{"id":2153,"date":"2015-06-08T17:53:09","date_gmt":"2015-06-08T17:53:09","guid":{"rendered":"http:\/\/primolevicenter.org\/printed-matter\/?p=2153"},"modified":"2015-06-08T18:10:34","modified_gmt":"2015-06-08T18:10:34","slug":"the-rebuilder","status":"publish","type":"post","link":"https:\/\/primolevicenter.org\/printed-matter\/the-rebuilder\/","title":{"rendered":"The Rebuilder"},"content":{"rendered":"

By reimagining landmark New York buildings like the Astor Library, which became the Public Theater, Giorgio Cavaglieri championed the architectural preservation that shaped the modern city<\/h4>\n
\nAllan M. Jalon, Tablet Magazine, August 10, 2011<\/a>\r\n\t \t\t
Tablet Magazine<\/a>,\u00a0Allan M. Jalon is a New York-based freelance writer whose work has appeared in the <\/em>Los Angeles Timesand other publications.<\/em><\/div>\n<\/div>\n

 <\/p>\n

\u201cArchitecture,\u201d said Vincent Scully, a top historian of the field, \u201cis a continuous dialogue between generations which creates an environment across time.\u201d<\/p>\n

It\u2019s a perfect line with which to mark the 100th birthday of Giorgio Cavaglieri, an Italian-Jewish architect who reinvented American buildings to reflect that historical conversation. He made a name with buildings he built himself and as a leader among the 1960s-era preservationists who took to the streets to save the humane qualities, beauty, and economic potential of old structures. As befits an exile, Cavaglieri defied easy definition. He wasn\u2019t overlooked: When he died, in 2006, at 94, theNew York Times<\/em> ran a richly detailed obituary. But Cavaglieri left no icon of personal style to match fellow \u00e9migr\u00e9 Marcel Breuer\u2019s Whitney Museum, no lasting transcendental aura like Louis Kahn\u2019s. His sense of architecture as an act of valuing the past, however, created a legacy that includes recent projects like New York\u2019s popular High Line, a rusting freight track transformed into an elevated park.<\/p>\n

Working at a time when urban clearing went too far, Cavaglieri\u2014Ada Louise Huxtable, former architecture critic of the New York Times<\/em>, told me\u2014taught America \u201ca lesson we needed to hear.\u201d Elected as president of the influential Municipal Arts Society in 1963\u2014the nonprofit is dedicated to urban planning in New York\u2014he ran the society for three years, which gave him a bully pulpit on zoning issues and other questions affecting how the city should grow. New York\u2019s current, and sometimes stricter, zoning laws reflect Cavaglieri\u2019s ethos.<\/p>\n

Cavaglieri was an elegantly lanky, mustachioed man with a bony but sensitive face, a narrow nose that looked like a slightly battered soup spoon, and long-fingered hands that drew his ideas in the air. He zipped around New York in one Alfa Romeo after another, returned to his native Venice often, painted its floating world in many canvases. In an unpublished memoir, he wrote that the sight of the Doge\u2019s Palace from the Piazza San Marco when he was 4 years old \u201cinfluenced my decision years later to design buildings.\u201d<\/p>\n

The new world, Cavaglieri learned soon after he escaped to New York from Mussolini\u2019s Italy in 1939, was often not as reverent of its buildings as the old one. He joined the revolt against urban ruin when he protested against the wrecking of McKim, Mead & White\u2019s splendid Penn Station in the heart of Manhattan. The station was torn down in 1963, but its demise made preservation into a public cause.<\/p>\n

\u201cI came to be involved, in the early 1960s or late 1950s, in the political groups that were then agitating for the preservation of the old Jefferson Market Courthouse,\u201d Cavaglieri recalled in a 1982 interview with the preservation historian Charles Hosmer. It was his decisive moment. The courthouse, where Sixth Avenue passes 10th Street at the center of Greenwich Village, was designed by Calvert Vaux\u2014who also contributed to the design of Central Park\u2014in collaboration with Frederick Withers. Its Victorian Gothic style is romantically quirky. But it had fallen into decaying disuse. The clock on its high tower, by which villagers had told time for decades, stayed stuck at 3:20.<\/p>\n

