https://www.architecturalrecord.com/rss/1548 en-us http://www.architecturalrecord.com/articles/16551 Tue, 24 Oct 2023 01:44:22 -0400 https://www.architecturalrecord.com/articles/16551-on-long-island-studio-libeskind-delivers-supportive-housing-with-a-distinctive-facade A Holocaust memorial in Canada's capital provides a provocative site of remembrance.

]]> http://www.architecturalrecord.com/articles/13216 Fri, 02 Feb 2018 09:00:00 -0500 https://www.architecturalrecord.com/articles/13216-national-holocaust-monument-by-studio-libeskind In designing the open-air holocaust monument, Libeskind created a “place for perambulation” that takes advantage of a slope in grade. Photo © Doublespace Visitors enter one side, threading their way into the central plaza, then exit by a long stair, which frames a view in the distance of the Peace Tower among the parliament buildings. Photo © Doublespace They then arrive at the slightly higher part of the site on the street again. Photo © Doublespace An aerial view shows the assembly of triangulated spaces in the shape of a Star of David as if it were drawn in anamorphic perspective. Photo © Doublespace The tallest enclosure contains the “Flame of Remembrance.” Photo © Doublespace On the walls of the tilting concrete slabs surrounding the central plaza are artworks hand-painted from photographs of concentration camps taken by artist Edward Burtynsky. Photo © Doublespace On the walls of the tilting concrete slabs surrounding the central plaza are artworks hand-painted from photographs of concentration camps taken by artist Edward Burtynsky. Photo © Doublespace A city in Belgium aspires to make it onto Europe's cultural map with an energetic building that ramps up the architectural volume. Once a medieval city on a hill in the French-speaking part of Belgium, Mons later became a center of heavy industry.

]]> 1503-mons-international-congress-xperience-studio-libeskind-h2a-architecte-and-associes.asp Mon, 16 Mar 2015 12:30:00 -0400 https://www.architecturalrecord.com/articles/7437-mons-international-congress-xperience Mons International Congress Xperience The wood spiral tilts up at one corner to reveal the main entrance and plaza. Mons International Congress Xperience Image courtesy Studio Libeskind/H2a Architecte & Associés Mons International Congress Xperience Image courtesy Studio Libeskind/H2a Architecte & Associés Mons International Congress Xperience A pair of intersecting spirals form the body of the 135,000-square-foot building with one clad in wood slats, the other in metal. Mons International Congress Xperience The architects designed the main lobby as a large, flexible space that could be used in part for exhibitions and dining as well as congregating. Mons International Congress Xperience A large sculptural stair in the lobby has a landing where people can gather and take in the scene below. Mons International Congress Xperience The conference center includes three different auditoria, seating 100, 200, and 500 people. Libeskind sits in the front row (third from right) of the largest hall at the building’s opening. Mons International Congress Xperience Generous breakout spaces indoors and out create a better experience for people attending events in the complex. For example, a public terrace on the second floor lets people enjoy some fresh air and leads up to a viewing platform on the prow of the building. Mons International Congress Xperience Image courtesy Studio Libeskind/H2a Architecte & Associés Mons International Congress Xperience Image courtesy Studio Libeskind/H2a Architecte & Associés Mons International Congress Xperience Image courtesy Studio Libeskind/H2a Architecte & Associés Dresden is a place of ghosts and unease, the site of the most controversial and devastating series of Allied bombing raids of World War II.

]]> military-history-museum.asp Mon, 16 Jan 2012 12:00:00 -0500 https://www.architecturalrecord.com/articles/7879-military-history-museum Military History Museum The Military History Museum, a former arsenal built in 1876, is pierced by a wedge that rises to a 98-foot height on the main facade.   Photo © Hufton + Crow Military History Museum Bombs rain down on a series of concrete shelters in a rear gallery of the new wedge like exhibition space.   Photo © Hufton + Crow Military History Museum The crevice like spaces provide dramatic backgrounds for displays such as this military helicopter.   Photo © Bitter Bredt Military History Museum The narrowing of the angled stair contained within slanted concrete walls and floors (supported on steel beams) adds to a slightly disorienting perceptual experience.   Photo © Bitter Bredt Military History Museum The ribbed vaults and sandstone columns of the older museum establish a sharp contrast with the new incision.   Photo © Bitter Bredt Military History Museum The steel-and-concrete observation deck in the wedge points toward the rebuilt city of Dresden, although the view is screened by aluminum mesh.   Photo © Bitter Bredt Military History Museum   Photo © Hufton + Crow Military History Museum   Image courtesy Studio Daniel Libeskind Military History Museum   Image courtesy Studio Daniel Libeskind Military History Museum   Image courtesy Studio Daniel Libeskind A house is not a museum. And the clients for a 3,000-square-foot weekend retreat in Connecticut clearly knew that.

