In tribute to Herbert Muschamp, the architecture critic for The New York Times, one of the most outspoken and influential voices in architectural. Agents provocateurs have a dismal survival rate at the culturally conservative New York Times, but for 12 years, starting in , architecture critic Herbert. Like the man himself, Hearts of the City: The Selected Writings of Herbert Muschamp (Knopf, $50) is going to offend a lot of people. The book is nearly .

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One of his most often quoted lines came from a review: Herbert Muschamp, 59, Architecture Critic, Dies.

Like Ruskin, he reserved the right to contradict himself, but based on the selection here there is only scant herberr of that. Dutifully, the NY Times sent Mr. He had been under a sustained period of attack for cronyism, arrogance, obscurantism and pretentious flights of fancy.

Photo by Herbetr Reinfurt. That generation is suspicious of their power, their dominance of international competitions, their forms, their personas and their antics. This motivated Muschamp to engage in boisterous conversations outside the home in later years, particularly in the company of such up-and-coming architects as Elizabeth Diller and Ricardo ScofidioFrank GehryRem Koolhaas berbert, Jean NouvelBernard Tschumi hdrbert Tod Williamswhich formed the basis for his musvhamp and often vehement architectural commentary and criticism.

It is striking to see how similar the climate was then to now, and how close the concerns. John Beyer, whose exposed torso would be unpleasant for even the most adventuresome New Yorker to contemplate, must shoulder the blame for this catastrophic failure.


Herbert said what he thought, and seemingly unfettered by the overarching, overlooking, over-the-shoulder antics of the so called giants, who where they to stab him in muschampp back as he smacked the keyboard.

It alone must provide the ideological blueprint for all architectural work being done anywhere in the world, including Lower Manhattan. Such people have something to contribute, sometimes. Writing with the same gratuitous dispassion that characterized Landman’s remarks inOuroussoff — whose own critical and writerly powers hold not a candle to Muschamp’s — dismissed Muschamp’s writing as “quirky” and “self-indulgent.

December musdhamp, You said it! Those cutting remarks had a core of accuracy. After the burn wore off you had to admit that he zeroed in on the flaws that you thought no one would notice but you. What they give form to is a new phase in city making governed by the expression of unrepressed urges, by the creative power of the subconscious.

Fotograma, Herbert Muschamp entrevistado en el programa de Charlie Rose. Presenting the best reader comments of If the owners take my advice, they will redo the base with a stylized version of Calvin Klein billboards.

Herbert Muschamp, –

It was fun to write. No, Muschamp just stopped being the architecture critic. By way of tribute, then, and with strong encouragement to go back and read some of the real thingI offer my own attempt to channel that unique voice. Her character Margo Channing reaches into a candy dish and hesitates again and again before finally popping a candy into her mouth. Inwhen Herbert Muschamp stepped down as architecture critic of the New York Times, the most gifted critic of his generation had fallen from grace.

Architecture’s Claim on the Future: At any rate, three years of turn-of-the-century Muschamp would have felt like one — not five. These words and phrases — “quirky”; “self-indulgent”; “left”; “stepped down” — are euphemisms; and they have been repeated over and over and over these last three years as mantras of self-absolution from an architecture and design community that smelled Muschamp’s blood early and after that regarded him very little, for the most part, except to watch him twist in the wind or give his dangling body an extra spin.


I was painfully reminded of another much more casual presentation one herbwrt autumn on Capri. University of PennsylvaniaParsons School of Design. Goodbye Ada Louise Huxtable.

Muschamp himself became something of a prima donna.

After 10 years. In tribute to Herbert Muschamp, architecture critic for The New York Times

He attacks new zoning laws. He was appointed the architecture critic for The New Republic in He was right, of course. Flicking a feather across their assembled nipples, he scolds, “Girls, if you’re not erect, I’m not erect.

Muschamp was one of the very few architecture critics of the last 20 mhschamp for whom one can pinpoint what he stood for. Three years later, at the age of 59, he was dead. Muschamp’s views were both ahead of their time. He was what a journalist was meant to be, what we expect.

And Ouroussoff just started.