In the 1980s, the owner of Newsweek, Katharine Graham, reviewing plans to renovate the headquarters of the magazine, where I worked, questioned the necessity of private offices for the dozens of writers and editors.
Lovers of the Four Seasons restaurant in the Seagram building in New York, a masterpiece of high modernist interior design, thought it was bad when, in September 2014, Aby Rosen, the building’s owner, forced the removal of "Le Tricorne", the monumental stage backdrop by Pablo Picasso that had hung in the restaurant for more than 50 years.
When the news of Zaha Hadid’s death hit on the morning of March 31st, the shock of its suddenness, fueled by the power of social media, set off a tidal wave of emotion that swept across the architecture world.
Jane Jacobs is celebrated for many things: her game-changing 1961 book, The Death and Life of Great American Cities; her shaking up of urban-development thinking and ideas about the functioning of city economies; her activism in opposition to urban highways and large-scale clearance of buildings.
When Robert Venturi’s Complexity and Contradiction in Architecture was published 50 years ago, Vincent Scully announced in the introduction that it was “probably the most important writing on the making of architecture since Le Corbusier’s Vers une Architecture” of 1923.
In recent decades, Southeast Asia has become a vibrant laboratory of high-density urbanism with places such as Singapore, Bangkok, and Hong Kong packing more people into taller buildings on smaller parcels of land.
The impending renovation of the 1967 Ford Foundation headquarters in Manhattan presents an unusual dilemma: the very elements that distinguish this landmark of Midcentury Modern architecture are those that threaten it.
Frank Lloyd wright did not take criticism lightly. He was furious at the stinging denunciation of his revolutionary Larkin Building in Buffalo that was published in Architectural Record in April 1908. Its author, Russell Sturgis, an eminent architect and historian who had written for RECORD since its inception in 1891, called Wright’s office building for a mail-order soap company “ungainly” and “awkward.” Wright retaliated in an unpublished reply that it was “pathetic” to see a well-respected critic “picking over bit by bit his architectural ragbag for architectural finery wherewith to clothe the nakedness of the young giant.”