Tom,
Well, for one they have largely kept me out of the remodelling business in favor of new course work! Yes, I have an ego, and it always deflates when I walk inside a club only to find out just how LITTLE I seem to know about my chosen profession!
The real problem, professionally speaking, is as someone mentioned, you can find someone to say all the right things about your work, but it is just as easy to find someone to say all the wrong things. And, the nature of journalism is that the wrong things usually make a better story.
Architecturally speaking, the articles float around in the back of the mind and do influence my work. Of course, so do the "Best New" competitiions, comments from common golfers, owners, family and friends. It all factors subconsciously in individual design decisions. And remember, there are literally thousands of individual decisions, usually with many conflicting goals and ideals, in each project. If Tommy doesn't like Ted R.'s style, that's one thing, but in many cases you can like a course, and disagree with a specific decision.
You guys will probably laugh at this very true statement, but the biggest reason classic design is resurfacing in modern work is that the powers that be in ASGCA have directed our meetings to more and more of these classic venues. Not many of us have the chance to go out east to study classics (which are concentrated heavily there). When we return from there (or Scotland) you can see it in our work. Of course, sometimes it is in sanitized form we think our clients will accept - (Tommy, Ted isn't the only architect with "too smooth" pot bunkers out there after our first trip to Scotland in 1980.)
Duke,
Me? Condescending?
Tommy,
You have never insulted me, but thanks for the apology in advance for the time when you certainly will!
BTW, as a Chicago boy, I am very familiar with FLW, and in fact had him in mind when thinking of lost artesians
Jeff