Clifford A. Pearson

Strickland-Ferris Residence

Frank Harmon raised the Strickland-Ferris Residence off the ground, then let its roof take flight.

January 19, 2008

A steep escarpment and a wooded site shaped Frank Harmon’s design for the Strickland-Ferris Residence in Raleigh, North Carolina.

Moongyu Choi+GaA Architects Stacks the Deck With Multi-Layered Designs

Clifford A. Pearson

December 19, 2007

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No wonder concrete buildings dominate the cityscapes, and a muscular approach to space and form drives design.

InterActiveCorp Building

Frank Gehry's first building in New York City, the IAC headquarters, pioneers a new neighborhood, eliciting positive and negative reactions

Clifford A. Pearson

October 19, 2007

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With its ethereal, milky-white skin and faceted curves, Frank Gehry’s IAC Building stands out against the heavy, industrial structures surrounding it on the western fringe of Manhattan’s rapidly evolving Chelsea neighborhood.

Ginzan Onsen Fujiya by Kengo Kuma and Associates

Yamagata, Japan

Clifford A. Pearson

September 3, 2007

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Kengo Kuma wraps a hot springs hotel, Japan's Ginzan Onsen Fujiya, in screens as exquisitely delicate as a cricket cage.

Peter Gluck Builds an Open-and-Shut Case for Inventive Design with the Inverted Guest House

Clifford A. Pearson

July 19, 2007

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I wanted to build a barn,” says Richard Yulman, the client for the Inverted Guest House in Lake George, New York.

Olympic Sculpture Park

Weiss/Manfredi weaves the Olympic Sculpture Park and its mix of art and design into the urban fabric of Seattle

Clifford A. Pearson

July 19, 2007

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Architects talk a lot about “landscape” these days, using the word in so many different ways it’s often hard to know what they mean.

George Yu, Vanguard Architect, Dies at 43

Clifford A. Pearson

July 17, 2007

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George Yu, a pioneer in digital architecture, died in Los Angeles of a type of lung cancer that afflicts nonsmokers. He was 43 years old. As both a designer and teacher, Yu helped shape the way that architects envision and use new technologies such as digital imaging and fabrication. But his work always kept the human user in the foreground, never turning technology into an ideology or fetish. He was able to do this, in part, by developing a keen sense for materials, light, and space. Photo © Gary Leonard George Yu Related Links: George Yu Exhibits in the 2004

Fleet Library at the Rhode Island School of Design

Office dA inserts a new sensibility within a historic shell to create the Fleet Library at RISD.

Clifford A. Pearson

June 19, 2007

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How do you turn a Renaissance Revival banking hall from 1917 into a 21st-century visual-arts library and do it on a tight budget?

Art Gallery of Ontario

Clifford A. Pearson

June 16, 2007

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Toronto, Canada Gehry International Photo courtesy David Thomson The late media mogul, art collector, and patron Kenneth Thomson David Thomson Clifford Pearson: What was your relationship to your father and this project? David Thomson: My father and I were very close. We both pursued art. It was an extension of our relationship. Frank and my father really connected on this project. The intensity of feeling between them was remarkable and is reflected, I think, in the spaces Frank created for the art. This was the special outcome of this project. Frank’s relationship with my father allowed him to take more

Art Gallery of Ontario

Clifford A. Pearson

June 16, 2007

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Toronto, Canada Gehry International Photo courtesy AGO Photographic Resources AGO director and CEO Matthew Teitelbaum Matthew Teitelbaum Clifford Pearson: What was your thinking at the start of this project? Matthew Teitelbaum: In the beginning, we had two main goals—to create some great new spaces for art and to fix some of the circulation problems we had. This was our seventh expansion so the museum had grown piece by piece by piece. As we started working with Frank, we developed more specific goals. We wanted to establish a clear destination for the art, so visitors can encounter it quickly and directly.