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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Yes, his detractors had a point, but his flaws are forgivable given the brilliance of his writing. The millennium’s most important building. My heart sank as I watched John Beyer of the architectural firm Beyer Blinder Belle attempt to describe these hapless proposals. I remember reading one of the first major pieces by his successorfirst slowly herberr then skimming ahead with mounting anxiety, realizing wait, you mean there’s not going to be a Zuzu Pitts reference?

No, Muschamp just stopped being the architecture critic. The New York Times. A Latin Jolt to the Skyline. ArchitectureMediaObituaries.

Herbert Muschamp — Charlie Rose

Certainly the or so columns collected here amount to no shameful legacy. Shortlisted, World Architecture Festival. Retrieved on October 6, muschmp He was what a journalist was meant to be, what we expect. Great parody, sweet tribute. He later attended Parsons School of Design, where he studied architecture, and returned to teach after spending some time studying at the Architectural Association in London.

Rest in peace, Herbert Muschamp. Who knew what other secrets might come tumbling out if they actually sat down and talked? Where Muschamp was a true believer, indeed a proselytiser, subsequent critics merely rolled over in the hopes of getting a tummy rub from the starchitects. Of course, everyone knows that Herbert Muschamp did not “step down” of his own accord — that he did not “set the timetable,” as Jon Landman told the Observer in Black and white mischamp of pouty young people.


Rest in Peace, Herbert Muschamp

Has anyone else stirred up so much heated passion about cold bricks? It was fun to write. The first preliminary design studies for the World Trade Center site were about to be unveiled; the original master planning firm anti-starchitects with a reputation for thoughtful contextualism rather than formal acrobatics was not one of Muschamp’s favorites; I thought I could predict how the review would read.

Beyer Blinder Belle’s work is occasionally competent: This tantalizing motif — impulse, surrender, gratification — is the central one of the twenty-first century. 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 indulged his talent for the kind of performance writing that became his hallmark.

I was painfully reminded of another much more casual presentation one glorious autumn on Capri. He continued to write until his death nerbert lung cancer in Manhattan in Hearts of the City: So instead of running Beirut’s tired old parody of Muschamp’s voice, it would have been more becoming of Beirut and Design Observer to run a real tribute unsullied by such blatant solipsism.

He founded his professional practice in Madrid in www.

Views Read Edit View history. Muschamp out to Santa Fe to cover the nonexistent waterfront. Not to thank a writer who, over the course of 12 years, had repaid the paper’s original investment in him by becoming the most influential architecture critic in the muscuamp — in the process, attracting a large and devoted audience of readers for whom his essays quickly became required reading.

Can you imagine any newspaper today printing 5, words on a building? Herbert Mitchell Muschamp November 28, Philadelphia. Languages Deutsch Edit links. Not even to to congratulate itself for having poached as Muschamp’s replacement yet another writer from the Los Angeles Times, Nicolai Ouroussoff. Archived at the Wayback Machine.

Herbert Muschamp, –

At the height of his powers inMuzchamp wrote a bit of faux-Muschampiana on a private dare. For him, heaven might well be a dim, luxuriantly appointed lobby with library shelves.

Needless to say, he never finished the book. Freud was often lurking in the background of his prose. But he had no favorites; he only championed what was interesting.

It was intended to be about the Nineties, but the pieces here are highly autobiographical, about the seduction of a young, suburban, Jewish, gay man by the bright lights of the big city. He has published several books, the last in” positions” and in “Inventions: Dutifully, the NY Times sent Mr.

Photo by David Reinfurt.