The kitchen is a relatively small, functional space, dominated by faux-marble laminate cabinetry. The wood and concrete floors are painted with a quilt-like graphic pattern of white circles with gray squares and green and purple corner inlay. Despite the proximity between the Moore and Andersson houses and studio, there is considerable privacy, carefully and intentionally crafted through the various angles of the houses, windows, and courtyard pergola. The Andersson house is smaller than the Moore and nearly antithetical in its aesthetic effect.
Like the Moore house, floor to ceiling bookshelves dominate the dining and living areas; today they house the Colin Rowe library. The two areas are separated by a free-standing, classical pediment set on a base with a cutout framing the pool beyond. One proposed plan included donating the house and its collections to the nearby University of Texas at Austin. However, the University declined the offer, reticent of the financial burden associated with acquiring a property without an endowment to cover maintenance and other costs.
Moore Foundation were signed. Willard Hanzlik. Moore Collection. To that end, the Foundation enlists the help of students from the University of Texas at Austin to carry out less skill-intensive tasks like painting. The arrangement provides an opportunity for the students to engage with the work of a master as well as gain hands-on experience working in the field.
A work studio has been built on the northern edge of the site to accommodate the growing collection of tools and the need for a dedicated space to craft repairs and prepare materials for application to the house. This model is valuable in the context of preservation practice for a number of reasons: it teaches emerging professionals the hands-on skills, applications and techniques needed to carry out interventions.
It also ensures prolonged care under a unified ethos. The campaign that saved the Moore house from being dismantled also solidified a wide, strong network of supporters and helped establish an ongoing base of support among many of his former students, colleagues, friends, and acquaintances. Programming like the Charles Moore Symposium hosted at the Foundation also helps draw a broader base of support. The property is currently occupied by scholars-in-residence as well as the foundation director, eliciting a need for privacy, therefore tours of the house are scheduled and require at least hour advance notice.
Though it is listed on a few Austin tourism websites, the house seems to attract those purposefully seeking it out. While potential to engage with a broader audience exists, there are numerous alternative means of doing so, including creative documentation methods, which the Foundation has begun to pursue. However, significant living resources including the house in its unaltered state offer a wellspring of information. In an effort to offer greater access to Moore resources and reach a wider base of people, the Moore Foundation is partnering with the ARTstor database. This resource represents an important conduit and opportunity to expand the realm of architecture in order to establish more appreciation and subsequently more support for the field.
In light of the ailing financial status of many house museums, the reluctance on the part of the Moore Foundation to turn the Compound into a traditional house museum is understandable. Its lack of regulation allows the Foundation to implement immediate responses and preventative care.
Therefore the lack of regulation may pose risk in the future. If however, the house were nominated to the National Register of Historic Places, it would receive recognition for its important place in the canon of twentieth century architectural history and gain potential access to state and federal funding allocated to preservation.
Grant funding would help alleviate the ongoing costs associated with maintaining the house. This availability will exponentially increase access to the project and, presumably, the exposure it lends will generate interest and support toward the Moore Foundation and its mission. Furthermore, his role as a central figure of the time period illuminates the broader narrative of the postmodern movement and reinforces its significance in architectural history.
However, this thesis presents limited insight into a topic rich with opportunity for further scholarship. This is by no means a framework; rather, it seeks to initiate an important conversation in preservation discourse, one that marks the continued inquiry into recent past heritage and the ways in which preservation approaches it. Indeed, they were in many ways a natural evolution to the innovations pioneered by Modernism as well as responses to the socio-political climate of the time. Hal Foster, London: Pluto, , In doing so, it challenges preservation to adapt as well.
The first step towards this is elevating the level of appreciation held for all facets of design from the building envelope to the interior and landscape. His ideas regarding place and sensory experience are most evident in the interior configurations of space, which further underscores their significance. We are on the threshold of preserving buildings dating from through by virtue of their material lifespan and the impending demolition that some face.
In , a bus shelter in Kansas City, which was designed by Moore in , was demolished, and the Church Street South Housing Project in New Haven, Connecticut, designed by Moore in , was approved for demolition in Often in art and architectural history, work is championed for its cultural and historical value, qualities that are indeed important. Yet what of their experiential qualities? Do we respond to creative works because of their historical value or cultural significance? And it is this response that triggers synapses of feeling and the inherent experiential quality of the art.
