From Architecture to Annihilation

The modern profession of architecture is relatively new, having evolved significantly over the past few centuries. Before the iconic figures of contemporary architecture such as Frank Gehry or Frank Lloyd Wright made their marks on the field, the origins of architecture as a structured discipline can be traced back to the early civilizations of ancient Egypt, where it began to take on a more defined role within society.

Imhotep served as the Egyptian chancellor to King Djoser during the Third Dynasty of the Old Kingdom. He is renowned not only as the architect behind Djoser's groundbreaking step pyramid at Saqqara, built in the 26th Century BC, one of the earliest monumental stone structures. He was also the high priest of the sun god Ra at Heliopolis, reflecting the intertwining of religious, political, and architectural duties in ancient society. This multifaceted role exemplified how architecture was not merely a profession but rather a crucial component of governance and spirituality.

Photo of Step Pyramid of Djoser at Ṣaqqārah, Memphis, Egypt, early 1900s

Throughout much of early civilization, the role of an architect was not a standalone occupation as it is understood today; instead, it was deeply embedded within the broader political and social frameworks of the time. Architectural projects were commissioned and executed at the behest of the highest societal figures, including pharaohs, kings, and emperors, who dictated the vision and purpose of these monumental works.

Slightly more recently in history, the commissioning of the Pantheon in Ancient Rome was by Emperor Hadrian. Completed around 126 AD, it emerged as a symbol of architectural innovation and imperial ambition, reflecting the grandeur of the Roman Empire. Hadrian, known for his interest in arts and culture, envisioned a structure that would serve as a temple dedicated to all the gods and stand as a testament to the might of Roman engineering. The Pantheon, with its dome and oculus, showcased advanced engineering techniques that were significant for its time, bridging the gap between art and functionality.

Pantheon, Rome, Italy, completed 126 AD

This structure exemplifies how architecture can embody political power and cultural values. The architect responsible, whose name has unfortunately been lost to history, worked in close collaboration with Hadrian, highlighting the relationship between architecture and authority. In this way, the Pantheon not only serves as a religious site but also as an expression of the empire's aspirations, reinforcing the idea that architecture is a tool for both spiritual and political expression.

The influence of the Pantheon extended far beyond the ancient world, becoming a lasting symbol of architectural authority and cultural continuity. One notable example is the Jefferson Memorial in Washington, D.C., completed in 1943.

Thomas Jefferson Memorial, Washington, D.C., completed 1943

Designed by architect John Russell Pope, the memorial draws heavily on classical Roman architecture, with its domed roof, symmetrical layout, and columned portico directly echoing the form and grandeur of the Pantheon. Pope's use of neoclassical design was not merely aesthetic, it was deeply ideological. The choice of this style was deliberate and symbolic, aligning Thomas Jefferson, one of the principal authors of the American experiment, with the philosophical and civic ideals of ancient Rome. Jefferson himself admired classical architecture and believed it expressed order, reason, and democratic virtue, values central to the Enlightenment and the founding of the United States. By referencing the Pantheon, the memorial reinforces Jefferson's identity as a thinker and statesman rooted in reason and republicanism. This neoclassical borrowing demonstrates how powerful architectural symbols can transcend time and geography, being reinterpreted to serve the identity, aspirations, and political narratives of new societies.

As architecture entered the 20th century, figures like Frank Lloyd Wright began to shift the balance of authority from client to architect. Wright, known for his Prairie School designs and the philosophy of organic architecture, exerted extraordinary control over his projects, often dictating every detail from structure to furnishings. He did not merely execute a client’s wishes; he created environments that reflected his own artistic and ideological vision. His most iconic works, such as Fallingwater and the Guggenheim Museum, exemplify the architect as a creative auteur, where personal expression took precedence over client demands.

The autonomy that architects like Wright once enjoyed has gradually diminished in many sectors. In recent decades, the role of the architect has increasingly been compromised by the demands of clients who may lack architectural understanding but insist on directing design outcomes. Complex layers of government regulations, zoning laws, and bureaucratic red tape often strip architects of the freedom to innovate or make critical decisions. What was once a role defined by vision and leadership is reduced to navigating paperwork and appeasing stakeholders.

This decline in architectural authority has prompted ongoing debate within the profession. While public input and regulation can serve vital societal functions, such as safety and accessibility, the delicate balance between creative freedom and external constraint remains a central tension in contemporary architectural practice. The challenge for today’s architects is to reclaim a sense of agency while operating within increasingly fragmented and regulated systems.

This post is a work in progress.