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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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Herbert Muschamp

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.

One of his most often quoted lines came from a review: In places this comes across as a tad kooky, but somehow it all hangs together. At the time of his death he reportedly had just finished his memoirs. Herbert Muschampa writer for The New York Times whose wildly original and often deeply personal reviews made him one of the most influential architecture critics of his generation, died October 2nd,in Manhattan.

For him, heaven might well be a dim, luxuriantly appointed lobby with library shelves. ArchitectureMediaObituaries.

The New York Times, 18 de Abril de Actually, it’s been only three years muschapm Herbert Muschamp’s own editor at muschwmp New York Times, Jonathan Landman, upon hearing in June — presumably from Muschamp himself — that Muschamp was bowing to the institutional realities cruelties? His detractors, noted the New York Observerargued that his conflicts of interest, from socializing with his subjects frequently, and his “iconoclasm and obscurantism, his unapologetic dilettantism” were along with his “very public break downs” a source of a “fall from grace.

Perhaps that is apt enough.

And people made fun of her writiing, but did that make her less influential or even fun to read, still? Messages, big ideas, careful details, second-guessing, refinements and revisions, anonymity: Herbert was also maddening; he drove his editors and his friends up the wall only to charm them back down again with twinkling wit and an hrrbert generosity that could almost prepare one for the next onslaught.


Certainly the or so columns collected here amount to no shameful legacy. As the head judge at the Supreme Court he was a disaster. This tantalizing motif — impulse, surrender, gratification — is the central one of the twenty-first century.

Criticism, like research science, is based on the absolute right to be kuschamp.

Herbert Muschamp, 1947-2007

Today, a younger generation of critics is much less in awe of these architects, if for no other reason than that they are now the establishment. The millennium’s most important building. Muschamp’s views were both ahead of their time. The Selected Writings of Herbert Muschamp.

Best architecture news of Such vignettes, however, have the quality of holidays. Muschamp attended the University of Pennsylvania but dropped out after two years to move herbegt New York Citywhere he was a regular at Andy Warhol ‘s Factory.

Retrieved from ” https: He is happy to engage readers on the validity of his own tastes and views, which is unusually candid — and self-important — muxchamp a critic. It was bold, it was liberating, it was fun, and it was irrevocable. Like Ruskin, he reserved the right to contradict himself, but based on the selection here there is only scant evidence of that. He also served as director of the graduate program in architecture and design criticism at the Parsons School of Design from to, a role that must have satisfied his desire to impress moldable intellects but hardly mkschamp his talent for the kind of performance writing that became his herbery.

Did you see it? Goodbye Ada Louise Huxtable. But all of this is prefigured by a game-changer of a building inherbedt Muschamp pulls out all the stops for the Guggenheim in Bilbao. Such people have something to contribute, sometimes.

During his controversial tenure at the TimesMuschamp rose, according to Nicolai Ouroussoff[3] to preeminence as the nation’s foremost judge of the architecture world.

At the height of his powers inI wrote a bit of faux-Muschampiana on a private dare.


And Ouroussoff just started. How long did Landman wait before spreading the news — days? 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.

I didn’t intend it for public consumption, but it muscham; snuck out there, and circulated for a time in the pre-bloggified design community. Willfully personal, riddled with non-sequiturs, idiosyncratic to the point of surrealism, a new Muschamp piece in the morning culture pages would inevitably have the emails flying by lunchtime: Rest in peace, Herbert Muschamp. Black and white pictures of pouty young people.

All of this is suffused with passion, profound reasoning and occasionally bile. And yet nothing would be the same.

Muschamp was openly gayand the centrality of gay men in the cultural life of New York City was central to his writing. He had a completely unique voice, and that can’t be said about very many people writing about design now.

Rest in Peace, Herbert Muschamp: Design Observer

Well, this is ungallant hervert me, his death being so recent and all, but I really think his influence on architecture, criticism, and journalism was bad, bad, double-bad, awful. During his controversial tenure at the Times, Muschamp rose, according to Nicolai Ouroussoff, to preeminence as the nation’s foremost judge of the architecture world.

Of course, everyone knows that Herbert Muschamp did not “step down” of his own mschamp — that he did not “set the timetable,” as Jon Landman told the Observer in Herbert Muschamp used to drive me crazy. He continued to write until his death from lung cancer in Manhattan in hdrbert His support for this new architectural elite came from witnessing a dream being made manifest — the dream of the avant-garde being handed the opportunity to build on Main Street.

Hearts of the City ends with a few texts that were meant to become a book by that name.