This article appeared in Harvard Design Magazine, Spring/Summer 2003, Number 18.

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© 2003 by the President and Fellows of Harvard College. Not to be reproduced without the permission of the
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Everything is Architecture
Multiple Hans Hollein and the Art of Crossing Over, by Liane Lefaivre

“ALLES IST ARCHITEKTUR”—“Every- Marshall McLuhan’s epoch-making 1962

thing is Architecture.”1 Of all the archi- Gutenberg Galaxy: The Making of Typo-
tectural manifestos to come out of the graphic Man, the first book to herald the
1960s, this is the wildest. Partly verbal, Information Age and attempt to predict
mostly pictorial, it was just under 1,000 the profound impact it would have on

On
words long and brought together over traditional verbal culture.7 Hollein’s
ninety images. Fast and short, the publi- manifesto is primarily an attempt to
cation meant to pack a punch and send imagine what this age meant for archi-
readers reeling. It did.2 The time was tecture. He was fascinated with the artis-
April 1968. The place was the Viennese tic potentials of the new electronic
architecture magazine Bau.3 The au- media. One of his schemes at the time,
thor/editor/artist/ architect/graphic de- in fact, was to replace the University of
signer was Hans Hollein. Vienna with a television set—an inkling

Design“Alles” is usually read as a call for the

complete dissolution of architecture.4
Written at a time when conceptual
artists were advocating what Lucy Lip-
pard called the dematerialization of the
art object in search of something more
fundamental,5 Hollein’s manifesto can
be seen as the equivalent for architec-
of what today is called “distance learn-
ing” but also, more generally, of cyber-
space. As opposed to Walter Benjamin,
who had been adverse to the age of me-
chanical reproduction, Hollein was eager
to embrace the age of digital reproduc-
tion. In the optimistic ’60s, his manifesto
was the first to oppose a novel architec-
ture. His approach combined what tural e-topian alternative to the conven-
might be termed conceptual architec- tional, tired mainstream architectural
ture with cyberart. In April ’68, of practices of the day, dominated by the
course, the Information Age was just be- conservative, formalist architects like
ginning to dawn on the architectural Philip Johnson, Walter Gropius, Edward
horizon, digital technology still be- Durell Stone, and Minoru Yamasaki.
longed to a remote and mysterious But the manifesto was more than a
world, and the only other person mus- celebration of cyberspace. Hollein
ing about the potential role of the new meant it when he declared “Everything
media in the field was Christopher is architecture.” In an everythingizing
Alexander, who had published his Notes spirit he had, two years earlier, invited
on the Synthesis of Form four years such strange and radical bedfellows as
earlier.6 But Hollein’s approach was Buckminster Fuller and Theodor
closer to artists’ than to Alexander’s. Adorno to participate in an architectural
Hollein had been one of the earliest symposium in Vienna.8 What he was
importers into architectural thinking of calling for in “Alles” was no less than a

H A RVA R D D E S I G N M A G A Z I N E 1
On Design Everything is Architecture

complete rebooting of architectural liberately fragmentary way that reads as postwar modernist slab in the form of a
thinking, a radical recategorization of if it had been written by a combination thick slice of Emmenthal cheese gloat-
architecture, the elimination of closure of McLuhan, Jaap Bakema, Fuller, ing over the delicate, exquisitely
in its definition, removal of all bound- Timothy Leary, Gottfried Semper, wrought urban filigree of Vienna, fes-
aries between it and other fields, and an Friedrich Nietzsche, and Reyner Ban- tooned with Gothic and Baroque mon-
endless process of connectivity— ham. uments. Inside, he has another collage
Deleuzian rhyzomic multiplicity before Hollein assembled the pictures of of some rocks magnified to look like
Deleuze. His opening sentence trans- “Alles” in the same sort of bricolage he buildings in a megalopolis. One image,
lates as something like: “The limited made with the words. The approach “High-Rise Building in a Landscape,”
categorical foundations and tradition- was simple: take a series of elements features a giant sparkplug on a hill. An-
bound definitions of architecture and its not usually considered architecture and other is a ’60s Pop nude stretched out
means have on the whole lost their va- place the message “this is architecture” on a gilded baroque sofa, head tossed
lidity.” His last paragraph translates as under each one. That’s where the sim- back, laughing over an erotic fantasy
something like: “[A] true architecture of plicity ended, however. The resulting involving the top of the Chrysler Tow-
our time, then, is emerging, and is both recategorizations were as jarring as er, parachutes, taxis, cowboys on hors-
redefining itself as a medium and ex- those in the written text. One image es, and smiling lips floating in the sky.
panding its field. Many fields beyond was of a pill. A pill=architecture? Yet everythingizing has a long histo-
traditional building are taking over ‘ar- Clearly there was semantic bending ry in architecture. Another way of
chitecture,’ just as architecture and ‘ar- going on. Another image was of a spray looking at this search for multiplicity is
chitects’ are moving into fields that can. Then a fresh stick of lipstick. as resulting from a need for multiple
were once remote. Everyone is an archi- Then photographs of Sergei Eisen- intelligences, to use Howard Gardner’s
tect. Everything is architecture.” stein; of former architect, Holocaust terms, felt as necessary for dealing with
For all its wildness, there was noth- survivor, and Nazi hunter Simon the multiple realities of the world
ing arbitrary about the manifesto. If it Wiesenthal; of fashion designer Paco itself.10 Vitruvius—with his all-em-
was wild, it was wild like Claude Levi- Rabanne; of Che Guevara. There was a bracing 4th-century treatise De Archi-

