectural Stockholm syndrome.”
There is another separate petition (currently over 1300 signatures) by the Committee to Save the New York Public Library that has been up for some time that specifically opposes the Central Library Plan against which Huxtable and Kimmelman directed ire:

    Anthony W. Marx: Reconsider the $350 million plan to remake NYC's landmark central library

A new Center For An Urban Future report just out this January makes clear how usage of the city’s libraries is way up even as they are being defunded and having to keep shorter hours.
•    Center For An Urban Future:  Report - Branches of Opportunity, by David Giles, January 2013
[Libraries] “have experienced a 40 percent spike in the number of people attending programs and a 59 percent increase in circulation over the past decade”
The report, which eloquently describes in detail why New Yorkers are flocking to libraries, tells us that despite cutbacks “New York’s three systems all experienced higher program attendance levels than any other system except Toronto.”   It also tells us that we fund our libraries at a level where we keep our libraries open less than Detroit- Detroit is nearly bankrupt; we are a wealthy, growing city.
Chart from the Independent Budget Office- Adjustments for inflation (per the Urban Future report) show downturn in starkest relief.  The 2009 bump?  Keep reading
The New York City Independent Budget Office (IBO) pointed out how underfunding by Mayor Bloomberg is jeopardizing the system’s libraries.
•    New York City Independent Budget Office:  Funding Cuts Could Shelve Many Library Branches, by Kate Maher and Doug Turetsky, April 13, 2011 
“The funding fall-off is already taking a toll on the city’s three library systems, particularly the systems in Brooklyn and Queens.” . . .“more than three dozen branch libraries may be closed.”
The IBO warned that Mayor Bloomberg was on a course to bring the already waning city funding for New York’s three library systems to its “lowest level since the 1990s.”

Aside from the kudos Bloomberg may get from real estate developer friends, our powerful mayor has struck out on a lonely course in his agenda to defund the libraries: The IBO pointed out that the city’s 59 community boards ranked library services their “third highest budget concern” (rising up from number seven in the face of the Bloomberg cuts and “Brooklyn’s community boards ranked libraries their top priority.”

The bump up in that graph?  Remember that 2009 was a city election year. . . In fact, 2009 was that same election year when Bloomberg spent more than $105 million of his personal funds in direct campaign expenditures to overturn City Charter term limits and run for his third term as mayor.  (That’s not to mention more than a half billion Bloomberg spent from his personal fortune to exert his influence and win the election in other ways.)  Both the mayor and City Council members were running for new and extended terms in that election.

Libraries are not expensive either in absolute terms or relative to other things or their substantial benefit to communities.  Information coming from The Albert Shanker Institute about libraries across the U.S. makes this clear.
•    The Albert Shanker Institute:  The High Cost Of Closing Public Libraries, by Matthew Di Carlo, April 18, 2011
In fiscal year 2008 (again, according to the U.S. Census Bureau), there were roughly 9,300 public libraries in the U.S., with a total cost of around 10.7 billion dollars. That figure represents roughly 0.4 percent – four tenths of one percent – of all state and local government expenditures. On a per capita basis, this is about 35 dollars per person.
Look at the figures in the Center For An Urban Future report: $274 million for operations?  That’s far less than Bloomberg gave out of his personal funds to Johns Hopkins in January.  Overall, he has now given $1.1 billion to Johns Hopkins as of this year.

That Shanker Institute article also makes the point that state- and local-level analyses “have found that for every dollar we spent on public libraries, the public realizes about 3-5 dollars in benefits.”

NYC’s budget is over $50 billion a year.  The Donnell Library one-shot sale, with all its disruptions to the system and the community, grossed only $67.4 million in July 2011 (for which you don’t see a bump up in spending).  As a percentage of the city’s budget that involves decimal places of a single percentage point (.235%).

From the Center For an Urban Future Report: More people visited public libraries in New York than every major sports team and every major cultural institution combined.  But we are subsidizing those other institutions, (including glaring examples like Yankee Stadium and the “Barclays” arena) much more deeply!

To sum up and to restate the reason for the petition to save the libraries, ensuring that libraries be properly funded rather than sold off for development:
Mayor Bloomberg is defunding New York libraries at a time of increasing public use, population growth and increased city wealth, shrinking our library system to create real estate deals for wealthy real estate developers at a time of cutbacks in education and escalating disparities in opportunity.  It’s an unjust and shortsighted plan that will ultimately hurt New York City’s economy and competitiveness.
Once again, here is that petition you can sign:
Save New York City Libraries From Bloomberg Developer Destruction 

Tuesday, January 22, 2013

October 1963, An Historical Snapshot: Ada Louise Huxtable, Jane Jacobs, Robert Moses, Cars, Density, Bulldozers, Preservation

One of Ada Louise Huxtable's first articles in the Fall of 1963 dealt with Jane Jacobs, car congestion in midtown Manhattan, density, the New Planning Commissioner and a whole lot more
Buckle your seat-belts for a bit of time travel.  I hope we might return from this trip more appreciative of aspects of where we stand in New York City today.  Our embarking point?: Obituaries provide a sense of history absent from the rest of the news dished up for us, especially when the person who has died lived a long and vital life.

I recently read the wonderfully written New York Times obituary for Ada Louise Huxtable (Ada Louise Huxtable, Champion of Livable Architecture, Dies at 91, by David W. Dunlap, January 7, 2013).  It took me back to the beginning of Ms. Huxtable's career, when she was hired by the Times as “the first full-time architecture critic at an American newspaper.”  One thing I found myself immediately wondering was how likely it was that her hiring in September 1963 might have been motivated, at least in some part, by the influence of urbanist Jane Jacobs’ 1961 book, “The Life and Death of Great American Cities.”  Though unmentioned in Dunlap's obituary for Huxtable, Jacobs’ book and activism, particularly in New York, were at that point in time raising the public’s consciousness of how building and development were shaping the city environment surrounding us.

What made me all the more curious about this possibility was that Mr. Dunlap wrote his obituary for Ms. Huxtable almost as if he intended to emphasize characteristics of Ms. Huxtable that were similar to Jacobs.  I wound up writing about this (plus a great deal more, including the social responsibility of artists and architecture) here: Tuesday, January 15, 2013, Andrea Fraser, Frank Gehry, Ada Louise Huxtable, Art, Artists, Urban Renewal, Mega-Monpoly And The “Barclays” Arena.

Doing research to explore the possible interrelationships vis–à–vis Huxtable and Jacobs at the time Huxtable was appointed, I found that Huxtable wrote mentioning Jacobs and her influence in one of her very first columns.  The Times announcement of its appointment of Huxatble ran September 9, 1963. The Times article in which Huxtable wrote about Jacobs appeared October 16, 1963.  It was Huxtable's welcoming interview with William F. R. Ballard, newly appointed as the new chairman of the City Planning Commission.  (See: Planner Defends Cars in Midtown.  . . .  The article shows up with several possible alternative Times titles, including this longest version: “Planner Defends Cars in Midtown; New Chief of Commission, Sworn by Mayor, Backs Municipal Garages Begin Duties Today” and “Planner Defends Cars in Midtown Theories Much Sought Caution on Bulldozers”.)

Hindsight Insight on Urban Renewal

The Ballard interview article provides a wonderfully instructive snapshot of what was going on at a key moment in time, especially as we can now look back at that moment in the context of what we know in hindsight.  In 1963 the city was still several years away from committing itself to a program of historic preservation, several years before establishing Brooklyn Heights as its first historic district (1967), quickly followed by Greenwich Village, and though the tide of public opinion was turning against Robert Moses and his urban renewal and massive road-building programs those programs were still being strongly urged upon the public.  Demolition and destruction were on the public's mind.  Demolition of the original  Beaux Arts Pennsyvania Station (announced July 1961) began in October 1963.  Hot topics under discussion, shades of today, were the desirability of automobiles in Manhattan and the subject of urban density.

Huxtable’s interview with Commissioner Ballard reads like her model for writing might be straight reporting, not the kind of criticism with which we now strongly associate Ms. Huxtable.  Its seemingly neutral bent actually comes across as being the opposite of critical.  Huxtable describes Ballard as “ruggedly handsome” with a demonstrated technical competence and  “optimistic, persuasive, energetic,” equipped with a vision for a “bigger, better, more comfortable New York” based on planning theories that Huxtable characterizes as “safely somewhere to the right of center, involving a new kind of civic-togetherness.”  She finishes off the article on this tritely upbeat note about Ballard’s view of the city:
He summed up his views with a statement few new Yorkers would contest: “This is the greatest City in the World.”
There is in the tone of her writing no whiff of the insight you hear from her in a 2008 interview with Leonard Lopate:
The chairman of almost every commission we have is always a political appointee.
In 2008 she was discussing whether appointees like Chairman Robert B. Tierney of the city Landmarks Preservation Commission should be expected to have professional expertise relevant to their appointments.  Huxtable’s answer was to say she puts her faith in the professional expertise of others such as the actual commission members.  Ballard had a certain amount of expertise relevant to the position to which he had been appointed: He was an architect who had been involved in shaping the zoning code. But in Huxtable’s interview Ballard clearly comes across as a politically conscious individual, apt to dutifully address the pros and cons of both sides of an issue.  I suspect that it is only in retrospect we realize how harsh some of his sentiments sound.

