announces itself as a civic hub. It’s made of corrugated concrete and glass, organized into three pavilions around a courtyard, like an old wagon train around a village green. A county proposal would tear down huge chunks of it, flatten the roof, destroy windows, swap out parts of the textured concrete facade and build what looks like an especially soul-crushing glass box. Goshen would end up with a Frankenstein’s monster. . .
Pictures of the interior from the early 1970s, when the center was still new, show a complex of animated spaces, by turns intimate and grand. Later renovations ruined the inside, making it cramped and dark. Rudolph was a master of sculpturing light and space, following in the footsteps of Frank Lloyd Wright, whose emotionalism he married to the cool Modernism of Europeans like Walter Gropius and Le Corbusier.
Although the center no longer seems to suit Orange County administrators, it can be repurposed. Gene Kaufman, the owner and principal of Gwathmey Siegel Kaufman Architects in New York City, has offered to pay the county $5 million for the building and restore it as an artists’ live-work space, with public exhibitions. Mr. Kaufman has also offered to design a brand new government center next door for $65 million — millions less than the $74 million county officials allotted some time ago for the plan to tear down part of the building and add the glass box.Seems at least worth looking into, if all the county plans to do is replace concrete modernism with glass modernism.
the government center was conceived with lofty social aspirations, making tangible Rudolph’s concept of energetic governance as a democratic ideal. It was a beautiful notion; and while the architecture may never win any popularity contest, it was beautiful, too, with its poetry of asymmetric, interweaving volumes.Was the connection between awful modernist architecture and socialism just an accident of timing, or does the socialist fondness for soul-destroying buildings reveal something disturbing about the whole communal project of the modern left?