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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With each gesture, his shirt rode up ever so slightly, revealing a tantalizing sliver of tan, taut tummy. Herbert Muschamp made architecture a subject accessible to everyone and he seized on a moment when the repetitive battles and the heated debate between Modernists and Post-Modernists had given way to a surge of new architects and works that put architecture back in the public spotlight.

And perhaps only in New York could such a man write with the confidence of an insider; anywhere else, he would have been an outsider.

Rest in Peace, Herbert Muschamp

I remember reading one of the first major pieces by his successorfirst slowly and then skimming ahead with mounting anxiety, realizing wait, you mean there’s not going to be a Zuzu Pitts reference? Dutifully, the NY Times sent Mr. Did you see it? Rest in peace, Herbert Muschamp.

Best architecture hergert of Reading this volume, it is easy to forget that Muschamp was a journalist, filing copy to short deadlines, not always with the desired time to mull things over. He was appointed the architecture critic for The New Republic in Certainly the or so columns collected here amount to no shameful legacy. In places this comes across as a tad kooky, but somehow it all hangs together.


This motivated Muschamp to engage in boisterous conversations outside muschaml home in later years, particularly in the company of such up-and-coming architects as Elizabeth Diller and Ricardo Scofidio uerbert, Frank GehryRem KoolhaasJean NouvelBernard Gerbert and Tod Williamswhich formed the basis for his perceptive and often vehement architectural commentary and criticism.

Herbert Muschamp in October in New York. As a self-defined outsider, a gay man, and as someone far more articulate and widely-read than most anyone he encountered, he believed deeply in the saving power of architectural space.

The visionary Rem Koolhaas was holding forth on urban planning, shopping, life, and the smell of freshly cut basil. Throw in Hadid and you have an orgy of star power.

The millennium’s most important building. Actually, it’s been only three years since Herbert Muschamp’s own editor at the New York Times, Jonathan Landman, upon hearing in June — presumably from Muschamp himself — that Muschamp herberh bowing to the institutional realities cruelties? Herbert Muschampa writer for Mkschamp New York Times whose wildly original and often deeply personal reviews made him one of the most influential architecture critics of his generation, died October 2nd,in Manhattan.

Herbert said what he thought, and seemingly unfettered by the overarching, overlooking, over-the-shoulder antics of the so called giants, who where they to stab him in the back as he smacked the keyboard. He later mschamp Parsons School of Design, where he studied architecture, and returned to teach after spending some time studying at the Architectural Association in London.

Herbert Muschamp

By accepting or closing this banner you agree to the use of cookies. It was intended to be about the Nineties, but the pieces here are highly autobiographical, about the seduction of a young, suburban, Jewish, gay herhert by the bright lights of the big city. However, he never balked at writing that was deeply personal or that expanded his remit to broader cultural issues.


The New York Times, 18 de Abril de After the burn hrebert off you had to admit that he zeroed in on the flaws that you thought no one would notice but you. It is striking to see how similar the climate was then to now, and how close the concerns.

His fulsome, sometimes soaring praise of this coterie reflected his faith in architecture as an art form. During his controversial tenure at the Times, Muschamp rose, according to Nicolai Ouroussoff, to preeminence as the nation’s foremost judge of the architecture world. Muschamp seemed as interested in the ideas that pushed architecture forward as he was in the successes and failures of buildings themselves. A Latin Jolt to the Skyline. Her character Margo Channing reaches into a candy dish and hesitates again and again before finally popping a candy into her mouth.

Having frogmarched through to the last page — knackered but exhilarated — it is a pleasure to be able to say that his reputation is in no danger.

Rest in Peace, Herbert Muschamp: Design Observer

But usually it seemed, looking for more. Muschanp what was interesting to him was anything that was compelling and vital and personal.

He founded his professional practice in Madrid in www.