A Decade of Driehaus
A Carl Laubin capriccio pays tribute to the first decade of Driehaus laureates
THIS YEAR MARKED the tenth anniversary of the Driehaus Prize, the annual award honouring a living architect who has contributed to the field of traditional and classical architecture. To commemorate the first decade of the Prize, the architectural painter Carl Laubin was commissioned to produce a splendid capriccio depicting the works of the first ten Driehaus laureates.
As Witold Rybczynski, a member of the Driehaus panel of jurors, writes:
In the foreground is the Choragic Monument of Lysicrates, a bronze miniature of which is presented to each laureate. It’s fun to try and identify the individual works in this large (5½ by over 8 feet long) painting. But what is more striking is that Laubin has created a convincing urban landscape solely out of landmark buildings.
That, of course, is the advantage of classicism: however it is interpreted, it is a tradition that manages to produce a more or less coherent whole. Even Abdel-Wahed El Wakil’s mosque, standing next to a Seaside beach house by Robert A. M. Stern, doesn’t look too out of place.
The Driehaus Prize was founded in part as a rival to the more publicised Pritzker Prize awarded to modernist architects. But, Mr Rybczynski points out, the fundamental nature of modernist structures is that they thrive only as a visual contrast to buildings constructed in a traditional style.
Can one imagine a similar townscape of Pritzker Prize winners? Well, maybe with the work of some of the early laureates—Pei, Bunshaft, Tange, Siza—but modern buildings need a background of nineteenth and early twentieth century urbanism to shine. A town made up of only signature buildings by our current generation of stars would resemble a carnival or a theme park—Pritzkerland.
I’ve often thought this of the United Nations headquarters in New York, which, when it was first built, must have stood out brilliantly as a bright and fresh harbinger of a better future, but which has been rendered altogether rather boring by the construction of neighbouring buildings of third-rate plate-glass modernist designs.
The UN headquarters on the East River and Lever House on Park Avenue were breakthrough buildings, but the increasing replacement of their traditional stone-clad or brick neighbours by cheap, tawdry modernist structures has exposed how reliant this type of architecture — even when well-conceived and properly executed — is on being surrounded by a contrasting style.
But enjoy Mr Laubin’s painting — while remembering that all these buildings were designed and built by living architects.
More on this year’s Driehaus Prize is available from David Brussat here.