Addressing the subject of Jane Jacobs, Ballard provides counterpoint, arguing for urban renewal even while demonstrating his ability to give lip service to contrasting views.  Here is Ballard on the subject of the increasingly disfavored “bulldozer approach to urban renewal”:
When you destroy an old neighborhood completely, you are wiping out something that, sentimentally, I think should be preserved, if it can.  It may run counter to sensible planning, but that’s one of the things that makes the whole operation of planning fascinating.
More revealingly, Ballard criticizes Jacobs, who had just succeeded in preserving the West Village (1961) from bulldozer urban renewal, defeating efforts by Ballard’s predecessor:
She is unnecessarily negative in wanting to preserve everything exactly as it is. . . This is a lack of imagination.  But she is right about the loss of humanity in acres of identical housing.  The solution is not to freeze things.  You go ahead, enlivening, softening, and humanizing the new plans.  We’re learning as we go along.
Huxtable, who specifically mentions the title of Jacobs "The Death and Life of Great American Cities" book in the article, dubs Jacobs the bête noire of Ballard’s predecessor, James Felt.  Ballard was then the new planning face to the Mayor Robert F. Wagner administration, which might have suggested some softening compromise with Jacobs’ views, but here he still sounds apparently eager to get on with the large-scale, pulverizing churns of neighborhood demolition the real estate industry was backing.  One wonders how far we have come when Amanda Burden, the city’s current city planning commissioner, similarly speaks coyly of blending Jane Jacobs’ style values with a rehabilitated veneration for Moses-scale disruptions:
    . .  our plans therefore have been as ambitious as those of Robert Moses, but we really judge ourselves by Jane Jacobs standards.
(See: Saturday, November 5, 2011, Now Appearing In Gary Hustwit’s New Documentary “Urbanized”: Amanda Burden, New York’s High Line and Community Protest.)

In retrospect, fifty years later, (notwithstanding Amanda Burden's vision of kinder, gentler editions of Moses ambitions) most of us are probably absolutely clear about how incredibly valuable Jacobs’ preservation of the West Village was (as well as the preservation of the rest of Greenwich Village, SoHo and Brooklyn Heights, etc.).  We see, also, the insufficiency of Ballard’s vision of preserving only some things within an overall environment rather than the “rich tapestry of time and style” (Huxtable words in 2008), or saving just some “celebrated monuments” in lieu of retaining “the city’s historic fabric and neighborhood character” (Huxtable words in 1966).

A City For Automobiles?

Library of Congress image of Lower Manhattan Expressway via Wikipedia
In her 1961 book Jane Jacobs had taken on another fight, the primacy of the automobile, arguing for the restoration of space back to the pedestrian use.  In this respect, Jacobs’ battle to save the West Village was intrinsically connected to her fight to defeat Moses's plans for a ten-lane Lower Manhattan Expressway that would have destroyed Greenwich Village, SoHo, Little Italy and Chinatown. - That plan (cancelled in 1962) would have involved a huge ramped clover-leafing midtown access smack-dab in the middle of Greenwich Village.  It would have been just south of Washington Square Park.  Under the Moses plan, the extension of Fifth Avenue through Washington Square Park, fought over by Jacobs and Moses (1955-1956), would, although it was not revealed at that time, have led directly to the clover-leaf acess. (See Jan Gehl's essay "For You Jane" in "What We See: Advancing the Observations of Jane Jacobs.").

In her 2010 book, “The Battle for Gotham: New York in the Shadow of Robert Moses and Jane Jacobs,” Roberta Brandes Gratz, a longtime friend, colleague and disciple of Jane Jacobs, writes about how it was only after she wrote her 1961 book that Jacobs discovered and fully understood that the Moses long-term plans for automobiles in Manhattan (dating back to a 1929 regional plan) involved a network of highways lacing the borough up and down ( a “Los Angelizing” the borough, a“net catching Manhattan”) with a series of crosstown highway crossings connecting a surrounding oval of major roadways.

In a conversation with Roberta Brandes Gratz years afterward, Jacobs explained how the proposed Westway along the Hudson (ultimately defeated) should be considered part of the materialization of this overall scheme.  The multiple highways going across Manhattan under the plan?: The Lower Manhattan Expressway downtown crossing, a crossing at Thirtieth Street (the Mid-Manhattan Expressway), roadway extending “from Forty-second Street north and from Battery south around and up the East Side” and a Cross Harlem Expressway at ground level at 125th street was also proposed, while the Trans-Manhattan Expressway at the very narrow northern tip of Manhattan up at 178th Street was actually built.

1964 Regional Plan Association map of expressways proposed to traverse Manhattan
In close up
In Huxtable's 1963 interview Ballard has some interesting quotes about his view of automobiles.

Even though Commissioner Ballard made it clear when he left office that he still advocated highways in Manhattan, it may be less than fair play to furnish the preceding information prior to supplying you with his 1963 remarks since: 1.) Ballard's most immediate focus when speaking was on parking garages, and 2.) as Jacobs made the point to Ms. Brandes Gratz, Moses always kept the full scale of his plans under wraps;  “only pieces of it” kept “surfacing.”  Commented Jacobs, Moses made his proposals piecemeal because, “Nobody would ever consent to the insanity of doing the whole thing.”

This is what Commissioner Ballard said of the automobile in mid-town Manhattan in that inaugural interview with Huxtable:
The better and fuller life includes the free use of the automobile. . .  Planners who try to discourage its use make me sick.
His standard for whether too many cars are being added?: Whether the traffic still moves.  He says:
I believe in direct transportation.  The apartment house garages required by our new zoning haven’t affected the streets.  Our traffic still moves.
Addressing Density

Our traffic still moves?  Ballard's criteria for evaluating acceptable density sounds remarkably similar: Whether people are trampling each other.  At the time of the interview the giant new Pan Am Building, (now the MetLife Building) was a public concern (a ‘running argument’ says Huxtable). Only months later, April 14, 1963, Huxtable wrote her official Times review negatively critiquing the completed building.  Part of her critique was of the building’s density: Architecture Stumbles on; Recent Buildings Are Nothing Much to Brag About Other Newcomers "Sixth" Avenue Coming Up (Retitled: Pan AM: “The Big, the Expedient, and the Deathlessly Ordinary” in her book of collected essays “On Architecture: Collected Reflections on a Century of Change.”)  But as we will return to in a moment, even before the building’s completion, even before starting as the Times official architectural critic, Huxtable had already participated in the “running argument,” speaking out against the social irresponsibility of the building’s size.

In the interview, Ballard (with little hint of personal contradiction by Huxtable as she is quoting him) defended the density the enormous building would bring to its key location:
I think it’s great.  I can’t think of a better place to have a big building. . .  It’s at the focus of all midtown commutation and transportation; the best place for it.  I don’t think concentration is such an evil. . . It’s the essence of cities; it can be a good thing.  Architects don’t pale at the handling of the problem.  I don’t see the disasters that the weepers and wailers predicted.  A park there would have been an absurd idea.  Rush hour? Nobody’s been trampled yet.
As noted, in April Huxtable weighed in officially when the building was completed, confirming her view as the New York Times critic that the building put too much density on the site:
Of  these new buildings, Pan Am has by far the greatest impact on the city scene. Criticism which has been plentiful since the building’s inception, is directed largely at is physical and sociological implications: the effect of seventeen thousand new tenants and 250,00 daily transients on the already crowded Grand Central area and its services and the unresolved conflicts and responsibilities of the city and private enterprise in control of urban densities and master planning.
She simultaneously assaulted the building's aesthetics: “a colossal collection of minimums. . . minimum good materials of minimum acceptable quality executed with a minimum of imagination. . .” penultimately ending up:
This is a prime example of a New York specialty: the big, the expedient, and the deathlessly ordinary.*
(* Although Ms. Huxtable has said she didn’t change or update her essays for publication of her book, the very last quote above I only find in the version of her essay appearing in  “On Architecture: Collected Reflections on a Century of Change”.)

Previously, before being appointed official Times critic but writing in the Times and perhaps auditioning for that role, she wrote critically of the building while it was still under construction, “it continues to cause consternation among those who believe that such an oversized structure will overtax our already burdened midtown facilities” and she asserted it was a “depressing sight” in contrast to the exceptionally pleasant sight the public had been presented with when the old Grand Central building had been demolished to make way for it: Our New Buildings: Hits and Misses; A survey of the construction that has given New York a new face shows too few departures from the characterless and the imitative, April 29, 1962.