© 2003 by the President and Fellows of Harvard College. Not to be reproduced without the permission of the publisher
Strauss’s pensée sauvage. Usually trans- caricature of Lyndon Johnson’s face as tectura, which hybridized architecture
lated as “savage mind,” pensée sauvage an oil refinery. French-American with fields including philosophy, music,
also means “wild thinking. “ There is a painter Niki de Saint Phalle walking astronomy, mathematics, optics, histo-
method to this thinking: it is character- with Swiss artist Jean Tinguely out of ry, and medicine—was the first advo-
ized by what Levi-Strauss called brico- the vulva of her giant pop sculpture of cate of such an approach to
lage, which “expresses itself by means a supine woman. The observatory of architecture.11 Alberti was another.
of a heterogeneous repertoire.” Its ef- Jaipur. Tom Wesselman’s Great Ameri- His De Re Aedificatoria and especially
fect is to increase the “scope and un- can Nude. The German artist/architect his Hypnerotomachia Poliphili opened up
derstanding by supplying a basis for the Hundertwasser nude. A bra. Sunglass- architecture to artistic fields—litera-
associations it already divined.”9 This es. A computer printout of a digitized ture, painting, sculpture—even more
is the kind of reasoning “Alles” used. message transmitted from Mars by the extremely, to an extent unimaginable
The manifesto recategorized architec- Mariner IV spacecraft in 1965. Some for Vitruvius.12 The history of archi-
ture; things not normally associated astronauts in a capsule in outer space. tecture ever since has been punctuated
with it were suddenly and unexpectedly Claes Oldenburg’s Big Screwdriver. A with similarly ambitious attempts to re-
equated with it: “artificial climate,” Magritte painting of a giant comb lying categorize architecture through
“transportation,” “clothing,” “environ- in bed. A clenched fist. A soap bubble. crossovers into other disciplines. 19th-
ment in the widest sense,” “the senses,” A pair of scissors. Never had the defi- and 20th-century crossovers were at-
“self-centered clients,” “community,” nition of architecture been stretched to tempted by the English Arts and Crafts
“cultic architecture,” “control of bodily include these objects. And never had movement, the Dutchman H. Th. Wi-
heat,” “development of science,” “sim- architecture been so pushed into the jdeveld (with his magazine Wendingen),
ulated architecture,” “sewn architec- most vibrant elements of a contempo- the Glaeserne Kette (an early 20th-cen-
ture,” “inflatable architecture,” “the rary culture—in this case sexuality, re- tury predecessor to the Bauhaus), the
haptic,” “the optic,” “the acoustic,” bellion, transience, violence, futurism, Werkbund, and the Bauhaus. The
“the expression of emotional needs,” uninhibitedness, hipness, unconven- phrase “everything is architecture” was
and even “military strategy.” Hollein tionality, daring, and political satire. in fact first uttered by one of the
could have chosen to embark upon a The wildest images were collages by wildest of architectural thinkers, Le
systematic academic work and argue Hollein himself. They belonged to a Corbusier. Hollein claims the early
logically for the integration of these group of artworks he called “Trans- 18th-century Viennese architect
widely disparate elements. Instead, he Formations.” On the cover of this issue Johann Bernhard Fischer von Erlach as
opted to bring them together in a de- of Bau is his collage of a monumental a predecessor. Von Erlach’s first pub-

