Michael Kimmelman on Building More Beautiful and Equitable Cities

Michael Kimmelman does nothing in half measures. For more than 30 years, he has brought his assertive, culturally astute, historically sensitive perspective to The New York Times, which he has been contributing to since 1987 and joined full-time in 1990. During his tenure, he has written more than 2,000 articles, ranging from art criticism (he was its chief art critic from 1990 to 2007); to reporting from Europe and the Middle East (from 2007 to mid-2011, he was based in Berlin, where he was the “Abroad” columnist); to civically minded coverage of the built world, which has been his focus as the paper’s architecture critic the past seven years.

Throughout Kimmelman has displayed the rare ability to balance his writing in a way that shows him to be more far more level-headed than hot-headed. He is a classically trained pianist who plays with the well-rounded, even-keeled temperament and gentle skill of someone who clearly has done the work and put the hours in, and the same is true of his pieces in The New York Times. Consider his judicious take—note: not takedown—on a 1992 Julian Schnabel show at Pace gallery: “Mr. Schnabel's ambition and ego continue to outstrip his ability to paint. But there's something impressive about his sheer audacity, and just enough talent in him to make it impossible to dismiss his work out of hand. One wants to ignore it but can't.” Or, more recently, in 2014, his view on David Adjaye’s Sugar Hill social-housing complex in Harlem: “Sugar Hill is something of an extravagance and not easily replicable. But it posits a goal for what subsidized housing might look like, how it could lift a neighborhood and mold a generation.” Kimmelman more often than not sees the bigger picture and, at the same time, injects his own shrewd, deeply studied understanding of the subject at hand.

On this episode of Time Sensitive, Spencer Bailey speaks with Kimmelman about his lesser-known talents as a pianist, his three-plus-decade path at The New York Times, and his goal as architecture critic to build a greater discourse around designing cities that are better, healthier, and simply fairer for all.