Back in the spring, Alexandra Lange made the case for Why Charles Moore (Still) Matters, in Metropolis Magazine.
She closes “For many years he worked with photographer Morley Baer, trucking in his own ornaments and bentwood chairs to get the mood just right. Photographs of the early MLTW interiors, the later fountains, faculty clubs, and academic buildings are shot through with diagonals. Up into the clerestory, down into a tower, through a cutout, across a crowded room. Moore’s interest in the layers of history manifested itself, through all his partnerships, in projects domestic and urban, in architecture to be experienced in movement—swinging between inside and out in a hammock, on two legs, or on wheels.“