Why does Peter Keating, a celebrity architect, plead with his unsuccessful and widely condemned friend, Hoard Roark, secretly to design a crucial housing project for him? Roark is an architect of unmatched integrity who scorns Keating—so why does he agree to do it?
There are two questions here, please answer both and provide quotes from the book with page numbers to support your answer. If you are one of the first 10 responses, you need only to answer the question. If you are #11 or higher, please respond to one earlier respondent's answer as well.
Peter Keating decided to go see Howard Roark about his design plan because ever since college, Keating knew that Roark was the superior architect of the two. Keating believed that if Roark decided to pursue a more classical and accepted form of architecture, he would be a better architect then him and would become his main competition. But since Keating knew that Roark would never compromise on his modernistic principles, he feels safe coming to him and using him to achieve his goal of becoming the country's best architect. Keating also came to Roark for his blunt honesty. When Keating asked about the quality of his initial draft, Roark bluntly stated "It's rotten. And you know it" (174). This criticism was highly valued by Keating because he is so used to his work being heralded as the best anyone has ever seen. On the other hand, the main reason why Roark decided to design the housing plan for Keating was because he wanted to try and influence the world of architecture in a very discreet manner. He believed that he could achieve this goal by getting rid of the unnecessary parts of Peter's building and making it "as honest as you can make of a dishonest thing" (174). By revising Keating's plans, Roark believes that he is ushering in an era of simpler and more poised buildings.
ReplyDeletePeter Keating asked his old acquaintance Howard Roark for help with his design in the competition because he desperately wanted to win, no matter if that meant cheating. Widely unpopular but secretly brilliant, Roark can design the best architectural structures around, but the public simply ignores his work just because his name is not yet famous. Keating has always known in the back of his mind that Roark is a better architect than him, so Roark is the perfect person to help him because he creates innovative buildings, but the public would never be able to recognize his work. Roark agrees to help Keating because he seeks perfection in architecture, and the only way of changing peoples’ views on architecture is to put his work under a name that other people will follow. When asked Keating asked Roark why he doesn’t enter the competition, he responds, “I go blank. I can’t give them what they want. But I can straighten anyone else’s damn mess when I see it”(174). Not seeking prizes or glory, Roark would be perfectly satisfied just to see his building standing tall, without the public knowing that he really designed it. Keating seeks Roark’s genius in architecture; while Roark wants Keating’s influence in society’s architecture- and in the end, although not the best of friends, the two are willing to help eachother out.
ReplyDelete-CAROLINE HUGHES
Peter Keating seeks Howard Roark's assistance because Keating has always known Roark is a more creative designer. Keating wanted to win the competition. He knew if he asked Roark, he would have gotten honest criticism. Also, Roark would help him reach an unexpected design. People would not expect it from Keating; that would help him win. Roark decides to help Keating because on page 174, Roark said "Becuase I can't. I couldn't if I tried. I dry up. I go blank.I can't give them what they want." Roark knows if he sent in a design it would not be accepted because people are not a fan of Roark and his modern ways. Yet it is unexpected and pleasant coming from Keating. In a way, Roark uses Keating to get the idea of mdoern architecture out there.
ReplyDeleteAn architectural competition fit for only the best architects in the world, the Cosmo- Slotnick competition succeeds in pushing rising architect Peter Keating to his designing limits. After numerous sketches of what is soon to become the “most beautiful building in the world” (175), feelings of uncertainty begin to arise, “He felt nothing but immense uncertainty when his sketches were ready” (173). Keating then knows if he truly wishes to win this most prestige competition he must seek the opinion of old friend Howard Roark. Honest and a brilliant architect of his own, Keating trusts the intellect of Roark. Understanding that Roark would not be interested in entering the contest, Peter trusts that Howard will assist him with his building. If Keating were to seek assistance, Roark would be the obvious choice for various reasons. Roark finds no interest in fame as many other architects, therefore would not be looking to receive credit for working on the building. Roark also possesses a unique style which would give Keating’s building originality compared to others. Roark agreed to make necessary changes to the building due to his love for architecture itself. Once examining Keating’s sketches, visions form in Roark’s head, and Roark cannot resist, but to bring the building to its full potential. After much crossing out and new additions, Keating exclaims, “Jesus Howard! Why don’t you enter the competition, if you can do it like this?” (175). Neither assisting his old friend Peter Keating, nor the excitement of competition, urged Roark to assist Keating. It was Roark's pure love for constructing buildings that pushed him to aid Peter Keating in becoming the Cosmo-Slotnick winner.
ReplyDeleteThe Cosmo-Slotnick Competition is a competition for only the best and well renowned. Peter Keating felt that in order to feel good about himself, he needed to win the competition, however, after some sketches, he felt insecure, and unable to obtain a drawing he feels able to submit confidently. On top of that internal pressure, he had the pressure of the ever-coming deadline. In that desperation, he turns to the only one who would help him; Howard Roark. Peter deep down knows that Howard Roark would be an essential aid to him. He gives Howard the drawing, and Howard fixes it. They discuss the architecture competition, and the two begin to go at it, Howard defends himself by saying "I go blank. I can’t give them what they want. But I can straighten anyone else’s damn mess when I see it" (174). Howard isn't willing to promote himself with the competition because he knows that he will be rejected by the Cosmo-Slotnick committee. However, by cleaning up Peter's sketch, he is able to influence architecture indirectly. Roark did this out of his sole passion for the architecture.
ReplyDelete^^ Ojay Naab
ReplyDeletePeter Keating’s first reaction when confronted with trouble in the Cosmo-Slotnick Competition is to seek help in his unsuccessful friend Howard Roark. At Stanton, Roark would always solve Keating’s architectural messes, leading Keating to constantly strive for Roark’s approval and opinion. For example, after graduation Keating confides in Roark to help him decide his next career path: the Paris prize or a job with Guy Francon. Keating justifies his necessity for Roark’s opinion saying, “ ‘Well, I don’t know why I should come to you, but--- Howard, I’ve never said it before, but you see, I’d rather have your opinion on things than the Dean’s…” (33). Clearly, Keating feels an internal need to attach himself to Roark when making decisions because he finds comfort in Roark’s continual knowledge of what he wants to do next. Thus, Keating resorts to Roark in the competition and is comforted again by Roark’s immediate choices and knowledge on how to improve the building. Meanwhile, Roark does not resist Keating’s plea for help because he loves architecture beyond belief. While working on the sketch Roark says, “ ‘Oh, to hell with your elevations! I don’t want to look at your damn Renaissance elevations!’ But he looked. He could not prevent his hand from cutting lines across the perspective” (175). Although Roark is disgusted by Keating’s style of design, he cannot help himself but to fix it. He cannot bear to see the misuse of space and beauty of a building created because of his passion for architecture. Overall, Keating resorts to Roark in the heat of a crucial decision, while Roark resorts to following his heart.
ReplyDeleteHoward Roark has a unique love for architecture,and has no worries about what he gets out of it. Roark worries for the future of architecture, and would do anything to influence the future of it in the slightest- that he why he agrees to help Keating. Peter Keating, on the other hand, is under constant pressure to rise up in the Architectural world and be known as the best architect. When a competition arose to design "the most beautiful building in the world" (172), Keating jumped at the opportunity. However, "Keating redrew his project five times. He hated it." (172) and was unable to complete the designs, so he turns to his friend, Howard Roark. Keating knows that Roark is a more talented architect than him, and with Roark's help, Keating's design is sure to be one of the best. In the end, Keating does not care about integrity or influencing architecture, he only cares about becoming famous and rich. With Roark's help, both can achieve their goals- Keating becoming famous and Roark influencing architecture however he can.