Cavaglieri helped collect signatures to restart the clock and save the Old Jeff. Turning the Jefferson Courthouse into a library in 1967 earned him critical raves. He became an international figure for elevating into an art form the so-called \u201calteration work\u201d many architects looked down on, as architect-writer John Morris Dixon put it recently in the professional architectural journal Oculus<\/em>.<\/p>\n

The pioneering work on the Old Jeff brought Cavaglieri his next big project. As he was sitting in his office one day, Joseph Papp, the legendary theater producer and director, burst in. Papp, Cavaglieri later recalled, felt right at home in the bare-bones, unpretentious office. The willful architect and driven theater man sized each other up. Then Papp told Cavaglieri he was looking for spaces in which to house his nascent Public Theater, and he asked the architect to accompany him to look at one such space, the high-ceilinged former Astor Library at 425 Lafayette Street. The building\u2019s elegant Italianate personality attracted Cavaglieri, and he took the job.<\/p>\n

\u201cJoe didn\u2019t fire Giorgio, and when you\u2019re talking about Joe that\u2019s saying a lot,\u201d recalled Bernard Gersten, who was Papp\u2019s right-hand man in those years and now runs the Lincoln Center Theater. \u201cHe admired Giorgio as a Venetian, as an Italian, as an artist.\u201d<\/p>\n

To understand Cavaglieri\u2019s work, one needs to go inside his projects, where the alchemy of matching the old with the new took place\u2014for example, the Jefferson Market Library, subject of a new $7.9 million renovation that began in 2007. Though the scaffolding outside won\u2019t come down for a while, refurbished Cavaglieri interiors reopened last month. They include a soaring second-floor reading room, for which Cavaglieri had to clear out Withers\u2019 three upstairs court-rooms. He drew controversy at the time from purists by replacing some stained glass windows in the room with transparent glass; he argued that the contrast actually enhanced the impact of the stained glass. The modernized integrity of his choice is, I believe, obvious to anyone visiting the library.<\/p>\n

The term architects use for projects like the library or the Public Theater\u2014currently undergoing its own re-renovation\u2014is \u201cadaptive reuse.\u201d It defines the transformation of existing structures for new purposes, bearing a double theoretical edge that rebuts both fetishists of original detail and the wanton destroyers of old buildings. \u201cWhen a local historical society squeezes from the public a few dollars and pretends to restore something, cheating, to some extent, the future public in making them believe they\u2019ve got the original farmhouse or the original building to look at, that\u2019s something that is not realistic and not true,\u201d Cavaglieri said in an 1982 interview.<\/p>\n

Cavaglieri\u2019s personal story helps to explain his balancing act of old and new. Growing up in a wealthy Venetian-Jewish family, no sooner had he become an architect than he faced a basic aesthetic-political juncture. He could choose either the neoclassical, sometimes swaggering styles nurtured by Italy\u2019s Fascist regime or the more functional, austerely geometric directions influenced by the Bauhaus, the evolving International Style favored by some of the era\u2019s most prominent architects. \u201cIt was assumed,\u201d Cavaglieri wrote in his memoir, \u201cthat people of our ages [sic] would take sides.\u201d The more his professors taught Fascist-tinged neoclassicism, the more he studied architecture \u201cpushing for simplified geometric forms,\u201d he wrote. Meanwhile, other pressures affected him. Getting work as an avant-garde architect was harder than complying with a cultural imperative \u201cto protect the historical patrimony,\u201d as he put it.<\/p>\n

In other words, he had to learn how to reconfigure structures that were decades or centuries old. His thesis at Milan University re-imagined an old apartment building in the center of town as a commercial structure that would also include a theater. In the United States, he made a career with such projects, but what really distinguished him was a personal modernism that was especially thoughtful and resisted cold order for its own sake.<\/p>\n

