In 1967, while I was an architecture student at the University of Washington in Seattle, my History of Architecture professor Hermann G. Pundt presented an hour-long lecture to the class on the Glasgow School of Art and the work of Charles Rennie Mackintosh.
Richard Meier, Peter Eisenman, and Paola Antonelli pay tribute to their collaborator and mentor. From left: Tadao Ando, Lella Vignelli, Richard Meier, and Massimo Vignelli, in January 1990. Massimo Vignelli, one of the leading graphic artists of his generation who designed some of the most recognized logos and branding materials of the second half of the 20th century, died Tuesday after a long illness. He was 83. Vignelli applied his strict minimalist aesthetic to some of America’s most iconic brands, designing the austere American Airlines logo, consisting of sans-serif AAs, introduced in 1967 and used until it was replaced last
A design exhibition in New York introduces a neglected genre. Installation view of the exhibition, Norwegian Icons, in Manhattan. Of all the places where modernism put down roots, Norway provided particularly fertile ground: with its union from Sweden dissolved as recently as 1905, a new international language signaled independence. Recovering from World War II occupation, the country harnessed the principles, technologies, and idioms of modernism to return to normality quickly and affordably. Modernism bloomed, but unlike the distinguishable and celebrated work of its 20th-century architects—think of the functionalism of Erling Viksjø versus Arnstein Arneberg’s conservatism, or the fame of
Marc Norman has been the director of UPSTATE: A Center for Design, Research, and Real Estate at the Syracuse University School of Architecture since 2012. The program was created by former dean Mark Robbins to, in Norman’s words, “tie faculty and students to real-world projects in the city and the region.” Norman studied political economics at Berkeley and urban planning at UCLA and spent four years as a project manager for Skid Row Housing Trust, a community development corporation in Los Angeles, before moving to New York. There, he worked for Lehman Brothers, financing affordable housing, and for Deutsche Bank,
Architectural Record’s first Innovation Conference outside of New York City was aptly held in Los Angeles, a city known for blurring boundaries between urbanism, architecture, and the landscape.
Michael KennaHomage to BrassaiLondon, Englandnegative 1983/print 1984Toned gelatin silver printGift of the George H. Ebbs Family, 2007.51.52 Architecture has been an irresistible subject for photographers since the birth of the medium, and like buildings themselves, architectural photography can be different things to different people—a malleability explored in the excellent exhibition Architecture + Photography, on view at the Carnegie Museum of Art in Pittsburgh through May 26. Using materials from the museum’s Heinz Architectural Center and Department of Photography, curator Tracy Myers and assistant Alyssum Skjeie built the show around four intersections between photography and architecture over a period of more
The Rotterdam-based firm West 8 has transformed 30 acres on Governors Island into parkland. Buildings have been leveled and parking spaces have been eliminated on the 172-acre island, leaving plenty of open space. When superstorm Sandy wreaked havoc around New York Harbor, Governors Island was largely spared, in large part because construction of a new park had involved both adding elevation and installing proper drainage. “I’m glad my landscape architect is Dutch,” says Leslie Koch, president of the Trust for Governors Island, referring to Adriaan Geuze, the principal of Rotterdam-based West 8. That firm, chosen in a 2007 competition (as
Product designers descended on New York last weekend for the International Contemporary Furniture Fair, WantedDesign, and various events in galleries, showrooms, and studios throughout the city. RECORD sent out a team of editors to scout for the best new products. Click the image below to view a slide show of what they found. A collection of geometric lighting by Bec Brittain at ICFF.
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