Seeing DC: Summer Architectural Tours Of The Capital With NCAS

I’m heading off on vacation to Spain today, so blog posts may be sporadic, but you can check my progress by visiting my Instagram page

In the meantime, I wanted to share this opportunity for seeing some of the interesting architecture of Washington DC metropolitan region, if you happen to find yourself in the Nation’s Capital this summer. The National Civic Art Society will be taking a look at a range of styles and subjects, from the British colonial past, to the Founding Fathers, to the horrors of Brutalist architecture. Definitely worth checking out or sharing with someone you know!

National Civic Art Society 2017

“Our Classical Heritage” Tours of D.C.

The National Civic Art Society is proud to announce the launch of our 2017 “Our Classical Heritage” walking tours. These tours are fashioned for those who wish a greater understanding of why and how the District of Columbia came to be a classically designed city. You will learn of the ancient antecedents of our political philosophies, of the stylistic precedents of our architectural forms, and of the Founders’ classical vision.

About the tour guide: Michael Curtis studied classical architecture at the University of Michigan, and painting, sculpture, and engraving in Florence, Italy. He has been a sculptor for more than 25 years. Major commissions include The History of Texas at the Texas Rangers Ball Park in Arlington, Texas, the largest American frieze produced in the 20th Century, as well as portrait busts for the Jefferson Building of the Library of Congress, the U.S. Supreme Court’s Thurgood Marshall Building, and many other public venues. His specialty is portraiture and fine medals. His book Our Classical Heritage: A Guide to the Political Philosophy and Aesthetic Precedent of Washington, the District of Columbia, will be published in fall 2017.

Tours are limited to three hours in length and begin at 10 AM at the location indicated. The cost per tour is $10. NCAS members, students, interns, and Hill staffers may obtain free tickets by e-mailing info@civicart.org. You must RSVP in advance. If you have any questions, please e-mail info@civicart.org or call (202) 670-1776.

Tickets are available at https://www.eventbrite.com/e/our-classical-heritage-national-civic-art-society-walking-tours-tickets-34436469407

Tour I: Washington, the Classical City — June 3

The ancient cause of liberty; the immediate reason for independence; the classical principle of our convictions; the aesthetic model of a civil society.

The National Mall, from the Washington Monument

The Washington Monument

The Jefferson Memorial

Meet at the southeast corner of Constitution Ave. NW and 17th St. NW.

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Tour II: National, Political, and Personal Liberty — June 10

The various aspects of liberty considered in exemplary statues.

Lafayette Park, Lafayette Statue, et alia

Alexander Hamilton Statue

The National Liberty Memorial

Meet at the entrance of Teaism at 800 Connecticut Ave NW.

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Tour III: Freedom and Sacrifice — June 17

A consideration of freedom, sacrifice, and the architectural style best suited to remembrance.

Lincoln Memorial

Vietnam War Veterans Memorial

Korean War Veterans Memorial

The National WWII Memorial

Meet at the west end of the Lincoln Memorial reflecting pool.

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Tour IV: Brutal Mistakes — June 24

Hubris and progressive misdirection; gradual abdication of citizen responsibility for morals and art; policy, an instrument to undermine traditional culture.

L’Enfant Plaza: Robert C. Weaver Federal Building, Housing and Urban Development, James V. Forrestal Building Department of Energy Building, L’Enfant Plaza Hotel

The Lyndon B. Johnson Department of Education Building

The Hubert H. Humphrey Department of Health and Human Services Building

Meet at the glass pyramid in front of the L’Enfant Plaza Hotel at480 L’Enfant Plaza SW.

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Tour V: British America — July 8

We trace in Alexandria, Virginia our growth from quaint colonial villagers to benevolent masters of the world.

Carlyle House and Lower King Street Warehouses

Prince Street and Local Alexandria

The Lyceum and the Confederate Statue

George Washington Masonic National Memorial

Meet at the front gate of Carlyle House at 121 N Fairfax St, Alexandria, VA.

Saving The Soviets: The Art Media Loses Its Mind In Moscow

Much of the city of Moscow, as you are probably aware, was scarred with hideous buildings during the Soviet era. Films such as “The Bourne Supremacy” show the bleakness of 20th century Muscovite residential architecture in a way that brings home why we won the Cold War. Because honestly, who would *want* to live in these sorts of places? As it turns out, a number of Muscovites do, but not for the same reasons that architectural experts want them to stay right where they are.

Over the past few weeks, the art press has been wailing and gnashing its teeth over plans by Moscow’s mayor to demolish a large number of low-rise, Soviet-era apartment buildings. The reaction has been predictable, for those who follow the arts. “Moscow’s architectural heritage threatened by development plan” screams Apollo Magazine. The Art Newspaper had the gall to compare the proposed demolition of these buildings, which were built in the aftermath of a murderous land grab, to that very land grab itself. “Describe [sic] by many residents as a property grab akin to the forced collectivisation of property under Soviet dictator Joseph Stalin, the demolition plan has proven so unpopular that thousands turned up for a demonstration against it in Moscow on Sunday 14 May carrying signs with slogans like ‘My house is my castle’.”

What’s most telling amidst all of the histrionic reporting on this story is the fact that almost none of the reports provide any images of the buildings proposed for demolition. There are plenty of photographs of protestors, in the half-dozen or so articles from the art world that I’ve read on this story. The media always likes covering protesters (apart from pro-life protesters, of course.) For the most part however, not one image of these apparently precious apartment blocks appears anywhere in the reporting itself.

