VERY VARY VERI Feature his life seemed to have paralleled ours; not Reclaiming Frank’s only in personal history, but through the experiences and ideas we shared as architects. Seat at the Table His career held important revelations for us and I have been happy to dance (waltz?) to BY DENISE SCOTT-BROWN his tune while interweaving our three sagas in work and thought. The annals of Jewish flight from persecution DICTES MOY OÙ, did not start with Hitler. There was the Exodus N’EN QUEL PAYS from Egypt, and perhaps 600 years before In 2005, Hurricane Katrina caused thousands the current era, Jewish merchants took the to flee New Orleans for Texas, and many did Silk Road to China. The ancient Romans not return. Nothing can make up for the loss, transferred whole communities to Europe, and today its tragedy is so much with us that and centers of Jewish culture thrived under the question, “Where will the sound of New ancient Greece, medieval Spain, and the Orleans go?” is premature. But eventually the Ottoman Empire. But my family in Africa, flight from Katrina may be known for its music most American Jews, and Frank’s forebears ripples worldwide. came from Eastern Europe. Nazism was the Landscapes and cityscapes are palimpsests dominant tragedy of the 1930s and 1940s. of culture on a broad plain, and migrations Some refugees, like Frank, moved nearby read across them. Ancient Roman conquests to Sweden or Italy, only to leave again as the lie in the early patterns of European towns, Germans advanced. Some Jews made it to and Renaissance adaptations of Roman England, Palestine, Canada, or America before architecture are found in every city where the gates shut. Others found refuge in Africa Europeans have lived. The music of slaves and even in Shanghai, which took 30,000 traveled from American cotton fields to cities refugees, allegedly more than the British on the Mississippi and from there upriver Empire. But those on boats that no country to the world. And the routes of individual would admit were returned to Hamburg. craftspeople are traceable across the African The generation of mentors that I knew landscape in the Baroque gable decorations of in my youth lives on in the United States Cape Dutch farmhouses. today in television reruns of old movies; in Josef Frank, too, took a solo journey and the German professor for example, his hair though his flight kept him near home, it shifted awry like Einstein’s, a stereotype of the 1940s. his focus as if to a far land. This was an unsought And architecturally, the souped-up Modern change. As a Jew, he had chosen “assimilation,” and elegant Deco backgrounds of Hollywood a tempting path because it offered broad spectaculars still charm us—you could opportunity in Germany and Austria. But by imagine refugee set designers jumping at the 1933 he realized that it would not save him opportunity. from Hitler and he left Vienna for Stockholm. The patterns of Nazi flight and their In that year my parents made plans to influence on world architecture are still under build a modern house in Johannesburg. Some study. When Art Deco went global in the 1930s, refugees were already arriving in South Africa the purer, smaller Modern followed. “Villa and my childhood was accompanied by these districts” were built in European cities and exiles from fascism. So were my student years Modernism spread to England, Palestine, South on three continents, and many of them were Africa, Latin America, and parts of the United my teachers and mentors. When Robert States. Nazism accelerated the spread. Frank, Venturi and I “met” Frank in 2005 in Vienna, with little hope of practicing architecture in 83 VERY VARY VERI Feature 1. t For the facts of Frank’s work, writing, Sweden, was lucky to find other opportunities, and life, I have depended on Johannes but although his work and writings were Spalt and Hermann Czech, eds., Josef published before World War ll, he remained an Frank: 1885–1967 (Vienna: Hochschule für 1 angewandte Kunst, 1981), and Christopher untold story until the 1980s. Today, seeing the Long, Josef Frank: Life and Work (Chicago span of his career and the directions of postwar and London: University of Chicago Press, architecture, we may ask questions of Frank and 2001). learn some ironic answers. 