.jdavidsonNYC raises a question left unanswered by critic Joseph Giovannini’s new lavishly illustrated 800-page book, Architecture Unbound: what could a more genuinely progressive vanguard look like now?
Zaha Hadid’s One Thousand Museum building in Miami. Photo: Eva Marie Uzcategui/AFP via Getty Images A row of sharply creased white condo towers rises along Miami’s Biscayne Boulevard like guests at a country club in identical summer outfits. One newcomer stands out for its wide-hipped curves and thin crossed straps traversing expanses of naked glass: One Thousand Museum, one of the last works Zaha Hadid conceived before she died in 2016.
Giovannini doesn’t answer or even address that question. He dwells in futures past and analyzes the great upwelling of spatial inventiveness first envisioned by artists in the early 20th century and given fresh urgency in the late 1960s, when young radicals attacked Euclidean geometry and the Cartesian grid, seeing them as tools of social control. In most of the urbanized world, the prevailing options for high-end architecture haven’t really changed in all those decades.
In a church that he and Parent designed together in 1966—Sainte Bernadette de Banlay, in Nevers—and in Parent’s own home in Neuilly-sur-Seine, they redefined the building not as an object to be perceived by the eye but as an experience of the human body in motion. The new architecture had to be read not by looking, but by stretching, slumping, leaning, climbing, and rolling. This delighted Parent’s children; how his older relatives felt about it is less clear.
Peter Eisenman’s City of Culture, in Santiago De Compostela, Spain. Photo: View Pictures/Universal Images Group via Getty Toward the end of his narration , Giovannini slips in the curious claim that as the avant-garde slipped into the mainstream, architects’ freedom to design irregular spaces promoted everyone else’s freedoms, too.
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