Nearly two decades ago, the Metropolitan Museum of Art completed the 1970 master plan by Kevin Roche, FAIA, of Kevin Roche John Dinkeloo and Associates (KRJDA), for its building in New York City’s Central Park. Since then, the museum may not expand up or out on its site. Yet it continues to reconfigure interior spaces to accommodate changing curatorial needs and increased attendance. The latest installment in this ongoing process, the second phase of a three-part renovation of the museum’s American Wing, was unveiled on May 18 in a ribbon-cutting ceremony presided over by First Lady Michelle Obama. Photo courtesy

LY: Another problem with the former design is that people had trouble finding the galleries upstairs. When did you first notice this? MH: In 1924, when they placed the earliest galleries and period rooms on the top floor. It was always a problem for people to get to the beginning of the sequence. The principal goal of our effort was to clarify patterns of access—pathways for visitors. And the 1980 design did not solve the linkage issue between the 1924 structure and the rest of the building. At that time, they tried to integrate the wing with the main building,

At the farmers’ market in Seattle’s Ballard neighborhood, people can’t help but ask John Morefield what he is selling. “We’re selling architecture!” he answers. “Have questions about your house? Kitchen too small? Bathroom not working? Drop a nickel into the cup.” Architectural advice is an unusual service to be hawking at a Sunday market known for its organic produce. Then again, these are unusual times, and Architecture 5¢ is just one man’s way of weathering the economic crisis. Inevitably, passersby see the 27-year-old Morefield behind his plywood booth—built to resemble Lucy’s psychiatry stand from the Peanuts comic strip. Intrigued, they

Photo © Oliver Helbig When SFMOMA gave J. Mayer H. a show, the Berlin-based studio couldn’t have been expected to do anything tame. No framed drawings, no models here. After all, this is the firm that designed a Danish science museum in the shape of a hot rod flame, and stretched out an old German house like silly putty to make a new one. The buildings wouldn’t feel out of place in a Dr. Seuss book. So when J. Mayer H. designs a museum show—Patterns of Speculation: J. Mayer H., curated by Henry Urbach and up now through July 7—this

Image courtesy Peter Morris Proponents of green buildings have a long list of persuasive arguments they can use to convince clients and developers that green is the way to go: Build green, and your employees will be healthier, happier, and more productive! Build green, and you will use less water and energy, benefit your local environment, and promote global environmental responsibility! Build green, and you will save money over the long term! But with U.S. economy in shambles, the question looms: How will the recession affect the green-building market? RECORD put the question to Peter Morris, principal of the construction

Image courtesy of the New Museum Urban China editor, Jiang Jun Image courtesy of the New Museum New Museum curator, Benjamin Godsill Cities are four-dimensional universes. Places and spaces at once, they’re always too big to fully grasp, and they’re always changing. If the contemporary apex of this incomprehensibility is anywhere, it’s in China, where cities are blurs of government control and ground-level commotion. They’re huge and sprawling, overpopulated, misunderstood, and growing fast. And a new show at the New Museum in New York packs all that into one room. Jiang Jun edits the Shanghai-based magazine Urban China, and his

When the last monograph surveying Daniel Libeskind’s work was published—some eight years ago—the New York architect was riding a wave of praise for his Jewish Museum in Berlin.

Photo © Elfie Semotan “You can take possession of it by describing it,” says Wolf Prix of Coop Himmelb(l)au’s Central Los Angeles Area High School #9. “If I asked a student, ‘Can you describe your school? Where do you go to school?’ He’d say, ‘The school with the crazy tower and the round windows,’ not, ‘just a building downtown.’” Los Angeles floats its landmarks on a sea of faceless highway, like peanuts in peanut brittle. Downtown, the two-block stretch of Grand Avenue that straddles the 101 is a satisfying bite. In a single chomp, you get Frank Gehry’s Disney concert

Photo courtesy Page Southerland Page “Then there’s a little buffer of green space, which is very, very important because that makes them not feel like they’re on the sidewalk,” says Lawrence Speck of the Dunn Center’s outdoor space for Houston’s homeless residents. Lawrence Speck, FAIA, has worked with well-off clients on many residential projects, but he has also spent a lot of time talking about architecture with people living on the streets. A few years ago, the architect and professor at the architecture school at the University of Texas in Austin won the commission to design a $19.1 million expansion