]]> 18-36-54-house.asp Sat, 16 Apr 2011 00:00:00 -0400 https://www.architecturalrecord.com/articles/8791-3654-house 18.36.54 House The house's inhabitants can look through a glazed opening on the south to the pastoral surroundings.   Photo © Todd Eberle 18.36.54 House On the west side of the house a patio extends from the living area and kitchen.   Photo © Todd Eberle 18.36.54 House From the exterior, the stainless steel panels appear reflective or opaque depending on the position of the observer and the time of day.   Photo © Todd Eberle 18.36.54 House At night interior illumination brings out the pattern of the cladding.   Photo © Todd Eberle 18.36.54 House The fluidity of the interior spaces can be seen in the connection between the bathtub (foreground) and the bedroom beyond (which can be closed off).   Photo © Todd Eberle 18.36.54 House A ramp from the entrance edges the dining area and gradually descends to the sitting room.   Photo © Todd Eberle 18.36.54 House Inside, the angular oak planes and a change in floor level define the cooking area.   Photo © Todd Eberle 18.36.54 House   Image courtesy Studio Daniel Libeskind 18.36.54 House   Image courtesy Studio Daniel Libeskind 18.36.54 House   Image courtesy Studio Daniel Libeskind 18.36.54 House   Image courtesy Studio Daniel Libeskind crystals.asp Mon, 16 Aug 2010 12:00:00 -0400 https://www.architecturalrecord.com/articles/7842-crystals The stainless skin of Daniel Libeskind's Crystals retail complex reflects the color and light of the signage across the Strip. CrystalsStudio Daniel LibeskindLas Vegas, NevadaThe stainless skin of Daniel Libeskind's Crystals retail complex reflects the color and light of the signage across the Strip.Photo courtesy MGM Resorts International The faceted surfaces of Crystals enclose stores and restaurants on three levels. The building's interior architecture, designed by Rockwell Group around the theme of an urban park, includes a 'tree ho CrystalsStudio Daniel LibeskindLas Vegas, NevadaThe faceted surfaces of Crystals enclose stores and restaurants on three levels. The building's interior architecture, designed by Rockwell Group around the theme of an urban park, includes a 'tree house' dining room for Mastro's Ocean Club. The mahogany-and-sapele cage, supported by steel, has a probiscislike extension that juts out over the mall's main floor.Photo courtesy MGM Resorts International The faceted surfaces of Crystals enclose stores and restaurants on three levels. The building's interior architecture, designed by Rockwell Group around the theme of an urban park, includes a 'tree ho CrystalsStudio Daniel LibeskindLas Vegas, NevadaThe faceted surfaces of Crystals enclose stores and restaurants on three levels. The building's interior architecture, designed by Rockwell Group around the theme of an urban park, includes a 'tree house' dining room for Mastro's Ocean Club. The mahogany-and-sapele cage, supported by steel, has a probiscislike extension that juts out over the mall's main floor.Photo courtesy MGM Resorts International Crystals' nighttime lighting scheme includes fixtures that created slit-shaped projections on interior surfaces, mimicking the effect of sunlight coming through slotlike skylights during the day. CrystalsStudio Daniel LibeskindLas Vegas, NevadaCrystals' nighttime lighting scheme includes fixtures that created slit-shaped projections on interior surfaces, mimicking the effect of sunlight coming through slotlike skylights during the day.Photo courtesy MGM Resorts International MGM commissioned WET, the creator of the fountain at the neighboring Bellagio Resort & Casino, to design five fountains for CityCenter. One of two located inside Crystals features totems of ice up to CrystalsStudio Daniel LibeskindLas Vegas, NevadaMGM commissioned WET, the creator of the fountain at the neighboring Bellagio Resort & Casino, to design five fountains for CityCenter. One of two located inside Crystals features totems of ice up to 15 feet tall that slowly melt, refreeze, and change shape.Photo courtesy MGM Resorts International The Aria and the neighboring Daniel Libeskind'designed Crystals retail complex enclose an outdoor room. The sliverlike space, defined by the canted glazed wall behind the hotel reception desk and the CrystalsStudio Daniel LibeskindLas Vegas, NevadaThe Aria and the neighboring Daniel Libeskind'designed Crystals retail complex enclose an outdoor room. The sliverlike space, defined by the canted glazed wall behind the hotel reception desk and the shopping mall's angular glass and stainless-steel-clad planes, contains a Henry Moore sculpture.Photo courtesy MGM Resorts International goncharj@bnpmedia.com (Joann Gonchar, FAIA) Lighting designers favor form over flash for CityCenter's diverse set of buildings.