ReplyDeletePeter Keating goes to seek out Howard Roark's help for the entry of his blueprint to the Cosmo-Slotnick competition; a competition reserved only for architects of the highest caliber. The building was to "symbolize the genius of modern technology and the spirit of the American people," (172). Keating desperately wants to win this competition. He asks for Roark's help because Roark's work is one of a kind, and has a distinct style that Keating never uses. Keating also knows how good of an architect that Roark really is. Back in college, Keating was intimidated by Roark, and his ideas. Keating also knows that Roark's work is strictly un-classical, and the competition is calling for a building to symbolize "the genius of modern technology". Keating's work is strictly classical and not modern. So, he goes to find Roark to help him win the competition. Roark helps him out of his pure love of architecture, not for some type of contest. While Roark is sketching, he says, "Simpler. Peter, simpler, more direct, as honest as you can make of a dishonest thing." (174) Roark is probablly referring to this building being made for a competition as a dishonest thing, which further explains the idea that Roark is doing this out of his love for architecture, not a contest.
ReplyDeletePeter Keating and Howard Roark have had a somewhat latent rivalry in architecture since their studies at Stanton. Keating, who pursued a very successful career in classical architecture, often took pity on his old classmate, Roark, whose future did not seem quite as eminent. Roark, however showed apathy towards the public and their criticisms, and continued his own unconventional style of architecture. Although they appeared to be acquaintances, Keating secretly found gratification by asking Roark of his designs. Roark, who was repulsed by the tactics used by most renowned architects, such as Keating, immediately spoke out against all his drawings. Since Roark’s designs were seen as “foolish” and “unsightly”, Keating found a boost of confidence when he was corrected by someone who was seen as an “unintelligent, imprudent architect” by the vast majority of society. Keating, searching for another increase of self-insurance, questions Roark about a design for a contest in support of the prominent company Cosmo-Slotnick. Roark hesitantly looked at Keating’s designs and gave the expected reply, “No. It’s rotten. And you know it.” (174). However, Roark felt an unusual urge to correct Keating’s mistakes this time, as this building project was so significant. So Roark grabbed the drawings and spent laborious hours correcting them to his own liking. In the morning, Keating asked another question about the previous original design. Roark gave one last final declaration, which as usual he expected to be futile and ignored by Keating. “Figure it out yourself. Something like this. Simpler. Peter, simpler, more direct, as honest as you can make a dishonest thing. Now go home and try to work something on this order.” (174). For the first time, Keating heeded Roark’s advice. Perhaps Keating found truth in Roark’s statement, or simply was just secretly doubtful of his own designs. After their meeting, Keating returned to his office and copied Roark’s design. Of course, he claimed it as his own work. Later, he was astounded to realize that Roark’s work actually won, and he secretly felt guilty. Roark knew what Keating had done, but never spoke up against it. He rather would see that architecture was shaped in his way, even if it was not widely accepted. He did not feel the ever present need to get his name out and become well-known, like Keating did. Roark truly cared solely for his own designs in his career.
ReplyDeleteAt first glance, Keating’s decision to ask his acquaintance, Howard Roark to help him with his sketch for the Cosmo-Slotnick Competition. However, if one looks a little deeper it is clear that Peter Keating understands that Roark is an extraordinary architect. Keating has always known that Roark is the superior architect. However, he also recognized that Roark's style is a very controversial topic. He recognized from the beginning that Roark was a nonconformist and understood that he would put off people. So Keating took it upon himself to always do what was expected of him and follow tradition. This worked extremely well for him because the world is a place where conforming to tradition is encouraged and usually necessary to succeed. It is clear through the book that Keating has always felt threatened by Roark because inside he knows that if Roark conformed he would rise above Keating and be even more successful. He is faced with the fact that Roark is a better architect and decides to use it to his advantage with the competition. His understanding of this fact is made obvious when he exclaimed "(to Roark) Why don't you enter the competition, if you can do it like this?"(172) Another intriguing decision is Roark's to help Keating. One would expect Roark to reject Keating's plead. However, as usual he defies expectations and decides to help him. I believe that Roark agreed to help because he feels so strongly about architecture and felt an obligation to make sure that another attempt at beautiful architecture of the past was put up. It is obvious that Roark has trouble working with Keating's common styles, but eventually accepts and claims, "All right, damn you, give them good Renaissance if you must and if there is such a thing!"(172) This scene in the book is very important because both of the characters defy expectations and show that they can be different.*Lucy Melbinger*
ReplyDeletePeter Keating knows that winning the Cosmo-Slotnick competition would drastically change his life and career. Francon even tells him, "I think of you as my partner already. I owe it to you. You've earned it. This might be your key to it. (172) Keating's immense ambition leads him to do whatever he can to win the contest. After trying to come up with the design himself, he cannot be satisfied with his final product. He immediately knows who can give him certainty, and his pride and ambition grapple until his ambition wins out and he goes to see Roark. Predicatably, Roark does not like Peter's sketcch. "It's rotten. And you know it." (174) From then, Roark "fixes it" "But I can straighten someone else's damn mess when I see it," he says. (174)There are a couple things that could contribute to Roark's decision to help Keating. Perhaps after his trouble with the Sanborns he is tempted to have even a tiny piece of himself adored in the world. As much as he holds on to his individualism, he is only human. He knows he wants to be an architect, to have his architecture in the world. Also going on the humanity point of view, perhaps he is flattered by Keating's trust in his talent. "Jesus, Howard! Why don't you enter the competition if you can do it like this?" he says. (174) He knows he could never be accepted for his own style, but this is one brilliant opportunity for him to get what he thinks is beauty out in the world. Normally, he would never associate himself with "renaissance elevation" but this is a perfect opportunity because Howard knows he will remain anonymous.
ReplyDeleteI also think Lucy Melbinger makes a very good point about Howard's love for architecture. Howard would do anything for it, and seeing Peter's drawing, he could definitely see the potential for beautiful architecture, and how could he resist his first and true love? This romantic view is not what we expect from Howard, but is present nonetheless and makes this scene that much more profound.
Peter Keating is always looking for others approval. He strives to impress others. When he heard about the Cosmo-Slotnick contest, he jumped at the opportunity to show himself and wow others. However, he has always been second best to Howard Roark skill-wise in architecture. The Cosmo-Slotnick Building was mentioned on page 172 saying, “it was to symbolize the genius of modern technology and the spirit of the American people.” Peter knew if he could get his name on that, his reputation and popularity would skyrocket. However, after trying about six different sketches he realized that he couldn’t win on his own, so he turned to Roark for help. Although Roark hadn’t had nearly as much success as Keating since they both left Stanton, Keating knew that Roark had the skills to create a masterpiece building like the Cosmo-Slotnick. Roark didn’t agree to fix Keating’s drawing necessarily because he wanted to help out Peter; I think he almost did it for himself. He can’t stand to look at bad drawings of architecture like Peter’s. Roark says on page 174, “’I can’t give them what they want. But I can straighten up someone else’s mess when I see it.’” I think he felt the need to fix it just so he could try to agree with it, and then he could care less what Peter did with it after.
