Conservancy Co-sponsors Lecture with Institute of Classical Architecture
The cover of Semes' book The Future of the Past: A Conversation Ethic for Architecture, Urbanism, and Historic Preservation, which was selected by Planetizen as one of the top ten most important books on urbanism and planning published in 2009.
A lively conversation between Conservancy President,Peg Breen, and noted architect and writer Steven Semes followed the lecture.
This image from Semes' book The Future of the Past: A Conversation Ethic for Architecture, Urbanism, and Historic Preservation, shows Seamen's Church Institute at New York's South Street Seaport Historic District, designed by James Stewart Polshek & Partners and completed in 1992. "The Polshek building is more successful than most of the other examples of this strategy (Abstract Reference strategy) because of its modesty and consistency," Semes writes.
This image from Semes' book The Future of the Past: A Conversation Ethic for Architecture, Urbanism, and Historic Preservation, is of Carhart Mansion, 3 East 95th Street, New York by Horace Trumbauer, 1913-1916, with addition by Zivkovic Connolly Associates with John Simpson & Partners, 2002-5. The author writes "An addition in a closely related style readily supports both subtle differentiation and unambiguous compatibility. The recent addition is a respectful neighbor to Trumbauer's earlier facade—by virtue of similar massing, materials and formal language—although in a recognizably different style and with a different compositional sensibility."
This image from Semes' book The Future of the Past: A Conversation Ethic for Architecture, Urbanism, and Historic Preservation, shows Brooklyn Museum, Brooklyn, by Mckim, Mead & White, 1895, with new entrance pavilion by James Stewart Polshek & Partners, 2000-2004. "Oppositional approaches exaggerating the difference between new and old can result in the disfigurement of historic landmarks. The new entry pavilion deliberately violates its classical setting with jarringly contrasting shapes, materials, and movement patterns, " Semes writes.
This image from Semes' book The Future of the Past features Hearst Building, New York, by Joseph Urban, 1929, with Hearst Tower by Foster & Partners, completed in 2005. "Foster's glass tower and internal gutting of the landmark building were approved by the Landmarks Preservation Commission in 2001 without opposition. Despite the project's similarity to Marcel Breuer's 1968 proposal for Grand Central Terminal, the commission found Foster's tower not an 'aesthetic joke' but a 'completion.' Three decades of preservation successes were thus overturned," Semes writes.
Lecture with Steven Semes: The Future Of The Past; Conversation with Peg Breen
The Conservancy recently co-sponsored a lecture with the Institute of Classical Architecture featuring noted architect and writer Steven Semes whose new book tackles one of the most sensitive topics in the field of preservation –namely what is the most appropriate way to build within an historic context?
The author discussed his provocative new book “The Future of the Past: A Conversation Ethic for Architecture, Urbanism, and Historic Preservation”, which was selected by Planetizen as one of the top ten most important books on urbanism and planning published in 2009. Semes, Director of the Rome Studies Program for Notre Dame’s School of Architecture, is also the author of The Architecture of the Classical Interior (W.W. Norton), and Fellow Emeritus of the ICA&CA.
Semes argued new buildings and additions to buildings in historic districts should be designed in a traditional manner to be truly in context. Traditional design, meaning design based on classical and other period-specific styles, should be favored, or at least given equal consideration by planning and design authorities overseeing changes in landmark areas. The author also said that admittedly there is no formulaic answer to all questions of infill and new design, but traditional building designs often work best and should not be dismissed out of hand due to ideological barriers.
A lively conversation between Peg Breen and the author followed the lecture with an audience Q&A closing the event. Semes’ clear preference is for traditional architectural design in historic districts, arguing that traditional architecture is most appropriate in the context of older buildings. This approach runs counter current trends that favor the juxtaposition of modern design and historic buildings side by side.
“Preservationists in New York have been pilloried for years from a variety of sources as a bunch of reactionaries trying to turn this city into a theme park. So what you have just asked us to do is to go line up in front of a firing squad,” Breen said.
“I don’t think a firing squad. We need to ask all of the stake holders in this question, architects, preservationists, planners, building owners, politicians—all of the people who are involved in these decisions—to recognize that if they don’t get on the same page then we are not going to have good decisions,” Semes said.
“So I’m hoping it won’t be a firing squad. I’m hoping that if we open up enough discussion people will realize that there are others—there are others that feel the same way. I think there are tremendous numbers of people who are in positions to make a difference— who would really like to see a different set of criteria.”
“I think you could make the argument that if you are going to build a contemporary building that doing so in an historic district raises the bar of good design because there is a public review process. Some of the best new architecture in NYC has been proposed in historic districts or as additions to individual landmarks. At least in an historic district you are getting the best of modernism out there. Look at some of the terrible new buildings built in Brooklyn and Queens outside the borders of historic districts.” Breen said.
“You are absolutely right. The best way to see the importance of historic districts is to look at what goes on outside their boundaries,” Semes said. “I would naturally hope that the logic of the historic district would extend to the city as a whole, because I think all of us—architects, preservationists, urbanists—have an obligation to the city as a whole, not just within an historic district.”
