WHAT'S THE FREQUENCY, KENNETH?

  • Retrospecta, the Yale School
    of Architecture's annual review
    of its student design, published
    in its 2003/04 issue an exchange
    that took place that year between Columbia architectural historian Kenneth Frampton and architect/
    theorist Demetri Porphyrios.
    Both had been guests of Yale — Porphyrious as a visiting professor, Frampton as a guest juror of the
    work of Porphyrios's students. In
    this excerpt from a conversation
    that developed in the course of a student jury, Frampton was talking about architecture. He might as well have been talking about the culture
    in general:

    Kenneth Frampton There is an aphorism by Adolf Loos that goes as follows: “There's no point in inventing anything unless it's an improvement.” It’s an ironic remark, but also a challenge to this moment in time, where everyone seems to be losing it.

    Commerce will tell you that this is ridiculous from the point of view
    of architecture. Now you can say,
    "Well I don't give a damn about
    commerce, this is an artistic work!"
    But Architecture is not...Fine Art in that sense. [Architecture] is a modus, which has to deal with certain kinds
    of reality. Its poetic comes through
    its transformation of reality....

    The question is, What are the limits in which this transformation can take place? You have to talk to society in some way — in a way in which you can appeal to some kind of evident values. It can be money values, but also can, at the same time, can it be other values?

    Otherwise it's like a conversation between the deaf and the dumb! There's no reason why we're to do anything! I could tell you to cut six more slots into this thing, and it wouldn't make a difference. It's a negative critique of the project, but
    it's also a critique of the whole
    goddamn situation.

    You have to have a principle; otherwise you cannot communicate anything to anybody. Why should I invest my money in this, as opposed to some other project? You have to have a reason! Otherwise the architects don't even talk to the society! Don't you see that predicament?

    These computer renderings produce aesthetic affects very well, seamless, very seductive, but they are not about anything. They are delusions! They are mirages! I'm sorry, it's very aggressive to say this, but aren't we going to start talking? It's just ridiculous to say,
    "OK — individual interpretations," so
    on and so forth. One has to talk about something fundamental; otherwise we're never going to talk about anything anymore!

    Demitri Porphyrios I'm not sure what you're talking about.

    KF I'm talking about the fact that there is a total degeneration in the capacity to discuss anything.

    DP Do you want some coffee?

    KF No, I don't. Sorry, I don't...

    DP Look, look, look. This is a disgusting situation. It's not right
    to get upset.

    KF It's something to get upset about! We always have polite discussions; we have to sometimes get upset, because otherwise we just don't talk about the things that matter.

IN ROTATION

  • Antony and the Johnsons
    I Am a Bird Now
  • Phil Kline
    Zippo Songs
  • Louis Philippe
    Azure
  • Ron Sexsmith
    Retriever

NOW POURING

  • Torrontes
    Plata, 2005

EAT THIS CHOCOLATE

« December 2006 | Main | March 2007 »

02 February 2007

NIMBYopolis

 City_block_1

What would happen if city planning departments everywhere decided, willy-nilly, that the building practices of two, three, four generations ago would now become law? No new building would be allowed to punch through the 6-story ceiling
of the old neighborhood. And, well, if the city needed to grow, it would just have to find
other ways to do it.

Texas_gas_1 This was never an issue in the Ohio Valley river town where I grew up. Not that Owensboro, Kentucky, was an architectural backwater. I've always had a soft spot for this little ode to Mies, designed by Skidmore,
Owings & Merrill and completed in 1962.

But as Louisville gets ready for its Rem-tacular close-up, Owensboro, the economically flatlined "capitol of western Kentucky," has never been under imminent threat from a rogue invasion of tall buildings. And yet, in the 1960s and 70s, Owensboro, Kentucky, did put a couple of intrepid toes — literally, two — in the shallow end of the Pool of High-Rise.

Given the results, the low-rise people of Owensboro probably wish planners had just capped their "skyline" early and called it a day.

It all started when Gabe's Shopping Center opened
at the southwest corner of 18th and Triplett Streets in
1959. Built a generation before the strip mall, with parasitic ubiquity, began to chew up ever-larger swaths of the urban fabric in places like Owensboro, making such developments the paradigmatic trope of a suburbanized America — Owensboro's population within the city limits is the same 55,000 today that it was in 1959 — Gabe's Shopping Center was nonetheless and, for all intents and purposes remains,
a strip mall.

Originally anchored by a W.T. Grant's dime store on one end and the Bi-Lo drugstore on the other, Gabe's Shopping Center today looks out across its parking lot to the antiseptic glare of the new-ish BP station and convenience store on the corner.

The BP, a model of spotless corporate efficiency, seems to look back with a mix of pity, shame, and reproach. For unlike so many other older shopping centers that have long since been retooled into slick little cash registers with cupolas on top (often with shiny gas stations out front), Gabe's somehow never caught up with the times. Always a little shambly and forlorn, it stands like Moses looking over into the Promised Land, a ghostly reminder of a vision that did get fulfilled,
just not here.

Indeed, the BP station serves as a "dis-intimation" — a "putting the dogs off the scent" — of the largeness of vision that once held forth on this site. For a shopping center wasn't the only thing Gabe Fiorella opened at 18th and Triplett in 1959. Where the BP now stands was a restaurant — yes,
he called it Gabe's — that for 20 years was fine dining in Owensboro, Kentucky.