ReplyDeleteI agree with Ryan Chesnut that Keating is so often praised that he often looks to Roark for some constructive criticism. Keating thinks that Roark is the only one who is truly honest with him and finds it very beneficial to receive tips from him. I think this is a huge part of why Keating went to Roark with his drawings, because he knew they would be improved somehow.
Although Peter Keating is a very good architect, he knows two things deep down within him. He realizes that although he is very good at designing just what the public wants to see but other than that, he lacks any sort of creativity. Peter Keating also realizes that Howard actually enjoys his work. Keating tried very hard but was never able to feel passion for what he does. Ultimately, Keating came to the fact that Roark was an all around better architect and he resented Roark for that fact. Keating never can accept that fact. He is so stubborn that he can’t ask for Roark’s help directly, instead he makes an excuse, “I’m not asking you to help me, I just want your reaction, just a general opinion” (172). Keating realized that there was no getting around it, if he wanted to win for the design of the Cosmo-Slotnick building, he would need Roark’s help. In the same sense, this is why Howard Roark decided to help Peter, there was no other way around it. Howard faces the harsh facts that Peter would win and Howard would get nothing for his help. Roark knows very well that he is better then Peter, but Roark is very accepting toward his fate and the position he chose in life/architecture and so he is not afraid to be blunt to Peter, he even says “No. It’s rotten. And you know it.” (172) when it regards Keating’s piece he’s worked hardest on. Roark also helps because he sees it as an opportunity to take a little step toward modern simplicity in architecture. He cuts down all the curves, arches, etc and adds just enough of his style to slip in.
ReplyDeleteI agree with Caroline Hughes, Keating will do whatever it takes to become famous, even if that means cheating. He doesn’t even think twice about taking Howard’s sketches as his own, or even worse, when he “accidentally” caused Heyer to have a second heart attack in order to take his job. Nothing can get in his way.
Peter Keating may be popular in the eyes of the public and also might decently good, but all the ideas he comes up with are not good enough for him or to win the Cosmo Slotnick Competition, ”Keating redrew his project five times. He hated it…”(172). Keating went to the same college as Howard Roark for while and knew he was a very good architect even though he is unpopular and sometimes goes to Roark for advice and that shows how much he respects and admires him. Of course Keating goes to Roark for help because he can trust him and knows he isn’t going to tell anyone, but the big question is “If Roark’s work is so amazing, even though for most people it seems to modern and weird, why doesn’t he join the competition or at least asks credit for his work?” like Keating says, “Jesus, Howard! Why don’t you enter the competition if you can do it like this?”(174). Howard does this simply because he loves architecture and he doesn’t care who takes the credit he just wants to see his creations come to life. He doesn’t need popularity to know his work is great, he doesn’t want to appease the masses by “worsening” his work, and “I can’t give them what they want But I can straighten anyone else’s mess when I see it…” says Roark (174). As one can tell Roark just does this for his love architecture nothing more and nothing less.
ReplyDeleteI agree with Elle Zadina idea of that Roark has to fix the mistakes of Keating’s because he couldn’t let something like that monstrosity be built he had to fix it. And everything else she wrote it is another way on how I would see my own paragraph because it highlights the same points of his life, she seems to also additional information to so, great job Elle Zadina.
- Timmy Reynolds
Peter Keating asked Howard Roark for help because he knew that he wouldn't be able to win without Howard's help. Although on page 174 he says,"I'm not asking you to help me, I just want your reaction, just a general opinion," he really wants Roark to tell him what to change about it. He only says he doesn't want help wo he will not have to give Roark any credit for the design. That does not answer the question of why Howard would accept this proposal from his competitor. He's clearly not in architecture for the glory, he just wants to create buildings. On page 174, he says,"Peter, simpler, as honest as you can make of a dishonest thing," which shows that he could not win the competition as he is not willing to play Peter's game. He doesn't believe in selling out the way that Peter does, but he can't keep himself from bringing Peter's design to it's full potential. I agree with Sarah Young when she says that Keating would benefit from Howard's help because of his originality. He knew it would give him an edge that no other classical architect like himself would have.
ReplyDeleteAt the point where the housing project comes up, Peter Keating is in desperate need of work because he was no longer the sought after architect of the city. Ellsworth Toohey is also backing architects other than him. Peter Keating is in desperate need of help from Howard Roark because if he succeeds in building the Cortlandt homes then he will regain the backing of Toohey. The Cortlandt homes are difficult to design because they must be built so that each unit is rented at only $15 per month. Keating soon realizes that this project is very tough and he cannot accomplish himself. “He (Keating) sat at his table all night. After a while he stopped looking at the papers; he sat still, thinking. He was not thinking of the charts and figures spread before him. He had studied them. He had understood what he could not do” (573). After this Keating calls Howard Roark to ask for his help. Roark decides to do it for many reasons. First of all, Roark loves the idea of solving a puzzle such as this project. By completing this job, Roark will get great satisfaction so doing Keating this favor will actually benefit him. Roark also realizes that he will not be given an opportunity like this again because the government will not offer jobs like this to him. He has also been studying the idea of this type of housing for years so this opportunity allows him to use this knowledge, something he thought he wouldn’t be able to do. “There are such great possibilities to exploit. To build cheaply, simply, intelligently. I’ve had a lot of time to study” (577). Roark also has a love for architecture and sincerely enjoys building. “Peter, I love this work, I want to see it erected. I want to make it real, living, functioning, built” (579). Roark also wants to be able to look around in his favorite city and see something that he built himself. “When it’s done, I’ll be able to see it from my window. Then it will be part of the city. Peter, have I ever told you how much I love this city?” (582). Roark just has one condition for doing Keating this favor; he wants Keating to keep the design exactly how he designs it. This will ensure that the building is built right in Roark’s eyes.
ReplyDeletePeter Keating is pushed to the edge during the Cosmo-Slotnick competition. Keating had made many designs of his building and cannot find one that is good enough for his own standards. Peter is conflicted. He wants an opinion on his sketches, but “he had no one to ask.” (173) He knows that in the back of his mind Howard Roark is a superior architect to him, but his ideas are controversial. Keating needs to know if his sketches are good enough to win the competition because “this may be your key” (172) to a partnership with Francon. Keating decides to swallow his pride and look to the radical architect for help like he has since the beginning of their association in college. Once Keating knows Roark is not entering the contest, he is sure Roark will help him.
ReplyDeleteI agree with Lucy Melbinger when she said that Roark agreed to help Keating because he had a huge love for architecture. Roark wanted to make sure he could put up a beautiful piece of work, even if that meant he did not getting credit for the idea itself. If he could change the way buildings were being designed in that time period little by little there would soon be a change in the way popular architecture was designed.
The Cosmo-Slotnick is a renown competition in which architects compete against each other to create “The Most Beautiful Building in the World”. Peter Keating decides to compete but finds that his ideas are not good enough to win and his ambition can only get him so far. Therefore, Keating hesitantly requests the help of a fellow architect whose skills he envies: Howard Roark. Roark is the ticket to winning, but Keating’s pride gets the best of him. So in a cunning way Keating says to Roark, “I’m not asking you to help me, I just want your reaction” (174). “Roark talked, explained, slashed lines through the plans...” and immediately started to improve Keating’s designs (175). However, he did not do this just to help Keating win. Instead he did this because of his passion for architecture. He wants to expand the accepted norm in the architectural world and move away from classical ideas. Even though Roark is a phenomenal architect, his ideas are frowned upon and pushed aside by the public. However, without the ideas of Roark Keating would not have won the competition. Although it was a public victory for Keating, Roark counted it as a personal achievement.