2 H A RVA R D D E S I G N M A G A Z I N E SPRING/SUMMER 2003

On Design Everything is Architecture

lished history was Entwurf einer his- California at Berkeley, and had made and Dutch Team Ten, he adds the arti-
torischen Architektur (Outline of a Histor- him the main focus of his Harkness cle “The Future of Architecture,” in
ical Architecture), which expanded the Fellowship research (1959–1960). Bau which he calls for “space-plastic” build-
architectural canon to include Stone- was the first architectural magazine that ings adapted to the realities of “the
henge, Turkish mosques, Chinese published the Wittgenstein House; contemporary city and the contempo-
pagodas, and Siamese palaces.13 In his Hollein and other members of its edito- rary environment,” an architecture that
everythingizing, Hollein is also an heir rial board were directly responsible for is “the expression of all kinds of human
of the cross-disciplinary Gesamtkunst- establishing Wittgenstein’s authorship relationships, their achievements, their
werk mode adopted by the late 19th- of the house and for saving, by one day, emotions and passions.”18
and early 20th-century Viennese Sezes- the house from the demolition crew al- In the second issue, a more purely
sion movement, with its explicit pro- ready on the site.17 Bau was the first Machine-Age Hollein places the
gram of integrating the new industrial Viennese magazine to carry articles launching silos at Cape Canaveral on
means of production with the arts and
architecture.14
But Hollein’s concept of everythin- Hollein’s own revolt was paralleled by similar developments
gizing owes its greatest debt to the in all fields of arts and sciences. At the same time Hollein
Zeitgeist of the ’60s. Indeed, his every- was writing “Everything is Architecture,” Joseph Beuys was
thingizing project echoes the multidis- claiming “Everything is Art,” and John Cage “Everything
ciplinarity in schools, magazines, and
practice that was briefly to sweep
we do is Music.”
through architectural schools toward
the end of the 1960s.15 “Alles ist Ar- about Frederik Kiesler and an unpub- the cover with the title “Cathedrals of
chitektur” is deeply imbued with the lished house by Josef Hoffman in the Another Weltanschauung” and argues
decade’s countercultural revolt against United States. It was on the verge of for the machine aesthetic to be incor-
the narrow conformism of the 1950s. being the first European architectural porated in contemporary architecture

© 2003 by the President and Fellows of Harvard College. Not to be reproduced without the permission of the publisher
Whether more somber—as with De- magazine to publish Constantin Mel- because it had, as he put it, “plastic,
bord and the Situationists, the Groupe nikov, but it closed down before the is- dynamic, expressive, formal, and emo-
Utopie in France, and Herbert Marcuse sue was printed. tional potentials.”19 In this issue he
in California—or more madcap and Bau served as a laboratory in which also assembles a visual essay bringing
Pop—as with Archigram in England, Hollein worked on his architectural together photographs of the kind of
Archizoom in Italy, and the Metabolists thought experiments—in turns as a Machine-Age buildings he had in
in Japan—the basic approach was the technophile, Pop artist, space-age mind: the Rocket Assembly Plant at
same. Hollein’s own revolt was paral- visionary, Nietszchian Thus-Spake- Cape Kennedy, the Lowry Air Force
leled by similar developments in all Zarathustra mystic, romantic regional- base, a superhighway interchange at
fields of arts and sciences. At the same ist, surrealist, preservationist, and Crockett, California, the Radio Tele-
time Hollein was writing “Everything is Wrightian organicist. Together, scope in Puerto Rico, an amphitheater
Architecture,” Joseph Beuys was claim- Hollein’s verbal and pictorial essays of the Incas near Machu Picchu, and
ing “Everything is Art,” and John Cage early in Bau prefigure the mental and the U.S. Enterprise aircraft carrier.
“Everything we do is Music.”16 pictorial collage of “Alles ist Architek- Four issues later, an organicist
The everythingizing approach of the tur.” The cover of the first issue is a Hollein places a transverse section of
essay/bricolage “Alles” was just one of collection of nine unrelated images: the curved chamber of the human in-
many such efforts by Hollein. It was the Roy Lichtenstein’s Wham, the Veraz- ner ear on the cover20 and praises ear-
result of a more general strategy carried zano Bridge, Hollein’s design for a ly 19th-century Viennese Thonet
out in Bau, the architectural magazine monument in the form of a gigantic chairs in the name of both industrial,
Hollein had co-founded in Vienna in wagon train, a design by Walter Pichler Machine-Age mass production and or-
1965 and co-edited to its end in 1971. for an underground city, the pyramids ganic form.21 Then comes a Romantic
Bau had several publishing coups during of Giza, and the auditorium at the Hollein, as enamoured with the South-
its brief existence. It was the first Euro- TUDelft by Bakema and van der west as J.B. Jackson, and a Pop
pean magazine to publish the work of Broek. Inside one finds Ron Herron’s Hollein, as excited about popular cul-
an architect who was unknown not only Walking City next to Hollein’s own col- ture as Reyner Banham and Tom
in Europe but also more shockingly in lage, “Aircraft Carrier in the Land- Wolfe. Both these Holleins come to-
his native Vienna: Rudolph Schindler. scape,” and an illustration of a fictional gether in the 1965 issue “Background
Hollein had discovered Schindler in space station out of Life magazine. To USA.”22 This contains a photographic
residence first at the Illinois Institute of this combination of Pop, high tech, essay juxtaposing a room full of hefty
Technology, then at the University of Russian Constructivist, de Stijl, cultic, early computers, the Grand Canyon, a