It is the same with architecture: we interact with space — be it interior or exterior — and produce evaluations based on both its premise and presence, its physicality and ephemerality. Furthermore, the effort was, in most cases, effective. The emphasis that he placed on engagement through experience was groundbreaking during the s, s and the s.
Furthermore the influence of his experimentation with interior space and human interaction is evident in the work of successive practitioners such as his former student and noted architect, Billie Tsien. These qualities pose particular practical and theoretical preservation challenges. A challenge presented by temporality and ephemerality stems from their inherent opposition to the traditional preservation ethos that values age and original fabric.
Hemingway on War and Its Aftermath | National Archives
Yet architecture from this time period affords the opportunity to explore different theoretical and practical approaches to preservation. This western ideal derives from historical predecessors like the Greek Parthenon, Roman Forum, Egyptian Pyramids — civic projects that have translated their grandness through centuries by virtue of their presence and age. These works have shaped contemporary notions of monumentality.
In both design and material, Moore subverted the standard notion of grand civic architecture. Louis Arch represents a contemporaneous manifestation of this theme. These works signify a twentieth century shift in the treatment and concept of monumentality that further reiterates their value in architectural history. Yet retrospectively it is evident that these abstractions led to greater freedom of form, in both interior and exterior terms, while also establishing a rightful place for sensory experience in architecture.
However, he propagated the importance of symbology over monumentality; the marking out of place through form rather than material heft. This hearkened, again, his deep desire to provide spaces for interaction and human encounter to the ultimate purpose of reinstating a public realm. On one hand, it represents frivolity and the need for respite from socioeconomic and political turmoil; yet it also represents a vindication, a phenomenological exploration, and an important bridge to successive generations of architecture.
Navigating the practical and theoretical challenges that these qualities present will be increasingly important as preservation strives to maintain constituency. Yet current regulatory framework and preservation ethos falls short of addressing and protecting interiors to a valid degree. There is great potential to do so by developing creative, effective means that go beyond interior easements and the rare interior landmark designation.
Themes central to his oeuvre like his interest in water, the geode concept, the vernacular, and client-oriented design, as well as motifs like pattern books, folk art, Disneyland, miniatures, and even his views regarding preservation, highlight some of the many veins rich for exploration. As such, postmodernism presents not only a breadth, but a depth of opportunity for scholarship. Berkeley: University of California Press, Miles Author: Kaity Ryan, April 24, Author: Kaity Ryan, April 24, New York: Oxford University Press, Alexander, Christopher. The Timeless Way of Building.
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Allen, Gerald. Charles Moore. Accessed April 13, Barnes, Edward Larrabee. Barnes, Michael. Accessed January 21, Berkowitz, Edward D. New York: Columbia University Press, Best, Steven and Douglas Kellner. The Postmodern Turn. New York: Guilford, Biddle, James and Thomas P. The Rise of an American Architecture. Blake, Peter. New York: W. Bland, Frederick.
Discussion with the author. April 5, Bloomer, Kent C.
Body, Memory, and Architecture. New Haven: Yale University Press, Bradley, Richard. American Political Mythology. New York: Peter Lang, Brostrom, Caitlin Lempres and Richard C. New York: Princeton Architectural Press, Brown, Patricia Leigh. Accessed October 11, Campbell, Robert. Campus Heritage Network.
Canizaro, Vincent B. Manuscripts and Archives, Yale University Library. Chapman, M. Westport: Praeger, Charles W. Moore oral history interview with Sally Woodbridge. City of Santa Cruz. Colquhoun, Alan. Conrads, Ulrich, ed. Michael Bullock, trans. Programs and Manifestoes on 20th-Century Architecture. Cook, John W. Conversations with Architects. New York: Praeger, Cotter, Bill. Accessed March 5, Produced by Tree and Sea TV, Accessed March 12, Crosbie, Michael J. Centerbrook: Reinventing American Architecture. Dean, Andrea Oppenheimer.
Accessed January 20, Centerbrook, Volume 2. Design Within Reach. Drexler, Arthur and Peter Collins. The architecture of the Ecole des Beaux-Arts. Journal of the Society of Architectural Historians. Drexler, Arthur. New York: Museum of Modern Art. Cambridge: MIT Press, Dwell Magazine. Accessed November 3, Faulkner, Larry R. Last updated February 29, Filler, Martin. Floyd, Nubra. Foster, Hal. Accessed October 31, XXXI, No. American Glamour and the Evolution of Modern Architecture.
