A rarity among authors who focus on the relentlessly forward-looking profession of architecture, Witold Rybczynski is generally considered something of a conservative. Born in Scotland, educated in England and Canada and residing in Philadelphia, Mr. Rybczynski wrote in the introduction to his most recent book, “How Architecture Works: A Humanist’s Toolkit” (Farrar, Straus & Giroux), “I consider history a gift, rather than an imposition.” While a few of his 18 books are set firmly in the past, most, like the 1986 best-seller, “Home: A Short History of an Idea,” use a broad historical perspective to better frame the present. His writing has a patient, deliberate quality that is rare at a moment when the dominant medium of architectural discourse is Twitter. Perhaps this is why Mr. Rybczynski, despite himself, is suddenly all the rage. On May 1 he was named a “Design Mind” by the Cooper-Hewitt, National Design Museum in its annual National Design Awards, an honor generally bestowed on visionary thinkers. On the same day he attended the National Magazine Awards as a nominee for three columns he wrote for Architect magazine in which he revisited significant buildings and neighborhoods that were completed many years ago to see how they’ve stood the test of time. (This interview, which was conducted by phone and email, has been edited and condensed.)

A. I suppose that’s just getting old and seeing the world change in ways you don’t like. I think the celebrity aspect of architecture is not helpful. It’s not making for better architecture. Appliances can be designed with fashion because they last such a short time. And even entertainment is kind of transitory. But buildings, because they last such a long time, should be approached differently. Approaching them as a kind of entertainment distorts architecture.

Can you give an example of a building that seems designed primarily for entertainment value?

I don’t mean that buildings are funny or amusing, the way that some postmodern buildings tried to be in the ’80s. The new Cooper Union building by Morphosis strikes me as entertainment in the sense that it is like a horror movie, meant to shock. At least, it shocked me.

When you write that “history is a gift, not an imposition,” what do you mean?

One of the things that surprised me writing “How Architecture Works” is how frequent the architectural revivals are. And I think partly it’s because buildings last such a long time,