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On Design Everything is Architecture

Hopi Indian on horseback, the Unity everythingizing self, Hollein even of the surrounding paper. As a sculptur-
Temple by Frank Lloyd Wright, Le writes that “everything” can be seen as al object, an ideogram makes the sur-
Corbusier’s Carpenter Center, a por- “the means of architecture” and that rounding space part of the composition.
trait of Louis Kahn and Frank Lloyd there are “no specific building materi- Architects don’t usually think that way.
Wright, Kahn’s Richards Medical Re- als, nor architectural ones.” Painters and sometimes sculptors do.
search Building, Burnham and Root’s Like his later writings, his thesis was Hollein used the term Gebilde in his
Monadnock Building, Marilyn Monroe a collage. It is partly verbal, written in thesis to speak of paintings, sculptures,
in front of Niagara Falls, highway ad- a combination of free verse—now ele- buildings, cities, and landscapes. The
vertisements from Las Vegas, and a giac, now angry, now mythopoeic—and closest English translation is probably
portrait of Mies van der Rohe. Then concrete poetry. Like “Alles,” it is a “whatever” (more literally, “three
comes the self-consciously Everythin- pictorial essay, a collage made up of dimensional image”). As he says, “The
gizing Hollein. This is the one who Hollein’s original drawings, watercol- reason I used the term Gebilde for these
writes “Züruck zur Architektur” (“Back ors, and paintings in India ink, along things is that I see no border between
to Architecture”) in 1963, arguing that with collages and photographs of about architecture and sculpture. . . . I didn’t
architecture must be, among other usu- twenty architectural models made of want to call these things . . . ‘architec-
ally contradictory things, “spiritual,” fired and non-fired clay. ture’ and ‘sculpture.’ I wanted to have a
“magic,” “erotic,” “collaborative,” “in- But unlike “Alles,” Plastic Space was term that was more general. . . . Most
dividual,” “problem-solving,” “order- also a built essay, and this part of the architects get architectural ideas out of
ly,” “abstract,” “sexual,” “sacred,” thesis was almost as everythingizing as other architecture. I thought this was
“structural,” “four-dimensional,” the written part. Erected by Hollein the wrong process. I mean, it should be
“dirty,” “slanted,” and “plastic.”23 himself, it was called “A Space inside a part of your education, but . . . painters .
But Hollein’s tendency to everythin- Space inside a Space.” It consisted of . . don’t only get ideas about art by
gize architecture goes back even earlier ten structures made of wood, metal studying older paintings. Suddenly they
than Bau. It begins to take shape in his mesh, welded metal, and/or plaster, are confronted with some experience or
Berkeley Master’s thesis, Plastic Space, some as high as sixteen feet, some that fact, and something completely un-