Family connections helped the young architect in prewar Italy in the 1930s. His father was an executive with Assicurazioni Generali, a powerful international insurance firm based in Trieste, Italy, who ran the company\u2019s real-estate division for a while. The company became Cavaglieri\u2019s first client, and he opened up a small practice. But military duty soon had him designing airfields for the Italian army in Libya. When he died, an Italian obituary-writer wrongly called him \u201cMussolini\u2019s architect.\u201d<\/p>\n

He was, of course, nothing of the sort. When Mussolini\u2019s anti-Semitic laws erased Jews\u2019 status in Italian society, Cavaglieri fled to New York in March 1939. He arrived here with no more than $150, the family\u2019s sizable assets having been seized by the Fascists. With the war under way, Cavaglieri joined the U.S. Army as an infantryman, and he ended up designing field hospitals and bridges for the U.S. Army as it fought across Europe.<\/p>\n

After the war, having settled in New York with his wife, he struggled for a few years before earning sudden recognition. He was practicing out of an office in the well-known Fisk Building, at 250 West 57th Street, when the building\u2019s owner asked him if he\u2019d redesign the sculpted dark wood of its facade and lobby. Cavaglieri revolutionized the building with a front of modern metal and glass. In a 1949 review in The<\/em> New Yorker<\/em>, the critic Lewis Mumford wrote that Cavaglieri \u201cdeserves public thanks for carrying through this job with tremendous reserve.\u201d<\/p>\n

His career having taken off, Cavaglieri spent the 1960s dashing all over New York City as both an activist and an architect. He designed\u00a0 a few buildings from the ground up, including libraries in Kips Bay and Riverdale and two union halls, one for workers in the theater industry and the other for hotel employees. These projects, said Andrew Tesoro, a New York architect and Cavaglieri\u2019s nephew, weren\u2019t grand, but they were dear to his uncle. \u201cHe got to use the palette of the modern architect, even if they were on a small scale,\u201d Tesoro said. \u201cHe loved them for their left-wing implications. He loved them because they each had a face to the city.\u201d<\/p>\n

It was through one such project that I came to know of Cavaglieri. In the early 1950s, he built a home in Pleasantville, N.Y., for Frederick and Lili Arno, my mother\u2019s parents, themselves refugees from Trieste. An orderly, single-level rectangle from the front, it unfolded inside into an embrace of light and space, skylights above, almost every view a threshold to someplace open and intriguing. Its clean geometry absorbed the formality of my grandparents\u2019 European furniture but transcended it with white walls that merged with wall-sized windows to trees and sky. The design showed how second-nature the International Style was for the architect but also reflected the reserve Mumford had noticed, a knack for intimate practicality that collaborated vigorously with the life of a family or union members or kids checking out books in Greenwich Village.<\/p>\n

The International Style the architect applied to the Pleasantville house bore an edge of the postwar era\u2019s sunlit optimism. But my childhood inhabitation of its functional beauty also touched me with a sense of great losses that were overcome but never forgotten. Memories of those who never escaped Fascist Europe weighed on those who did: \u201cWe few, we lucky few,\u201d my mother would say.<\/p>\n

My grandfather died in 1967, the year Cavaglieri finished his bold Jefferson Market redesign. As I grew into my teens, I spent a lot of time with my grandmother in her home. I often asked her about the past. \u201cWho built the house, Granny?\u201d I asked her one day. \u201cAch,\u201d she said, \u201cCavaglieri.\u201d She tossed out that last name as if it held a bigger truth that didn\u2019t have to be explained. \u201cIs he famous?\u201d I inquired. \u201cNo,\u201d she said. \u201cBut he did a good job on our house.\u201d<\/p>\n

<\/h4>\n","protected":false},"excerpt":{"rendered":"

By reimagining landmark New York buildings like the Astor Library, which became the Public Theater, Giorgio Cavaglieri championed the architectural preservation that shaped the modern city   \u201cArchitecture,\u201d said Vincent…<\/p>\n","protected":false},"author":2,"featured_media":2141,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-2153","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays"],"yoast_head":"\nThe Rebuilder - Printed_Matter<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/primolevicenter.org\/printed-matter\/the-rebuilder\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Rebuilder - 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