125 Years AR 125 Years

Architectural Record celebrates 125 years of publishing. Find essays, vintage covers, archival articles and more on this page.

Click here to view our interactive timeline.]]> https://www.architecturalrecord.com/rss/2042 en-us Snapshots from RECORD’s 125th Anniversary Gala RECORD celebrated its 125th anniversary with cocktails and dinner at New York’s landmark Metropolitan Club and toasted 125 top works of architecture built since 1891.

]]> http://www.architecturalrecord.com/articles/11902 Wed, 21 Sep 2016 00:00:00 -0400 https://www.architecturalrecord.com/articles/11902-snapshots-from-records-125th-anniversary-gala Robert Ivy, Cathleen McGuigan, Beth Broome Photo © Steve Hill Metropolitan Club cocktails Photo © Steve Hill Edward Siegel, Craig Hartman, Suzanne Stephens, Brant Coletta, Joann Gonchar Photo © Steve Hill Sarah Gore Reeves, Enrique Norten, Michael Arad Photo © Steve Hill Louise Braverman, Sarah Williams Goldhagen, Mildred Schmertz Photo © Steve Hill Elizabeth Kubany, Ben Prosky Photo © Steve Hill Richard Gluckman, Susan Rodriguez, Marion Weiss, Audrey Matlock Photo © Steve Hill Liz Diller, Ricardo Scofidio Photo © Steve Hill Mary Burnham, Jill Lerner Photo © Steve Hill Richard Meier, Annabelle Selldorf Photo © Steve Hill Peter Gluck, Frances Halsband Photo © Steve Hill Hana Kassem, Marianne Kwok Photo © Steve Hill Rachel Judlowe, Billie Tsien, Richard Olcott Photo © Steve Hill Julie Taraska, Linda Lentz, Ted Porter, Sylvia Smith Photo © Steve Hill William Chilton, John Schrei Photo © Steve Hill Cathleen McGuigan, Michael Sorkin Photo © Steve Hill Josephine Minutillo, Lorcan O’Herlihy Photo © Steve Hill Audrey Matlock, Michael Manfredi, Marion Weiss, Cathleen McGuigan Photo © Steve Hill Peter Bohlin, Helen Han, Merrill Elam, Tom Trenolone Photo © Steve Hill Todd DeGarmo, Fred W. Clarke, Cesar Pelli Photo © Steve Hill Bernard Tschumi, Anthony Vidler Photo © Steve Hill Cathleen McGuigan, Alex Bachrach Photo © Steve Hill Cynthia Davidson, Peter Eisenman, Deborah Berke Photo © Steve Hill Craig Hartman, Cathleen McGuigan Photo © Steve Hill Joe Mizzi, Alan Gordon Photo © Steve Hill Jon MacMillan, Barbara Pine, David Hanks Photo © Steve Hill Bruce Fowle, Gisue Hariri Photo © Steve Hill Belmont Freeman, Lisa Green, Andrea Monfried Photo © Steve Hill Michael Sorkin, Audrey Matlock Photo © Steve Hill Peter Eisenman, Michael Sorkin, Jennifer Sage Photo © Steve Hill Sarah Gore Reeves, Robin Osler Photo © Steve Hill Richard Meier, Liz Diller, Peter Eisenman Photo © Steve Hill Bernard Tschumi, Anthony Vidler, Marion Weiss Photo © Steve Hill Louise Braverman, Sarah Williams Goldhagen, Mildred Schmertz Photo © Steve Hill Gisue Hariri, Barbara Pine, Alex Klimoski, Richard Meier, Cathleen McGuigan Photo © Steve Hill Marion Weiss Photo © Steve Hill Jan Tuchman, Ed Mills Photo © Steve Hill Rosalie Genevro, Harley Swedler, Jeffrey Murphy Photo © Steve Hill Craig Schwitter, Dana Tang Photo © Steve Hill Richard Meier, Anthony Ames Photo © Steve Hill Areta Pawlynsky, Carol Loewenson Photo © Steve Hill Beth Broome, Mauricio Salazar, Chris McVoy Photo © Steve Hill Holly Ivy Photo © Steve Hill Roger Broome, Mauricio Salazar Photo © Steve Hill Andrea Monfried, Alexander Gorlin Photo © Steve Hill Benjamin Gilmartin, Kevin Rice, Gisue Hariri, Richard Olcott Photo © Steve Hill Anthony Vidler, Alice Colverd, Jordana Maisie, Mary McLeod, Harley Swedler, Michael Sorkin Photo © Steve Hill Gina Pollara, Michael Sorkin, Harvey Swedler Photo © Steve Hill Michael Manfredi, Karen Stein, Mildred Schmertz Photo © Steve Hill Hayes and James Slade Photo © Steve Hill Dan Wood, Fred Bernstein, Steve Godeke, Jared Gilbert Photo © Steve Hill Bernard Tschumi, James Russell Photo © Steve Hill Richard Meier, Billie Tsien, Craig Hartman, Sam Furnival Photo © Steve Hill Tracey Hummer, Sylvia Smith, Claire Weisz Photo © Steve Hill Dan Wood, Anne Edgar, Barbara Pine Photo © Steve Hill Sylvia Smith, Kyle Bergman Photo © Steve Hill Gisue Hariri, Sylvia Smith, Carol Willis Photo © Steve Hill Jennifer Pazdon, David Berridge, Deborah Berke, Mary Burnham Photo © Steve Hill Barbara Pine, Gina Pollara, Billie Tsien Photo © Steve Hill James Slade, Laurie Beckelman Photo © Steve Hill Claire Weisz, Todd DeGarmo Photo © Steve Hill Miriam Sitz Photo © Steve Hill Susan Rodriguez, Armand LeGardeur, Kate Mann Photo © Steve Hill Todd DeGarmo, Peter Gluck, Thomas Gluck Photo © Steve Hill Kenneth Lewis, Mary-Jean Eastman, Ed Mills Photo © Steve Hill Rick Cook, Peter Morris Dixon, Israel Berger Photo © Steve Hill Wesley Loon, Bruce Smith, John Schrei, Risa Serin Photo © Steve Hill Kyle Bergman, Rachel Daunais,  Bill Madden, Alex Bachrach Photo © Steve Hill David Berridge, Beth Broome, Alex Bachrach Photo © Steve Hill Rob Tse, Josephine Minutillo Photo © Steve Hill Linda Lentz, Julie Taraska, Alex Bachrach, Joan McKeith Photo © Steve Hill Rachel Judlowe, Suzanne Stephens, Michael Arad Photo © Steve Hill Tracey Hummer, Josephine Minutillo Photo © Steve Hill Taylor Aikin, Julie Taraska Photo © Steve Hill Michael Manfredi, Josphine Minutillo, Suzanne Stephens Photo © Steve Hill Risa Serin, Israel Berger, Gary Higbee , Alex Bachrach, John Schrei Photo © Steve Hill Joseph Sosnowski Photo © Steve Hill Mr. and Mrs. Andrew Rogers, Alex Bachrach Photo © Steve Hill Charissa Orozco, Catrisha Fisher Photo © Steve Hill My Favorite Building http://www.architecturalrecord.com/articles/11875 Thu, 01 Sep 2016 08:10:00 -0400 https://www.architecturalrecord.com/articles/11875-my-favorite-building Click through the following slides to read about the favorite buildings of twelve preeminent architects: Norman Foster, Thom Mayne , Richard Meier, Denise Scott Brown + Robert Venturi, Frank Gehry, Rafael Moneo, Fumihiko Maki, Jacques Herzog, Renzo Piano, Tadao Ando, and Toyo Ito. Norman Foster: Crystal Palace | 1851 | Joseph Paxton | London The period that I find most inspiring is the 19th century. We see its can-do mentality in the work of many people of the time, whether they were tunneling under rivers or throwing bridges across ravines and gorges. And we see it in the example of Joseph Bazalgette, who built the London sewer network. He used the project as an opportunity to create underground public transportation, and managed to transform infrastructure into a work of great civic beauty with the construction of the Thames embankments. If I were to sum up that spirit with one building, it’s Joseph Paxton’s Crystal Palace for the Great Exhibition of 1851—which was not created by an architect, but a gardener. It was an extraordinary act of competence that required the ability to create a new industry for a building, which had to be designed and constructed almost overnight, at an epic scale, and with what I suspect would have been breathtaking beauty. It is the building I would most like to have visited. Such buildings as the Crystal Palace had a romance that was absolutely contagious and enthralled the public. Although industrialization had some appalling social consequences, these works show an incredible optimism. Today, those of us who are privileged to engage in projects on that scale in other parts of the world still find that belief in the future, a belief that has not become jaded and cynical. What I’m invoking in the heroic works of the 19th century is really that attitude of mind.  Photo courtesy Victoria and Albert Museum Thom Mayne: Centre Georges Pompidou | 1977 | Studio Piano & Rogers | Paris  I went to USC in the late ’60s—when the school was anti-history. I came away with very little knowledge of even the major characters—Mies, Corbusier. So I was largely self-taught. After I began my practice, I went through a Kahn phase, a Rudolph phase. Remember, I was still a kid. I became fascinated by James Stirling, and I went to England and saw all his work. My list of influences was enormous. That being said, if I had to name a single building, it would be the Centre Pompidou. It had this incredible influence on me, in terms of the intensity of the research that went into it. I had two friends from UCLA who were working on the building, and I visited them at the office. There were dozens of blue-foam models of the gerberettes [custom cast-steel elements]. I was completely bowled over by the seriousness of the investigation. I didn’t go home and start making buildings that look like the Pompidou. That’s not my architecture. I was interested in its aspirations, in its ambition—the notion of challenging the Louvre, the museum as supermarket. It was a completely new model, architecture shaping how we understand culture. I had an exhibition there in 2006. Designing the show, we put everything on a glass floor. We didn’t touch the walls. We were reverential. Photo © Denancé Michel/courtesy Renzo Piano Building Workshop Richard Meier: Fallingwater | 1939 | Frank Lloyd Wright | Bear Run, Pennsylvania  I had the pleasure of spending the night at Fallingwater, as a guest of Edgar Kaufmann Jr. It must have been the early ’60s. But I have the experience in my head as though it was yesterday. It starts when you drive up—seeing it, not seeing it, then seeing it again. The whole approach is brilliant. There’s not a thing that’s accidental, that’s not a part of the plan. It’s total. Later, when you walk the site and see how the house is perched on this rock over the waterfall, it’s truly magnificent. I had a bedroom that was maybe 7 feet by 10 feet. It was intimate—but so is the whole house. From photos, you think it’s a big building. It’s not. The living-dining room makes people come together. But, of course, that room explodes onto