]]> citycenter.asp Mon, 16 Aug 2010 12:00:00 -0400 https://www.architecturalrecord.com/articles/7651-citycenter-by-mgm-resorts-international-and-infinity-world The tilt of the Veer condominium towers (center of photo) is emphasized by LED fixtures mounted on the corner of the buildings' shading devices. To ensure the longevity of LEDs in the hot desert clima CityCenter, Las VegasIlluminating Concepts (executive lighting design)Las Vegas, NevadaThe tilt of the Veer condominium towers (center of photo) is emphasized by LED fixtures mounted on the corner of the buildings' shading devices. To ensure the longevity of LEDs in the hot desert climate, the fixtures' control system dims and changes the color of the lights when the ambient temperature is too high.Photo courtesy MGM Resorts International With 3000K metal-halide spotlights placed on a pool deck and podium, designers lit the facades of the Vdara Hotel to accentuate recessed spandrel panels. A variety of warmer sources were used to illum CityCenter, Las VegasIlluminating Concepts (executive lighting design)Las Vegas, NevadaWith 3000K metal-halide spotlights placed on a pool deck and podium, designers lit the facades of the Vdara Hotel to accentuate recessed spandrel panels. A variety of warmer sources were used to illuminate the entry canopy.Photo courtesy MGM Resorts International The facade of CityCenter's retail center, the Daniel Libeskind'designed Crystals, is illuminated with a combination of low-wattage footlights located directly at the building's base and higher-wattage CityCenter, Las VegasIlluminating Concepts (executive lighting design)Las Vegas, NevadaThe facade of CityCenter's retail center, the Daniel Libeskind'designed Crystals, is illuminated with a combination of low-wattage footlights located directly at the building's base and higher-wattage spotlights hidden in planters several feet away. The higher-intensity spotlights are also mounted on the roof to accentuate some planes of the so-called fifth facade.Photo courtesy MGM Resorts International The edges of sunshades on the sawtooth-shaped facade of the Aria Resort & Casino catch light from floodlights placed on the hotel's vast podium. These lights, together with fluorescent fixtures illumi CityCenter, Las VegasIlluminating Concepts (executive lighting design)Las Vegas, NevadaThe edges of sunshades on the sawtooth-shaped facade of the Aria Resort & Casino catch light from floodlights placed on the hotel's vast podium. These lights, together with fluorescent fixtures illuminating the building's crown, reinforce the rhythm of the facade. Wide-beam downlights mounted on top of a sweeping glass canopy light the entry.Photo courtesy MGM Resorts International Daniel Libeskind, by happenstance or design, has practically become the official architect of Jewish museums worldwide, but that trajectory was near its beginning when he received the commission, in 1998, for San Francisco’s Contemporary Jewish Museum (CJM).

]]> 0901jewishmuseum-1.asp Mon, 19 Jan 2009 00:00:00 -0500 https://www.architecturalrecord.com/articles/8142-contemporary-jewish-museum The building relies not only on the sharp-edged diagonals—sometimes a shortcut to dynamism and architectural self-assertion—that have been a mainstay in Libeskind’s work, but also on abundant calligraphic symbols, some more convincing than others.

]]> 0901jewishmuseum-2.asp Mon, 19 Jan 2009 00:00:00 -0500 https://www.architecturalrecord.com/articles/8143-contemporary-jewish-museum