ReplyDeleteI agree with Emily Ocwieja’s idea of Roark using the competition as a wayto make his ideas known.
Peter Keating is a truly talented architect, but he knows that he cannot do everything on his own. He is not very open for ideas and does not have a creative mind. He learns that sometimes he must call upon his rivals for help, although he would never expect it. Eventually, both Keating and Roark grow to understand that they must work with each other and help each other in order to achieve success in creating a building like the Cosmo-Slotnick. Although Keating doesn’t want to accept that Roark is also an excellent architect and would be an excellent partner in achieving success, he knows that he has to. Even working together, the creation of this masterpiece was not an easy task.
ReplyDeleteI agree with Tommy Borah when he says that Peter Keating is so stubborn that he can’t ask for Roark’s help directly. He uses the excuse “I’m not asking you to help me, I just want your reaction, just a general opinion.” (172). This was a great point by Tommy and it showed that even though the two knew they need each other’s help, they don’t want to admit it (especially Keating). It is extremely hard to face the fact that your opponent or enemy is stronger than you, or in this case a better architect.
John Buck^^^^
ReplyDeletePeter Keating showed a side that the audience has not seen during the Cosmo-Slotnick competition. He realized that this could make or break his career because if he won, he knew he would be the next partner of Guy Francon. But if he lost, then Guy Francon would think differently of Keating. Keating was very stressed out during the process of designing his sketches and did not like any sketches he made. Now, he knew that Howard Roark was a brilliant architect but Roark’s work was frowned upon because of his inability to conform. Therefore, Keating went to Roark to ask for help. To justify this action to himself, Keating says to Roark “… I’m not asking you to help me, I just want your reaction, just a general reaction.”(174) Keating forces himself to think this and, therefore, his ego isn’t damaged. Roark, on the other hand, agrees for different reasons. Roark is not interested about what the public thinks but rather personal pride. He exemplifies this by saying later in the book that “He (Peter Keating) didn’t want to be great but to be thought great.” (605) Roark has the personal pride to know that he designed one of the greatest buildings but he doesn’t care what the public thinks.
ReplyDeleteI agree with Owen Naab when he says, “However, by cleaning up Peter's sketch, he is able to influence architecture indirectly. Roark did this out of his sole passion for the architecture.” I believe this is true because Roark has no other reason to help Keating other than personal pride and influencing architecture in general.
"The Cosmo-Slotnick Building was a competition open to all architects of all countries; the building was to rise on Broadway and to cost ten million dollars, it was to symbolize the genius of modern technology and the spirit of the AMerican people."(170) When Keating first enters the competition to create the "most beautiful building in the world," (170)his drafts reflected a Renaissance Palace, but he felt "nothing but immense uncertainty" (171) Because of this insecurity he asks his former roomate and classmate's opinion. Ever since Keating and Roark have gone to Stanton together, Keating has been aware of Roark's spectacular sense of originality and thought that was what would make his building better than the others. Although Keating is favored over Roark, Roark knows how to straightens someones mistakes, which is the reason he helped Keating. When Keating asked Roark why he didnt enter the competition, he answered, "I cant give them what they want. But i can straighten someone else's damn mess when i see it." Roark helped Keating because of his sole passion for architecture and wish to influence it. I agree with Haley Hartzel in saying that Keating does not care for influencing architecture, but about having money and being wealthy.
ReplyDeleteI agree with this statement all Keating wanted out of this competition was to impress Guy Francon and win, which he did. Roark showed his passion for architecture by fixing Keating's rotten mess and showing others a sense of originality.
By the time the Cosmo-Slutnick comission came about, Peter Keating was already a renowned architect. He felt that everyone expected him to be able to create the "most beautiful building in the world" (170). Peter had designed a building already and had come to Roark to fix his mistakes. Roark, although less popular than Peter, had the greater ability to fix mistakes and create his own designs. Roark agrees to help Peter because of his great love and desire to see and help create buildings that could be renowned for ages. I agree with Tommy Borah who says that Peter is too stubborn to ask for Roark's help directly.
ReplyDeleteThe Cosmo-Slotnick cmpetition could move Peter Keating's life in a new direction. After Ellsworth Tooey began writing about new and up and coming architects, Keating started to feel the pressure. He knew that he was not capable of designing the Cordlandt homes, anfter numerous times of trial. "Keating redrew his project five times. He hated it" (170). So, he needed Howard Roarke to help him with the sketches. Howard's ability to correct and transform designs is astounding, so naturally Peter wouls want his assistance. Roarke has a great passion for architecture and I think that he loves to solve any puzzle to the utmost practicality and beauty. I agree with Morgan in saying that Peter must keep the building exactly how Howard sees it. Howard is a true artist who's designs should not be tainted.
ReplyDeleteAfter feeling much pressure from the Cosmo-Slotnick Competition, Peter Keating decides to ask his old friend Howard Roark for help on the designs. Keating does not believe that his designs are good enough for the competition and therefore needs Howard Roark's advice and help. Keating had always known Roark was a more advanced and well rounded architect and he would be the perfect person to help Keating win the competition.I agree with Caroline Hughes when she states that Roark agrees to Keating because he shows perfection in architecture. Roark contains many strong views on the architecture of buildings “I go blank. I can’t give them what they want."(174). Roark tries to put his view on architecture into Keating's designs because he knows people will value Keating's more than his own.
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ReplyDeleteEven though Peter Keating is a celebrity architect, he is not the most creative person when it comes to designing a building. Keating enjoys to design classical buildings. So when he is entered into the Cosmo-Slotnick, where he has to design a building to symbolize the genius of modern technology, he becomes stuck. As a result, Keating goes to Roark for help because Roark enjoys modern architecture and has a natural talent for it. Roark agrees to help Keating not because Keating asked him, but because of his love for architecture. When Keating asked Roark is it's okay, he responds, "No. It's rotten. And you know it." (172) Roark saw all the imperfections in Keatings drawing and felt like he had to fix them because he feels in architecture everything should be perfect. I agree with Marta Considine when she said that Roark agreed to help because of his sole passion for architecture and his wish to influence it.
ReplyDelete-Lauren Lyman
The design for the Cosmo-Slotnick Building is a huge competition and could mean unmatched success for the one who wins. Peter Keating with his ambition and ego knows that this will bring his architectural fame to a whole new level. Although Peter had already achieved so much, he still did not have his own style or specific look of his buildings; he just designed what would please everyone. Because he did not stand for anything or have integrity in his work, Peter felt insecure about his designs and had no real motivation save the fact that someone else would have the glory of winning. Even though it went against every bone in his body he knew that Howard Roark would be the one to make him win because he had a vision and purpose always. Peter struggles on page 173, "He did not want to think of that name; He would not go to him; the anger rose to his face and he felt hot, tight patches under his eyes; He knew that he would go." Roark agrees to do it because he can not let such an important building go to waste on his watch. It pains him but he knows he has to help in order to save architecture and himself since he wouldn't be able to live watching Peter's first building being put up."I cant give them what they want. But I can straighten someone else's damn mess when I see it." (175) I disagree with Nora Hughes saying that Peter Keating went to Howard Roark since he was a more well-rounded architect because that is false. Howard Roark is very stubborn and one-sided with his work, never looking for others opinions or other styles.
