Articles by Martin Filler

My misgivings about “interpretive” interventions in historic precincts grew during a 2003 trip to see a trio of additions at Philadelphia’s Independence National Historical Park: Bohlin Cywinski Jackson’s Liberty Bell Center; Kallmann, McKinnel & Wood’s Independence Visitor Center; and Pei Cobb Freed’s National Constitution Center. I’ve admired work by each of those partnerships elsewhere, but at Independence Mall, all three seemed badly miscast, particularly Bohlin Cywinski Jackson. Perhaps they were intimidated by the setting’s gravitas, or were persuaded to abandon their woodsy post-and-beam manner for a less congenial mix of masonry and metal. Whatever the reason, inside their new shelter

I’m baffled by people who dismiss whole categories of things. Two decades ago, I was summoned to the office of House & Garden’s new editor in chief, Anna Wintour, and saw my dumbfounded expression reflected in her sunglasses as she declared, “I don’t like adjectives. You use too many adjectives. That’s all.” How can you eliminate a major part of speech, I wondered? Did she realize that her ultimate accolade — “It’s so modern” — is one-third adjective? But now I confess complete antipathy to an entire building type: the visitor center. Photos ' Paul Warchol The Capitol Visitor Center

Architects from Vitruvius onward have written about the building art with the same promotional goal in mind, and modern masters, led by Frank Lloyd Wright and Le Corbusier, gave new impetus to the role of architect as self-publicist in print. But not every architect is a natural writer, and the interview can be a much more efficient method for putting one’s point of view across to the public in general, and potential clients in particular. Photo ' Jesse Frohman/Corbis (above left); Brooks Kraft/Sygma/Corbis (above right). Verbal heavyweights: Both Philip Johnson (above left) and Thom Mayne have been known to take

Interviewing celebrated architects can be like Dancing with the Stars. But no matter how big the name, it still takes two to tango. Unlike many of my fellow critics, I was neither trained as an architect nor ever had the slightest urge to become one. Apart from my notable lack of hand-eye coordination (which has made me as poor a draftsman as I am a ballplayer), I am particularly unsuited to the building art because I simply could not abide an inescapable part of the architect’s job: talking about one’s work before, during, and even long after the design and

Even when Saarinen’s designs were gratuitously exhibitionistic, they never descended into mere styling, which cannot be said of the work of his year-younger contemporary John Lautner, who outlived him by more than three decades. Lautner has been posited as America’s answer to Oscar Niemeyer, the Brazilian master whose critical status has had its ups and downs during his hundred-year life span. Both these architects are superficially alike in their flair for creating sculpturally arresting structures that relate to dramatic natural settings without exactly accommodating them. Beyond that, it’s apples and guavas. Photo © Joshua White (top): Courtesy the Estate of

The conjunction this season of four architecture exhibitions on Midcentury Modernism at its most promising and exuberant seems less a coincidence of timing than proof of a new attitude, telling us much about the present even while illuminating the past. This transcontinental grand slam began in New York in June with Buckminster Fuller: Starting with the Universe, at the Whitney Museum of American Art (through September 21); continued in July with Between Heaven and Earth: The Architecture of John Lautner, at Los Angeles’s Hammer Museum (through October 12), and Home Delivery: Fabricating the Modern Dwelling, at the Museum of Modern

Today’s architectural post- traumatic-stress syndrome—call it Bilbao Fatigue—was brought on by a glut of increasingly outré museums calculated to attract media attention, rather than enhance understanding of art. Copious evidence confirms the folly of overspending spurred by the premise that extravagant museum expansions will pay for themselves with increased attendance and tourism revenues. It took years for the Basque government to recoup its enormous investment in the Bilbao Guggenheim, because the museum’s director, Thomas Krens, off-loaded almost all up-front expenses on the overeager franchisee. Photo © David Heald (top) The lobby of the Perelman building (top) connects old and new

It may not have been cause and effect, but the 10th anniversary of the Guggenheim Museum Bilbao late last year coincided with the opening of several new museums that seem intent on being everything Frank Gehry’s Basque bombshell is not. Let’s call it the rise of the Quiet Museum. Among them is Rafael Moneo’s low-key addition to the Prado, which has earned praise for giving precedence to the works on display rather than upstaging them with architectural bravura. But one man’s deferential is another man’s dull. Art critics seem to like the Moneo wing more than their architectural counterparts, some