Huxtable's criticism published in the Times at that time was mild compared to what Huxtable wrote in 1961  “In Four Walking Tours of Modern Architecture in New York City” which she put together for the Municipal Art Society (ultimately partly quoted in the Times as part of her Times obituary and quoted more fully in The Pan Am Building and the Shattering of the Modernist Dream):
The erection of such an overwhelming structure— the largest single office building in New York— will radically alter the scale of the buildings along Park Avenue.  It will also add an extraordinary burden to existing pedestrian and transportation facilities, and in these aspects its antisocial character directly contradicts the teachings of Walter Gropius, who has collaborated in its design.
Writing a memoriam piece upon the death of Walter Gropius, Huxtable, a hard taskmaster at least when it came to this building, reiterated her social responsibility criticism:
The final irony was the betrayal of his own teaching of social and urban responsibility in one of his last jobs where he acted as consultant with Peitro Belluschi, for the "smoothing up" of the urban outrages of New York's notorious Pan Am Building.  This still saddens his admirers. 
(See: He Was Not Irrelevant, July 20, 1969.)

The building's aesthetics aside, it can be easily argued that Ballard was more correct in his defense of the building’s density than Ms. Huxtable was in her criticism that the density consigned the building to socially irresponsibility.  The Pan Am now MetLife building has now been up for fifty years and it remains true that no one has yet been “trampled.”   (Although flights to the helicopter pad atop the buildings were discontinued after an accident in which five people were killed.)  Ballard's observation that the building is over a transit hub and making it efficient is correct.

There are caveats, however, before jumping to conclusions about who was right or how right they were. Huxtable was talking in part not just about a single building, but the alternation of the scale of Park Avenue (which the Pan Am building surely did).  When she said it would add an “extraordinary burden” to services and facilities in the area one must also think in terms of the burden that all the bigger buildings add to the area when additional development ensues to match that alteration of scale.  Irrespective of whether Ms. Huxtable was entirely correct that the particular building’s density was unsupportable or burdensome it made sense that she was wary of the density then.   And now?  . .   Recently the Bloomberg administration has unveiled plans to almost double-- starting in 2017-- the density of Manhattan’s already very dense Midtown business district, that entire district surrounding Grand Central and the Pan Am building, from 39th Street to 57th Street on the East Side.

Should we not now wonder if the criteria for Bloomberg officials as to what constitutes the acceptable upper limit for density is literally the standard Commissioner Ballard imagined: That you keep building until people get “trampled.”

Ballard might have been surprised to learn that Jane Jacobs, whom he criticized as too negative when speaking to Ms. Huxtable, considered herself a fan of density.  But Jacobs believed in adding density gradually, not in an overwhelming rush.  If the density of the Pan Am building works reasonably well now, fifty years after the fact, another appropriate test to apply was how well its addition to the neighborhood worked right after it was built, something that we must think back through our foggy memories to assess.

Was Huxtable still finding her footing when she interviewed Ballard?  What should be clear from all of the above is that despite her flattering descriptions of Ballard’s good looks, competence, and altruistic goals she couldn’t have disagreed with him more about the social responsibility of the Pan Am building.  It makes you wonder what else she was reporting of his words she personally disagreed with while not cluing in her audience . . .  although, without speaking specifically for herself, she does inform her readers that Ballard disagreed “with many professional planners not only on automobiles, also on . .  the giant Pan Am Building.”

Huxtable does not often address the issue of density.  “Density,” for instance, is not listed in the index of her collected essays despite that being one of her key criticisms of the Pan Am building.  In other essays in that collection she commented with dismay on how the city strained to keep the Ground Zero site at the same density rather than reduce Silverstein’s financial stake in the site, albeit in one of these mentions she refers to how density can be considered “the soul of the city.”   Her expression of dissatisfaction with another huge multi-acre scheme, Hudson Yards, indicates an impatience with the reflex of maximizing density: “we will get a lot of very, very big buildings that will make someone very, very rich,” she says of the Hudson Yards site proper, controlled by the Related Companies, and then notes that, similarly, the surrounding acres “have already been rezoned in part for the biggest buildings possible.”

The subject of the value of density, qua density, came up in a 2008 interview Phillip Lopate (Leonard's brother) did with Ms. Huxtable that appeared in the Times wherein Huxtable averred that she (like Jacobs) was basically a fan of density:
Lopate: I take it you’re for density but not for overbuilding.

Huxtable: How can I be against density? I’m a New Yorker! I grew up with density.
Interestingly the exchange came out of Huxtable’s commenting negatively about urban renewal (taking us back to the bulldozers we spoke of at the beginning), that:
 . . . urban renewal tried to get rid of density. It was viewed as concentrating poverty and disease. Now there’s the awareness that density is more energy-efficient and less destructive of the environment than urban sprawl.
This is something that many people may not know about old-style urban renewal: It often didn’t increase density.  It often replaced more with less, which might help emphasize the point for those of us looking back, how urban renewal was often most importantly about getting rid of things and often who was being gotten rid of.  (James Baldwin referred to urban renewal as “Negro removal.”*)  Moses’s rebuilding of New York resulted in a slowing of the city’s rate of growth and then its first huge population decline staring in the 60's.  It was partly due to the way the shift to the automobile (discussed above) exported population, but Moses’s urban renewal had to be a contributing factor.  A very important part of this exodus was the city’s middle class.
(* I found Bruce Norris's Pulitzer Prize-winning 2010 play, “Clybourne Park,” disappointingly shallow in terms of the “dissection of race, gentrification and real estate” that it was supposedly about.  Tantalizing though, it briefly raised, without pursuing, the conspiracy theories that virtually all governmentally assisted urban revitalization reflects master planning to further disadvantage racial minorities.  Remember: To dub something a conspiracy theory doesn’t mean that it lacks truth.)
These days we tend to associate the demolition of our existing city fabric with density because so often the death sentence for existing parts of the city comes with sudden changes in zoning (like in Williamsburg, Brooklyn) that include increases in density to induce the turnover of a neighborhood.  Nevertheless, when people are being dispossessed by such zoning changes or by current-day substitutes for old-fashioned bulldozer urban renewal like Atlantic Yards, it is safe to bet, just like the old days, that the people being evicted are mostly on the other side of a social divide from those conceptualizing and deciding upon the implementation of such plans.

Intersection of Traffic and Density In Current-Day Modern New York

New York City is currently reclaiming its streets for pedestrians under Department of Transportation Commissioner Janette Sadik-Khan.  An essay Commissioner Sadik-Khan contributed to “What We See: Advancing the Observations of Jane Jacobs,” a collection of pieces that pays tribute to Jane Jacobs by working to build on her ideas, begins (p. 242) with an expression of how Sadik-Khan sees her work as a continuation of the “epic battle between Robert Moses and Jane Jacobs over the streets of New York.”  Sadik-Khan’s essay is titled: “Think of a City and What Comes to Mind? Its Streets.”

“Our traffic still moves,” was apparently Ballard’s test whereby one would judge whether too much priority had been extended to urban automobiles.  Commissioner Sadik-Khan hews to Jane Jacobs perception that, many might find counter-intuitive, but which is bearing out, that if the conveniences and roadway space for automobiles are removed (“attrited” as in attrition), the traffic “still moves,” with congestion simply evaporating.  That, is in contradistinction to a city like São Paulo, Brazil which, with a street transportation plan that Ms.Sadik-Khan observes was put together by Robert Moses himself, is enduring the concomitant ultimate ramifications of such a plan: It has bumper-to-bumper gridlock and the business elite resorts to getting around by helicopter (here we are back to the kind of midtown helicopter pads discontinued at the Pan Building!).

Serving the demands of cars results in traffic congestion, but when that demand is not served, demand evaporates.  There is a reverse corollary to this: Commissioner Sadik-Khan speaks of “latent demand” for pedestrian space and plazas.  The more such space is supplied, the more pedestrians materialize to fill it.

It’s interesting how this interrelates with density and how exactly that is working out in Time Square, which with upzoning and redevelopment has become an exceptionally dense pedestrian environment.

The closing down of large portions of Broadway to vehicular traffic was, according to the Bloomberg administration, to deal with escalating levels of congestion and because people were “getting pushed out into the streets” and the sidewalks couldn’t handle it.

The Bloomberg administration is now reinforcing that increased dedication of space to pedestrians,  protecting pedestrians from traffic (and possible `terrorists’) by adding bollards and concrete barriers, see: Times Square ‘Bow Tie’ Is to Get Belts of Steel and Granite, by David W. Dunlap, January 13, 2013.

Before the pedestrian areas were expanded in the Broadway Times Square area I used to walk around carsin the streets  to get around the congestion.  The pedestrian areas have now been expanded but the on-foot congestion has grown to fill in those expanded areas so that now, if I am in a hurry and need to move fast, I eschew the experience of the flashing lights and animated screens on Broadway and walk up to 46th Street by the not-very-aesthetically-satisfying, less crowded, mid-block concourses just to the west.