ReplyDeletePeter Keating goes to Howard Roark for help because even though he will never admit it to others or to himself, he recognizes Roark’s superiority. Keating realizes that his sketches will not win the Cosmo-Slotnick competition without help, but at the same time realizes that most people in the business around him will tell him they like his designs, genuinely or not, or they will propose something that will not win because they are inferior even to his design. So, he turns to Roark who will give him honest feedback that will, without a doubt, be critical and whose opinions/changes will win him the competition. He is only interested in winning the competition so others think he is the best, even though the building won’t be his work anymore after Roark makes his changes to the design. Therefore, Keating goes to his unsuccessful (in the eyes of society), but genius friend, to get the help he needs to win the competition. Roark, on the other hand, helps Keating for the simple reason that he loves to build. Roark states, “I don’t intend to build in order to have clients. I intend to have clients in order to build” (14). When Keating comes to ask Roark for help, Roark has been lacking commissions for a long time, and as a result has been unable to build. So he agrees to help Keating simply so that he has a chance to build again, even though when the structure is erected, Keating will get the credit and not him. But Roark doesn’t care about recognition, he just wants to see his buildings built and the “successful” Keating offers Roark a way to do that.
ReplyDeleteI agree with Elle Zadina who stated “Keating feels an internal need to attach himself to Roark when making decisions because he finds comfort in Roark’s continual knowledge of what he wants to do next.” Keating never truly wanted to be an architect, but became one in order to please his mother. He is very insecure about his designs and always wants people to think he is the best, even though he knows he isn’t. Roark, on the other hand, doesn’t care what people think and builds buildings for the sake of building buildings. His confidence in his abilities and his designs causes Keating’s internal need to seek out Roark when he needs his advice. Gabrielle Timm
As years went on, Peter Keating became a more prominent architect than Howard Roark. However, Keating knew that many of his designs neither fulfilled their potential nor look exactly the way he wanted them to (Pg. 198 “Keating redrew his project five times. He hated it.”). I agree with Lucy Melbinger when she says that Keating reluctantly recognized Roark as an amazing architect. Roark’s work was strikingly different when compared to anything else being constructed at the time, but it was not bad. Keating needed this element of modern style to help put his entry for the Cosmo-Slotnick above all others and so was forced to turn to the one man he knew could get the job done without asking for any recognition after the building was constructed.
ReplyDeleteRoark agrees to help Peter mainly for two reasons: he does not plan on entering the competition himself, and because he cannot stand to see a building without personality be constructed if he can do something to better it. (Pg. 200 “Because I can’t. I couldn’t if I tried. I dry up. I got blank. I can’t give them what they want. But I can straighten someone else’s damn mess when I see it.”). Although the original designs go against Roark’s single-minded ideals, he agrees to help Keating because it would be even more torturous to see Keating’s building be named “The most beautiful building in the world” when it clearly needed Roark’s tweaking to save it.
-Mary Lee Sperl
From the first chapter of The Fountainhead, it is clear to see that although slightly eccentric, Howard Roark is the better architect, and even Peter Keating is wise enough to know it, although he may not admit it. When Keating is offered the chance to place a design in the Cosmo-Slotnick completion, he is modest enough to know that he can’t win with his own talent, and stoops to cheating, with help from the lowly yet brilliant architect Howard Roark. Keating asks for his help because he knew Roark wouldn’t do anything about it. If Roark gave into the mainstream ways of architecture, he could be one of the most successful architects in the world, but he chooses to stay true to what he believes architecture should be, because he loves it so much. Out of pride, Roark wouldn’t dare put his name on Keating’s piece, which is a comforting thought to Keating. He knows that Roark wouldn’t want to take credit, so he takes advantage of that fact and asks for his help. With this being said, the bigger question is, what does Roark get out of helping him? I agree with Ryan Chestnut when he stated Roark wanted to influence the architectural world discreetly. Keating had been climbing the ladder to the top of the architectural world, making a big name for himself. If little by little, Roark could add styles of his architecture here and there and put Keating’s name on it, those ideas would become more mainstream, having Roark’s style of architecture more accepted.
ReplyDeleteAnnie Lyons
The reason that Keating goes to Roark for help in secret is that Keating understands Roark is the better architect. Keating understands that Roark is the better architect shows modesty, but also a lack of confidence. Keating wanted Roark's view of his work, because of Roark's ability to correct and transform architecture. Many people believe that Roark’s view on architecture is wrong, but the fact is that his view is only different. The thing that is puzzling is why would Roark accept to help out Keating? Well, Peter Keating had already made a name for himself in architecture and if Roark was to make Keating's style similar to his then his own could be accepted. Roark wanted to help Keating so that his own style can be shown in other people's work. I agree with Tommy Borah when he says that Roark takes out curves and arches to put his own style into the piece of architecture. I believe that Roark also helped is because of his love for architecture and seeing his own architecture.
ReplyDelete-Michael Brien
Ever since their days at Stanton, Howard Roark and Peter Keating have always had very different views about architecture. Their views not only differ in style and esthetics but also in their commitment to their work. Both architects do their jobs for two very different reasons. Howard Roark is an architect because he loves to design buildings and to see the final product. Peter Keating designs buildings to impress others and to make money. Keating may have graduated from Stanton at the top of his class but he is still very much a novice when it comes to making a serious piece of architectural design work. Keating is so unsure about his designs and products that he feels, “nothing but immense uncertainty" (171). Even though Roark knows that he is very different from Keating he still agrees to help his fellow classmate. Roark is also not afraid to tell Keating how good or bad his designs are. Roark even tell Keating, “Figure it out yourself. Something like this. Simpler. Peter, simpler, more direct, as honest as you can make a dishonest thing. Now go home and try to work something on this order” (174). Roark cares so much about his architecture and having his designs erected, even if no one was able to accept his views. I agree with Caroline in that Roark did not feel the need to have his name present and become well known, as Keating did.
ReplyDeletePeter Keating decided to consult his old friend Howard Rorak about the Cosmo-Slotnick competition because Keating realizes that although he has had more success than Rorak,Rorak is a better architect than him. Keating knows that the only reason Rorak isn't as successful is because his style isn't accepted, and that drives many people away. I agree with Tommy Borah when he said that Keating was too stubborn to directly ask for his help by saying "You understand I'm not asking you to help me, I want your reaction, just a general opinion" (172) Rorak helps Keating because he can't give most people what they want "I dry up. I go blank. I can't give them what they want. But I can straighten up someone else's own damn mess" (172) Rorak realizes that it will be a while before his modernistic style is accepted, so he adds some modern ideas into Keatings classical sketches
ReplyDeleteThere are a few reasons why Peter Keating asked Howard Roark for help with his design in the competition, first of all, Peter has always known that Howard is a better architect than him. Also, Peter wanted desperately to win the competition and he was willing to go to extremes to do it. That included cheating, and Peter knew that Howard's innovative and different designs were exactly what he needed to win. Peter knew he would be able to get away with cheating because Howard's work was widely unknown and no one would be able to recognize it.
