Martin Filler
Martin Filler
Martin Myles Filleris a prominent American architecture critic. He is best known for his long essays on modern architecture that have appeared in The New York Review of Books since 1985, and which served as the basis for his 2007 book Makers of Modern Architecture, published by New York Review Books...
NationalityAmerican
ProfessionCritic
Date of Birth17 September 1948
CountryUnited States of America
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Considering my specialization in architecture, I'm not surprised that the first graphic novel to thoroughly engage, not to say captivate, me is Chip Kidd and Dave Taylor's 'Batman: Death by Design.'
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Before the professionalization of architecture in the nineteenth century, it was standard for an aspiring mason or carpenter to begin his apprenticeship at fourteen and to become a master builder by his early twenties.
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Architecture was the last of the major professions to devise a formal 'cursus honorum' before its practice could be undertaken.
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Architecture is not a profession for the faint-hearted, the weak-willed, or the short-lived.
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One of the most persistent yet elusive dreams of the Modern Movement in architecture has been prefabrication: industrially made structures that can be assembled at a building site.
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The tall building, concentrating man in one place more densely than ever before, similarly concentrates the dilemma of our public architecture at the end of the twentieth century: whether the new forms made possible by technology are doomed by the low calculations of modern patrons and their architects.
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Truly great architecture always transcends its stated function, sometimes in unanticipated ways.
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There is no sadder tale in the annals of architecture than the virtual disappearance of the defining architectural form of the Modern Movement - publicly sponsored housing.
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The role of the architect as artist is an ancient one, but it was de-emphasized with the rise of modernism, which rejected the drawing-based Beaux-Arts tradition in favor of a more technocratic approach.
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The form a city assumes as it evolves over time owes more to large-scale works of civil engineering - what we now call infrastructure - than almost any other factor save topography.
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The Frankfurt Museum of Decorative Arts is a handsome building, which takes its cues from the riverside Biedermeier villa next to it, and it is well-integrated into an overall scheme for a group of small museums.
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We take from the art of the past what we need. The variable posthumous reputations of even the greatest artists and the unpredictable revivals of interest in even the most obscure ones tend to reveal more about those who make revisionist assessments than about those who are being reassessed.
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Postmodernism came nowhere close in quality to Modernism at its apogee, not least because that later style wholly lacked the social impetus that animated the designs most emblematic of the Modern Movement.
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One of the most persistent images in American urbanism is that of the proverbial city on a hill, as first envisioned on these shores by the Puritan John Winthrop, via the Gospel according to Saint Matthew.