the terrace over the waterfall—part of an unbelievable series of spatial experiences. It’s like the Guggenheim Museum: it’s amazing from the outside, but the interior space is even more amazing. I haven’t been there since, but it’s still with me. If I could achieve something like that, I’d be very happy. Photo courtesy Library of Congress Denise Scott Brown + Robert Venturi:  Villa Savoye | 1931 | Le Corbusier | Poissy France, Lakofski House | 1933 | Norman Hanson | Johannesburg If you ask Bob, “What is your favorite building?” he will say the Hagia Sophia. If you ask him, “What is your favorite Modern building?” he will say the Villa Savoye. For me? I remember, at the age of 2, standing with my parents on an empty lot looking at blueprints. We had moved from Zambia to South Africa and were building a house. It was by Norman Hanson, who had made contact with Le Corbusier and then returned to do fantastic International Style houses in Johannesburg. We built that house and I lived there until I was 12. For that reason, the memories other kids have about attics and creaky staircases I have about flat roofs and lally columns. I remember a porthole window, watching the light come through it, and the circle of sun moving across the room as I lay on my parents’ bed in the late afternoon. I harbored a love of early Modernism then, and I am still an early Modernist—and, by the way, so is Bob. Bob is the most dour functionalist I’ve ever come across—even more than me. We really just added one more function—communication through decoration—to the functions of early Modernist buildings. Villa Savoye (top) photo: Paul Kozlowski/© Fondation Le Corbusier/Artists Rights Society Lakofski House (bottom) photo courtesy Denise Scott Brown   Frank Gehry: Shosoin Treasure House | 750s | Nara, Japan Going back to my absolute roots in architecture, I would say the Shosoin Treasure House in Nara in Japan. When I was starting out in architecture in L.A., the Japanese influence was strong. I first saw the Shosoin repository in person when I got the Pritzker Prize [in 1989], at the Todai-ji Temple next door, but I had known it for a long time. It’s from the 750s. The Ise Shrine, Katsura Palace, Kiyomizu-dera temple were all required study, like the great buildings of past western culture that we revere. The Kiyomizu is on a hilltop—it’s really a hard climb up. I’ve been there twice. The substructure that anchors the temple to the hillside is a major architectural accomplishment. The Shosoin is a warehouse—it’s much simpler. It’s in the log cabin style called azekura and shows the elegance and simplicity of Japanese building. Mesmerizing for a beginner. Photo © Wikimedia user Moja/Creative Commons Rafael Moneo: Mosque-Cathedral of Córdoba | 8th–18th centuries | Córdoba, Spa The Córdoba Mosque, which I first visited as a student, has been a continuous lesson to me for more than half a century. The building is a theological experience. The Islamic sense of an indecipherable god is present there. The essence of architectural space is expressed in that forest of columns, many of which were Roman. That’s not about recycling—it’s about the unfolding of history. When the mosque was enlarged, the formal rules that created the building allowed it to grow without losing its essence. Of course, in the 16th century, there was a very radical intervention—an entire cathedral was placed inside the mosque! But even that didn’t destroy it—the combination of the Islamic and the late Gothic only adds to the sense of history. A building that can accept something so different is a marvel. I think you are looking at one of the most successful buildings in all of architectural history. And there is no one architect associated with it. It’s about architecture, not about a single architect. That idea has stayed with me throughout my entire career. Photo © Pixabay user Salao228/Creative Commons Fumihiko Maki: Municipal Orphanage | 1960 | Aldo van Eyck | Amsterdam For me, the building that inspired the most fundamental thoughts on architectural issues is the Municipal Orphanage in Amsterdam, by Aldo Van Eyck, completed in 1960. The first reason is that the building clearly shows how to construct a dynamic whole out of a thoughtful composition of generic elements—in this case, a spatial unit in and around which children live and play. Van Eyck says this idea was inspired by villages in Africa, but it could be any village, as Bernard Rudofsky illustrated in Architecture Without Architects, some years ago [1964]. Van Eyck has beautifully realized this concept using a modern architectural vocabulary. The second reason is that the building clearly shows the importance of guiding sight lines in the organization of space. Humans tend to act after first seeing; thinking and feeling come later. I have not seen such a beautiful analysis of the relationship between sight line and space before or since. These two issues are eternal ones, and the Orphanage is a skillful and didactic example of how modern space is driven by them. It continues to inspire my work to this day. Photo © Gerard Dukker/courtesy State Service for Cultural Heritage (Netherlands) Jacques Herzog Tough question. I don’t want to sound arrogant, but I have never been influenced by a specific building. And I think Pierre would give you pretty much the same answer. We look closely at many buildings, and we see a lot of beauty in many of them. We’ve never really admired one building specifically. Last year, I wrote a text about my visit to the Farnsworth House. I was ready to admire it for its beauty, but I discovered many things that made no sense. The truth is, it’s not as great as everybody thinks. I wrote a very critical text. Still, I learned from the house, because it activated my perception. Active perception is what you create out of what you see. It makes you become conscious and critical. Perception therefore also has a political and erotic side. Your perception is more important than the object being perceived—more important than any specific building.  Renzo Piano: Dome of the Florence Cathedral | 1436 | Filippo Brunelleschi | Florence  I’m in trouble, because so many buildings have influenced me. When I see a building for the first time, I don’t focus on what I don’t like; I focus on what I do like. So I absorb things from many buildings. But if I have to pick one, it would be Brunelleschi’s Dome of Santa Maria del Fiore, in Florence. I spent two years in Florence as a student, in ’58 and ’59, and I’ve always loved the story of Brunelleschi. This man started not as an artist but as a craftsman, apprenticed to a goldsmith; soon he was making clocks, which meant working with weights, with balance, and with movement. Then he became an architect, designing buildings using the knowledge he acquired making clocks. I’ve been convinced that you might start as a craftsman, then become more of an artist, possibly, but it’s almost impossible to do the opposite. As for the cupola itself, it was very inventive; the lantern at the top acts as the keystone of the dome. It’s a very radical idea. Brunelleschi made a model of the dome, which sat in the piazza. And it stayed there for years—because it took him years to persuade people that it would work. It’s a lesson in stubbornness. It taught me about the art of believing in what you are doing and defending your idea. The dome is beautiful, but so is the story behind it. Photo © Petar Milosevic/ Creative Commons Tadao Ando: Chapelle Notre Dame du Haut | 1955 | Le Corbusier | Ronchamp, France There are many buildings that have remained in my heart and that I still think about from time to time. If I had to choose one from among them, it would have to be Le Corbusier’s Ronchamp Chapel. The great master who laid the foundations for Modernism created the space by truly unleashing his genius late in his career. Here, he paradoxically demonstrated the limitless possibilities of Modern architecture by creating the unrestrained sculptural form of concrete in an apparent rejection of the trajectory of his earlier work. At the same time, he proved, with the almost violent space of rich light, that architecture can be made through the pursuit of light alone. It is a rare work that has, from the moment of its birth, brimmed with the power to last throughout time, like the spaces of classical architecture. I had the opportunity to witness a Mass when I visited the building for the second time, in my 20s. People were praying intently, shoulder to shoulder, under the beautiful yet intense light. To this day, that scene has been an inspiration for me in my pursuit to create architecture as a place for people to gather. Photo: Paul Kozlowski/© Fondation Le Corbusier/Artists Rights Society Toyo Ito: Cabanon de Vacances | 1952 | Le Corbusier | Roquebrune-Cap-Martin I visited the Cabanon de Vacances several years ago for the first time. I was deeply impressed by the fantastic architectural concepts drawn from such a modest cabanon, created by the master of 20th-century architecture in his last years. It is often the case that architects lose their creative energy in their later years. I wish to express my deepest admiration for Corbusier’s affluent architectural creation as he aged. I also admire his powerful works in Chandigarh and Ahmedabad in India.  Photo: Olivier Martin-Gambier / © Fondation Le Corbusier/Artists Rights Society RECORD’s Top 125 Buildings To commemorate architectural record’s 125th anniversary, our editors have chosen to honor 125 of the most important works of architecture built since the magazine’s founding in 1891.