ReplyDeleteRoark is willing to help Keating win the competition because Roark cares deeply about his work and wants to see his buildings be erected, even if he gets no recognition for it. Howard knows that if people think Keating designed one of his buildings it would be emensely popular, and he was willing to let Keating take the credit for his work just to see one of his buildings be built.
I agree with Katie when she says that the two are helping eachother out by making their goals more obtainable.
Peter Keating goes to Howard Roark for advice because he believes that Roark is a more creative architect. Sure Keating follows the standard methods of architecture and gets many commissions for it, but he seems to not enjoy drawing up buildings as Roark does. So when Keating is having trouble drawing plans for the Cosmo-Slotnick Building, as described in a quote on page 172, “He did not think of the drawing under his hand. He thought of all the other contestants, of the man who might win and be proclaimed publicly as his superior.” (172), he goes to Roark for help. Keating is more worried about all of the other factors concerning his career, like will he not be famous anymore if he does not get this commission. He is only worried about gaining the title of “The Man who built the Cosmo-Slotnick Building”, and he is willing to do whatever it takes to get that, even if it is consulting with an almost forgotten architect. I think Roark notices that Keating does not put much pride into his work, but he still agrees to help him because Roark sees this as a chance to incorporate his own style of architecture into the world since he knows that any work from himself will not be accepted by the Cosmo-Slotnick Board, but the same work could be accepted by the famous Peter Keating. He knows that Keating will submit into the competition any changes that Roark makes because Keating has always trusted Roark’s advice, for example, Keating turned to Roark when he was deciding whether to take the job with Guy Francon after he graduated architectural school, or to study at the Paris school. I agree with Mr. Ryan Chestnut that Roark is trying to influence the world of architecture in a very discreet manner by revising the work submitted by Keating. Roark knows his work will not be accepted directly by the majority of people, so he uses the title of Peter Keating to submit his own work. –Mark Bredemann
ReplyDeletePeter Keating and Howard Roark have always looked at the career of architecture very differently. Keating sees it as a means to success and fame, while Roark looks at it as a way to express himself and his style of art. The reason Keating came to Roark for help with his design for the competition is because Keating, although he is more successful than Roark, knows deep down that Roark is a better architect than him. He has always admired Roark, Keating even looked up to him before his job with Francon and Heyer, "He was timidly glad that Roark approved, and he called himself inwardly a fool for it" (32). Keating knows that Roark's distinctive style will win the competition, and he would do anything, even cheat, to win the competition. Roark is willing to help Keating with his design simply to express his style any way he can. Roark has a deep passion for architecture, and his dream is to see a building of his erected, even if it's not under his own name. He also has a sense of pity for Keating, "No. It's rotten. And you know it" (174). He feels like he has to help him for the sake of architecture. I agree with Max when he says that Peter Keating would go to extremes to win the competition because Peter was clearly okay with cheating as long as it meant winning.
ReplyDeletePeter Keating and Howard Roark have known each other since their days at the Architectural School of the Stanton Institute of Technology, when Roark lived with Keating and his mother. Keating finished at the top of his class, while Roark was expelled. As discussed previously, they have opposite styles; Keating’s leads him to fame and fortune, while Roark’s takes him nowhere. But deep down, they both know that Roark is the superior architect; he is just too stubborn to give the public what it wants. So Peter Keating is on the edge of glory, and all he needs is to win the highly publicized Cosmo-Slotnick Building Competition before his reputation is sealed. Cosmo-Slotnick Pictures of Hollywood, California plans to erect “The Most Beautiful Building in the World” (174) in New York City, New York, and is announcing a worldwide competition for the selection of the architect one year in advance. Keating redraws his project five times, and hates it. Out of desperation, he asks Roark for his opinion. Bluntly, honestly, Roark replies, “It’s rotten. And you know it” (174). So he does the project himself, saying to Keating, “I can’t give them what I want. But I can straighten someone else’s damn mess when I see it” (174). Keating wins the competition, and tries to compensate Roark by offering him five hundred dollars. Roark turns it down, saying, “I don’t want anyone to know that I had anything to do with that building” (193). This proves that Roark is eager to make a contribution to American architecture, without having his nametag on a building with the Renaissance accessories Keating added. In conclusion, Keating went to Roark for help because his career depended on that one commission, and Roark helped him because he loves architecture. I agree with Elle Zadina that Keating feels a natural connection to Roark and craves his opinion simply because Roark is so sure of himself and always knows exactly what he wants to do next. Karina de Hueck.
ReplyDelete“Two heads are better than one.” Not only was Peter Keating looking for a second opinion on his design, but also hoped to pick up a few pointers from Roark. Throughout their time at Stanton, Keating had always known Roark was a great architect and worried that he would become superior to him in the real world. He respects Roark’s opinion and considers him a great architect. I agree with Ryan Chestnut when he said that Keating also admires Roark for his blunt honesty. Also Keating realizes that Roark loves architecture and doesn’t care about what others think of his work. He finds Roark’s work to be pure and honest, something he can’t find in his own architecture. Keating feels insecure about his designs for the Cosmo-Slotnick Building so he ventures to Roark for his expertise. Roark helps Keating mainly because he loves architecture and wanted to do everything he could to make it right. Also he knows that a big building offer wouldn’t want some unknown but would take a draft, even if it stretched the rules, from the famous Keating. He hopes this will open everyone’s eyes to the possibilities his style has to offer. He works with Keating’s design and makes it, “as honest as you can make a dishonest thing.” (174) Lastly, Roark has an advantage on Keating that he can use against him when he really needs to. Therefore, each of these architects gains a bonus with this arrangement.
ReplyDeleteThere are many reasons why Peter Keating requested Howard Roark for help with his designs in the Cosmo-Slotnick competition. However, the main reason why Peter asked Howard for help was because of his lack of self confidence and his acknowledgement of Howard’s superiority when it came to inovation and creativity which was exactly what the competition was asking for. Howard Roark was the perfect person for Peter Keating to ask because Howard was unknown to the world and although he was an architectural genius with new ideas, his designs did not see the light of day because he did not get many commissions.
ReplyDeleteHoward accepted Keating’s request for help because he wanted to change the worlds opinion about architecture and give many people a new view on what real architecture is. He did not care about money or his name however, he just wanted to see one of his buildings be built and be shown to the world. He did not care who got the credit, as long as it was created. I agree with Max when he said that if people think that Peter Keating designed the building it would be immensely popular.
^George finn
ReplyDeleteThere are a few reasons why Peter Keating decides to consult Howard Roark about the Cosmo-Slotnik building he was designing. Ever since college, Keating has doubted his architectural skills in comparison to Roark’s. Deep down Peter Keating knows that he lacks the creative ability that Howard Roark expresses so well. Keating knew that if Roark improved upon his building design that he would surely win the contest. There are a few reasons why Howard Roark decides to help Peter. When Roark states “I can’t give them what they want. But I can straighten anyone else’s damn mess when I see it” (174), he is giving an explanation as to why he helps Peter. Howard Roark knows that he is an amazing architect; but knows that the general public does not appreciate his modern twist on his work. Therefore, Roark does not enter the competition but feels he can help Peter Keating, while adding a small modernistic approach to the building. I agree with Max when he says that Keating desperately wanted to win the competition to better his career, therefore he was willing to go to extremes to do so, such as getting help from Roark.
