Summary:
In “Hollywood Architects,” Despina Stratigakos argues that the portrayal of architects in Hollywood films has shaped public perceptions of the profession in significant and often misleading ways. These cinematic depictions tend to romanticize architects as lone creative geniuses who are typically white, male, and brooding rather than reflecting architectural practice’s collaborative, complex, and diverse reality. This mythology has influenced how society understands what architects do and who can become one.
One example Stratigakos discusses is how films like The Fountainhead present the architect as a heroic figure driven by uncompromising artistic vision, reinforcing the idea of individualism and genius over teamwork and social responsibility. Another example is the persistent underrepresentation or stereotyping of women and people of color in these roles, which perpetuates real-world exclusions and narrows the image of who can be seen as a legitimate architect. Through this lens, Stratigakos reveals how Hollywood has not just reflected cultural biases but actively participated in constructing and sustaining them within the field of architecture.
Current Case: The Obama Presidential Center, Chicago (under construction)
The Obama Presidential Center, designed by Tod Williams Billie Tsien Architects, challenges the “lone genius” myth described in Stratigakos’s article by emphasizing collaboration, community engagement, and inclusivity. The design process included significant input from South Side residents, making it an example of socially engaged architecture rather than a product of individual artistic ego. The architects aim to create a civic landmark that reflects collective memory and community use, not just the legacy of a single person. This contrasts strongly with the Hollywood image of the architect as an isolated male visionary and instead highlights architecture as a democratic, ongoing process.
Figure 1. Concept rendering of the Obama Presidential Center: community-centered, monumental without being egocentric
Credit: The Obama Presidential Center | The Obama Foundation
Historical Case: The House of Tomorrow, Chicago Century of Progress Exposition
The “House of Tomorrow” is presented as a forward-thinking architectural concept that reflects optimism in technology and design. Created by architect George Fred Keck, the house featured innovations like glass curtain walls, passive solar heating, and a garage for a personal airplane. Despite its progressive features, the article centers Keck as the singular visionary, echoing the “hero architect” trope that Statigakos critiques. While the house itself was innovative, the framing of its success focused more on Keck’s genius than the broader context of technological and collaborative advancement. This reflects the historical pattern of media, including design publications, upholding a mythologized image of the architect.
Figure 2. Exterior of the House of Tomorrow: a vision of technology utopia tied to one man’s imagination.
Credit: A rendering of the “House of Tomorrow.” The house was designed and built for the 1933 Chicago World’s Fair’s Century of Progress Exhibition. (Courtesy Collection of Steven R. Shook)
Comparison:
The Obama Presidential Center and the House of Tomorrow both aim to represent a vision of the future, but their approaches to authorship and community differ drastically. While Keck’s House of Tomorrow is framed around the genius of the individual designer, the Obama Center demonstrates a shift toward inclusivity and shared authorship. Both cases involve architecture as a tool for cultural narrative, but one reinforces the mythic image of the architect, and the other actively works to dismantle it. This evolution reflects a broader shift in the field away from heroic individualism and toward ethical, participatory design practices.