This is what the congestion is like around Time Square’s 42nd Street and the Bloomberg administration wants to almost double the density of the very nearby Grand Central business district?

Historic Preservation

Although Ballard’s expression of what the goals of historic preservation should be are somewhat enigmatic, his words contain a clear recognition that the first historic preservation laws, not yet in force when he was being interviewed by Huxtable, were about to be enacted in the city with strong public support.  As noted, the appalling destruction of Pennsylvania Station was on people’s minds.  Here, from Huxtable's interview, is Ballard again:
On Historic preservation, he said: “Like food and water, I’m all for it.  I’m for landmark’s legislation.  I believe in preserving worthwhile monuments, it’s tricky to decide what’s worthwhile and what’s simply old.  How much is sentimentality and how much is good common sense?  People are more important that old buildings.”
One reason the fight for historic preservation was gaining traction, soon to take hold as official city policy (in legislation) ahead of the then ongoing fights against urban renewal, was that the Times was very actively supporting the first of those two fights.  Writes preservationist and historian Anthony Woods in “Preserving New York: Winning the Right to Protect a City's Landmarks”:
The New York Times would radically increase New York’s preservation consciousness by running well over twenty pro-preservation editorials between December 1961 and the passage of the Landmarks law in the spring of 1965.  This would be in addition to its impressive news coverage of the ceaseless stream of preservation stories marking that turbulent time.

In this period, preservation was blessed to have at the New York Times not only an editor of the editorial page who appreciated the importance of preservation, but a brilliant writer who also embraced its values.  That editor was John Oakes, and the writer was Ada Louise Huxtable.

    * * *

Even before Ada Louise Huxtable made history in 1963 as the first full-time New York Times architecture critic, focusing “public opinion on the city’s built environment as never before,” she was writing in its defense .  As early as 1961, John Oakes had enlisted her to write editorials for the paper.  In this capacity she authored, without attribution, a series of forceful editorials that would keep the cause of preservation front and center until and well beyond the passage of the Landmarks law.
Huxtable, trained as an architectural historian, presented her advocacy for historic preservation as grounded in practically.  In 2008 she said this in a Leonard Lopate Show interview:
This is such a complex subject. You can’t just say save your building when there is no way to save it, when there is no money, when there is no way to keep it and preservationists tend to be very tunnel vision about that. Particularly in new York preservation is a . . it’s a very complicated thing that requires a lot of tradeoffs and a lot of willingness to look at all sides of a problem. We don’t have that now. We have a preservationist movement that really alarms me a little bit because they don’t want to deal with reality. They just want to forge ahead and save buildings and it is not that simple.
But she argued that economic principles tended to favor taking the route of historic preservation  In a May 1999 article for the Wall Street Journal titled “Manhattan’s Landmark Buildings Today” (which is in her book of collected essays) she says at the outset that “Old buildings must earn their way” and then makes the case that they generally do, concluding:
Old Buildings survive because it rarely make sense in bad times to demolish, while in good times there is every incentive to invest.  The city renews and enriches itself when it reuses its landmarks in an economically sound way.  In New York, the art of architecture is inseparable from the art of the deal.
Unlike Huxtable, Jane Jacobs was not, per se, an advocate of historical preservation for its own sake.  Jacobs recognized the value of neighborhood landmarks but did not feel that being historical was a prerequisite to buildings being landmarks.  She was in favor of preserving old buildings but not because they had historical value but because a mix of old and new buildings benefitted neighborhoods in part because the economics of older, less expensive buildings were less costly than those of new buildings.  Jacobs was a preservationist, believing in the preservation of neighborhoods, but what she believed in was the preservation of the fabric of neighborhoods, their dynamics and their social interrelationships.  Seeing neighborhoods as functioning ecosystems replete with valuable street life she was not about preserving neighborhoods frozen in time because she saw them as continually evolving systems.

While there is inevitable overlap to the arguments for preserving beautiful historic old buildings and preserving neighborhoods that include a mix of just plain old buildings, one critical convergence is that both Huxtable and Jacobs would tell you that there is economic benefit to doing what each of them they advocates.  But while Huxtable observes common sensibly that old buildings often survive in economic bad times because it rarely make sense to demolish them then, under the urban renewal that Jacobs fought demolition of old buildings (and their neighborhoods) was precisely what was done when the economy was bad.  It was done on a large scale . .  And  and the buildings demolished were sometimes not replaced for decades.  No wonder that when Commissioner Ballard left office toward the end of the Moses era he was theorizing why all the jobs in a city with a declining population were disappearing.

Is there value to preserving history for history’s sake?: We ought to note that this article that concentrates on looking back to the past is, of course, all about the value of persisting artifacts to spur our memory, together with a sense and appreciation of history.

More About William F. R. Ballard

According to William F. R. Ballard's own Times obituary (appearing September 29, 1993- he died at 88), he was city planning commissioner from 1963 (October 16) to 1966 (November 24).  He was replaced by Donald H. Elliot.

Notwithstanding the negativity Ballard expressed to Huxtable about Jacobs in that first interview, the Times obituary puts Ballard’s fights with Moses, not with Jacobs, front and center in the highlights of his career:
What followed were nearly four years (sic) of political and governmental clashes of competing developmental interests. The stormiest ones involved a continuing conflict between Mr. Ballard and Robert Moses, with Mr. Ballard opposing many of Mr. Moses's most ambitious projects, such as a bridge spanning Long Island. Sound.
There is also this:
A year later, he said a proposal to build public housing in Central Park was "patently absurd."  
Robert Caro’s “The Power Broker: Robert Moses and the Fall of New York”* (1974) has one anecdote concerning Ballard to the effect that under Mayor Wagner the battles he had with Moses were lost:
There were many times when the Mayor announced to friends that he was going to refuse a Moses demand, but the pattern following the announcement was always the same.  William F. R. Ballard, a chairman of the City Planning Commission, recalls vividly Wagner “agreeing to back me— told me he would— and then ended up backing Moses.”  And some version of Ballard’s words are repeated by dozens of officials caught in tugs of war between the two men.
(* Caro’s epic “Power Broker,” a tool often turned to by many to remember and understand much of New York's history, makes no mention of either Jane Jacobs or Ada Louise Huxtable although Jacobs’ seminal 1961 book is mentioned in his bibliography and Caro actually wrote a whole chapter about Jacobs that he ultimately did not include because of the book’s length, one third of which had to be cut.)

Public opinion was mounting against Moses and his development practices and Moses's power was about to end at the hands of the next mayor, John Lindsay, acting in concert with Governor Nelson Rockefeller.

While we remember that Moses was ultimately deposed from power in this era, in 1963 when Ballard took office, demolitions for urban renewal were still lumbering forward sometimes for projects that seemed to continue with life of their own, into the late 70's, well after Moses himself had been officially ousted from power (the key date being his departure from the Triborough Authority in 1968) and even after New York’s sobering fiscal crisis hit in 1975.  For instance, the Schermerhorn-Pacific urban renewal plan, representing a significant prime chuck or Brooklyn real estate, didn’t get underway until 1973.

Unfortunately, the ideas of Robert Moses persisted tenaciously.  While we think of Jane Jacobs’ ideas as ultimately triumphing and being a cause of Moses’s 1968 departure from Triborough, 1968 was the same year Jane Jacobs left New York for Toronto, Canada to ensure that her sons would not have to fight in the Vietnam War,* and even in 1968 with Moses departed, the neighborhood-eviscerating Lower Manhattan Expressway was not entirely dead, the Regional Plan Association urging that it be built even in August of 1969.  Under the Bloomberg administration many of Moses’s ideas were fashionable again (though not the expressways) and there was a concurrent effort to rehabilitate the image of Robert Moses an effort to rehabilitate the image of Robert Moses that included the launching of three separate museum exhibits.
(* Jacobs, in Canada, continued to write books, participate in activism and extend her influence as a thinker and respected theorist.)
Upon his departure in 1966, Mr. Ballard, unhappy that he was requested to leave his office (John Lindsay was now mayor), identified for the Times some “planning questions that remain unresolved.”  Notably these included as his first and last mentioned points:
    •    The “grinding problem” of building desperately needed highways, such as road across lower Manhattan, without displacing hundreds of people.

    •    A more effective distribution of wealth was needed as more and more jobs were eliminated by technology.
The first point makes you wonder how hard Ballard was actually fighting Moses on some of the the things Moses wanted.  The reference to the loss of jobs likely says something about the deleterious effects Moses’s policies were having.

Not everything was seriously grim during Ballard’s tenure in office: His staff gave him a Planning-by-darts game which he played with the new mayor, Lindsay, perhaps hoping to get into his good graces.  One of the game's multiplicity of fictional booby prizes was getting to walk up “six flights of stairs for tea with Jane Jacobs.”

