Ada Louise HUXTABLE
10 articles
FUTURE PREVIEWED?; Innovations of Buckminster Fuller Could Transform Architecture
By Ada Louise HUXTABLE
THE world of tomorrow is here today at the Museum of Modern Art Three revolutionary structures by R. Buckminster Fuller -- a "geodesic dome," an "octet truss space frame," and a "tensegrity mast."
New York Times • page X21 • 936 words
Architecture; A Cultural Fable For Our Time
By Ada Louise HUXTABLE
A GLIMPSE of tragedy is not the most entertaining activity for a summer Sunday after noon, but anyone who has not seen the July architecture show at the Museum of Modern Art and is interested in the current cultural climate would be advised to go today, since this is the last day.
New York Times • page 82 • 1,004 words
Plan for Jewish Martyrs' Monument Here Unveiled
By Ada Louise HUXTABLE
The Museum of Modern Art has opened an unscheduled display of the latest and probably final design for a New York memorial to the six million Jews killed in concentration camps in World War II. A 6-foot scale model will be on exhibition in the main lobby through Nov. 15.
New York Times • page 47 • 823 words
EXHIBITION
Work in Progress: Architecture by Philip Johnson, Kevin Roche, Paul Rudolph
PUBLISHED
30 September 1970
Creations of 3 Top Architects Shown
By Ada Louise HUXTABLE
"Work in Progress: Architecture by Philip Johnson, Kevin Roche, Paul Rudolph," the exhibition opening at the Museum of Modern Art today and continuing through Jan. 3, may turn out to be this season's most fashionably hated show. That could make it a resounding antisuccess, the only kind of success that has any real intellectual currency these days.
New York Times • page 38 • 769 words
Not for City Planners
By Ada Louise HUXTABLE
THE new architecture show at the Museum of Modern Art is probably not for city planners. "Will Insley: Ceremonial Space," consists of a one-room exhibition of a large architectural model -- if that is the way you describe the three-dimensional vision of a mystic and esthetic experience.
New York Times • page D22 • 979 words
Cultural Shock, Anyone?
By Ada Louise HUXTABLE
FOR an instructive, comparative view of architecture of the 1970's and the 1870's, the places right now are a small show of the prize-winning design for Le Centre Beaubourg in Paris at New York's Museum of Modern Art (until Feb. 20), and the just opened, restored Renwick Gallery in Washington.
New York Times • page D22 • 1,243 words
Poetic Visions Of Design For the Future; ARCHITECTURE VIEW
By Ada Louise HUXTABLE
New York Times • page 142 • 1,172 words
ARCHITECTURE VIEW; Japan Builds The Ultimate Megastructure
By Ada Louise HUXTABLE
New York Times • page 100 • 1,117 words
ARCHITECTURE VIEW; A Visionary and A Classicist
By Ada Louise HUXTABLE
Two projects that were specially commissioned for the Museum of Modern Art's recent exhibition on "Transformations in Modern Architecture," but were not shown with it, are now on display in the Goodwin Galleries of the museum (11 West 53d Street), and will remain there through July 15. Both designs, one by Roger Ferri and the other by Allan Greenberg, deal with public space.
New York Times • page D31 • 1,136 words
Architecture View;THE BOOM IN BIGNESS GOES ON
By Ada Louise HUXTABLE
This is the year in which schizophrenia took over officially in architecture. The event of the year may have been a formal confrontation at the Harvard Club in early December between the high practitioners of modernism, Skidmore, Owings and Merrill, whose prestige skyscrapers proclaim the esthetic of money, function and power in every major American city, and the high priests of postmodernism, represented by Robert Stern, Michael Graves, Jorge Silvetti and Steven Peterson, who build a little and write and talk a lot about why firms like S.O.M. are passe. The debate was refereed by the editors of the Harvard Architecture Review, an earnest, high-culture publication put out by students of the Graduate School of Design that gives a lot of space to this sort of thing. But the truly remarkable feature of the meeting was that S.O.M. asked for it, in a ''What are we doing wrong?'' spirit, which might be freely translated as what do you guys know that we don't know. ''Practice'' and ''polemic'' lined up on opposite sides of the table. S.O.M. was told that the austere glass box is out and decoration, color and historical allusion are in. The ultimate putdown was delivered: Modern is a bore.
New York Times • Arts • page 25 • 1,275 words