]]> http://www.architecturalrecord.com/articles/11868 Thu, 01 Sep 2016 08:06:00 -0400 https://www.architecturalrecord.com/articles/11868-records-top-125-buildings Wainwright Building | 1891 | St. Louis | Adler & Sullivan Photo courtesy Library of Congress  Glasgow School of Art | 1899 | Glasgow | Charles Rennie Mackintosh Photo © Alan McAteer, courtesy Glasgow School of Art  Larkin Building | 1906 | Buffalo | Frank Lloyd Wright Photo © Architectural Record  Morgan Library & Museum | 1906 | New York | McKim, Mead & White Photo © Graham Haber, courtesy the Morgan Library and Museum  Austrian Postal Savings Bank | 1906 | Vienna | Otto Wagner Photo © Doris Herlinger, Postparkasse Archive  Gamble House | 1908 | Pasadena, California | Greene & Greene Photo © Alexander Vertikoff, The Gamble House, USC  Unity Temple | 1908 | Oak Park, Illinois | Frank Lloyd Wright Photo courtesy Library of Congress  Kärntner Bar | 1909 | Vienna | Adolf Loos Photo © Robin Roger Peller, Design Atelier AEG Turbine Factory | 1910 | Berlin | Peter Behrens courtesy Siemens  First Church of Christ, Scientist | 1910 | Berkeley, California | Bernard Ralph Maybeck Photo © Wayne Andrews/ ESTO Pennsylvania Station | 1910 | New York | McKim, Mead & White Photo courtesy Library of Congress  Robie House | 1910 | Chicago | Frank Lloyd Wright Photo courtesy Library of Congress  New York Public Library Main Branch | 1911 | New York | Carrère and Hastings Photo courtesy New York Public Library Casa Milà | 1912 | Barcelona | Antoni Gaudí Of the many masterpieces sprung from the eccentric and utterly individualistic mind of Antoni Gaudí, this is perhaps the most serene. Called La Pedrera (the Quarry) for its undulating sculpted and self-supporting stone facade, the apartment block is an orchestrated symphony of natural forms that cover or color nearly every surface of the interior courts and passages, and erupt in the fanciful landscape of its famous roof. —Carol Willis Photo courtesy Fundació Catalunya La Pedrera  Grand Central Terminal | 1913 | New York | Reed & Stem and Warren & Wetmore Photo courtesy Library of Congress  Woolworth Building | 1913 | New York | Cass Gilbert Photo courtesy Library of Congress  American Radiator Building | 1924 | New York | Hood & Foullhoux Photo courtesy Bryant Park Hotel  Schröder House | 1924 | Utrecht, Netherlands | Gerrit Rietveld Photo © Ernst Moritz/Centraal Museum  Lovell Beach House | 1926 | Newport Beach, California | Rudolph M. Schindler Photo courtesy Library of Congress  Bauhaus Building | 1926 | Dessau, Germany | Walter Gropius Photo © Christin Irrgang/Bauhaus Dessau Foundation  Stockholm Public Library | 1927 | Stockholm Public Library | Gunner Asplund Photo courtesy City of Stockholm  Ford River Rouge Complex | 1928 | Dearborn, Michigan | Albert Kahn Associates Photo © Charles Sheeler/Lane Collection/Metropolitan Museum of Art/Art Resource, NY  Lovell Health House | 1929 | Los Angeles | Richard Neutra Photo courtesy Architectural Record  Barcelona Pavilion | 1929 | Barcelona | Ludwig Mies van der Rohe Photo © Pete Sieger  Viceroy’s House | 1929 | New Delhi | Edwin Lutyens Photo courtesy Christian Haugen/Creative Commons  Across the Decades with Architectural Record To mark record’s 125th anniversary, the two living former editors in chief joined me for a conversation about record’s past and present.

]]> http://www.architecturalrecord.com/articles/11847 Thu, 01 Sep 2016 08:06:00 -0400 https://www.architecturalrecord.com/articles/11847-across-the-decades-with-architectural-record Visions of the Future Click through the following slides to read some forward-looking thoughts from Patrik Schumacher, Odile Decq, David Adjaye, Adrian Smith and Gordon Gill, Bjarke Ingels, Alejandro Aravena, Tatiana Bilbao, Toshiko Mori, Díebédo Francis Kéré, Gregg Pasquerelli, Shohei Shigematsu, Jeanne Gang, Greg Lynn, Meng Yan, and Sou Fujimoto.