Ballard’s Vision Of Unleashing Energy vs. Jane Jacobs' Vision


Just be before the very ending of the Ballard interview article (where Ballard makes his “greatest City in the World” remark) he offers a thought that juxtaposes weirdly with the thinking of Jane Jacobs:
I would like to promote the interest of the whole community and its future. . [pause for emphasis]  Have you ever thought of the brains and imagination stored up in New York, and what it would mean to get it working in the future?  I think there’s a way to tap it.  I want to bring these people into the planning picture.
The thing about Jane Jacobs is that despite the unnecessary negativity and “lack of imagination” that Ballard attributed to Jacobs, Jacobs had indeed thought a lot about “the brains and imagination stored up in New York” and what it means for it to be activated. Truth to tell, she believed in it more positively than Ballard and had probably thought about it a lot more. All of her work was based on her perceptions and faith that one didn’t need the pseudoscience of “planning” to mobilize that energy, that people were already very much in the picture making cities happen, that the government `city planning' interventions whereby the working fabric of neighborhoods were ripped up and destroyed were antithetical to making use of this energy and represented an expulsion of the people from that same process in which Ballard said he theoretically wanted to involve them.

More About the Hiring of Huxtable

Here is more about the hiring of Huxtable.  The day after the David Dunlap-authored obituary of Ms. Huxtable appeared, Michael Kimmelman, the current architectural critic for the Times, offered an appraisal looking back (See: An Appraisal- A Critic of the Curb and Corner, by Michael Kimmelman, January 8, 2013.)

Mr. Kimmelman does mention Jane Jacobs to put Huxtable’s engagement by the Times in context:
She emerged during the era of Lewis Mumford and Jane Jacobs, with whom she belongs in the pantheon, but as the first full-time critic writing on architecture for an American newspaper, she also had that rare journalistic opportunity to pioneer something of her own, to fill a yawning gap in the public discourse, to carve a path with moral dimensions, “to celebrate the pleasures of this remarkable art,” as she put it.
In my last Noticing New York article went back, to look in depth at a 1958 piece Huxtable did for the Times Magazine to observe that Huxtable, writing there, virtually made her own case for creation of the job the Times eventually hired her to fill by arguing that the “press which regularly reviews art, literature, movies, music and dance, ignores architecture, except for building news on the real estate page” and that “architecture as a standard feature is virtually unknown.”

Mr. Kimmelman went back one year further to note:
Ms. Huxtable’s first publication in The Times seems to be a letter to the editor in 1957, complaining about an art review of photographs of architecture in Caracas, Venezuela, that ignored the deleterious effects of those photogenic but authoritarian buildings on the fabric of the city and its people.
Kimmelman had already declared at the beginning of the article that, “She cared about public standards, social equity, the whole city.”  Even if Huxtable was ghost-writing Times editorials starting in 1961 as  Anthony Woods tells us, these would still seem to be Huxtable's earliest writings for the Times.

In a 2008 interview Phillip Lopate conducted with Ms. Huxtable that appeared in the Times Ms. Huxtable provided the following account of her 1963 hiring.  It elides revelation that she had already been ghost-writing the Times historic preservation editorials:
Aline Saarinen had been The New York Times’s chief art critic, but when she married Eero Saarinen, she thought she should not write about architecture anymore. The Times’s editors were upset; they said they needed to get someone else, and so she recommended me. I went in all dressed up with my clippings, and I remember saying: “All you’ve been doing is printing the developers’ P.R. releases in your real estate section. You have nobody covering this very important field.” So they created the post for me of architecture critic.
(See: Her New York, November 7, 2008.)

That's the end of this tour through history.

In the end, even if some hard-learned lessons are already in danger of fading from our memories, nothing we have covered here is a very far remove from the present day.  Ms. Huxtable, who assumed the role of architectural critic for the Times in 1963, wrote her last column for the Wall Street Journal just last month.  1963 was time of great jeopardy for the city with much hanging in the balance as to whose ideas would prevail.  If we forget, if we again find ourselves distracted and reading just the P.R. releases in the real estate sections, we will probably have to learn many of these lessons all over again.

So I suggest we be on the hunt for good obituaries worth scrutinizing that will allow us to maintain our consciousness of our past.

Tuesday, January 15, 2013

Andrea Fraser, Frank Gehry, Ada Louise Huxtable, Art, Artists, Urban Renewal, Mega-Monpoly And The “Barclays” Arena

Andrea Fraser in center, from her performance art work that reacts to Frank Gehry mythos, on each side of her, Gehry's two proposed "Ms. Brooklyn" designs for Atlantic Yards, the first on the left and the second on the right
Andrea Fraser is a performance artist whose work seditiously deconstructs and calls attention the implicit societal rules we follow, by which various works of art get `consensually’ elevated to agreed upon stature.  Part of the tension of her work is that you can hardly remain unaware of how Fraser bites the hand that potentially feeds her as she consciously reacts to art-world art as inherently commercial.  A wandering, problematical guest, she violates the etiquette of her host’s home, surfacing themes about the hemming dimensions of that world wherein intermediaries manage with politic correctness an expected order that includes reinforcing implicit bargains about relative caste.

The Whitney Museum’s site says that Ms. Fraser is, she believes, confronting fundamental conflicts and contradictions about this curated art that “have intensified along with income inequality.”  It continues:
Fraser writes, participants in the art world who perform these operations in art discourse “not only banish entire regions of our own activities and experiences, investments, and motivations to insignificance, irrelevance, and unspeakability, we also consistently misrepresent what art is and what we do when we engage with art and participate in the art field.”
Andrea Fraser Addresses Frank Gehry
                               
Andrea Fraser was brought to my attention by a young artist who fathomed quite correctly that I would be interested in her video performance work “Little Frank and His Carp” (2001) which targets the sensational promotion of Frank Gehry’s Guggenheim Museum in Bilbao, Spain.  The Carp?: There is a fish-shaped tower at the center of the Museum hall plus explanation in the video via the museum’s recorded audio guide.  (Click on the link to see the video.)

In a 2005 interview, quoted on UbuWeb on which the video can be found Fraser discusses Little Frank and His Carp:
What struck me about the audio tour for the Guggenheim Bilbao was the explicitness of the seduction....The audio guide promises transcendence of the social through a transgression: the always forbidden touching of art—or here, architecture-as-art…. The tour distances the museum from the difficulties of “modern art,” claiming that the building’s sensual appeal “has nothing to do with age or class or education.” Freed of social/symbolic restrictions, we can make ourselves at home in the sensual, caring arms of the (mother) museum.
Frank Gehry’s starchitecture is an apt target for Fraser given his positioning as a premium, deluxe artist pitching to an appreciative elite.  She gets extra mileage out of her choice in that Gehry, who often does museums and institutional settings for the presentation or performance of artwork, is often thought of as a rule breaker, and Fraser’s performance is about stripping down to essentials what rule-breaking actually is (I suppose that’s a pun).  The video was filmed with hidden cameras without the prior knowledge or permission of the museum.

Notions Of Architectural Responsibility Via Ada Louise Huxtable

In directing her attention to architecture Fraser has considered an art form that is not and cannot always be evaluated solely by the standards of art.  In this regard a paragraph in last week’s Times obituary for Pulitzer Prize-winning architectural critic Ada Louise Huxtable caught my eye for the crucial point it made that architecture has to be in service to other essential goals:
Though knowledgeable about architectural styles, Ms. Huxtable often seemed more interested in social substance. She invited readers to consider a building not as an assembly of pilasters and entablatures but as a public statement whose form and placement had real consequences for its neighbors as well as its occupants.
(See: Ada Louise Huxtable, Champion of Livable Architecture, Dies at 91, by David W. Dunlap, January 7, 2013.)

Along these lines, one interpretation of Fraser’s “Little Frank and His Carp” is that the architectural dominance of modern gallery spaces does not always serve the display of the art within nearly as well as it should.  Other criticisms of Gehry’s work is that the resources invested in its forms can be wastefully functionless and that it can disregard its relationships with and `consequences for its neighbors.’   But Gehry design does have intended functions which it is intended to be in service to . . . more on this later in this piece.

Reading the Times obituary for Huxtable, I was struck by the way that it made absolutely no explicit mention of urbanist Jane Jacobs, a fellow critic of the city’s shaping and development with whom Huxtable had much in common.

The Times obituary is extremely laudatory of Huxtable as it ought to have been and thus, in a way, self-laudatory, because it was the Times that hired Huxtable as “the first full-time architecture critic at an American newspaper,” but the article gives no hint how likely it was that the Times hiring of Huxtable in September1963 was motivated by Jane Jacobs’ very influential 1961 book, “The Death and Life of Great American Cities”  In contrast, the Observer’s very brief obit for Huxtable mentions Jacobs as background context to Huxtable's appointment.  Indeed, it turns out that Huxtable mentions Jane Jacobs and her book in October, writing the month after starting her stint at the Times.

