If that were the case in all cases, much of the work of E. Fay Jones would not be welcome here.The mere fact of its location in a southern state where racial tensions continue was adequate reason to repudiate anything of a positive nature about the house.
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As to Steven Holl's prizewinning design for an addition to the Nelson-Atkins Museum, a colleague and I agree that it is an unmitigated disaster. The plan, which Holl presented as a series of natural-light lenses that would perfectly respect the east facade of the original museum, being arranged "like a broken clarinet," instead cribbed from the pavilions of Gehry's museum in Barcelona, and flagrantly insulted the east facade while blocking its bronze doors. The lighting turned out to be mostly artificial, as in the most ordinary of museums. The galleries are served by a downhill corridor 860 feet long--quite a climb coming back. Once inside the addition you wish to get back into the original building and to the food court.
The jury that awarded Holl first prize was dishonestly composed. The members included the late critic Ada Louise Huxtable as well as Arthur Brisbane, then publisher of The Kansas City Star, both of whom were thereby compromised into praising Holl's addition and influencing national opinion.
As a white man from rural Minnesota, where we had a single black family and a Japanese woman who married a local military man, and with no exposure to the deep south other than northern Florida, I am in no position to opine on racial matters. All I said was that single post compared to this post was contradictory.