]]> http://www.architecturalrecord.com/articles/11877 Thu, 01 Sep 2016 08:00:00 -0400 https://www.architecturalrecord.com/articles/11877-visions-of-the-future Click through the following slides to read some forward-looking thoughts from Patrik Schumacher, Odile Decq, David Adjaye, Adrian Smith and Gordon Gill, Bjarke Ingels, Alejandro Aravena, Tatiana Bilbao, Toshiko Mori, Díebédo Francis Kéré, Gregg Pasquerelli, Shohei Shigematsu, Jeanne Gang, Greg Lynn, Meng Yan, and Sou Fujimoto. Patrik Schumacher | Zaha Hadid Architects, London My phrase for the civilization we now live in is post–Fordist network society. Architecture needs to converge around ideas for this new era—the paradigm of parametricism—as it did around Modernism in the 20th century. We need to enhance the capacity of the discipline, not only in terms of technological sophistication, but also by taking a more scientific approach with respect to social processes. Cities will be the superbrains of our civilization. Enhanced research-and-development activity means that people will have to network and communicate all the time, and so we will make cities that are dense, open, permeable, and mixed. Each building is a device that invites, structures, and frames interactions, and so the primary task of future architects will be communication design. At the same time, the division of labor into specialisms will continue. Architects will be in charge of the overall layout, aesthetic articulation, and semiology of a building, but they will distribute all technical elements to others, including engineers, programmers, and contractors. If the core competency of architects is to translate the life process of an institution into space and form, and to make sure that the final product communicates as expected, architecture must develop a more sophisticated account of the built environment as a system of signification. For that, we need to upgrade the discipline’s intellectual capacity. Architectural theory will need greater rigor, like that found in economics or the social sciences, and it will need to flow more directly into the work of the practicing architect. We will also see a greater role for artificial intelligence in the creation and operation of the built environment, and the emergence of responsive environments—intelligent buildings that can signal dynamically what is going on within. This expands the communicative potential of architecture, and also feeds hard data back into an enhanced disciplinary discourse. That will challenge a purely intuitive architectural approach. Architects need to keep pace with advances in knowledge; otherwise, they will lose responsibility. If the discipline of architecture is successfully upgraded, I foresee a growing demand for architectural skills, as design contributes an ever-greater part of a building’s value.  Photo © Matthew Joseph/Zaha Hadid Architects Odile Decq | Studio Odile Decq, Paris  The way we practice architecture will be totally different in the future—not just because tools and contexts change, but because the young people studying today are absolutely different from my generation. First, there are the number of women entering the profession. There are now more female students in architecture schools than men. This will alter the profession because women don’t manage their time, or relate to the client and architecture, in the same way as men. At the moment, there are not many women running offices, but in the next 25 years, they will be there. Another factor is that today’s young people don’t want to be salaried employees. They want their own companies. They want to learn by doing, to be hands-on in making things. They are highly adaptable and think in terms of individuals and small groups’ sharing a platform. Big firms have to be very structured, like a machine, and we know that big machines are not efficient anymore. A two-person start-up can invent a new way of doing things. It has to happen in architecture. In the school I founded, Con­flu­ence, I push the students to be entrepreneurial. That doesn’t mean they will necessarily build buildings. When you are educated in architecture, you are able to face very complex questions and work at many scales. It’s a unique way of thinking. We could apply it to many problems in commerce and society. Some companies are already involving writers, anthropologists, and philosophers to help them to think differently and evolve their business. Why not architects?  Photo courtesy Studio Odile Decq David Adjaye | Adjaye Associates, London  We face a new challenge as architects, learning who will be in the driver’s seat in the shaping of our cities as they evolve. The private sector has jumped into what formerly were the arenas of the government and local authorities. For example, we’re at the edge of seeing how transportation and infrastructure will change over the next 25 years. It most certainly will not look the way it does now. One area that will need policy and will not be led by the private sector is housing. As urban populations explode, we have to get ahead of housing. Incredible things are right at our doorstep, and they will have a powerful impact on urbanism and architecture. We’re on the precipice of reimagining the city and how it serves its citizens. This offers opportunities for new typologies, and for being able to think in a more avant-garde way about what the public needs and how to maintain the identity of a city. This is going to be at the forefront of our agenda.  Photo © Ed Reeve Adrian Smith and Gordon Gill | Adrian Smith + Gordon Gill Architecture, Chicago In terms of tall buildings, there will always be people who will want to go higher. We are reaching a point, however, where it is economically unfeasible, despite being technically possible. Our firm has designed a mile-high tower that could get built, but it probably will be a losing financial proposition. While supertall towers often become national symbols, their value extends beyond their country’s borders. Eventually the whole industry benefits from what we’ve learned. Take glass, for instance. We can now build glass walls that are stronger than concrete block. And while we were at Skidmore, Owings & Merrill, we designed a positive-energy building, the Pearl River Tower, which would have produced more energy than it consumed, but the Chinese power grid was not capable of accepting the power generated by the building. Someday, that won’t be the case.  Photos courtesy Adrian Smith + Gordon Gill Architecture Bjarke Ingels | Bjarke Ingels Group, Copenhagen & New York  The technological revolution that has propelled Silicon Valley is almost exclusively focused on the virtual world. Looking ahead, I think we will see more advances in the physical realm, from driverless cars to solar infrastructure to new building materials that could totally transform architecture. Already, nanotechnology is giving us a handful of carbon materials with almost magical properties. Take graphene, which is a monofilament carbon material that is 200 times more conductive than copper, 100 times stronger than steel, and more transparent than glass. It’s even potentially abundant. It’s just becoming available at the manufacturing level, and I believe it will become commercially available within a decade. It’s so much better than anything we know today. It can be used to create completely transparent window photovoltaics, and spans and dimensions that seem like magic. Nanotechnology gives us possi­bilities that we could only dream about. We will also see 3-D printing at an industrial scale. Computer programs have enabled architects to design with great precision and complexity, but at the end of the day, designs have to get built. When 3-D printing becomes fully commercially available, it will create amazing new opportunities. Instead of having to schlep a lot of materials to a site, you will bring a handful of printers and print the building components, all of which will be incredibly strong. Any architectural form will be not only possible but also financially feasible. I foresee architects’ getting more involved in the “back of house” aspects of a city too—all the infrastructure that makes a city work. There is still a divide in the built environment: building types that are “deserving” of architecture—like cultural venues, corporate headquarters, and luxury condos—but what about the power plants, the waste-management facilities, the water-purification plants, the parking garages, the highways? All of those are seen as engineering challenges, with little thought put toward how to integrate them into the urban environment. These facilities can make a positive contribution to a city. One of our current projects, a power plant in Copenhagen, will have an alpine ski park on its roof. It will open in 2017. We are very interested in finding ways to turn infrastructure into a positive contribution to the urban landscape.  Photo © Steven Voss/Bjarke Ingels Group Alejandro Aravena | Elemental, Santiago, Chile  We are living in an urban age. People are moving to cities for opportunities for jobs, education, health, and other basic services. And cities have the critical mass for knowledge creation, something that will be more crucial in the development and formation of wealth in the broadest sense of the word. The problem is what we call the “3S menace”: the scale, speed, and scarcity of means with which to respond to this phenomenon. There is no historical precedent. Out of the 3 billion people living in cities today, 1 billion are under the line of poverty. By 2030, out of an anticipated 5 billion city dwellers, 2 billion will be under the poverty line. That means we will have to build a 1 million-population city per week over the next 15 years. If we don’t solve this equation, people will not stop coming to cities. They will come, but will live in awful conditions. The result will be a humanitarian and health crisis rife with social friction—a crisis that will become in the midterm, if not the short-term, a security threat. We do not have enough knowledge to solve the 3S menace. Even if we had the tools to solve it, we would end up creating an environmental crisis. The carbon footprint, the water consumption, and the undesired emissions to build for 1 million people a week, using current building techniques, will end our planet.  President Obama and U.N. Secretary General Ban Ki-moon, have said that the future terrorist threat will be the consequence of climate change. The 3S menace is an environmental, political, and social problem. And it’s a problem for everybody, not just the developing world. Thanks to design’s power of synthesis, architects have the opportunity to translate into form all of the conflicting forces at play and provide solutions for the complexity of contemporary society. In front of these challenges, we need to be creative enough to identify strategic opportunities and translate them into proposals and projects of public space, public transport, multitask infrastructure, open incremental housing. With good design, the involvement of patient capital—that looks for predictability more than profitability—and the right rule of law could turn cities into a vehicle of development. These issues are difficult—and difficult questions require professional quality, not professional charity. Photo courtesy Elemental    Tatiana Bibao | Tatiana Bilbao Estudio, Mexico City  Architecture has the tools to improve quality of life for real people, but only if we integrate the needs of real people into our work. The future needs to be more about the informal production of architecture, not architecture for architecture’s sake. Just as urbanism has to integrate the ways that cities grow organically, architecture has to integrate the ways real people decide to create their homes. I think a lot about alterity —which in architecture would mean integrating “others” into how we practice. There have been starts in that direction, but I haven’t seen anything that I think really nails it. I don’t think it’s easy. But I hope that it can happen. Otherwise, there’s no future for architecture. The profession will cease to exist. Photo © Tatiana Bilbao Estudio Toshiko Mori | Toshiko Mori Architect, New York  We had a client who ended up with less space than he originally thought he needed because the house we designed had expansive views and an amazing quality of daylight. The idea was to get closer to nature, to experience those external phenomena. And for that, what matters isn’t the quantity of space but the boundary condition, and open and flexible arrangements. With a better boundary condition, the space one actually occupies can be more intimate. Throughout most of history, architecture has been about nature in opposition to the manmade environment. But there is a gradual shift with new technology and new attitudes that seek closer alliances. I have a theory that two 20th-century inventions changed our understanding of inside and outside. One was the X-ray, which made it possible to see inside the body, and the second was psychoanalysis, which allowed us to explore the internal mechanisms of our mind. Since then, we have been trying to lessen the boundary between internal and external conditions. The idea and the degree of enclosure needed, both physically and psychologically, has changed. Now that we can do more with less material, with high-performance enclosures getting thinner and lighter, we can embrace natural elements. By incorporating natural ventilation and sunlight—by working with and not against the forces of nature—our buildings become more sustainable. These trends, of needing less space and less separation from nature, will continue as technology advances and our perception enlightens.  Photo © Toshiko Mori Architect Diébédo Francis Kéré | Kéré Architecture, Berlin Design that really serves—that is the most pressing issue architects should be concerned with in the next few decades. As our global population continues to grow, the need for high-quality but economical buildings will become even more critical. We need to create great architecture that serves humanity; we need to build with purpose. Architecture should inspire, it should evoke emotions. In a remote village, a beautiful building can help challenge people’s perception of what is possible. You give them inspiration and hope. When working in underserved communities, we need to be careful that low-cost does not mean cheap. Architecture, whether in a city or a rural area, needs to last. I think one solution is to use more local materials in innovative ways. In my work, we are pioneering new methods for utilizing brick and other natural resources. By incorporating native materials, we cut down on transportation costs, support the local economy, and create architecture that has an authentic connection to its context. If you are constantly bringing in materials from faraway locations, you will never be able to meet the worldwide demand for high-quality and enduring shelter. We always need to remember that good architecture takes time. It’s about learning local realities, studying climatic conditions, and then working with the community to create a successful design. In the African context, I cannot afford to be too quick or “fashionable.” If you take this approach, you will destroy more than you create, and communities will turn their backs on architecture. We should take care never to neglect the foundation of architecture: to serve humanity.  Photo © David Heerde/Kéré Architecture Gregg Pasquerelli | SHoP Architects, New York The practice of architecture is going to change. Architects will reverse slide from their specialization in aesthetics and reclaim their expertise in problem-­solving. We will need to be broad-minded generalists, and firms will need to have a more expansive view of what architects can do. We can combine art and technology, and do it in a way that solves real problems. Our firm is continuing to research what building a city means, and not forgetting the artistic side, while capitalizing on technology. How can we create areas with density, links to public transportation, spectacular public spaces, and an inclusiveness that embraces many kinds of people? How can we create higher-­quality buildings, with better performance, that don’t cost an arm and a leg? The most sustainable thing is not an array of photovoltaics on the roof; it is a building people love and care about and don’t have to renovate every 20 years. If we can do all of this successfully, we can make a huge difference.   Photo courtesy Shop Architects Jeanne Gang | Studio Gang, Chicago  We need to promote social connectivity in ways that will keep our cities safe and livable. I fear that with greater wealth disparity, we are losing connections between people who come from different walks of life. I’m optimistic that architecture can find ways to reconnect communities. To do that, architects will need to be more engaged with the public and will need to find ways for people to become active participants in designing their environments. Public engagement is not something we’re taught to do in architecture school, but we need to learn it. We are also going to have to rethink our civic assets—including police stations, libraries, community centers, and even streets—and redefine what they are in order to get the most out of them. A library can become a place to get job assistance or mental-health services. A police station could also be a community center. We’re going to have to reinvent all of these things, and think of ways they can be networked together. A city that is more cohesive will be more resilient, even regarding climate change. When things start happening, we’re going to have to take care of each other. And to do that, we have to know each other. Photo © Studio Gang   Shohei Shigematsu | OMA, New York In the next 25 to 50 years, responding to food at its diverse scales and its different processes will catalyze new architectural typologies. Food is specific to livelihood, to the soil, and to culture—and yet it is also expansive and global. From large urban developments driven by food production to local cafeterias and home kitchens, food has the unique ability to be multi-scalar. It also goes through many stages, from planting to harvesting to processing and ultimately to waste, yet no comprehensive survey of this full food chain exists. I am leading a studio at the Harvard GSD that is investigating the intersection of food, architecture, and urbanism.  Photo © Geordie Wood Greg Lynn | Greg Lynn Form, Venice, California  The future of architecture is figuring out what happens where the physical and the digital intersect. Buildings are becoming smarter and more networked. Yes, some of the “smart building” technology starts out benefiting the rich—as toys to entertain wealthy consumers—but it will eventually reach many more people. I recently visited the Villa Tugendhat, in Brno. I went expecting to see really cool Mies. I found myself fascinated by the air conditioning. The whole facade of sliding glass disappears into the basement. The slot where it goes is a giant diffuser, and in the basement there’s a rudimentary cooling system, with these four bins of wildflowers. Throughout the day, cool air with different scents blows through the house. I was amazed at all the technology cooked up for this one family. Yes, it was superbourgeois, but that stuff trickles down eventually. So buildings will change, in ways that no one can predict exactly. How buildings are delivered will change in ways I’m much more certain of. I’ve had the opportunity to work with the HoloLens, which are glasses that project augmented reality onto whatever you’re looking at. It’s not virtual reality, which I hate, but something much more useful. Put them on at a construction site, and you see what you’re supposed to be building. And as you move your head around, you’ll see it in 3-D. In a few years, construction sites will be paperless. The workers will be wearing goggles preloaded with information provided by the architects. I’d bet the farm on it.  Photo © Hello Design/Greg Lynn Form Meng Yan | URBANUS, Shenzhen, China  I’m always hesitant to predict the future. We see the future best from the perspective of history. Looking at China, I think there are still lots of opportunities. Every second- and third-tier city here wants to be Shenzhen, to grow very fast. But we’re using the same set of tools to plan our cities that we did 25 years ago. We need new methodologies. Instead of building new cities, though, we should go back and rebuild the ones we have. I’d like to see the new city built on top of the existing one. Architects must change too. Traditionally, we would wait to get a commission and then provide a service. There are other ways to practice, though. We can go out and find our projects—research where we live and work, and find problems that require solutions. This means identifying key moments where we can intervene and make a difference. It means actively engaging with our cities. Right now URBANUS is working with a community in Shenzhen that is being threatened by development. It’s actually a 500-year-old village in the middle of a city that everyone says is just 36 years old. It has been there for hundreds of years, changing all the time, and is now surrounded by a giant new city. We used social media to reach out to people living in this urban village, as well as to architects, planners, and researchers. It’s very powerful. We couldn’t have done this five years ago. People in China continue to move from the countryside to the cities. But a lot of work needs to be done in rural areas. The countryside has always nurtured our culture; it’s where our poets, painters, and philosophers went to find inspiration. In the Confucian system of governance, smart kids from the countryside would take the exams, go to the cities for education, and get posts in different places. But they always came back to the countryside. We need to do that again—to bring people back to the villages, not just as tourists, but to live there and contribute.  Photo courtesy Urbanus Sou Fuijimoto | Sou Fujimoto Architects, Tokyo  In the future, biotechnology will allow us to blur the line between the natural and the man-made. I can imagine structures that are half grown and half built. We could not say that buildings contain plants, because buildings and plants would grow together: the process of building and growing would be fundamentally the same. I think this would completely change our understanding of architecture. This is my dream. Photo © David Vintiner/Sou Fujimoto Architects 25 Cult Classics A cluster of buildings cited by critics and historians for the “Top 125 Buildings” since 1891 didn’t make it onto our final list.

