In any case, I thought you should know, and might recommend a correction in a forthcoming issue. I know you are mostly asked to apply your considerable critical powers on museums and other major cultural facilities - and here I could insert a whole thesis analyzing why this is so, touching on power, money, politics, and glamour - and almost never on the public housing typology. Also, and I probably need not even write this, that was not a “performance installation.” Those were tenants.Ĭertainly your confusion is understandable.
It is, in fact, a housing project - a mixed-income residential development, if we are to be technical about it - and I am sure you will agree this casts your comments about its massing and its disposition of spaces in a new light. First of all, you note (and I did detect some condescension here) that the building is “massed with all the subtlety of a housing project” and that its “warren of rooms on so many floors” will “poorly accommodate larger sculptural works once the present performance installation is removed.” Apparently you are operating under the misperception that this building is a museum. If there is to be no substantial criticism, how can one expect to progress as a professional, let alone advance the discipline? I consider it something of a tragedy that I typically find my office’s press releases lazily plagiarized and reprinted as news - I don’t blame the writers so much as our straightened culture, which has so reduced life to bare commodity that underfunded editors must vomit forth “content” endlessly, never mind quality or thought.Īs it is, I thought I should correct a few errors of fact that appeared in your - what shall I call it, original? inventive? - essay on my recent project. Indeed, when I learned that you had been commissioned by to review my recent project in, I was especially pleased to have one’s work examined by a critic as perspicacious as yourself, not to mention one capable of such flights of poetry, is truly a gift. Let me just start by letting you know I've been a supportive reader of your criticism for some time now - your judgment of the confused circulation of ’s museum in was I think appropriately lacerating - and my writing here should not suggest anything other than general admiration. In researching their provenance, I learned that X, the architect, was recently found dead, and the cause remains something of a mystery. I believe you will find they are quite telling with respect to the practices of both architecture and architectural criticism. A few weekends ago, while tooling about in search of the kind of castoff midmodern relics that those of my generation seem to covet, I came across the following collection of letters at an estate sale.
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