For February’s renovation and adaptive reuse–themed issue, we profile four buildings that have undergone striking metamorphoses: a Bangkok warehouse-turned-contemporary art museum, a Manhattan boutique hotel and social club with a magnificently restored 1891 facade, a restored and enlarged Brutalist school in Geneva, and a symphony hall in St. Louis treated to a 100th-annivesary revamp. Also this month, we take a deep-dive into the afterlife-ready buildings of the 2026 Winter Olympics in Italy, check out a clustered cultural complex in Taiwan by SANAA comprising a museum and public library, and detail the painstaking relocation of a centuries-old Japanese farmhouse to the Boston suburbs.
Check back throughout the month for additional content.
Architect Kulapat Yantrasast envisions Dib Bangkok, Thailand's first international contemporary art museum, as more of an events-hosting playground than a temple for viewing static art.
BKSK Architects revive the historic facade of an 1891 Union Square building, now home to the New York outpost of London hotel and social club The Twenty Two.
The cramped but acoustically blessed Powell Hall, home to the St. Louis Symphony Orchestra, celebrates its centennial with a grand new lobby and back-of-house extension.
Careful not to detract from its character, the firm cleverly restores and enlarges a space-strapped junior high school built in the 1960s from prefabricated concrete.
Athletes and spectators will see little ground-up construction, but planners have carefully considered the afterlife of the Winter Games and its venues.
Building lifespans run the gamut, but with a focus on reuse and renovation, the February issue shows off exemplary old buildings that continue to thrive.
The non-profit Miho Belmont International worked with a team that included Atelier Ryo and I-Kanda Architects to renovate and relocate a traditional timber 'minka' in the Boston suburbs.
Following a comprehensive restoration led by Rogers Krajnak Architects, the National Register of Historic Places–listed building reopened last fall as a visitors center.
RECORD talks with Micah Springut, founder of the New York–based start-up, about his goals for the centuries-old art form and his new workspace in Brooklyn.