ReplyDeleteIn his opening sentence, Ryan Chestnut claims Peter Keating has believed Howard Roark is the better architect of the two since their college days. I disagree. Certainly during their days at Stanton, Keating, fearing challenge to his academic excellence, regards Roark as a dangerous rival who might eventually pose threat to Keating’s dominance in the professional field. In response, Keating directs nearly all of his actions toward asserting his superiority. In school, to outdo the performance of his peers motivates his academic success. In work, he brushes aside those prohibiting his assent to the pinnacle of the profession. Therefor, Keating dreads the possibility of his own inferiority and, at the time of his plea, would not acknowledge nor even believe Roark a more able architect. However, throughout the architects’ past interactions, Roark occasionally improves scholastic sketches when Peter is stuck or, through Peter’s rationalization, only when he “just did not have the time to think it out, a plan or something” (19). In the same way, Keating justifies a visit to Roark -- the aforementioned plea -- when he dislikes his preliminary sketches of a building to be entered in a prestigious competition. But because Keating views Roark as a societal subordinate, he bears no qualms in asking him for help. More greatly, the celebrity Keating fears losing this particular commission to “the man who might win and be proclaimed publicly as his superior” (170). Keating’s self-centered plea begs the question as to why Roark complies with a man who defiles the honor of his beloved architecture. As his hand expertly alters Keating’s drawing, no thought of leverage or personal gain enters Roark’s mind, never thinking to extend control over another. Had this been Roark’s intent, he would have accepted Peter’s bribe as a sort of payment on the design. Indeed, Roark emphatically states “he doesn’t want anyone to know that I had anything to do with that building” (192). Instead, Roark sees the drawing, mutilated and corrupt, and desires to infuse within its volatile white marble frame integrity. He does not wish to usher in an era of simpler and more poised buildings per say, as Mr. Chestnut claims, as this endeavor is to be faced later through his own constructions. Foremost, Roark assists Keating merely as an opportunity to express the appreciation and reverence with which he associates architecture.
ReplyDeleteAlthough Peter didn’t want to go see Howard he knew he had to in order to win the contest. Peter was blank and unable to create the modern, new-era designs sought after by the judges of the Cosmo-Slotnick Competition. “Keating redrew his project five times. He hated it. He hated every girder of that building before it was born.”(172) The act of seeking Roark for help was an admission of creative failure, but Peter didn’t have the integrity to care. Peter hunted for notoriety and acceptance, unlike Howard.
ReplyDeleteRoark helped Peter because he solicited Roark’s help. Roark knew Peter couldn’t do it by himself, and by coming to Roark’s office Peter admitted his lack of architectural talent. Roark says “I dry up. I go blank. I can’t give them what they want. But I can straighten someone else’s damn mess when I see it.”(174) Roark himself admits he can’t make the building, but if he has somewhere to start he could do it. Roark knows if he entered the contest he wouldn’t win because his lack of fame and appreciated style.
I agree with Ryan Chestnut’s opinion that Keating feels safe coming to Roark because Roark’s modernistic principles wouldn’t bring him to his own competition. I also agree with his point that Roark saw this as an opportunity to discreetly influence the world his style of architecture
Peter Keating went to Howard Roark for help because, though he will never publicly admit it, he knows that Roark is a more superior architect than him. “There was someone whom he could ask. He did not want to think of that name; he would not go to him; the anger rose to his face and he felt the hot, tight patches under his eyes. He knew that he would go”(173). He pleaded to Roark because he believes his word is more important than others, such as Francon’s and Heyer’s. Peter Keating is used to getting everything he desires. He needed to win this competition. So to win the competition, he went to Howard because he knew that his creative and original design to help win over the judges. Howard Roark agrees to help Keating with his drawing because Roark loves the opportunity to make necessary changes to architecture. He loves architecture and fixing Peter’s projects may help Roark understand architecture more. It seems as if Roark does not learn about architecture through his bosses. He learns about his own mistakes and notices himself what he has to change. Also, Howard states to Peter, "I go blank. I can’t give them what they want. But I can straighten anyone else’s damn mess when I see it" (174).
ReplyDeleteHe knows that a building sent in from Howard Roark will not win the competition. But he does know that the same building sent in by Peter Keating would win.
It is made obvious within the first few lines of the novel that in the Fountainhead, by Ayn Rand, that Howard Roark is indeed superior to Peter Keating. Annie Lyons also sees this and I agree that Peter does know this fact. The irony that Peter Keating, which shows the repeated and modern ideas of architect is the one that becomes the celebrity, famous for repeating what everyone before him has done. It continues when Howard, the extraordinary and brilliant architect is cast out by society and seen as a mockery. This is evident when Peter goes to Howard and asks for help with his plans for the Cosmo-Slotnick building. In response to how it looks, Howard says, "It's rotten. And you know it" (174). Peter asked Howard for help in the first place because even though he has gone far in the architecture world, he knows that he could never have even imagined the ideas Howard throws on paper in a minute. Also, the irony continues when Peter asks, “Why don't you enter the competition, if you can do it like this?"(172). Roark is modest with his unique and controversial yet genius work, while Peter, an inferior architect, is arrogant with his work. But the bigger question arises when Howard indeed helps Peter with his work. It is probable that Roark knows that his form of architecture wouldn’t be accepted in his world, but even by editing Peter’s plans, he can still influence the architectural world by showing his own way of building.
ReplyDeleteHayley Hartnett
The Cosmo-Slotnik competition was a very key event in the life of Peter Keating. It won him the partnership with Guy Francon. However, it was not really Peter who designed the building, it was Howard Roark. Peter Keating chose to ask Howard Roark to help design the Cosmo-Slotnik building because he was desperate and he knew that he could not meet the standards required win the competition. He knew that Roark could because he had been the better architect ever since their days at Stanton and they both knew it. Even though Roark had decided not to submit an entry to the competition because he said "I can't. I couldn't if I tried. I dry up. I go blank. I can't give them what they want," (174) he fixed up Peter's entry and won him the competition.
ReplyDeleteThe reason Roark agreed to do this is because he knew he could work with Peter's entry which he didn't particularly like ("It's rotten. And you know it." 174) and win. Peter had admitted that Roark was the better architect so Roark had pity on Peter and decided to help him and to see his structure erected because he didn't care if he was accepted by society as Peter did.
I agree with Will Lederer when he said that Roark was not interested in what the public thought but rather his personal pride. That is why he agreed to design the Cosmo-Slotnick Building but to let it bear Peter Keating's name.
In The Fountainhead by Ayn Rand Peter Keating, a highly successful architect pleads with his friend Howard Roark, an unsuccessful architect, to look at his sketches for the Cosmo-Slotnick competition. Peter tells Howard, "As a matter of fact I did think I'd show you my own entry, you understand I'm not asking you to help me, I just want your reaction, just a general opinion," (174). From the time Peter met Howard he knew that he was not as good as Howard. He always got mad at himself for wanting to ask for Howard's opinion, but the reason Peter always wanted his opinion was because he was so famous. He never got criticized, while Howard got criticized every day. Keating knows that Roark will tell him exactly what he thinks and Keating appreciates deep down this sense of honesty that no one else will give him. Peter is jealous of Roark, even though he is successful, because Howard does what most people are too scared to try. Deep down, Peter respects Howard's opinion and trusts him because he sent in Howard's exact drawings for the most important competition. This competition will make or break his future, and he places all his trust with Roark.
