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The Van Alen's new storefront space in Manhattan's Flatiron district joins a large event space to a series of alcoves that can be hidden behind accordion doors during public programs. The Van Alen Institute in Manhattan, an advocate of “smart public design” for more than 100 years, is taking to the street. Last year David van der Leer, the institute’s new director, arranged to swap its longtime quarters on the sixth floor of a Flatiron district building for a storefront space in the same building, where, van der Leer says, “our ability to connect with audiences is much greater.” But

Museum expansion and new construction projects are as few and far between as they are glamorous. But, while such projects are far from plentiful, they tend to have generous capital budgets. Click the image above to view a full presentation of these stats [PDF].

An exhibition at the Yale School of Architecture explores the early uses of digital tools in architecture. Greg Lynn No single tool has become more critical to architectural practice than the computer. In fewer than 30 years, CAD software and related products have become an entire industry by catering to the needs of designers. But the early years of architects’ use of digital tools are little known. Greg Lynn, founder of Greg Lynn FORM and a professor at UCLA, has curated exhibitions that explore this early architectural experimentation. The exhibition, the second of three on this theme, Archaeology of the

Gene Kaufman's plan to turn Paul Rudolph's Orange County Government Center into artist studios is the best thing to happen to the building since county officials began threatening to tear it down in 2004. Image courtesy Gwathmey Siegel Kaufman & Associates Architects Gene Kaufman's proposal for Rudolph's Orange County Government Center includes live/work studios (green), work studios (pink), and gallery spaces (purple). With almost 50 cheesy hotel buildings to his name (sometimes two or more to a block), Gene Kaufman has done immeasurable damage to Manhattan. But Kaufman has a chance to redeem himself. His plan to save the Orange

“It’s not ripping my flesh off,” says Denise Scott Brown of the loss. Photo Venturi Scott Brown and Associates Denise Scott Brown in Las Vegas in 1968. There’s a long shadow hanging over the AIA Gold Medal for 2015. Yesterday, the institute announced that Moshe Safdie is next year’s winner—a surprise for those who were expecting Robert Venturi and Denise Scott Brown to get the prize. This was the first year Venturi and Scott Brown were jointly eligible because of a change in the rules to allow two architects to win the award together. That change was made in the

 The 79-minute documentary Design is One: Lella & Massimo Vignelli, released on DVD last week, is a biography, of a kind, of the designer and his wife, originally hit the festival circuit in 2012. It neatly tracks Massimo and his wife Lella’s careers as the preeminent design team of the postwar era at something of a breakneck pace. A series of images of the Vignellis’ work flashes by at the start of the film as if we were quickly flipping through a retrospective (or high-end product) catalogue, and things don’t get much slower from there. Directors Kathy Brew and

“I don’t like his uniform,” said a world-renowned architect, dressed in khakis and a polo shirt, during a poolside conversation in Miami. “But I’m sure he doesn’t like mine either.” Related links Design Miami Dispatch: Highlights From the Fair Design Miami Dispatch: The Design District The he is Peter Marino, a prolific architect who is best known, these days, for showing up in public in full leather drag, with tattoos on his exposed arms and a Mohawk underneath his leather biker cap. Famous for designing houses for socialites, as well as stores for Chanel, Louis Vuitton, Dior, and other luxury

Olson Kundig Architects stacked and staggered glu-lam beams into a handsome, comfortable lounge for Design Miami. The chandelier is by Lilienthal | Zamora. Design Miami, now in its 10th year, has thrived since it moved from the Design District to a tent in the parking lot of the Miami Beach Convention Center. Outside the tent, a colorful pavilion by Jonathan Muecke offered relief from the expanses of white vinyl. Inside, Alan Maskin of Seattle’s Olson Kundig Architects also diverged from the tent aesthetic, stacking and staggering massive glu-lam beams into a handsome, comfortable enclosure, the fair’s Collectors Lounge. (The room

There were more construction workers than shoppers in Miami’s Design District on Tuesday. A glass loggia by Sou Fujimoto was finished, as was a storefront by Aranda\Lasch for Tom Ford on a corner lot. But much else awaited completion. Craig Robins’s plan to turn the Design District into a high-end fashion destination, with architecture as a draw, is proceeding fitfully. Related links Design Miami Dispatch: Highlights From the Fair Following a master plan developed by Duany Plater Zyberk (DPZ), Robins has created a north-south pedestrian “street” that ends in what is now called Palm Court, a plaza centered on a