"The four stages of man," Art Linkletter once observed, "are infancy, childhood, adolescence and obsolescence."

While this bromide may well describe the lives of media stars and child prodigies, I’m happy to report that it seldom applies to architects. While many may grow old, few, it seems, grow irrelevant. In fact, most great architects hadn’t even hit their stride until midlife, and many kept going strong into their nineties.

Frank Lloyd Wright is of course the poster child for architectural longevity, yet there were surely times in Wright’s life when he doubted his own relevance.

Editor’s note: This is Part 1 of a two-part series. Click here to read Part 2.

"The four stages of man," Art Linkletter once observed, "are infancy, childhood, adolescence and obsolescence."

While this bromide may well describe the lives of media stars and child prodigies, I’m happy to report that it seldom applies to architects. While many may grow old, few, it seems, grow irrelevant. In fact, most great architects hadn’t even hit their stride until midlife, and many kept going strong into their 90s.

Frank Lloyd Wright is of course the poster child for architectural longevity, yet there were surely times in Wright’s life when he doubted his own relevance. He’d begun his career with a bang, devising his brilliant Prairie Houses during the first decade of the 1900s, while he was still in his thirties. But by the time he completed Tokyo’s Imperial Hotel in 1923, his commissions had tapered off considerably. By normal career standards, Wright, by then in his late fifties, should have been contemplating retirement. In any case, by the mid-1930s, his organic architecture was already being eclipsed by a younger generation of modernists, whose sleek International Style creations seemed even more advanced than Wright’s work had been.

Yet it was just at this seeming twilight in his career that Wright staged a spectacular comeback. In 1937 he completed the Edgar Kaufmann house (Fallingwater), a lyrical conception seemingly meant to outdo the International Style modernists at their own game. It was Bauhaus modernism with a heart and soul. Acclaimed worldwide, Fallingwater relaunched Wright’s career in the seventh decade of his life, unleashing a creative flurry that continued unabated until his death at 91.

Wright’s late-life renaissance isn’t at all unusual among architects, however. The first generation of International Style architects also had lengthy careers marked by equally late triumphs. After his famous stint as director of the Bauhaus, for example, Walter Gropius (1883-1969) came to the United States and, in 1945, when he was already in his 60s, founded The Architects Collaborative (TAC). It was soon to become one of the world’s most successful and respected architecture firms. Moreover, Gropius was nearly 80 when he completed New York’s Pan Am building with Pietro Belluschi (he lived to be 86).

Ludwig Mies van der Rohe (1886-1969) completed New York’s Seagram Building — a work often ranked among the pinnacle achievements of modern architecture — when he was in his early seventies.

Le Corbusier (Charles-Edouard Jeanneret-Gris, 1887-1965) had a long and influential career, but arguably his greatest work — the lyrical chapel he designed at Ronchamp — was completed only when he was in his late 60s. No doubt Le Corbusier, too, might have remained productive into his eighties, had he not ignored his doctor’s orders and gone for a swim in the Mediterranean Sea, where he apparently suffered a heart attack and drowned at age 77.

Curiously, while the first-generation modernists recounted above held fast to their convictions for the duration of their long and distinguished careers, some of their equally venerable successors renounced modernism in their later years — refuting the idea that old age breeds inflexibility. We’ll look at some of those long careers next time, as well as a few others that were cut tragically short.

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