ReplyDeleteHoward Roark always scorns Peter Keating of his taste in architecture. The reason he agrees to help Peter is because "I can straighten up someone else's damn mess when I see it," (174). Roark knows that he will never be as famous or liked as Keating is, and he accepts it. The fact that Peter comes to him for advice amuses him, but also gives him an opportunity to fix something that he thinks is so wrong, and turn it into something so right in his eyes. Howard doesn't care about what the judges in the competition think of him, as well as society, and that is why he doesn't enter himself. He knows that Peter does care what society thinks so he helps him out. Drawing the sketches come natural to him, not only because he does not have the pressure Peter does of having to win this competition, but because he is the better architect.
I agree with Lucy Melbinger when she says that Roark helped Peter because he loves architecture so much, that he didn't want to let another building of the past be put up. This love for architecture is a characteristic of Howard's that Peter doesn't seem to have. Peter just seems to create buildings simply for the money and being famous, but Howard creates buildings because he loves them.
Desperate and unsure of himself, Peter Keating faces an internal conflict, struggling to have faith in his abilities and ultimately succumbing to skepticism. “He [Keating] felt nothing but immense uncertainty when his sketches were ready and the delicate perspective of a white marble edifice lay, neatly finished, before him” (173). Unwilling to admit his doubt to himself or to anyone, Keating goes to the only man he could possibly seek assurance from, Howard Roark. Although unwilling to admit it, Keating has always known Roark to be the more competent architect. Roark is always sure of himself and never discouraged when it came to architecture and Keating envied him for that. Everything Keating has done in his life has been done to exert superiority over everyone he needed to be better than, but the one person he craved approval from was Howard Roark. “Keating was surprised to find that he felt more pleasure than from any other compliment he had received today. He was timidly glad that Roark approved, and he called himself inwardly a fool for it” (32). Obviously the reason Keating cherished Roark’s advice and seeked his opinions, was Keating knew Roark was a more talented architect. Peter Keating’s conflict is: the need to better than everyone else versus the need to seek approval from every one else, specifically Roark. Keating can’t be superior to everyone else by admitting his doubts. This predicament causes Keating anguish and he associates Roark directly with this internal struggle, causing him to despise and even hate Roark; he reluctantly goes to Roark. “He did not want to think of that name; he would not go to him; the anger rose to his face and he felt the hot, tight patches under his eyes. He knew that he would go” (173). Roark being a social pariah, ensures Keating that he can admit his doubts to Roark and seek improvement whilst becoming superior to the rest of the world with Roark’s improvements, but never becoming superior to Roark. Therefore, Roark is the only person Keating can go to, because Roark is secluded from society. Roark fixes Keating’s work, quite simply because he cannot stand to see such an outrage nor idly stand by and say it’s quite good. He must correct the mistakes not for Keating’s sake, but for architecture’s sake. Roark says, “I can’t give them what they want. But I can straighten someone else’s damn mess when I see it” (174).
ReplyDeleteFurthermore, I completely disagree with Emily Ocwieja. Roark does not feel the need to display modern architecture to the world. Regardless, he does not accept labels, especially not the label of modernist. “He [Roark] winced a little when he was addressed as, ‘Hey, Modernistic’” (104). Frankly Roark can care less about modern architecture. Howard Roark is a selfish person who builds buildings according to how he thinks they should be built. He is an individual who needs no one but himself to convey his style.
I think Peter asked Howard because he was genuinely curious as to how Howard comes about these crazy I dead for buildings. Peter also seemed to be more opened up to crazy ideas when a client, Miss Cook, asked him to build an ugly house. Keating responds,"Yes, but.... But I ... Well, I don't see how I could permit myself to..."(241) . Building the ugliest house opens his mind to thinking about what's ugly/not. I agree with Morgan Lyons with the statement that Roark took the job because he needed the money and he might also have been curious about Keating's method of writing a building plan.
ReplyDeletePeter Keating pleaded with Roark to design the building because he had no one else to turn to. No matter what he did, he wasn't happy with the way the building was turning out, and he needed someone else's input, and as seen in the book, help with drawing out the sketch. He was a figurehead in the architecture society at the time, and if he had gone to anyone else for help, it would have hurt his reputation. Roark, on the other hand, would probably never tell anyone he had been there. He was the only one he could go to for help, and Keating knew that Roark would be able to do something for him, albeit most likely being unsure of what that something was. Roark agrees to do it because he feels that if he can show his work in what becomes the architecture story of the decade. He knew that what he really would have done for the building design would never have been seen, but he let his design show through even the tiniest bit when he designed the building in a way that was "as honest as you can make of a dishonest thing" (174).
ReplyDeleteI agree with Elle Zadina when she said that Peter asked Roark because he respected his opinion and had asked him for help in the past. That played a big part in why he asked Roark, and the fact that he said he respected his opinion more than the Dean's means that he knew what Roark was capable of and knew that he would come up with something great for him.
At this point in the story, Peter Keating has risen to become the chief designer for the Francon and Heyer firm. Keating is looking for more, and knows that if he wins the Cosmo-Slotnick Competition it will put him in the perfect position to officially become Francon’s partner in the firm. Keating is already a celebrity architect and Francon has complete confidence in his designs, but “Keating redrew his project five times. He hated it. He hated every girder of that building before it was born”(170). Even during his time at Stanton, Keating always trusted Howard Roark for advice; therefore, it only seemed appropriate to seek his help now. At first glance of Keating’s project, Roark says “it’s rotten. And you know it”(172). Roark agrees to help Keating because he is confident that he can fix Keating’s mess, and he wanted to know that it would be finished. After several hours Keating exclaims to Roark “Why don’t you enter the competition, if you can do it like this?”(172). Roark is a very talented architect, but his designs appear too complex and modern for the public, and he trusts that his commissions will come to him. I agree with Will Lederer when he says that “Roark is not interested in what the public thinks but rather personal pride”. Roark is not at all concerned with having ‘a name’ in the architectural world, and this is exactly why Keating knows he can trust that Roark won’t tell anyone about helping him out every now and then.
ReplyDeleteKeating enters a contest for the Cosmo-Slotnick commission in which the best submitted sketch of the building wins the job. After completing his own sketches he feels that there is something not quite right about it, he feels empty about the drawings. Keating decides to take the sketches to Roark and when he gets there he tells him, "You understand I'm not asking you to help me, I want your reaction, just a general opinion" (172). In fact Peter is not doing this but going there to get Roark to do the sketches for him. He knows full well going in there that when he leaves Roark will be redoing the building. He does this because he realizes that he cannot give the people exactly what they want on his own. He knows Roark is a better architect than him and that he will incorporate his own modernistic ideas into the building. He knows this new building will be exactly what the people are looking for. i do not agree with the people who say Roark gave in and did the building because he wants to influence the world of architecture. He does not care what they think and he knows they are far from accepting his ideas about how things should be build. He decides to do the sketches for Peter because watching his own buildings go up brings him joy. He does not care about the money or fame that Keating will receive from this building commission, he cares about knowing that the building that whet up was his idea and he did it for the sake of his own architecture.
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