© 2003 by the President and Fellows of Harvard College. Not to be reproduced without the permission of the publisher
composed between fall 1959 and spring one could actually enter. The project precedented takes place.”28 Gebilde in-
1960, one of the most original—and did not end there. The final element of deed enabled a bold new way of
unknown—instances of wild thinking the design was the space surrounding, thinking about architecture.
of the entire postwar history.24 While or rather created by, the structures, What is remarkable about Hollein’s
he was touring the United States, he conceived of not as disconnected ob- perpetual transformations since the
passed through Berkeley and met jects but as what Hollein called “space ’60s is how agilely and early he crossed
William Wurster, leading figure of the radiators”—the observer was expected so many big divides. His Pop collages,
multidisciplinary, Mumfordian to walk though about 2,000 square feet like Rolls Royce Grill on Wall Street
regionalist Bay Region Style, Dean and of space created by the structures. His (1963), Aircraft Carrier in the Landscape
founder of the College of Environmen- use of the term plastic is consistent with (1964), and the Sparkplug in the Land-
tal Design at The University of Cali- the use of the German work Plastik to scape (1964) predate Claes Oldenburg’s.
fornia at Berkeley, and the person mean sculpture. Here space is being In 1966 he was one of the innovators
responsible for turning that College used as much as a sculptural element as incorporating pneumatic structures
into one of the only regionalist Ameri- the objects in it, or as he put it, as a into art. His Telematic University
can architectural schools—with faculty “determined activated region in indefi- building in the form of a TV set was
that included major regionalists like nite three dimensionality.”27 among the first conceptual art to use
Joseph Esherik and J.B. Jackson. The project was everythingizing not architecture as material. Hollein was
Wurster pressed Hollein to stay.25 only in its “reach” but also in its compo- even a very early practitioner of land
Even more multiple in its embrace sitional principle. Conceptually and art. His late 1950s photographs of the
than his “Alles” manifesto eight years formally, the structures were transfor- dirt-road-marked landscapes of the
later, the thesis, directed by Joseph mations into sculptural, then architec- American Southwest and his 1964 pho-
Esherik, addressed “the totality of tural, then urbanistic form of an initial tographs of Austrian landscapes bear-
space” (no less), the “universe-world- set of drawings in the style of Chinese ing the marks of car tracks in the
landscape-region-city-house-room-fur- ideograms rendered in India ink. The fi- idyllic pastoral landscape, called
nishing-tools.” Like Archigram, which nal result is a three-dimensional “Sites,”29 predate what are usually
was working on projects like the Walk- ideogram. Or rather, as Hollein writes, thought of as the earliest land art, such
ing Cities just four years later,26 a “four-dimensional” ideogram, because as Dennis Openheim’s Sitemarker 8 of
Hollein was bringing together every- it requires the beholder to use time to 1967, Robert Smithson’s Airport Site
thing from industrial design to astro- move through it. The drawing of an Map of 1967 and New Jersey, New York
physics. Prefiguring his future ideogram necessarily involves the space of 1967, and Richard Long’s A Line

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On Design Everything is Architecture

Made by Walking of 1967.30 chitects in Vienna almost forty years after the Harvard Architectural Review, Spring 1980,
His whole oeuvre was a collage. fact—Anton Falkeiss, Christian Kuehn, and 53–63.
This explains why so many radically Wolf Prix have said this to me. 16. John Cage, “Everything We Do Is Music,”
different groups, schools of thought, 3. Bau was taken over and revamped by Hollein interview by John Kosler, Saturday Evening Post,
and movements have adopted him over in collaboration with others. It had a circulation October 1969.
the years. The two famous founders of of about 15,000 and was the main architectural 17. See Bau 1, 1969.
the Bay Region School, William magazine in the German language at the time. 18. ”Zukunft der Architektur,” Bau 1, 1965.
Wurster and Joseph Esherik, actively It lasted seven years, from 1965 until 1972. 19. Bau 2, 1965, 41.
recruited him to do his Master’s thesis 4. See Hilde Heynen, André Loeckx, Lieven De 20. Bau 4, 1965.
with them at Berkeley. Jaap Bakema Cauter, and Karina Van Herck, eds., Dat is Ar- 21. Ibid., 122.
wanted to enlist him in the ranks of chitectuur (Rotterdam: 010 Publishers, 2001), 22. Bau 5/6, 1965.
Team Ten. Reyner Banham used the 412. 23. Delivered by Hans Hollein in 1962 at the
phrase “visionary architects” in the As- 5. Lucy Lippard, Six Years: The Dematerializa- Galerie St. Stephan in Vienna but published
pen Design Conference of 1968 to de- tion of the Art Object from 1966 to 1972 : A Cross- seven years later in Bau 2/3, 1969.
scribe him, François Dallegret, and Reference Book of Information on Some Esthetic 24. Master’s thesis submitted June 1960, Col-
Peter Cook, and had already invited Boundaries (New York: Praeger, 1973). lege of Environmental Design, University of
Hollein to the International Dialogue 6. Christopher Alexander, Notes on the Synthesis California at Berkeley. Deposited in the Uni-
of Experimental Architecture at Folke- of Form (Cambridge: Harvard University Press, versity Library on July 19, 1960.
stone in England organized in June 1964). 25. Hollein interview with me, July 30, 2000.
1966 by Cedric Price, to which were 7. Marshall McLuhan, The Gutenberg Galaxy 26. See Ron Herron’s Walking Cities in Archi-
also invited French architect Ionel (Toronto: University of Toronto Press, 1962). gram: Magazine for New Ideas in Architecture, re-
Schein (who once designed a plastic 8. The program was intended to mark the cen- produced in A Guide to Archigram, 1961-1974
house), Arthur Quarmby (the pioneer tenary of the Austrian Union of Architects in (London: Academy Editions, 1994), 130.
of earth-sheltered construction in 1966. Other guests included Horst Rittel, Ernst 27. Plastic Space, 27.
Britain), Paul Virilio, Archigram, the May, and Udo Kulterman. Oskar Morgenstern, 28. Hollein interview with me, July 30, 2000.

