This book as an object alone gave me an even richer experience of Frey’s work than the museum exhibition it was based on. The deliberateness of its design—the large size, thick matte paper for images, smaller trim size for text pages (with writings by Frey himself differentiated by stock the same goldenrod color as the curtains in Frey House II), exquisite black-and-white reproductions, brilliance in color photographs, and (be still, my heart) a gatefold—match the precision of the architect’s work. Projects are placed chronologically, yet displayed as a narrative, rather than a project catalogue seen in too many architecture books. Drawings, books, ephemera, and personal photo albums—many published here for the first time—are photographed as precious specimens on a background.
What makes this collection even more intimate and tender are the personal relationships some of the contributors had with Frey. He was friend and teacher to editor Dunning and architect Michael Rotondi; Barbara Lamprecht made a pilgrimage to Frey House II as a student; as directors of Palm Springs Art Museum, both Janice Lyle and Adam Lerner lived there; Christina Kim had tea with the architect. The listing of works is annotated by Frey’s own distinction between projects where “Albert Frey was in charge of design” and those where “Albert Frey was in charge of design and permitted to execute his philosophy of architecture”—a distinction most architects would appreciate.
Radius Books/Palm Springs Art Museum, 2024, 282 pages, hardcover, $65.