Certainly there was a shared similarity of style, brook-no-fools attitude, and also themes in the writings for which each of the two women was esteemed.  Does this from Huxtable’s obituary not sound like it’s describing Jane Jacobs?:
She had no use for banality, monotony, artifice or ostentation, for private greed or governmental ineptitude. She could be eloquent or impertinent, even sarcastic.
Another similarity is the notion that with both Jacobs and Huxtable architecture and city planning became more accessibly egalitarian as they demythologized the professions, with the Times obituary for Huxtabel saying of her something that might strike a resonant chord if Andrea Fraser were reading it: “she opened the priestly precincts of design and planning to everyday readers.”

Huxtable’s very first work for the Times, before she was hired as a regular critic, was a 1958 Times Magazine article: The Art We Cannot Afford to Ignore (But Do); The Art We Cannot Afford to Ignore (But Do) (May 04).

That first Times article introduced a theme Huxtable was expressing perhaps even better years later (on the Leonard Lopate show in 2008), architecture’s importance because we inescapably must live with it:
(Architecture) is the art we must live with. If you want to experience painting or sculpture it’s an option. But there is absolutely nothing optional about your experience of architecture.
At the end of that 1958 article it sounds as if Huxtable made her own case for creation of the job the Times eventually hired her to fill:
The press which regularly reviews art, literature, movies, music and dance, ignores architecture, except for building news on the real estate page.  Architecture as a standard feature is virtually unknown, in spite of the direct and inescapable impact of architectural production.  Superblocks are built, the physiognomy and services of the city are changed, without discussion, except in a few of the more specialized or sophisticated journals.  Unless a story reaches the proportions of a scandal, architecture is the stepchild of the popular press.
Urban Renewal Failure

Superblocks and the transmogrification of the city’s physiognomy and services without public understanding or input?  What did Huxtable think of the urban renewal of the 50's and 60's?  On Lopate in 2008 she said:
That was the biggest mistake in the history of urban design. That was . . That grew out of the total ignorance of what was being lost. Urban renewal required total clearance. There was no provision for saving anything and that was how we learned how valuable the things were that we lost. . . .

 . . . There was no consciousness. That consciousness had to be found and raised; that the environment, the built world was a rich tapestry of time and style. We just didn’t know!
That too sounds like Jane Jacobs.

Similarly, in 1966 she wrote scathingly of urban renewal for the Times in “Project, Planned 10 Years, Has Been Called Unsound; Work Starts on Total Renewal Project” which is retitled  “How We Lost Lower Manhattan” in her 2008 collection “On Architecture: Collected Reflections on a Century of Change”:
    . . . it will erase all traces of the past in one of the most historic sections of the city. . . . A total bulldozer plan, as were all of New York’s early renewal efforts. . . . just at a time when the city has officially renounced the bulldozer approach. . .. Some buildings were in poor condition others were well preserved.  Land uses were a mixture of business and residential.  New York’s artists’ colony, priced out of fashionable Greenwich Village, was finding its lofts and atmosphere hospitable. . . . a compendium of of just about everything that can go wrong in the renewal process. . .  a negative object lesson for the large renewal programs now planned or in process. . . Developers were awarded the sites of their choice on which they carried out their own plans, not the city’s. . .  Lack of an overall plan. . The project has no relation to any of the surrounding downtown developments directly on its borders . . .  The Streets themselves will disappear under skyscrapers and superblocks.  There are no celebrated monuments to save, but there were scattered stands of homogenous brick and stone street architecture of the early nineteenth century that knowledgeable observers prize for pleasant proportions, as disappearing vernacular Georgian style, and historic associations. . . . Preservation and rehabilitation retain the city’s historic fabric and neighborhood character.  It also keeps older housing and commercial spaces operative.  New construction provides improvements and modern facilities.  Together, the two create the elusive synthesis known as urban character.
When there was an effort that included three separate museum exhibits launched in 2007 to rehabilitate the image of Robert Moses, the grand master of urban renewal, Huxtable wrote an essay in the Wall Street Journal, the paper to which she had by then moved, “The Man Who Remade New York.”  It disabused the revisionists of certain notions saying that “the rehabilitation of Robert Moses is not an easy walk down memory lane.”  Huxtable said with respect to the revisionists:
The acknowledged purpose here is to add balance to a story in which the brilliant restructuring of the public realm has been obscured by projects that rode roughshod over history and neighborhoods with unfeeling arrogance of epic proportions that lingers in the collective mind.
Huxtable accused New Yorkers of suffering from “planning amnesia” and concluded that it was fortunate Moses was stopped.  She juxtaposed Moses with Jacobs:
Planning in the early twentieth century was broad and paternalistic. . . Moses’s agenda was a perfect match.

The more intimate, humanistic view of planning as a small-scale, socially sensitive awareness of the street, the neighborhood, and individual lives had its catalyst in Jacobs’s 1961 book, “The Death and Life of Great American Cities,” which became the bible of the planning revolution.  This approach would have no appeal for Moses even if he understood it.  
Architectural Hats In The Ring

In that first 1958 essay for the Times Huxtable called upon architects to be various things, including, one expects, socially sensitive and responsible.  She refers to the architect as a “man of a hundred hats,”  assuming a different purpose with the donning of each hat: as a “practical man” providing shelter and physical necessities but as “an artist” providing the desire for beauty and “sociologically” giving form to the “living and working patterns of society” and “spiritually” creating “a setting for faith.”

So it was that she critiqued the building of the Pan Am Building (now the MetLife Building), focusing on social responsibility grounds.  From her Times obituary:
Rather than aesthetics, Ms. Huxtable focused on how the tower would alter the scale of Park Avenue, adding “an extraordinary burden to existing pedestrian and transportation facilities.” She continued, “Its antisocial character directly contradicts the teachings of Walter Gropius, who has collaborated in its design.”
The pro-development view at the time was, of course, different: Said William F. R. Ballard, the new chairman of the city planning commission, in an interview with Huxtable: “I can’t think of a better place to have a big building. . .  I don’t think concentration is such an evil. . . It’s the essence of cities. . . . Nobody’s been trampled yet.”

Huxtable Veneration For Gehry

Our discussion here has gone on at length about the calamities of urban renewal and the importance of social responsibility on the part of architects and those who shape the city, intending to come round again to Frank Gehry.  Ada Louise Huxtable, and this is important, adored Frank Gehry.  On Leonard Lopate’s 2008 show she said that Gehry was a “great architect” exempting Gehry from her criticism that there has been a lot of  “wow” in architecture “for effect, and for show, and for status” that she said she had “very mixed feeling about” for which she partly blamed the press.  She said:
The “wow” buildings. Don’t blame it all on Frank Gehry. Gehry is legit; what he did at Bilbao is superb. He showed us how to marry all the arts in our time. But the lesson taken away from it was: We need something that looks “iconic,” that’s going to put our city on the map.
By 2008 Huxtable had virtually adopted Gehry.  In the June of 2001, Huxtable wrote in the Wall Street Journal: “Frank Gehry is the most staggeringly talented architect that this country has produced since Frank Lloyd Wright.”  (See: Architecture: The Bold and Beautiful— a Tale of Two Franks.)  This also appears in her 2008 collection “On Architecture.”  Her 2001 praise of Gehry could have been important because around that time (according to court records: before the summer of 2002) the Forest City Ratner company was conceiving of its Atlantic Yards mega-monopoly, part of which conceit was the anointing of architect Frank Gehry as integral part of its goal of selling the mega-project to the public and New York’s power elite.

Atlantic Yards, an eminent domain-assisted land-grab for the Ratner real estate organization, was essentially a retread of old style bulldozer urban renewal.  By enlisting Gehry developer Bruce, Ratner almost certainly hoped to have a leg up on the critics.  The Times obituary for Huxtable observes:
Her exacting standards were well enough known to be a punch line for a New Yorker cartoon by Alan Dunn in 1968. It shows a construction site so raw that only a single steel column has been erected. A hard-hat worker holding a newspaper tells the architect, “Ada Louise Huxtable already doesn’t like it!”    
No doubt the Ratner hopes were that before even such a single steel column was up Ms. Huxtable and those with influence like her would be on board liking it, or at least quieter in their criticism, despite the project’s failure to meet the social responsibility standards that normally might concern them.

Huxtable wrote repeatedly about Gehry, particularly his Bilbao museum, with extraordinary positiveness.

In 1997 she wrote “The Guggenheim Bilbao: Art and Architecture as One.”  Notably, the index of her “On Architecture” collected essays book treats the essay as being in part about the “urban renewal” of Bilbao, though Huxtable actually only uses the term “revitalizing projects” to describe what the once wealthy Spanish industrial city was doing when it commissioned the museum to replace old waterfront warehouses with the Gehry building.  (See also: “Hot Museums in a Cold Climate”- 1998 and “Museums: making It New”- 1999.)

Wary of Gehry Superblock Gargantuana and Profiteering Inside Development Deals?