© 2003 by the President and Fellows of Harvard College. Not to be reproduced without the permission of the publisher
Hungarian-French architect Yona another guest, was a professor at Princeton and 29. Presented at the Venice Biennale of 1972 at
Friedman, Fuller, Frei Otto, and the co-author of Theory of Games and Economic Be- the Austrian Pavillion. See the catalogue Hollein
Metabolists.31 When postmodernism havior with John von Neumann. (Vienna: Ministry of Education and Art, 1972),
came around, Hollein’s Haas Haus in 9. Claude Levi-Strauss, The Savage Mind unpaginated.
Vienna became one of its chief em- (Chicago: University of Chicago Press, 1966), 30. The references to the land artworks are
blems. When he completed his project 16–36; first published as La Pensée Sauvage from Gilles A. Tiberghien, Land Art (New
for the Guggenheim in Salzburg, it was (Paris: Plon, 1962). York: Princeton Architectural Press, 1995; first
hailed by the Greens as sustainable ar- 10. Howard Gardner, Frames of Mind: The Theo- published in French, 1993).
chitecture. Moreover, he is the only ry of Multiple Intelligences (New York: Basic 31. See the IDEA conference program written
figure in recent memory who has suc- Books, 1983). by Reyner Banham. This document was shown
ceeded in crossing from architecture to 11. Vitruvius, De Architectura, trans. F. Granger to me by Hollein in February 2001.
art and back again and in being recog- (Cambridge: Harvard University Press, Loeb
nized as an artist and as an architect by Classical Library, 1931), Book I, c.1. “The sci-
his peers on both sides of the divide. ence of the architect depends upon many disci- Liane Lefaivre has written many books
Indeed, he is the only artist to have plines and various eruditions which are carried and articles, is on the editorial board of
won a Pritzker Prize and the only ar- out in certain other arts.” Architecture magazine, researches and teach-
chitect whose works are in the art col- 12. For further reading on the multidisciplinary es at the Technical University of Delft, and
lections of both the Museum of aspects of both De Re Aedificatoria and the Hyp- has been appointed Chair of Architectural
Modern Art and the Pompidou. nerotomachia Poliphili, see my Leon Battista Al- History and Theory at the Universität für
You have to hand it to Hans berti’s Hypnerotomachia Poliphili (Cambridge: Angewandte Kunst in Vienna.
Hollein. He might have owed a debt to MIT Press, 1996), 113–197.
the multiply intelligent ’60s Zeitgeist, 13. Vienna: 1782.
but he has paid it back in kind. 14. Carl E. Schorske, Fin-de-Siecle Vienna (New
York: Knopf, 1979).
Notes 15. This period in American architectural
1. Bau 1/2, 1968, 1–32. Every year Hollein schools has received very little attention.
numbered Bau’s first issue 1. Alexander Tzonis and I deal with it, as well as
2. I know because I was one of them. I was not its demise in the wake of what we called the
the only one, of course. The controversy “narcissistic” movement of the mid-1970s, in
sparked by the issue is still remembered by ar- “The Narcissist Phase in Architecture,” The

5 H A RVA R D D E S I G N M A G A Z I N E SPRING/SUMMER 2003