]]> http://www.architecturalrecord.com/articles/11874 Thu, 01 Sep 2016 07:50:00 -0400 https://www.architecturalrecord.com/articles/11874-cult-classics Palais Stoclet | 1911 | Josef Hoffmann | Brussels Photo © Jean-Pol Grandmont/Creative Commons Einstein Tower | 1921 | Erich Mendelsohn | Potsdam, Germany Photo © R. Arlt, courtesy Leibniz Institute for Astrophysics Potsdam Schindler House | 1922 | Rudolph M. Schindler | West Hollywood, California Photo © Joshua White/MAK Center Notre-Dame du Raincy | 1923 | Auguste Perret and Gustave Perret | Le Raincy, France Akin to the Sainte-Chapelle in Paris, a defining work of the French Gothic movement is updated in the abstract language of reinforced concrete, with its walls filled by brilliant, modern stained glass. — Marvin Trachtenberg Photo © Architectural Record Rusakov Workers’ Club | 1927 | Konstantin Melnikov | Moscow Photo © Sovfoto/Getty Kingswood School Cranbrook | 1928 | Eliel Saarinen | Bloomfield Hills, Michigan Photo © Wayne Andrews/ESTO E1027 1929 | Eileen Gray | Roquebrune-Cap-Martin, France Photo courtesy Cap Moderne Open-Air School |1930 | Johannes Duiker | Amsterdam Here you find ultimate transparency in one of the most extensively glazed Modernist buildings of the period. The architecture also creates an intense communal experience for the children at the school. It is a subtle and yet startling insertion in an Amsterdam neighborhood. — Barry Bergdoll Photo © Rory Hyde/Creative Commons De Bijenkorf Store | 1930 | Rotterdam | Willem Marinus Dudok  Dudok reinterprets a department store as a civic monument, with its trademark campa- nile and rooftop café terrace crowning the Russian-influenced neo-Constructivist composition, faced in precision brickwork. Ultimately more compelling than Dudok’s more familiar Hilversum Town Hall (1931), it was also similarly influenced by Frank Lloyd Wright: the top-lit atrium running through the entire height of the store is evidently derived from Wright’s Larkin Building of 1904. — Kenneth Frampton Photo courtesy KLM Aerocarto Van Nelle Factory | 1931 | Brinkman & Van der Vlugt | Rotterdam Photo © Architectural Record The Triple Bridge | 1932 | Jože Plecnik | Ljubljana, Slovenia Photo © Tim Draper/Getty  Casa del Fascio | 1936 | Giuseppe Terragni | Como, Italy  Photo © Wikimedia user Pinotto992/Creative Commons  Kröller-Müller Museum | 1938 | Henry van de Velde | Otterlo, Netherlands In the astounding landscape of birch trees outside Otterlo, the Kröller-Müller Museum’s series of pavilions appears as a work of sculpture at the same time that it provides serene connections between the art on display and its surroundings. The poetry of arriving on white bicycles—provided to visitors to make their way along paths through the park—is unforgettable. — Barry Bergdoll Photo courtesy Archive Kröller-Müller Museum, Otterlo, Netherlands Church of Saint Francis of Assisi | 1943 | Oscar Niemeyer | Pampulha, Brazil On the shores of Lake Pampulha, Niemeyer built his most poetic structure, thanks to his intimate relationship with the engineer Joaquim Cardoso—who helped him design the thin concrete shells. Also important was the contribution of the painter Cândido Portinari, whose azulejos-tile compositions give the interior the magic of Brazilian Baroque churches. In its refined simplicity, the chapel is probably the best embodiment of the 20th-century ideal of synthesis of the arts. — Jean-Louis Cohen  Photo © Andrea Pistolesi/Getty Il Girasole | 1950 | Luigi Moretti | Rome Photo © Michael Waters The Chemosphere | 1960 | John Lautner | Los Angeles  Photo © Denis Freppel/ESTO Frey House II | 1964 | Albert Frey | Palm Springs, California  Photo © Andrea Rugg Shrine of the Book | 1965 | Armand Phillip Bartos and Frederick John Kiesler | Jerusalem Photo © Ezra Stoller/ESTO  St. Catherine’s College | 1966 | Arne Jacobsen | Oxford, England I consider this to be Jacobsen’s masterpiece. Here he keeps the traditional Oxford quadrangle, and yet there’s a sense of something new happening—a kind of syncopated layering from the buildings to the lawn and where hedges act as walls, creating outdoor rooms. The architecture is beautifully scaled and each detail meticulously worked out. The dining room is noteworthy because it is grand, with a certain sense of ritual, but remains completely unpretentious. And of course each element was designed by Jacobsen—including the chairs, cutlery, and lamps. —Mary McLeod  Photo © Daniel Hopkinson/Hodder + Partners Church of St. Peter | 1966 | Sigurd Lewerentz | Klippan, Sweden The building lies hugger-mugger on the ground, black brick and black mortar. When you get inside, it is all the same aside from the baptismal font, which is a large, pearly mussel shell. And when you get there, the floor starts to slide down, creating the effect of the ceiling rising, with the heavens opening above you. I don’t aspire to be religious, but it is the most sacred space I know in 20th-century architecture—the only one, I might say. — Robin Middleton Photo © Anders Clausson/sanktpetrikyrka.se Gallaratese Housing | 1972 | Aldo Rossi | Milan Photo © Marloes Faber Bagsværd Church | 1976 | Jørn Utzon | Copenhagen  Photo © Seier + Seier/Creative Commons Santa Maria Church | 1996 | Alvaro Siza | Marco de Canaveses, Portugal  The church is just two great square towers with a simple rectangular building behind. Inside, the ceiling curves into the north wall, and on the other side it is a horizontal slit, so you see the city at a distance. It’s sculptural, but such a simple sculptural form—not baroque at all. It’s an oasis: as you enter, you are taken away from the city. The thing that I find so extraordinary in Siza’s work is that he’s so conscious of the vernacular but uses it in abstract ways. — Phyllis Lambert Photo © View Pictures/Getty  Jean-Marie Tjibaou Cultural Center| 1998 | Renzo Piano Building Workshop |Nouméa, New Caledonia Photo © ADCK/Centre Culturel Tjibaou/Renzo Piano Building Workshop Yokohama International Passenger Terminal | 2002 | Foreign Office Architects | Yokohama, Japan Photo © Satoru Mishima/Farshid Moussavi Architecture The Road Ahead: Driverless Vehicles, Cities, and Architecture The race to develop driverless vehicles is zooming full-speed ahead, engaging all the major car companies—as well as Google X, Apple, and various start-ups. 