A Gehry design would not necessarily cinch things with Huxtable or mean that her support was a done deal.  In the June 2001 essay where she called Frank Gehry the most talented architect since Frank Lloyd Wright she expressed mixed feelings about the Guggenheim’s proposal to build a Gehry-designed 400-foot-tall building on Piers 9, 13 and 14, south of the Brooklyn Bridge in Lower Manhattan, a proposal, which due to financial problems and a weak economy (and perhaps lack of support), was cancelled just months later.
What a Gehry-designed 400-foot-tall building Guggenheim’s Museum south of the Brooklyn Bridge could have looked like.
Ms. Huxtable commented that the proposed Gehry-design museum should get “brownie points for honesty” in that it did not “fudge its size and impact with doctored renderings” but that with its superblocks and “street closings” hearkening back to the “urban renewal era” it would take a “swath of land or water that could house a superliner.”  Calling it a “Godzilla Guggenheim” she expressed mixed feelings and “nagging suspicion that thus may be a baroque Brontosaurus or a waterfront barricade at is present scale.”

It is interesting then that Huxtable never criticized, or even critiqued Gehry’s Atlantic Yards vision.  In January of 2008 she took aim at the in many ways similar “Hudson Yards” on Manhattan’s West Side with objections that would, like most objections to that big project, be as easy to level at Atlantic Yards.  She said it was too big, too dense and no doubt the result of Machiavellian deal making “that will make someone very, very rich.”   The 26-acre Hudson Yards (Huxtable’s essay refers to it as 28) is only slightly larger than the 22 acres constituting what is officially called “Atlantic Yards” but is actually smaller than the entire 30+ contiguous acres that Forest City Ratner is effectively treating as a single development site.

Likewise, in November of 2008 Huxtable, being interviewed by Philip Lopate (Leonard Lopate’s brother), said critically that everything in this city is totally developer driven, though not mentioning Atlantic Yards as the most conspicuously developer-driven project of all.

By early June of 2009, when it was announced that Gehry was being dropped from the Atlantic Yards megadevelopment by Forest City Ratner, any criticism by Huxtable of the mega-project originally publicly unveiled at a press conference December 10, 2003 would have appeared awkwardly belated.  Further, more than a year prior, Nicolai Ouroussoff, then holding her former job of architectural critic at the Times had said that Gehry should walk from the degenerating Ratner project.

As it was, one of Huxtable’s well-aimed snipes at Hudson Yards from the prior year turned out to be accurate for the Ratner mega-monopoly as well since Gehry’s departure from Atlantic Yards entailed a wholesale revision of that huge project’s designs: “The only thing we can count on is that whatever is eventually built there will bear very little resemblance to what we are being shown now” as did another “Historically, the amenities have a way of fading away or being relegated to reduced, fringe status later on.”   

Hitching to Architects

The point is that on many levels the Forest City Ratner anointment of Gehry as Atlantic Yards architect may have had exactly the effect intended, including silencing Huxtable’s usual calls for social responsibility.

When Jane Jacobs and Ada Louise Huxtable were both writing in the early 60's who knew whether they would grow more similar sounding (as I think in many ways they did) or different.  Jane Jacobs, though she commented on architecture, was never an architectural critic.  In the six more books Jacobs went on to write (she had two more books planned that didn’t get published. . . one, “Uncovering the Economy,” she expected to publish in 2006, the year she died) and in her continued activism she concentrated on examining economic underpinnings to what works and the way the structures of society evolve and function.  Yes, like Huxtable, she was very much interested in morality* and the choices people should be making in the world (“Systems of Survival” -1992).
(* It is heartening and fitting that Huxtable’s last column, “Undertaking Its Destruction,”  published in the Wall Street Journal on December 3, 2012, addressed the plans to gut the historic, uniquely functional interior of the New York Public Library, extraordinarily “reducing the accessibility of its resources,” a plan deserving laceration that is driven by the city library system's new focus on turning over its real estate to developers.)
Jane Jacobs was not against new buildings or modern architecture, although in “The Death and Life of Great American Cities” she made it clear that she favored functionality over the superficial pursuit of pleasing appearances (“a city cannot be a work of art”. .  “confusion between art and life are neither life nor art”) and chastised artificial architectural exhibitionism (weird roofs and stairs- attempts to appear unique and different from their similar commercial neighbors in spite of not being special).  Unlike Huxtable, Jacobs did not seek out or look to champion architects she liked.  The Times obituary for Huxtable suggests that being able to praise triumphs rather than mistakes animated Huxtable.  One might suppose that Jacobs’ rigorous skepticism was less susceptible to being undermined because Jacobs did not identify her ideas with the endorsement of particular architects.

Art Of Audience Selection?

This takes us back to the themes surfaced by Andrea Fraser of art as commerce, with an exploitation of class, status and income disparities.

Andrea Fraser’s work reactive to Gehry must be accepted as also a work of satiric criticism.  Her work and Huxtable’s architectural criticism both tell us something about to whom Gehry’s designation as Atlantic Yards architect was intended to appeal.  While Fraser in “Little Frank and His Carp” plays at mimicking the reactions of the consumer targeted for awe by Gehry’s designs, in other works Fraser has adopted the role of authoritative museum docent knowing what the public should like.  Whether right or wrong and however earnest in her pronouncements, this was a role that Huxtable inescapably on her pedestal could not sidestep.

Early on, near the beginning of this piece, I noted that I would return to discuss other intended functions of Gehry acritecture. 

Gehry is very good at selling himself.  Some artists are. . . Damien Hirst is another name that comes readily to mind.  They raise their profile by calling attention to themselves.  That skill on Gehry’s part translates into a transferable ability to call attention to and sell his clients.  It’s branding, at the core of which is the the intrinsic commerciality that typically constitutes branding’s foremost purpose.

Though never built and therefore concretized, Gehry’s branding in service to Ratner was selling urban renewal, 2.0.

Gehry’s architecture derives partly from the architecture of Los Angeles (where his office is).  The eclecticism of designs in that city may challenge categorization but I would say that Los Angeles architecture is largely defined by Los Angeles being car oriented; Its architecture is meant to call attention to itself from a distance, specifically the distance of the road or highway, with the perception of scale being set (in effect reduced) by the speed at which you are passing it.  It may be seen has having its antecedents in the likes of Wilshire Boulevard’s whimsical Brown Derby, designed to attract your attention from afar and call you in from the road.

The style's habit of clamoring for attention from a distance, seeking to promote its client’s brand over that of the competition, is about asserting itself over its surroundings: dominance, not community interrelationship.

The SHoP Architects design for the arena that was substituted when Gehry was disinvited from the Ratner team, albeit hastily contrived and therefore entailing certain problems (and solutions that may only be fully in place temporarily while the current configuration lasts), does a creditable job in achieving much of what Gehry-style Los Angeles architecture could have achieved in terms of branding and calling attention to itself.  Positioned at the convergence of three main traffic byways it gives one the drive-by experience advertised.
SHoP achieved its effect almost entirely with the lattice wreath, including television screen “oculus,” of weathering steel encircling the structure that is reminiscent of, but probably considerably cheaper than, the pasting-on of the flourishes now typically used by Gehry.  The rusting steel is actually a little like early Gehry work that used corrugated metal and rough, fresh-out-of-the-hardware-store unfinished surfaces and materials.

To say that the SHoP-designed building fails to fit into its surroundings is a worthless comment because a huge arena is never going to fit in amongst brownstones.  The colors are maybe a bit more subsdued: Had it been Gehry’s work there’d be the reflective sheen of more silvery and shiny surfaces, titanium, glass, whatever.  

As it is, the devloper/subsidy collector's segue to the new set of architects was seized upon to emphasize a strategic rebranding; that with the addition of its rusty steel panels the arena is an expression of genuine Brooklyn’s muscular grit rather than its eradication.   Gehry was calling his tallest glitzy tower “Ms. Brooklyn,” but rusty steel is maybe more convincing.  While anyone can buy into them, it is important to note that these conceits are being peddled up the income ladder and across the river.

While the arena as effectuated and managed is certainly intended to make money for its owners (something that should be easy to do given the extent to which it has been subsidized), the arena must also be interpreted, much as Gehry’s original appointment as architect was meant to function: as a sales pitch to allow Ratner to keep exclusive control of his vast government-aided monopoly directed to those whose decisions will ultimately matter.  Don’t worry; at the same time they will also be selling the message that “it’s not about class.”

The Ratner announcement of Gehry as project architect was not intended as a ploy to sell the project to the typical residents of Brooklyn or those in the surrounding community. . . It was more important to address the sales pitch to an elite, probably mostly found in Manhattan, more likely to have influence over the decisions to be made: The Gehry creation was what that elite might like Brooklyn to look like, perhaps to partake of and drink in the vision of it on the day of a stimulating visit.

The developer-oriented design for the Atlantic Yards mega-monopoly proposed a project that obliviously disregarded the scale and any interrelationship with the surrounding neighborhood into which it would be shoe-horned.  Similarly, as many may have noted with the opening of the so-called “Barclays” arena that has unblinkingly been named after a plundering bank in an era of banks gone wild, the marketing of the “Barclays” arena has been pitched more toward the upper end of the income scale than might have been expected of a basketball arena, more toward hoity-toity Manhattan clientele than surrounding neighborhood residents or regular Brooklynites.  It is certainly not pitched to the people evicted from the site by eminent domain abuse.