2. u J. B. Jackson, “Other-Directed Houses,” Landscape, no. 2 (Winter 1956– For example, when he left Vienna, he 57); Robert Venturi, Denise Scott Brown, was an architectural rebel. Had he stayed and Steven Izenour, Learning from Las would he, like Hans Scharoun, have been Vegas (Cambridge, MA : MIT Press, 1972; excluded from the Modern canon or, like the revised 1977). Smithsons, have knocked down the walls of 3. u Robert Venturi, Complexity and CIAM? Are his writings and architecture a Contradiction in Architecture (New York: Museum of Modern Art,1966; revised 1977). missing link between early Modernism and the Brutalists? Do they presage Postmodernism? Did diversion from his chosen path reduce his influence or, if you consider IKEA, boost it? How did this happen? Is Frank relevant today? Before entering his house, I would like to ask Frank one question: modern or Modern? I am enlisting his support on the losing side Josef Frank, House for Dagmar Grill. 1947. 84 Reclaiming Frank’s Seat at the Table of a debate now raging, concerning the use of Are Frank’s capitals in naming styles. In this essay, the word designs “modern” figures about sixty times. Its frequent capitalization lies at the heart of Frank’s prototypes? argument that, although those who fomented Or definitions of the revolution aimed to produce what was “modern,” meaning architecture relevant to what life (though now, quite soon their work became “Modern,” not urban life) a style whose looks but not essence they fought for. How do you even describe the issue without could be in capitalizing, as you would to distinguish Shangri-la? between baroque and Baroque, mannerist and Mannerist? For this reason our chosen format diverges from that in the rest of the book. When Robert Venturi and I saw the just add some padding! And the machine can Beer House, we had visited early Modern breathe a sigh of relief and take a rest.” architecture on several continents, I had spent Today we tend to feel that an architect my childhood in our Modern house, and we cannot be both verbal and visual, be adept in had found, named, and planned for the Miami marshaling intellectual material and making Beach Deco District. At first, Frank’s forms a good argument, also a wordsmith and seemed pure Modern. Neither Corbusier passionate on moral and social questions, and nor Aalto subverted the orthodoxy, although yet be able to design very well. In the United Lutyens perhaps lingered in the processional States we hope, without much evidence, that an that led the eye but not the feet. And taking it undergraduate liberal arts degree will do this vertical, achieving procession in section, was for architects. But Frank could do it all and with an act of rebellion but on a refined plane and at an added bonus, his caustic wit. second glance. In the 1970s we discovered that some ideas Yet in his writing argument flourished. in Learning from Las Vegas had been expressed “What we need is variety and not stereotyped by J. B. Jackson in his own way over a decade monumentality. No one feels comfortable in earlier.2 And in 2012 this occurred again with an order that has been forced upon him, even if Frank. The spread of his writings was wider, it has been doused in a sauce of beauty.” Also, spanning five decades, but there were spurts “The machine, which today is enjoying divine in the 1920s, 1930s, and 1950s, when he, like status, is being offered new forms every day us, wrote “letters from the front”—from the as sacrifices. Since it is nothing more than a urgency of practice. His thoughts on disorder tool, which can make anything, there is no parallel ours on complexity, 3 and we are near single form that is invented for it. Yet with each other on the subject of kitsch. “Every the trepidation and tenderness of the sort human needs a certain degree of sentimentality reserved for a beloved being, full of respect not to feel free,” he writes. He disagrees with the to over-work it, the straight line, functionality, Modernist argument, which he summarizes as, simplicity, uniformity are being advocated… “The person, who rides on a train, in a car, or an Imagine if one asked one of our modern airplane cannot possibly on his return home, designers to produce a modern shoe. He will sit in a Louis XIVth, XVth, or XVIth chair, have at once grasped the functional shape without becoming aware of an intrinsic lie for the machine, the one vertical, the other and without appearing ridiculous to himself.” horizontal. A single shoe for everyone. For He and we agree that Modern architects, in the left foot and for the right. If they do not fit, fact, accept formalism (“sentimentality”) via 85 VERY VARY VERI Feature the backdoor, and he pokes fun at “the tricks borrowing of arches, columns, and pilasters, that are used to go around the much acclaimed the structural components of historical Sachlichkeit to apply a beloved style, be it the architecture, has faded with Modernism, he modern one or historical styles, so that the need asks where the next symbols will come from, for sentimentality might be satisfied.” and turns to society and to style.