Why is this the case? Surely, buildings of such architectural significance ought to be shown by the art media to the international reading public? How else do they expect the outside world to develop a collective sense of concern, and galvanize support for the preservation of these important structures? In the interest of their cause, then, I present to you one of these architectural wonders, which is currently slated for demolition:

Now, if I was arguing this case in court, at this point I’d probably say something to the effect of, “res ipsa loquitor.” This particular gem was one of the first low-rise blocks built under Khrushchev, a figure not exactly known for his innate sense of good taste. If this building was located in the U.S., I’d expect there to be a strip mall across the street with a cracked parking lot, a gas station, a Chinese takeout place, and a nail/threading salon, along with several boarded-up shop windows bearing “For Lease” signs.

There’s a further wrinkle to this story, beyond the perhaps inescapable conclusion that the art press has lost its collective mind, and that is a consideration of what the residents of these buildings themselves want to see happen. They know, and freely admit, that these structures are ugly, dangerous places, which are always falling to pieces and in need of constant repair. The only thing pleasant about them is the fact that they are mostly low-rise apartment blocks, rather than high-rises. Older Muscovites, in particular, do not want to live in high-rise apartments, particularly ones that are built to (questionable) Russian standards, and that’s fair enough.

When you drill down into the reporting, it turns out that what the inhabitants of these apartments are really concerned about is not architectural preservation, or the alleged glories of socialist style. Rather, these people are worried that they will not receive new apartments which will be better than the ones that they currently live in. For the majority of these apartment dwellers, their concerns are focused on money and square footage, not celebrating the supposed brilliance of Soviet-era design.

Among the cognoscenti of the art world however, the demolition of these buildings – which of course, they themselves do not have to live in – would wipe away large swathes of the kind of hideous, leftist architecture which they and their predecessors have promoted and fetishized in our cities for nearly a century. For those focused on the preservation of these sad reminders of the evils of socialism run amok, such oppressive structures represent the good that leftism can do, when it ignores conventional ideas of both beauty and individuality. It is as if Captain Picard would have been better off remaining in the Collective as Locutus of Borg.

Having seen but one specific example of the hundreds of Soviet apartment blocks slated for demolition, I’d certainly be willing to consider whether Moscow’s urban renewal plan is going too far. Perhaps there is some work of significant architectural beauty that is going to be torn down, which my readers could share with the rest of us in the comments section of this post. Yet given the reticence of the art press to provide even one example of such a structure to date, I’ll be very much surprised if you can find any.

Demolition Delhi: Attacking Ugly Architecture

Recently the government of India decided to demolish several large, 1970’s Brutalist concrete buildings in the capital of New Delhi, in order to redevelop the land upon which they were squatting. All were located inside the Pragati Maidan, a convention and trade fairgrounds area which was inaugurated in 1972. They were typical examples of the bad taste and bad design that have come to dominate modern and contemporary architecture. And unfortunately, the major international institution which advocates for the preservation and restoration of old buildings has fallen to pieces in reaction to their demolition.

The Hall of Nations at the Pragati Maidan was a vaguely geodesic structure, consisting of a glass building covered by a honeycomb of concrete triangles. I suspect that it was an influential reference point in the matte paintings of the Klingon home world created for “Star Trek: The Next Generation”. The Halls of Industries were a series of four buildings related to the design for the Hall of Nations, whose interiors resembled the ice rink of a minor league hockey team. The Nehru Pavilion looked like nothing so much as a site for ritual human sacrifice, such as the Aztecs would have appreciated, had they access to poured concrete during their day. The buildings were linked by the type of vast, bleak plazas and ramps that one sees in other horrible places roughly contemporary with their construction, such as Boston’s 1960’s City Hall Plaza.

In reaction to the very sensible demolition of these awful structures, the World Monuments Fund launched an online campaign via Instagram, asking participants to nominate Modern buildings worthy of preservation in addition to those nominated by the Fund itself. Among the buildings being cried over by the Fund is this Soviet-style monstrosity in Montenegro, which should have been hit by a bunker buster when the Wall fell. As is often the case on the left when it comes to the arts, although the Fund has done much good in the past by drawing attention to historically important and aesthetically beautiful buildings in need of rescue, the idea that virtually everything needs saving, particularly when it comes to an architect whose identity is known and whose politics were of the left-leaning variety, is ridiculous.

Take the Fund’s reaction to the demolition and renovation of the hideous Orange County Government Center in Goshen, New York. The building was designed by architect Paul Rudolph of Yale, one of the founding fathers of the Brutalism that pockmarks the faces of most of our cities, towns, and college campuses like giant acne scars. There is not a single structure on the planet by Rudolph that can be described as beautiful, inspiring, or functional. All of them are ugly, all of them are constantly falling to pieces, and all of them deserve to be demolished.

Yet the Orange County building was described by the Fund as having a “distinctive façade”, which was unfortunately “stripped bare, leaving only the framework behind.” This was done as part of the County’s efforts to try to make something out of this giant eyesore, whose razing would have proved too expensive for the taxpayers to bear, in order to turn the building into something that actually works, rather than serving as an incubator for mold spores. In this kind of advocacy the Fund merely reflects the bad taste and mindless gobbled-gook philosophy of those who serve on their board of advisors and speak at their events. The late starchitect Zaha Hadid for example, one of the most overrated architects in contemporary history, actually argued that the ugliness and lack of functionality in the Orange County building was an expression of democracy.

The world is a far, far better place now that the Pragati Maidan buildings are no more. Fortunately, the nomination list generated by the Fund in response to their destruction can serve as a source of inspiration. One could do far worse, as a government official, than to go through the list of Modern buildings listed by the Fund, select almost anything built between 1955 and 1980 out of concrete and pebbledash, and slate it for demolition. I assure you, the only people who will miss it are those with the bad taste to have asked the public to ignore the ugliness and lack of functionality in these spaces to begin with, because somehow they know better than common sense would seem to indicate that they, in fact do.

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