With $4.50 water, it is an expensive place to go, far more expensive than what it replaced.  Community residents complaining about the a flood of idling black cars and limousines the arena brings through their residential brownstone neighborhood point out that “the Barclays Center marketing plan . . .heavily promotes the venue’s luxury seating and dining options” with much of that clientele no doubt coming from Manhattan or other upscale areas outside the borough.

Echo-Tourism

It is hardly an exact equivalent but around the era of Prohibition whites would travel up to Harlem to go to clubs with all-black revues like the Cotton Club to get a taste of another culture.  It was sometimes referred to as “slumming.”  The taste of that culture obtained was inauthentic in that the Cotton Club, even though it featured many of the greatest black entertainers of the time was a white-only establishment, meaning that it was off-limits to patronage by same performers who performed there.

The Barclays arena was plunked down in a somewhat mixed neighborhood where an appreciable amount of gentrification was taking off no doubt shifting the color mix towards white, but it does sometimes feel to me as if there are echos of this “slumming” in a new generation of intracity  tourism.  The other day a wide-eyed couple speaking very good English but with stilted Europan accents emerged from the Williamsburg Savings Bank Building subway entrance to ask me and my companion where the “Barclays” is.  I assured them that it was big and very easy to find, telling them that it was a contiguous extension of the Ratner mega-monopoly, of which the shopping mall they were already standing right across the street from (I pointed) was a part.  They would find the “Barclays” arena, I said (pointing again) right around the corner.  I explained that the city taxpayers were subsidizing their tickets with a huge amount of money, information they seemed to take in with surprise but no understanding.  It didn’t tell them that many of us simply won’t go to the arena, that we treat it as off limits or any of the reasons this is so.

Theme Park Brooklyn

Inside the arena, much as was the case with the Cotton Club’s Negro revues, the arena owners, Bruce Ratner from Cleveland and Mikhail Prokhorov oligarch from Russia, are inauthentically selling their visitors the taste of “Brooklyn” that comes with “Brooklyn” brands packaged theme-park style therein.

Commissioned art angling for and receiving art-world style praise has been enlisted to enhance the effect as can be seen in this review of works by  José Parlá and Mickalene Thomas, both displayed at the “Barclays” arena: Heather Graham, KAWS, and More Turn Out for Jose Parla Painting Unveiling at Barclays Center, January 10, 2013.

The review of the work, which could echo in the mind like the satiric tease of an Andrea Fraser work, credits both artworks saying they “connect the gleaming, glowing” (pirate treasure!) of the new arena to the “surrounding community.”  Each work is extolled for how it represents “Brooklyn.”  To wit:
Thomas’s untitled enamel and vinyl work references the august architecture of Grand Army Plaza, the Brooklyn Bridge, Brooklyn Museum . . . . and Brooklyn’s brownstone townhouses. It articulates a vision of the borough as a great American city whose built character and civic landmarks are on an equal footing with those of its smaller but better known neighbor, Manhattan.
Parlá’s work named “Diary of Brooklyn” is similarly suggested to `embody’ the borough:
During last night’s unveiling Parlá explained that his goal was to capture “what it means to be urban,” because “Brooklyn embodies that.”
We are told that the Parlá’ mural was “inspired by the James Agee essay “Brooklyn Is”*
(* the 1000 word essay was commissioned by Fortune Magazine in1939 but unpublished until it appeared in Esquire in 1968, years before Mr. Parlá’s birth.)
As such we are being soothingly reassured that both the artworks somehow embody with verisimilitude the Brooklyn that the arena and the Ratner mega-monopoly are displacing.  Not dissimilarly, the Brooklyn Museum is now featuring merchandise in its gift shop designed by illustrator Claudia Pearson celebrating the charm of brownstone Brooklyn even though the Brooklyn Museum had a key role in bringing about the Atlantic Yards mega-project which is resulting in the substantial the destruction of such neighborhoods.  (See: Wednesday, December 5, 2012, A New York Magazine “Best Bet”: The Brooklyn Museum Offers Its Love Of Brownstone Neighborhoods, The Savaging Of Which It Lauded.)

Why did the Brooklyn Museum support Ratner and his project despite the deleterious effects in store for the community the Museum served and apparently still likes to celebrate?: Ratner was donating substantial funds to it, enough to put Ratner people on its board!

Above real Brooklyn buildings, including Freddys', torn down for Atlantic Yards, flanked by Ms. Pearson's Brooklyn musem gift shop designs (left) and Ms. Thomas's mural (right)
The brownstone image in Mickalene Thomas’s work is particularly similar to the Brooklyn Museum current gift shop items.  Maybe it is no surprise then that Ms. Thomas currently has, as the review tell us, a “solo show” at the Brooklyn Museum.  Going to the museum’s website page for Ms. Thomas we learn that:
Generous support for this exhibition was provided by Forest City Ratner Companies
This Brooklyn-substitution silliness reminds us how the Brooklyn borough president Marty Markowitz, a Ratner supporter, once suggested the way to fix-up the mega-project was to have the Gehry design incorporate into the mega-project “Brooklyn-style stoops at the base of some of the towers” for more of a “brownstone feel.” 

The harm to Brooklyn doesn’t go unmentioned in the fawning review of the two artworks: Twisting mention of this into an advantage, the review at its conclusion acknowledges the arena to be a building that “many Brooklynites find inherently antithetical — if not downright dangerous” in order to assert that this “only makes the commissions more compelling.”

Art’s Oldest Professional Concerns

Rarely do we tend to forget that architecture is, at its core, functional.  Ms. Huxtable would hardly want us to.  (With Jane Jacobs holding that art is actually distant from architecture's true importance.)   Further, Ms. Huxtable would want us to appreciate that things don’t boil down to a simple dichotomy, function vs. art: That it is inevitably more complex as her early description of the architect as a “man of a hundred hats” suggests.

When she made “Little Frank and His Carp” Andrea Fraser dealt with the art of architecture, recognized to be a `functional’ art, but her overall interest tends to be art’s unrecognized functionality, particularly the web of underlying social contracts whereby art commercially sustains itself.  And recognizing that artworks have such functionalities in the world raises the prospect of accompanying moral implications, the kind that Ms. Huxtable might seize upon.

Andrea Fraser isn’t a scold.  She is actually far from it.  But she does make it very uncomfortable for those who would prefer to think that art can be safely compartmentalized as just art, existing neutrally apart from the moral dimensions of its functioning.

Fraser has often used her body to titillate, potentially shock and to up the ante of her work.  She is thereby certainly capable of making a point.  In a brutally confrontational, risky work about the intersections of commercialism, art and morality Fraser blurred the line between art and good old fashioned prostitution virtually as far as it is possible to blur that line: She created a 60-minute performance piece in which a patron or “collector” of that art work paid her $20,000 and had sex with her.

Fraser’s work mostly unfolds in the high-toned milieu of the fine arts world.  I suspect that Frank Ghery would not have suffered the embrace of her her lampoon had the work she was addressing not been a fine arts museum or if Gehry’s `rarefied' aesthetic were not so attuned to and well-integrated in that world. The denial of underlying commercialism may be especially pretentious in that particular world; nevertheless, the themes Fraser raises of commercial interrelations are very easy to apply to the other arts.

Hip hop artist Jay-Z was given a small fractional interest in the ownership of the “Barclays” arena, plus other financial inducements to act as a promotional front man for the developer’s arena and Atlantic Yards project.  When Barbra Streisand, a superb artistic singer and famously self-proclaimed activist, performing at the Barclays arena (her concerts very heavily subsidized) mutates the lyrics of Cole Porter’s “You’re The Top” to compliment Jay-Z mere days after Jay-Z performing there has invited his audience to give the finger to the community that opposed the Atlantic Yards real estate land grab, Streisand ends up subverting her art to support that land grab just as Gehry was hired to do.

Whatever criticisms were leveled at Gehry for being socially irresponsible for promoting the Atlantic Yards project throughout the time he spent associating himself with it, there are those who still believe everything would have been absolutely well and fine in the end if the mega-project had been built according to his designs. . . .  that the only real tragedy is that Forest City Ratner ultimately jettisoned Gehry (saving money by finally going with a less expensive experimental modular design). . .  .

. . .  If Gehry's designs had actually been built can we not imagine that interested visitors to Ranter’s 30+ acre mega-monopoly would have been handed audio guides assuring them there were seeing “uplifting” achievements, refreshing to the spirit and, to quote the words of the Bilbao Guggenheim Museum audio guide, we would be told, “its warmth, its welcoming feel” make “you feel at home so that you can relax and absorb. . . .”

With luck there would be someone like Andrea Fraser available in the cultural wings to help interpret exactly what the public was supposed to “relax and absorb.