In 2012, architects Paul Dieterlen, Jorge Ruiz Boluda, and Agustín Durá Herrero envisioned a motley crew of guests for an “Inspiration Hotel” conceptual design competition in Spain. The surreal assortment includes Salvador Dalí, Le Corbusier, Albert Einstein, Álvaro Siza, Mies van der Rohe, Steve Jobs, Eero Aarnio, Andy Warhol, and a flock of ducks. With Project Architect Company’s photomontage for its entry to the Haus der Zukunft competition in 2012, the architects wanted to impart a sense of historic Berlin to their scheme. They inserted stills from Walter Ruttmann’s 1927 film Berlin: Symphony of a Metropolis. At RECORD, we frequently

Techniques for conveying the experience of architecture are more sophisticated. Can they supplant the act of visiting a building? With all the available means to see buildings — through printed publications and images on the web, tablet (iPad, Android), or even better, videos, it may seem as if you don’t need to actually visit a building to know what it’s about. At the same time that electronic media enhance the visual experience, of course, digital advances allow more complicated buildings to be constructed. Architects such as Zaha Hadid, Steven Holl, and UNStudio, to name a few, have been enabled by

April 2011 Why we are drawn to those sexy, dangerous houses. Some of our readers call our annual Record Houses issue the “Swimsuit Issue.” It’s not exactly our mission (and we don’t normally equate ourselves with Sports Illustrated), but we’ll take it. Every year since 1956, Architectural Record has compiled and published a collection of houses from across the world — a telling snapshot that captures and reflects the state of architecture at a distinct moment in time. The Fullerton Kit house, as pictured in a 1920s Sears, Roebuck “Modern Homes” catalog. Houses like this reassure us and reiterate what

The Penn Station saga says a lot about our failed public realm. What a mess! Every day as we head to and from our offices atop Penn Station, we push through swarms of harried commuters, disoriented tourists, and fast-moving New Yorkers in the multilevel, underground purgatory that serves Amtrak, the Long Island Rail Road, New Jersey Transit, and six different lines of the city’s subway system. As nearly everyone knows, this artificially lighted, soul-sapping labyrinth replaced the soaring architecture of McKim, Mead & White’s Pennsylvania Station, which opened in 1910 and fell to the wrecking ball 53 years later. It’s