]]> http://www.architecturalrecord.com/articles/11856 Thu, 01 Sep 2016 07:45:00 -0400 https://www.architecturalrecord.com/articles/11856-the-road-ahead-driverless-vehicles-cities-and-architecture Google X (now known as X) runs a driverless test fleet that currently consists of 24 modified Lexus SUVs, as well as 34 prototypes without steering wheels or brake and gas pedals. Photo © Google 1609-Celebrating-125-Years-Looking-Forward-The-Road-Ahead-02.jpg A driverless revolution could increase urban density or, conversely, suburban sprawl—or both. Image courtesy Arup Self-driving was once a pie-in-the-sky pursuit, as suggested by this late ‘50s image, created for an electric company advertorial. Photo © Advertising Archive / courtesy Everett Collection Material Futures Materials have undergone a radical transformation.

]]> http://www.architecturalrecord.com/articles/11857 Thu, 01 Sep 2016 07:35:00 -0400 https://www.architecturalrecord.com/articles/11857-material-futures For an artists’ residence and cultural center in Senegal, Toshiko Mori created a thatch roof that captures rain and channels it into water canals to a cistern. Photo © Iwan Baan A model of LEVER Architecture’s 12-story Framework tower in Portland, Oregon, which will be the tallest Mass timber project in the U.S. Image courtesy LEVER Architecture German architect Anna Heringer’s installation at the 2016 Venice Architecture Biennale showcases the potential of traditional building techniques with mud. Photo © Bruno Klomfar Seaweed is abundant and available around the world, and when dried it becomes a robust material. London-based German designer Julia Lohmann is experimenting with it to demonstrate its capabilities for building temporary structures. Photo © Petr Kreci Seaweed is abundant and available around the world, and when dried it becomes a robust material. London-based German designer Julia Lohmann is experimenting with it to demonstrate its capabilities for building temporary structures. Photo © Petr Kreci GXN director Kasper Guldager Jensen and his team explore the value of bio-based materials. Image courtesy GXN Dierichs and Menges devised a construction system of recycled plastic components. Photo © ICD University of Stuttgart 2015 Newspaper Wood makes woodlike building products from recycled newspaper. Photo © Raw Color Sen­sory skins display graphics, regulate lighting, and ab­sorb sound at Al Jazeera’s London studio. Photo © Hufton + Crow 25 Lost Treasures As an architect committed to the preservation of buildings from the near as well as the distant past, I have come to the conclusion that the architecture profession as a whole is not often as committed as I am.

