I like houses that look like their owners. (Is it any wonder my house is made
of cracking stucco?) Those who knew architect Charles Moore — a writer and
teacher who reacted against 1950s modernism — say he resembled his Austin
home, both in appearance and spirit. After touring the Tarrytown compound, all
I can say is I wish I could have had Mr. Moore over for dinner. He must have
been entertaining.
The exterior is serene and unassuming, not the expected domicile of an
architect responsible in part for design projects on the scale of Herman Park
in Houston or the Piazza d’Italia in New Orleans. There are basically three
structures, grouped like Texas farm buildings. A small “shed” in the side yard
houses offices for visiting architects and interns. The main compound is
comprised of the former residences of Moore and his business partner, architect
Arthur Andersson. The fanciful entry gates, a hint of the playfulness to come,
fulfill Moore’s wish to “celebrate the act of arrival.”
As soon as Kevin Keim, the director of the Charles W. Moore Foundation and my
tour guide, opens the front to the Moore House, my eyeballs start jumping
around in their sockets, overwhelmed by the magic and the color and the
details. The words “visual cacophony” spring immediately to mind. Keim, who
worked as a writer/researcher with Moore several years prior to his unexpected
death, likens the house to a geode: simple on the outside, vibrant on the
inside.
If you want to find out more about Moore’s architectural and academic
achievements, as well as his design philosophies, there are some great books to
choose from: Charles Moore, Buildings and Projects 1949-1986, edited by Eugene Johnson; The Place of Houses by Moore, Gerald Allen
and Donlyn Lyndon; and An Architectural Life: Memoirs and Memories of
Charles Moore by Kevin P. Keim. But to appreciate his sheer exuberance, you
have to visit the house, a place Paul Goldberger of The New York Times
said “may contain more joy per square foot than any other building in
Texas.”
Above all else, this house is fun. Moore’s collection of folk art from his
travels around the world, his toy soldiers, tapestries, books and art fill
every available niche. And there are more colors here than in a
Sherwin-Williams paint chip factory. Plywood palm trees, fantastic “memory
palaces,” and indescribable “light fixtures” of stylized Persian suits of armor
must be seen to be understood. (Even then, enjoyment is more important than
understanding.) With the addition of seasonal decorations — poinsettias,
lights, and a tree — I’d recommend sunglasses for those with sensitive sight.
To make an appointment, to find out about scheduled tours, or to become a
member of the Charles Moore Foundation, contact Kevin Keim at 512/477-6660.
Are you sure you want my advice? Then e-mail your questions to me at:
Suzebe@aol.com or snail mail ’em to: The Austin Chronicle, PO Box
49066, Austin, TX 78765.
This article appears in December 6 • 1996 and December 6 • 1996 (Cover).