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Looking Forward

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Looking Forward .' I I " ^ I T lM © 1 I h ["Vjij MP»J C-^^i y^n —T i f - -^! DUD © tf Do ® n Do ft' @ 8 [fe ff to D DQ D s ft ® ® m ® "What Houston ponenet to an excep- magnet, suggests they do, and are even tional degree is an extraordinary vital- willing to fight the traffic on the West ity. One wishes tli.n it li.ul a larger Loop to get to it (or for that matter, just conceptual reach, thai social and cul- to drive by it, as Deyan Sudjic noted tural and human patterns were as well appreciatively in The One Hundred Mile understood as dollar dynamism." City). Vi'h.n was developed by the limes Ada I.imtit' Hwctable* Interests as a corporate lawn ornament for a 64-story office building next to the owever serviceable Houston may (.alien,i has been transformed, by uncom- B Y D R K X E L T U R N E R be beneath the surface, it is not mon usage, into a case for the outsourcing Htin' kind of place thai makes air of the public realm, complete with wed- travelers want to stay over a Saturday ding parties, taco vendors, ,nul burse night, or which rewards its captive audi- drawn-carriages-for-hire. No publicly-con- ence with much in the way of a public trived attraction in the city remotely life, assuming they want it. The extraordi- approaches the fountain's concentrated nary success of Philip Johnson's Transco everyday appeal, save for the well-lighted, Fountain as an unair-conditioned people curbside jogging trail in Memorial Park, 0 0 0 If I ^ i r ( * - e> E r^ 4 © 2000 Cliiistophei Mtiyei winch daily serves as the setting for an clip as it does devotees of painting and Drive to downtown; and the Texas America. What Houston's planners think evening-long, Nike-town passeggiata. sculpture. But more to the point, it serves Department of Transportation's decision to nt as good planning is the landscaping of Nor does the tit) afford much in the in confirm Lord Llewelyn-Davies' proposi- replace the Southwest freeway viaduct that parking lots, to insist on trees, and earth Wi) of neighborhoods that demonstrate tion that "In the last resort, architecture is runs through Montrose and the Museum berms along their frontages, and small am conspicuously town-like feeling) either that which changes land-use." Or, at the District with a depressed roadway. discreet business signs."- as ensembles on the varicly-within-uuiry very least, solidifies it. Of course, simply tidying things up is Ileal remedies are difficult to come by iinnk I cultivated Mom Bedford Square to Several background developments are not going to increase Houston's entertain- — especially for a city already so spread Seaside, or as harbingers of the small- worth mentioning as useful upgrades in ment value, either in the everyday sense or in its ways, whose citizens are more sell world-at-one's-doorstep multiplcxity cele- iivii .iiiu inn : the w holes.lit planting oi the air-traveler-ensnaring one. Indeed, as sufficient in the air-conditioned comfort brated from the West Village to Notting trees sponsored by Trees for 1 touston and Sud|ic noted in 1992, apart from its of their homes, via television and the 11 ill. For residential precincts oh special the related city ordinance mandating Street "shimmering, sculptured and faceted sky- internet, than anyone could have imag- cohesion and convenience, the I lonston list trees at regular intervals for all new com- scrapers ... [r|he city has yet to create an] ined ID years ago. Real remedies require usually begins and ends with the surreally mercial and residential construction; the other sense of itself.... Manning, as it is real ingenuity and investment, as opposed unified (by dark gray paint) close-set bun- building set-back ordinance precipitated by practised in I louston, has no remedies for to merely substituting private opulence galows thai enfold The Mcnil Collection. the mirror-glass walls of the Woodway this ... what planning does try to do in and public tidiness for the "private opu- This museum attracts architectural afi- (Drive) canyon; the reclamation of the I louston is to insiill [ hi M U M ill parade lence and public squalor" John Kenneth Lionados, cameras in hand, at as steady a floodway of Buffalo Bayou from Shepherd ground neatness so beloved of middle (•albiaith deplored in the mid-century .32 foil 1 9 9 9 i T r Esperson Building and the nesting Rat- Frank Gehry's unbuilt Progressive hauses of Johnson's Republic Bank Center Insurance Corporation Tower for — most of the downtown skyline is still Cleveland. Closer to terra firma, one might beset by a numbing sameness. also reflect that Big Daddy Wade's giant In order to literally project a distinctive saxophone, made from V\V parts for Billy image. Continental Airlines last year pro- Blues on