On the point of the corner was a bigger-than-life-size statue of Gabe himself. With his trademark red jacket, black trousers, white shirt, and black colonel string tie, Gabe — tonsured, smiley-toothed, black-horn-rimmed Gabe — stood atop a 6-foot pedestal on a revolving platform, his right arm raised, forearm right-angled from the elbow, hand straight, and palm forward in a perpetual hello. Really more of a stereotypical "Indian" "How!" Round and round and round, 24 hours a day. "Welcome to Gabe's!"

And in late 1963, Gabe Fiorella completed construction of Owensboro's first tall building. There, on the southern edge
of the little world Gabe was building at 18th and Triplett Streets, Gabe's Tower Inn — a 13-story cylinder of a hotel, clad in a rainbow of pastel-painted panels — was a slice of Miami in western Kentucky. By the time I was a kid in the early 1970s, Gabe's Tower — swimming pool at the top; restaurant-in-the-round just below; and still rising alone
from a field of one- and two-story houses — was the
undisputed marvel of Owensboro, Kentucky.

Gabes_tower_2

Gabe's Tower, post-pastel

IT was at about this time that Owensboro built its second — and last — tall building. "Designed" to "house" the elderly, Roosevelt House — now Roosevelt I, to distinguish it from the much smaller Roosevelt II, which went up next door in the early 1980s — put 18 stories of federally subsidized concrete right on the small city's main thoroughfare. It's a real HUD* special.

Like Gabe's Tower, Roosevelt I was, and remains, a "tower in the field." Except for a handful of 6-story bank buildings downtown and a few buildings of similar height scattered elsewhere, Owensboro is at heart the same 1- and 2-story town it was in 1963.

Roosevelt_house_atlanta_gif The difference is that the charmless Roosevelt I hasn't a trace of the earlier tower's whimsy or optimism. At the very least, the town's tallest building could have offered the town's eldest residents — who live here, after all, only because they have to — the town's best views, opening north to Owensboro's beautiful old residential neighborhoods and parks and to all of its old-growth trees, with the Ohio River and Indiana farmland in the distance.

Instead, every apartment window looks east and west, to
the placeless borderlands of strip malls and storage sheds, where wall-to-wall privilege comes with a brass chandelier and a double-height atrium on a quarter-acre lot. One after the other.

Presumably there will continue to be a waiting list for Roosevelt I, so long as enough people need the kind of social welfare that the building provides. But in every other way that matters, Roosevelt I is a building with no character and no future. Ask anyone in low-rise Owensboro to name the worst building in town, and you will hear the same quick
and fatal judgment as when Roosevelt 1 was completed
in the mid 1970s.

Owensboro's business and municipal leaders had welcomed the previous decade's construction of Gabe's Tower as a sign that Kentucky's stepchild city — then and now, the state's third largest — was finally ready to join Louisville and Lexington at the ball. (It never did.)

But in a town small enough to make everyone's "backyard" the same, the decision to build Gabe's was a Not-In-My-
Back-Yard initiation rite — and, as it turned out, Roosevelt I practice run — for Owensboro's rank and file, who sought vigorously, albeit without power or money or voice, to
keep a tower that tall (!) from being built.

Four decades later, Gabe's is an endearing folly, a bit
like New York's long-embattled 2 Columbus Circle (which, coincidentally, was completed the year after Gabe's, in 1964). The tower has been an economic disaster for most of its peripatetic life; has long since traded in its period pastels for
a tellingly conservative pale gray with black stripes; and,
by right, should have been demolished years ago.

And yet, Owensboro can't quite seem to let go of its quirky landmark. Last month, Gabe's Tower was sold for $280,000 to a developer who promises to make it, once again, a hotel.

NONE of this would be worth mentioning if the New
York City Department of City Planning wasn't pushing a reactionary rezoning of the East Village and Lower East Side that, if successful, will set these Manhattan neighborhoods back a hundred years.

Continue reading "NIMBYopolis" »

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  • ORIENTATION
    18 years. Same house, same
    street, same Southern Baptist
    church, same western Kentucky
    town. That's how it started. A stint
    as a classical-singer-in-training in Nashville (yes, Nashville). A master's degree in religion and philosophy at St. Andrews University in Scotland.
    A 3-year turn in the postgraduate
    theory mills of Duke University. Liberal church, then none.
    Emigration to Manhattan, 1998. Escape to Brooklyn, 2003.

    These (sometimes polemical) observations and speculations on architecture, design, media, politics, religion, and, occasionally, music
    and wine are part of an attempt to understand that everything we encounter creates our sense of place.

    Why the effort? Because most of us — including me — have not begun
    to appreciate what a radical and necessary enterprise "making the world a better place" is.

    COORDINATES
    I live in Brooklyn, with my wife, my dog, and a benchmade, all-stainless Parsons table that I would make love to if I could.

    horizonr
    www.johnlumea.com

    contact
    john@johnlumea.com

GUN

  • For hire...

    Writer.
    Editor.
    Singer.

    With a voice you wouldn't believe. Forget the classical training (see Orientation, above). Think David Bowie. John Cale. Middle Tom Waits. Randy Newman. Neil Hannon. Maybe a little Tony Bennett for good measure.

    contact
    john@johnlumea.com

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