In 1889 Joseph Morrill Wells, at the time an employee of the firm McKim, Mead & White (MM&W), refuses to become a partner, arguing that he could not “put his name to so much damned bad work”.1 In fact, over a twenty-five-year period, from 1879 to 1904, MM&W realizes almost a thousand buildings. This enormous production is not an accident, nor the unpredictable consequence of the lucky career of its three partners. Quantity is not by chance; it is a choice, involving a very precise commitment to both city and architecture.

So Much Damned Bad Work

TAMBURELLI, PIER PAOLO
2013-01-01

Abstract

In 1889 Joseph Morrill Wells, at the time an employee of the firm McKim, Mead & White (MM&W), refuses to become a partner, arguing that he could not “put his name to so much damned bad work”.1 In fact, over a twenty-five-year period, from 1879 to 1904, MM&W realizes almost a thousand buildings. This enormous production is not an accident, nor the unpredictable consequence of the lucky career of its three partners. Quantity is not by chance; it is a choice, involving a very precise commitment to both city and architecture.
2013
McKim, Mead & White; classicism, metropolitanism; New York; Gilded Age
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11311/1013197
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