In 1979, when I entered Parsons School of Design, I began the study of Environmental Design. This was trendy at the time — a discipline covering industrial design, interior design, and architectural design. Of the three, I gravitated towards the third of these, mostly because it seemed the most definitive, macho (read: powerful), and least trivial. I hung out with the more intellectual crowd as a result, the crowd that was less concerned with post-graduate employment than with learning about the world through an architect’s eye. The fact that my portfolio from my construction drafting class got me my first job, rather than my design studio work, tells you the ultimate value of this choice of mine. But, I was 19. That excuse works for me.
My mooney-eyed admiration for architects led me to books about Frank Lloyd Wright and Louis Sullivan, a mid-winter trip to the midwest to worship in the temple of the Johnson Wax Building in Racine, Wisconsin, debates about the talent of the later modernists like Saarinen and Kahn (I preferred Saarinen because his work was contextual, however awkwardly so, and was rebuffed by my modernist friends), and working as a student slave for Steven Holl, now a renowned modern architect in his own right.
The post-modernists were just beginning to surface, and in very silly ways. Michael Graves’ municipal building in Portland, Philip Johnson (turncoat veteran of the offices of the most iconic of the modernists, Mies van der Rohe) and his silly “highboy” AT&T building in Manhattan, and the absolutely derivative and scary, yet regrettably influential, residential architecture of Robert A.M. Stern. These were also the days when Tom Wolfe published his non-fiction essay, “From Bauhaus to Our House,” which skewered modernism as cold and far too “European” for a more sumptuous and textured American sensibility.
So, my introduction to post-modernism was within a highly modernist context. Parsons proudly modelled its curriculum after that of the Bauhaus, and I was surrounded by modernists. Also, these early examples to me seemed somewhat silly — I failed to see what taking a big box (Wolfe’s experience of the modern) and dressing it up with gimgracks, or building houses that were cheap imitations of pre-modernist pseudo-Victorian woodframe houses had to offer to humanity that was as transformative as the notions the modernists ushered in. The notions of negative space, expressive materials, introspective space, and the like. The modern notion seemed endless, the post-modern a silly regression by those who lacked the vision to “do” what was modern. The moderns had writers like Norris Kelly Smith, Kenneth Frampton, and Ada Louise Huxtable. The post-moderns had the odious Paul Goldberger, in the pocket of Philip Johnson for sure. The moderns won.
It didn’t matter that, deep inside, I did feel a bit of the emptiness that Wolfe was alluding to. That voice was drowned out by the heady intellectualism shared on the barstools, living rooms, and beds of Greenwich Village. My utterly intellectually defensible and free sexuality, freedom of thought, freedom of substance abuse, was as modern as modern could be. Their own whispers of emptiness, of the finite, were only whispers back then. Those were the days, for sure. But, life brings turns in direction, and passions light in places once dark. My passion for and work in the field of architecture died in 1992 when I left my second husband (an architect) and chose never to look back.
The darned term “post-modernism” lingers. Unbeknownst to me when I was younger, there were other disciplines in the world besides architecture that were wrestling with the meaning of this new word. I am now reading about post-modernism in the context of faith. That seems to me to be a whole new ballgame, and my older notions of post-modernism, informed by those early impressions, is beginning to be, however nauseatingly poetic this may sound, “deconstructed.” Ugh.
But, I am beginning to get some clarity on why no church has ever felt 100% comfortable to me. Highly uncomfortable with the Catholic Church of my upbringing (birth control, marriage for priests, and homosexuality, to name a few issues), I turned to the Unitarian Universalist movement. Talk about modernist! They had it all: freedom of thought, no outside influences that you didn’t want to let in, your own “personal journey” being the primary driver, and seven bland principles which were, essentially, the golden rule, in discrete steps to substitute for a “creed.”
The UUs held my interest for a few years, but then it began to wane. More questions were going unanswered by this lack of direction and focus. The role of religion as oppressor began to be substituted with the role as too much choice as oppressor. For all the talk in the UU about personal truth, I felt like I was drifting away from truth. Not that I think pluralism is a bad way to organize the world, but I do think it’s a weird way to organize a faith. I must say, I still don’t get it, and I tried. I really tried.
So, I find myself now in a liberal Christian church as a true believer. But, not a literal “Bible-based” worshipper, as many of my fundamentalist friends would define themselves. What does that make me? I am reading now a book by Brian McLaren called “A New Kind of Christian.” I recommend this book for anyone who is scrambling for a sense of what is real in their faith in these times of fundamentalist vociferousness from multiple corners, not all Christian. I am only half-way done, and I’m already getting some “AHA!” moments about just how rooted in modernism I have been. (As a side note, awful critic that I am, McLaren is not a very good writer. You’ll need to get beyond his high school writing style to get to the essence of the book.)
I am hoping to come out of this process with something better than the architects have had to offer us: old shapes in new decorations. I think something new is afoot inside of me, a giving way to a newer space I haven’t really explored. The closest word I can think of is one I learned in early sobriety: Surrender. I will stay open, and see where this leads.




