Our House
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Our House
Architects themselves - at least the advance guard among them, who talk and theorize as much as they build - seem to like to denounce the whole business, and promise to rescue us from the grip of modern architecture. Meanwhile, instead of any real and total change, we get a wild skyline in which one building looks like a Chippendale highboy, another like a glass box sliced off at random angles and still another like a granite ski slope. And out where the trees grow, we get one house that looks like a Mondrian in glass and wood, another that looks like an exploded version of a classical temple, and yet another that seems very much intended to make us think that it has been there since our grandmother's day.
It was never so, of course. By now it is a commonplace to point out the destruction the modern movement wrought on our cities, sweeping away their vitality and diversity in favor of the pure, abstract order of towers in a row. And if the modern movement did not serve the needs of our cities, neither did it serve the needs of our senses; by the 1970's there were few architects around trying to sell the average homeowner on the joys of life in a glass box. Indeed, so violent had the reaction to International Style modernism become by th e late 1970 's that a movement calling itself ''post-modernism'' hadtaken on the attributes of a full-fledged style, its leaders calling for an archit ecture that once again embraced elements of historical architectural styles, including ornament, as zealously as their modernist for ebears had rejected these things. Thus we have Philip Johnson and J ohn Burgee's vaguely Renaissance, vaguely Chippendale American Tele phone & Telegraph tower in New York, Michael Graves's highly person al explorations of classical themes in houses in New Jersey, and R obert Stern's exercises in Shingle Style redux in Martha's Vine yard.
Does any of this matter? Of course Mr. Wolfe isn't really writing history; he is writing social criticism, as he always does. I think that he is finally not very interested in architecture, anyway. What interests him much more are society's reactions to architecture. And there he makes some observations that, while as simplistic and selective as his history, are at least amusing. We all know how earnest, how innocent even, were the apartments of young architects of the 1950's; Mr. Wolfe demolishes them as deftly as he did the Park Avenue liberals of ''Radical Chic'': ''At the end of the rug, there it would be. ... The Barcelona Chair (italics his). The Platonic ideal of chair it was, pure Worker Housing leather and stainless steel, the most perfect piece of furniture design in the twentieth century. ... When you saw the holy object on the sisal rug, you knew you were in a household where a fledgeling architect and his young wife had sacrificed everything to bring the symbol of the godly mission into their home. Five hundred and fifty dollars! She had even given up the diaper service and was doing the diapers by hand.''
The services provided help these young adults break the cycle of homelessness and become successful independent adults. Additionally, while living in the house, the residents learn to share in communal responsibilities, from general cleaning and preparing weekly house dinners to service projects benefiting the local neighborhood. This instills a sense of resident responsibility and ownership in Our House. The basis for Our House is to help youth grow to better manage their finances, health and hygiene, as well as develop adult social skills to more quickly become independent, responsible, contributing adult members of the community.
Our House tells the four-part story of Fi Lawson (Middleton), who arrives home one day to find a family of strangers moving into her house and her husband, Bram (Compston), has disappeared. As the nightmare takes grip, both Bram and Fi try to make sense of the events that led to a devastating crime and how they each are going to survive the chilling truth.
Amano Taco brings authentic taco recipes from Morelos to R. House. Amano tops tacos and bowls with slow-roasted meats, roasted chiles, and fresh salsas. Bring chips & guacamole back to the table for friends or Mexican street corn for yourself. Of course, house-made frescas and Mexican Coke are nearby to cool the spice. 041b061a72