Richmond, thwarted the sign posed to beam its corporate logo onto the police by claiming special dispensation as upper face of its 52-story headquarters art, a distinction that also applies to Ant building in Cullen (enter, thereby provok- Farm's Thunderbird ready-made impaled ing the indignation of Central Houston on a pylon in front of the Hard Rock Cafe Inc. and do/.ens of other equally unamuscd on Kirby. corporate citizens. Not that anyone should If artful Thunderbirds and saxophones be particularly charmed by Continental's can slip rhrough the radar of community logo, a gridded partial globe that is less conformitarianism, and if Prank Gehry can vivid a representation of flight than the attach a real Lockheed I'I04 Starfighter jet Pegasus that brands the Magnolia Building to the facade of the California Aerospace / in Dallas, (The original 30-foot-high sign, Museum, ("an inspired piece of advertis- which rotated on a derrick-like pediment, ing" in the judgement of the Walker Art was added as an afterthought in 19.14; Center's retrospective catalog), then what's today it's a museum piece, though a to stop a Boeing 747, or its fiberglass duplicate was recently placed atop the body-double, from perching atop Conti- Magnolia by a Dallas civic group.) Even nental's pylon at 1600 Smith Street? If the by the standards of Dallas — "cleaner city fathers should manage to annul this than i Iouston ... more tightly controlled," marriage of art and commerce, Continental in novelist Larry McMurtry's reading — could still adopt the functionalist approach Continental's desire to distinguish its cor of Christine's in Pendel, Pennsylvania, in porate presence in the sky would seem an which a Super-G Constellation is parked entirely reasonable attempt at product on the root, however decorartvely, to serve differentiation, a potentially diverting as a cocktail lounge. As an operable restau- concession to the imperative of a market rant. Continental's 747 would surely be economy where products tend, like I lie entitled to the same protection as the buildings their producers occupy, to be In Dallas, Pegasus has been relumed to the tool of the Magnolia Building. Could similar signage perk up Houston's skyline? restaurant atop the I lyatr Regency I lotel. inherently the same. A more general retrofitting of the tops ittlHi-Hi society. The problem of l iouston, "In Manhattan," Colin Rowe reflects, ol I lottston's downtown skyscrapers as Ada Louise I tuxtable discerned a quar- "the earlier skyscrapers (almost everything might begin with One Shell Pla/.i, the ter-century ago, was that of providing "an built before 1950) are still obedient to tlu upper reaches of which enjoy a perma- anchor to time and place where neither is principles |oi rooftop adornment] observed nently unobscured (by the grace ol i St) defined. All of those values that accrue in Rome. No doubt New York City is a I l.illi westerb exposure. It also combines throughout centuries of civilization — vertical excess, but, until very recently, a sturdy countenance with an iconically identity, intimacy, scale, complexity, style almost every skyscraper behaved approxi- suggestive prime tenant. In fact, the archi- — are simply created out of whole cloth, mately like Sant'Agnese in Piazza Navona. tectural adaptability of the Shell Oil or whole prairie, with unabashed com- The Wookvorrh, the Chrysler, the Empire ( ompany's symbol has already been road- mercial eclecticism. How else to establish State buildings all behave this way ... At rested in a series of service stations built a sense of place or community, to indicate street level they are quiet ... The set piece, according to a shell design patented in differences where none exist?" the celebration of object, the fiimtm\i. 19.10. One can imagine the top ol t )n< belong up top." 1 Shell Plaza morphing into a t hrysleresque headdress in emulation ol those freestand- EXTRA TOPIINUN As a means of overcompensatmg for ing giant-Shell service stations — the archi- Roland Barthcs has written that skyscrap- the general disarray (others might say tectural equivalent of hie; hair, pumped up ers are "the city's great commonplace ... messy vitality) of its public ground and ,ui to conform to the scale of a "ill-story what is astonishing about the skyscraper space, 1 Iouston has tended to react harsh- building. (To Henry-Russell Hitchcock, is that it does not astonish." As if to ly against billboards and other signage. writing a short time after the patent for prove the point, in 1482 the curators of But if, as Marcel Duchamp surmised, art the shell-design stations was granted, "the the Cooper I Icwilt Museum assembled a might he the last refuge ol scoundrels, combination of strict functionalism and series ol 111 skyline views of American (.
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