Gebhard, David. A View of California Architecture, Ghenoiu, Erik. Moore and the Idea of Place. Accessed November 1, Ghirardo, Diane. Architecture After Modernism. London: Thames and Hudson, Gionannini, Joseph. Gale Biography In Context. Goldberger, Paul. Accessed November 18, New York: Penguin Books, Goldhagen, Sarah Williams.
Gordon, Alastair. Weekend Utopia: Modern Living in the Hamptons. Goss, Peter. America in the Sixties. Syracuse: Syracuse University Press, Grimes, William. Riley, Mark Simon, Chad Floyd, et al. The enthusiasms of Centerbrook. Mulgrave: Images, Harboe, Gunny.
Twenty-First Century Marianne Moore
Discussion with author. Chicago, March 9, Harris, Robert S. Places Journal: Print Archive. Hawkes, Pamela Whitney. David Ames and Richard Wagner. Newark: University of Delaware Press, Hayes, Richard W. The Yale Building Project. Heath, Kingston Wm. Heppenheimer, Thomas A. Heyer, Paul. Hoagland, Alison K. Holmes, Ann. Accessed February 20, Kicked a Building Lately? Huyssen, Andreas, and Jan Otakar Fischer. Harvard Design Magazine. Huyssen, Andreas. Stanford: Stanford University Press, Iliescu, Sandra. Charlottesville: University of Virginia Press, Ippolito, Jon.
New York: Solomon R. Jacobs, Jane. New York: Random House, Jarzombek, Mark. Jencks, Charles. The Language of Post-Modern Architecture. New York: Rizzoli, The New Paradigm in Architecture. Jester, Thomas C. Johnson, Eugene, ed. Charles Moore: Buildings and Projects Jones, Caroline A. Kaese, Diane. New York, NY, March 7, Kahn, Louis. Kaufmann, Will. American Culture in the s. Edinburgh : Edinburgh University Press, Keim, Kevin. New York: Bulfinch Press, Austin, Texas, January Kimball, Roger.
1. Life and Works
Accessed October 25, Klotz, Heinrich. The History of Postmodern Architecture. Translated by Radka Donnell. Krauss, Rosalind. Hal Foster. London: Pluto, La Biennale. Accessed March 22, New York: Holt, Rinehart, and Winston, Littlejohn, David. Lynch, Michael. Lyndon, Donlyn and Jim Alinder. The Sea Ranch. Lyndon, Donlyn. Mallgrave, Harry Francis and David Goodman. An Introduction to Architectural Theory: to the Present. New York: Wiley-Blackwell, Martin, Reinhold. Utopia's Ghost: Architecture and Postmodernism, Again. Minneapolis: University of Minnesota Press, McMahon, Mary Sheila.
David Farber. Mills, Michael and Meredith Bzdak. Moholy-Nagy, Sibyl. Native Genius In Anonymous Architecture. Chambers for a Memory Palace. Moore, Charles W. The Place of Houses. Austin: Holt Rinehart Winston, Moore, Charles. The Charles W.
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Moore Archives. Home Sweet Home. Sally Woodbridge, Kevin Keim, Cambridge: MIT, Murtagh, William J. Muschamp, Herbert. Norberg-Schultz, Christian. Interview by the author. March 26, Office of Community Development. Otero-Pailos, Jorge. Accessed October 10, Progressive Architecture. Poletti, Theresa. Accessed February 27, Cambridge: Spacemaker Press, Prudon, Theodore H. Preservation of Modern Architecture. Prudon, Theodore. National Public Radio, November 8, Rudofsky, Bernard. Architecture Without Architects. New York: Museum of Modern Art, Rykwert, Joseph. Louis Kahn. New York: Harry N.
Abrams, Sabatino, Michelangelo. Samels, Mark. Public Broadcasting Service. November Sawin, Martica, ed. Schulman, Bruce. Cambridge: Da Capo Press, Schwarzer, Mitchell. Scott, Felicity. Scully, Vincent. New York: George Braziller, Simon, Mark. April 12, Siry, Joseph. Steigerwald, David. The Sixties and the End of Modern America.
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