Lenfest Hall and What Could Have Been

With Gerry Lenfest slapping his name on everything from plazas to ships, Lenfest Hall at the Curtis Institute of Music might seem like old news. A friend of mine had the pleasure of working at the National Arts Club of Manhattan and his story revealed some dramatic parallels, unfortunate missed opportunities, and one beautiful stained glass ceiling.

Like Lenfest Hall, the National Arts Club occupies a collection of 19th Century mansions. The club acquired the Samuel J. Tilden House on Gramercy Park South in 1906. Prior to the club's acquisition of the property it had been combined with another stately home in 1845. Inside a stained glass dome was designed by Donald MacDonald, the teacher of famed artist Louis Comfort Tiffany.

Fortunately for Manhattanites, the National Arts Club retained much of the mansion's grandeur inside in out. While two brownstones were retained as part of Lenfest Hall's facade, the first warning sign should have come when the Curtis Center contracted Venturi, Scott Brown and Associates to design the structure's extensive renovation.

For some reason this city continues to extend Robert Venturi's firm carte blanch when it leaves its mark on Philadelphia. The critiques often read like first year art history students struggling to find the beauty in a blue canvas with a red stripe across it. "Brilliant!" No, not really.

If you've read anything else I've written you know I'm not a fan of hackneyed modernism. I appreciate experimental design and many of our lesser known architects in Philadelphia like Erdy-McHenry and QB3, those who challenge convention while creating something well crafted and interesting to look at. Unfortunately many starchitects, particularly the trifecta of mediocrity - Venturi, Gehry, and Graves - have branded an identity to sell their designs the way The Jersey Shore pushes pickles.

It's not that Lenfest Hall is bad. It serves a purpose, it's scaled to the street, and it's unassuming. But so is a parking garage. Is it okay? That's exactly what it is. But as part of an institute that strives to represent the best in the art community, okay isn't okay.

While anyone who knows anything about architecture can look at Lenfest Hall and see Venturi's signature style, it's hard not to see an architecture student from 1992. If experimental design is going to erase the beautiful works of art that once occupied the site of Lenfest Hall, it needs to overwhelm and inspire the way those homes once did, inside and out. 


But Lenfest Hall isn't even experimental. It was dated before it was built. Its tiresome, branded design will undoubtedly find a page in the annals of academia, but architecture is the one art that is thrust on all of us, and the one opportunity for artists to inspire, even enrage, those who would never otherwise set foot in a museum. 


And in this instance, Venturi, Scott Brown and Associates have proven once again that they would rather use their brand to build their portfolio than offer pedestrians something interesting.

Jamaican Jerk Hut vs Boring Rich People

I've never been crazy about the Jamaican Jerk Hut. I have nothing against it, but it's just not my
scene. The popular outdoor space reeks of hipsters and they don't sell Pepsi. But again, nothing personal, it's just not me.

However, as a local icon, cultural institution, and a small business representing the eclectic diversity all cities are designed to embrace, it's an important attraction in Center City's Avenue of the Arts.

Unfortunately residents at the Symphony House, Center City One, and Academy House don't see it that way. While bragging that these properties offer a lifestyle amidst a fast paced pantheon of urbanity, apparently our city's diversity should be limited to what these elite residents are comfortable with. At least that's what Gary A. Krimstock, a lawyer representing the residents of the three properties, would have you believe.

For two years Lisa Wilson, owner of the South Street landmark, has been struggling to battle Krimstock in and out of court. Krimstock notes, "not everyone enjoys the music...it's disturbing the other residents in the area."

By "other residents" Krimstock clearly means rich, urban newbies. A number of affluent venues along the Avenue of the Arts call loud crowds to their doors and their dance floors. Affluent venues that are even closer to the doors of his clients and nobody seems to mind.

The Jerk Hut's outdoor space, featured in the hit comedy In Her Shoes and owned by the internationally renowned architects Robert Venturi and Denise Scott Brown, silences its music at 9:30PM, much earlier than many nightlife venues who often close their patios at midnight, or in some areas as late as 2AM.

Krimstock's legal maneuvering and surplus of cash is clearly aimed at running Wilson's venue out of business. While Venturi, Scott Brown has partnered with Wilson in transforming her outdoor space into a unique oasis in the middle of the city, it would be nice to see the firm - which prides itself on unique urban solutions - step forward and aid Wilson in her legal battle.

Perhaps they can remind the out of touch residents in these Center City high rises that they live in a city, and that the bland suburban luxuries they seem to feel entitled to are readily available elsewhere.

The city is for the living. In fact, despite the hipsters, I think I'll be checking out The Jerk Hut very soon. You should too.