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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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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Some museum boards think that choosing an architect can be reduced to a science, but it comes down to a matter of taste, pure and simple. A shortlist of prospective designers speaks volumes about the likely outcome. If the candidates' styles are too divergent, the search committee doesn't know what it wants.
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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.
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The most basic task of any museum must be the protection of works of cultural significance entrusted to its care for the edification and pleasure of future generations.
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As with many other folk beliefs, 'feng-shui' undoubtedly incorporates some scientifically correct observation or received wisdom based on direct experience of natural phenomena; but it needs to be dealt with skeptically as a credible system of thought. Some feng-shui prescriptions can certainly lead to desirable results.
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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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Architecture is not a profession for the faint-hearted, the weak-willed, or the short-lived.
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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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From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.