]]> http://www.architecturalrecord.com/articles/11876 Thu, 01 Sep 2016 07:30:00 -0400 https://www.architecturalrecord.com/articles/11876-lost-treasures 1. World’s Columbian Exposition of 1893, Chicago Planned by Daniel Burnham; landscaping by Frederick Law Olmsted. Demolished 1894. Photo courtesy Project Gutenberg EBook of Official Views of the World’s Columbian Exposition 2. Larkin Building, Buffalo  Frank Lloyd Wright. Built 1906.
Demolished 1950. Photo courtesy Collection of the Buffalo History Museum  3. Imperial Hotel, Tokyo  Frank Lloyd Wright. Built 1923. Demolished 1967. Photo courtesy Frank Lloyd Wright Trust 4. Midway Gardens, Chicago  Frank Lloyd Wright. Built 1914.
Demolished 1929. Photo courtesy Lake County (IL) Discovery Museum, Curt Teich Postcard Archives  5. Madison Square Garden, New York McKim, Mead, & White. Built 1890. Demolished 1925. Photo courtesy Art and Picture Collection, New York Public Library 6. Madison Square Presbyterian Church, New York McKim, Mead, & White. Built 1906. Demolished 1919. Photo courtesy Art and Picture Collection, New York Public Library 7. Pennsylvania Station, New York McKim, Mead, & White. Built 1910. Demolished 1963. Photo courtesy Library of Congress  8. Low House, Bristol, Rhode Island  McKim, Mead, & White. Built 1887. Demolished 1962. Photo courtesy Library of Congress 9. Dodge House, Los Angeles Irving Gill. Built 1916. Demolished 1970. Photo courtesy Library of Congress  10. Singer Building, New York  Ernest Flagg. Built 1908. Demolished 1968. Photo courtesy Art and Picture Collection, New York Public Library 11. Schiller Theater Building, Chicago Adler & Sullivan. Built 1891. Demolished 1961. Photo courtesy Library of Congress 12. Chicago Stock Exchange, Chicago Adler & Sullivan. Built 1894. Demolished 1972. Photo courtesy Library of Congress 13. Masonic Temple, Chicago Burnham and Root. Built 1892. Demolished 1939. Photo courtesy University of Illinois Press 14. Richfield Tower, Los Angeles  Morgan, Walls & Clements. Built 1929. Demolished 1969. Photo courtesy Library of Congress 15. American Federation of Labor Medical Services Building, Philadelphia Louis Kahn. Built 1956. Demolished 1973. Photo © John Ebsel/Keith De Lillis Gallery/University of Pennsylvania School of Design 16. Riverview High School, Sarasota, Florida  Paul Rudolph. Built 1958. Demolished 2009. Photo courtesy World Monuments Fund  17. Orinda House, Orinda, California  Charles Moore. Built 1962. Drastically remodeled 2006. Photo courtesy Morley Baer  18. Two Columbus Circle, New York  Edward Durell Stone. Built 1964. Renovated 2005. Photo © Architectural Record 19. New Haven Coliseum, New Haven, Connecticut Kevin Roche John Dinkeloo and Associates. Built 1972. Demolished 2007. Photo courtesy New Haven Historical Society  20. Addition to the Observatory Dining Hall at the University of Virginia, Charlottesville, Virginia
 Robert A.M. Stern Architects. Built 1984. Demolished 2005. Photo courtesy Robert A.M. Stern Architects  21. House III, Lakeville, Connecticut  Eisenman Architects. Built 1971. Demolished circa 2000. Photo courtesy Eisenman Architects  22. Bronx Developmental Center,
 New York Richard Meier & Partners. Built 1977. Partly demolished and significantly altered 2002. Photo © Ezra Stoller/ESTO  23. American Folk Art Museum, New York Tod Williams Billie Tsien Architects. Built 2001. Demolished 2014. Photo © Giles Ashford, courtesy Tod Williams Billie Tsien Architects | Partners  24. Luna Park, Coney Island, Brooklyn  Frederick Thompson and Elmer “Skip” Dundy. Built 1903. Demolished 1946. Photo courtesy Library of Congress 25. Stardust Resort and Casino, Las Vegas  Built 1958. Renovated and expanded 1964, 1977, 1991. Demolished 2006. Photo courtesy University of Nevada, Las Vegas, Special Collections Changing Course in Architecture Academia Walk into any of the 154 architecture schools certified by the National Architectural Accrediting Board and you are likely to encounter students working long hours in the design studio, learning their craft in small groups through desk crits and pinups.

]]> http://www.architecturalrecord.com/articles/11858 Thu, 01 Sep 2016 07:25:00 -0400 https://www.architecturalrecord.com/articles/11858-changing-course-in-architecture-academia Design studios in the early days of Columbia University’s Graduate School of Architecture, Planning and Preservation, shown in RECORD in July 1900. Photo © Architectural Record Now, students at the Taubman School of Architecture at the University of Michigan seem more immersed in various media, if more casual in attitude. Photo © University of Michigan Frank Lloyd Wright prevailed as top gun in his school at Taliesin West, as shown in 1937. Photo © Hedrich Blessing / Getty Images Paul Rudolph, a strong force in education as the chair of the architecture department at Yale University from 1958 to 1964, is shown in his Arts and Architecture building. Photo © Library of Congress California College of Arts has a different approach, shown in its Creative Architecture Machines Studio in 2015. Photo © Jonathan Massey Architectural Criticism—on the RECORD Fifty years ago, in the 75th-anniversary issue of RECORD, editor in chief Emerson Goble addressed an issue he was constantly asked about—why the magazine wasn’t as critical as it had been in its early years.

]]> http://www.architecturalrecord.com/articles/11869 Thu, 01 Sep 2016 07:20:00 -0400 https://www.architecturalrecord.com/articles/11869-architectural-criticismon-the-record When Louis Sullivan designed the Bayard Building (1899), both Montgomery Schuyler and Russell Sturgis commended the expression of the steel-frame structure with terra-cotta cladding in the pages of RECORD. Schuyler also pointed to the architect’s clear reading of the building’s functional uses in Sullivan’s articulation of the base (lobby), shaft (offices), and mechanical services. Photo © Wurts Brothers / Museum of the City of New York Montgomery Schuyler anonymously castigated the Cairo apartment house in Washington, D.C., for its banality in RECORD, 1895. Photo © Architectural Record Russell Sturgis praised the propriety of New York’s 54th Street townhouses in 1900. Photo © Architectural Record Schuyler approved of Cass Gilbert’s use of Gothic vocabulary, because of its sense of scale, for the 792-foot-high Woolworth Building in 1913. Photo © Tebbs-Hymans Schuyler approved of Cass Gilbert’s use of Gothic vocabulary, because of its sense of scale, for the 792-foot-high Woolworth Building in 1913. Photo © Tebbs-Hymans In RECORD, Lewis Mumford criticized the increasing chaos of cities such as New York. Photo © George Rinehart / Getty Images In RECORD, Lewis Mumford criticized the increasing chaos of cities such as New York. Photo © Andreas Feninger / Getty Images He also argued against the trend for corporations to move to the country, as evidenced by SOM’s 1957 Connecticut General Life Insurance Company Headquarters. Photo © Robert Ficks / SOM In 1986, Michael Sorkin criticized the Crescent in Dallas by Johnson Burgee Architects for being a “historical grab bag." Photo © Paul Warchol In 2015, he defended MAD Architects’ proposals for the Lucas Museum of Narrative Art in Chicago for its tensile quality. Image courtesy Lucas Museum of Narrative Art Soap Opera: The Larkin Building Architecture was an all-encompassing endeavor for Frank Lloyd Wright, and the creation of his persona an ongoing project synonymous with his work.

]]> http://www.architecturalrecord.com/articles/11797 Mon, 01 Aug 2016 09:00:00 -0400 https://www.architecturalrecord.com/articles/11797-soap-opera-the-larkin-building The Larkin Building, completed in 1906 in Buffalo, New York, represented a major commercial commission for Frank Lloyd Wright. The soap company publication shows the building in the foreground of the factory. Image courtesy Collection of the Buffalo History Museum RECORD published a critique of the Larkin Building in April 1908. Read it here. Image © Architectural Record RECORD published a critique of the Larkin Building in April 1908. Read it here. Image © Architectural Record RECORD published a critique of the Larkin Building in April 1908. Read it here. Image © Architectural Record The inward-turning interior of the Larkin Building made history. Image courtesy Collection of the Buffalo History Museum The inward-turning interior of the Larkin Building made history. Image courtesy Collection of the Buffalo History Museum Wright designed a bi-nuclear plan, where the main building has offices arranged around a five-story light court, and the entrance and various services are in the adjoining annex. Image courtesy Collection of the Buffalo History Museum Goodbye to All That: The Four Seasons Restaurant Leaves the Seagram Building The Four Seasons Restaurant, designed by Philip Johnson in 1959, leaves the Seagram Building with only memories intact.

]]> http://www.architecturalrecord.com/articles/11752 Fri, 24 Jun 2016 08:00:00 -0400 https://www.architecturalrecord.com/articles/11752-goodbye-to-all-that-the-four-seasons-restaurant-leaves-the-seagram-building For the 40th anniversary of the Four Seasons, the restaurant’s original creative team was reunited for a photoshoot. With titles correct as of 1999, the sitters are: Outside the bar, counterclockwise from rear left: former pastry chef Albert Kumin, former press agent Roger Martin, landscape architect Karl Linn, architecture critic Ada Louise Huxtable, project director Phyllis Lambert, architect Philip Johnson, sculptor Richard Lippold, lawyer Lester Klepper, former co-owner Tom Margittai. Inside the bar, from left: former executive chef Seppi Renggli, current chef Hitsch Albin, former press agent Philip Miles, current pastry chef Patrick Lemblé, adman George Lois, food writer Mimi Sheraton, sculptor Marilynn Gelfman Karp, adman Ron Holland, menu and logo designer Emil Antonucci, former director George Lang, current co-directors Alex von Bidder and Julian Niccolini (seated on bar). Photo © Michael O'Neill, courtesy Canadian Centre for Architecture RECORD published the restaurant in November 1959. Photo © Architectural Record RECORD published the restaurant in November 1959. Photo © Architectural Record Other photos of that time show the entrance to the Grill Room and the bar. Photo © Ezra Stoller/Esto Other photos of that time show the entrance to the Grill Room and the bar. Photo © Ezra Stoller/Esto The Pool Room, named for its square white Carrara-marble pool with live trees planted at each corner, was a hit. Photo © Ezra Stoller/Esto President Kennedy celebrated his 45th birthday 10 days early on May 19, 1962, at the Four Seasons. Photo courtesy The Culinary Institute of America Menu Collection He Who Laughs Last: Alan Dunn One of the most incisive architectural critics of the 20th century, whose work was regularly published in record, was a cartoonist. No joke.

]]> http://www.architecturalrecord.com/articles/11704 Wed, 01 Jun 2016 08:00:00 -0400 https://www.architecturalrecord.com/articles/11704-he-who-laughs-last-alan-dunn Image courtesy Architectural Record Image courtesy Architectural Record Image courtesy Architectural Record Image courtesy Architectural Record Image courtesy Architectural Record Image courtesy Architectural Record Image courtesy Architectural Record Image courtesy Architectural Record Image courtesy Architectural Record Image courtesy Architectural Record Image courtesy Architectural Record Ernest and Esther Born Charles and Ray Eames may have been the most famous Midcentury Modern design pair in the Americas, but they were not the only professional couple who contributed to its development.

]]> http://www.architecturalrecord.com/articles/11629 Sun, 01 May 2016 08:00:00 -0400 https://www.architecturalrecord.com/articles/11629-ernest-and-esther-born Ernest Born Ernest and Esther Born created a multidisciplinary design practice, which included creating covers for RECORD in the early 1930s. Photo courtesy the San Francisco Public Library Esther Born Ernest and Esther Born created a multidisciplinary design practice, which included creating covers for RECORD in the early 1930s. Photo courtesy the Estate of Ernest and Esther Born Ernest and Esther Born In the April 1937 RECORD, they also presented coverage of new Mexican architecture. Ernest and Esther Born Ernest and Esther Born created a multidisciplinary design practice, which included creating covers for RECORD in the early 1930s. Image © The Book Club of California, from Architects and Artists: The Work of Ernest and Esther Born by Nicholas Olsberg. Page design by Michiko Toki. Lawrence Kocher, Renaissance Man A longtime editor of RECORD who was also an architect and teacher, embraced both the past and the future during the development of modernism in America.

]]> http://www.architecturalrecord.com/articles/11585 Fri, 01 Apr 2016 09:00:00 -0400 https://www.architecturalrecord.com/articles/11585-lawrence-kocher-renaissance-man Lawrence Kocher, Renaissance Man In 1940, Kocher taught at Black Mountain. Photo courtesy Western Regional Archives Lawrence Kocher, Renaissance Man Kocher designed the Studies Building in 1943. Photo courtesy Western Regional Archives Lawrence Kocher, Renaissance Man In the 1920s, Lawrence Kocher put together country house issues for RECORD. Lawrence Kocher, Renaissance Man While on staff at RECORD, he worked on a house for Rex Stout with Gerhard Ziegler.  Lawrence Kocher, Renaissance Man While on staff he worked on the Aluminaire House with Albert Frey, which is described in greater detail below. Photo © Michael Schwarting When Modernism Was Young Historian Kenneth Frampton points to the architectural significance of two early 20th-century industrial buildings.

]]> http://www.architecturalrecord.com/articles/11533 Tue, 01 Mar 2016 09:00:00 -0500 https://www.architecturalrecord.com/articles/11533-when-modernism-was-young Van Nelle Factory The Van Nelle Factory in Rotterdam by Brinkman and Van der Vlugt (1930) was published in RECORD in 1929 and 1931. Photo © Architectural Record Van Nelle Factory It is known for the sweeping arc of its expansive glass curtain wall facade. Inside, poured-in-place concrete mushroom columns support floor slabs. Photo © Architectural Record Boots Factory The Boots factory in Beeston, England, by engineer Sir E. Owen Wiliams (1932; in RECORD 1933) was designed to expand when needed. Photo © Architectural Record Boots Factory It too has a concrete mushroom column frame and glass curtain walls.  Photo © Architectural Record Boots Factory The interior of the Boots factory (RECORD 1933) features a dramatic translucent roof (left) with circular glass discs embedded in wire-reinforced concrete. Photo © Architectural Record Van Nelle Factory The general offices of the Van Nelle Factory contained glazed conversation booths that allowed daylight to penetrate while still affording privacy to the employees; today the factory is an incubator for arts organizations. Photo © Architectural Record Modernity and the Monument: Renovating the Ford Foundation A legendary landmark of architecture showcased in RECORD in 1968 faces a controversial interior renovation.

]]> http://www.architecturalrecord.com/articles/11478 Mon, 01 Feb 2016 09:00:00 -0500 https://www.architecturalrecord.com/articles/11478-modernity-and-the-monument-renovating-the-ford-foundation The Ford Foundation The Ford Foundation in New York was on the cover of the February 1968 Architectural Record, followed by a piece comprehensively describing the stately building. Photo © Ezra Stoller/Esto The Ford Foundation The offices illustrate the use of elegant materials such as linen, leather, bronze, and mahogany. Photo © Ezra Stoller/Esto The Ford Foundation The offices illustrate the use of elegant materials such as linen, leather, bronze, and mahogany. Photo © Ezra Stoller/Esto The Ford Foundation Plantings in the atrium by landscape architect Dan Kiley create an oasis in the city. Photo © Ezra Stoller/Esto The Ford Foundation A vast tree-filled atrium remains the defining feature of the headquarters, designed by Kevin Roche John Dinkeloo Associates. The building will undergo a renovation by Gensler beginning in October 2016. Photo © Ezra Stoller/Esto The Ford Foundation Record's coverage showed the sight lines afforded individual offices around the atrium, where a stair connects the lower level on 42nd Street to a higher one on 43rd. Photo © Ezra Stoller/Esto In the Cause of Architecture Radical though it be, the work here illustrated is dedicated to a cause conservative in the best sense of the word. At no point does it involve denial of the elemental law and order inherent in all great architecture; rather it is a declaration of love for the spirit of that law and order and a reverential recognition of the elements that made its ancient letter in its time value and beautiful.

]]> http://www.architecturalrecord.com/articles/11469 Sun, 24 Jan 2016 17:00:00 -0500 https://www.architecturalrecord.com/articles/11469-in-the-cause-of-architecture In the Cause of Architecture, March 1908 The Formative Years Frank Lloyd wright did not take criticism lightly. He was furious at the stinging denunciation of his revolutionary Larkin Building in Buffalo that was published in Architectural Record in April 1908. Its author, Russell Sturgis, an eminent architect and historian who had written for RECORD since its inception in 1891, called Wright’s office building for a mail-order soap company “ungainly” and “awkward.” Wright retaliated in an unpublished reply that it was “pathetic” to see a well-respected critic “picking over bit by bit his architectural ragbag for architectural finery wherewith to clothe the nakedness of the young giant.”

]]> http://www.architecturalrecord.com/articles/11398 Fri, 01 Jan 2016 00:00:00 -0500 https://www.architecturalrecord.com/articles/11398-the-formative-years The Formative Years RECORD railed against brash eclecticism through the unsigned “Architectural Aberrations” feature. The Formative Years RECORD railed against brash eclecticism through the unsigned “Architectural Aberrations” feature (above, left). Russell Sturgis criticized Frank Lloyd Wright’s Larkin Building in the Aprll 1908 issue. The Formative Years In 1910, the mag a zine introduced Picasso and other French artists to the U.S. in Gelett Burgess’s “The Wild Men of Paris.” The Formative Years Architectural Record's first cover. A Milestone for RECORD It’s a new year, a time for a fresh start. And while we at RECORD like to bring you the newest architectural projects and the latest in design ideas and technology, 2016 is a year in which we’re looking back as well, reflecting on our rich legacy. That’s because Architectural Record turns 125 this year, a longer run than almost any other brand in American publishing. Look for special features in print and online over the coming year.

]]> http://www.architecturalrecord.com/articles/11391 Fri, 01 Jan 2016 00:00:00 -0500 https://www.architecturalrecord.com/articles/11391-a-milestone-for-record