https://www.architecturalrecord.com/rss/2190 en-us It was 60 years ago, at the start of his career, but the architect and educator John P. Eberhard remembers the very moment the idea came to him for what would be his seminal creation: the modular church.

]]> http://www.architecturalrecord.com/articles/11654 Sun, 01 May 2016 09:20:00 -0400 https://www.architecturalrecord.com/articles/11654-creativity-and-the-brain Creativity and the Brain Illustration courtesy Stuart Kinlough Creativity and the Brain A Carlo Scarpa sketch exemplifies a synesthetic process, expressing his multisensory ideas in varied colors and styles of drawing, with different media. Image courtesy Museo Di Castelvecchio In 1958, the Institute of Personality Assessment and Research (IPAR) at the University of California, Berkeley, embarked on an ambitious endeavor to closely study 40 of the most creative architects living in the U.S. or working in the country at the time.

]]> http://www.architecturalrecord.com/articles/11655 Sun, 01 May 2016 09:10:00 -0400 https://www.architecturalrecord.com/articles/11655-genesis-of-genius-excerpt-from-pierluigi-serrainos-new-book-the-creative-architect German photographer Thomas Demand has frequently created his own art by interpreting the creative process of others.

]]> http://www.architecturalrecord.com/articles/11664 Sun, 01 May 2016 09:00:00 -0400 https://www.architecturalrecord.com/articles/11664-the-creative-process-observed-thomas-demand The Creative Process Observed Kindergarten 22, 2015, framed pigment print, 122.5 x 156.1 cm Photo © Thomas Demand, VG Bild-Kunst, Bonn/Ars, New York The Creative Process Observed Farm 88, 2015, framed pigment print, 81 x 61.2 cm Photo courtesy Grace Farms Foundation, New Canaan http://www.architecturalrecord.com/articles/11669 Sun, 01 May 2016 08:50:00 -0400 https://www.architecturalrecord.com/articles/11669-eureka-creative-voices-in-architecture http://www.architecturalrecord.com/articles/11665 Sun, 01 May 2016 08:40:00 -0400 https://www.architecturalrecord.com/articles/11665-experimental-childrens-architectural-studio-in-moscow Experimental Children’s Architectural Studio Photo © Iwan Baan Experimental Children’s Architectural Studio Photo © Iwan Baan Experimental Children’s Architectural Studio Photo © Iwan Baan Experimental Children’s Architectural Studio Vladislav Kirpichev and his wife, Liudmila, work with students at the Experimental Children’s Architectural Studio to produce vibrant sketches and models. Photo © Iwan Baan Experimental Children’s Architectural Studio Vladislav Kirpichev and his wife, Liudmila, work with students at the Experimental Children’s Architectural Studio to produce vibrant sketches and models. Photo © Iwan Baan Rumor has it that the quaint town inspired the architecture in Disney’s animated film Beauty and the Beast. But in a recent renovation of the city’s Musée Unterlinden, Herzog & de Meuron made a conscious effort to avoid the preciousness of a Disney film.

]]> http://www.architecturalrecord.com/articles/11643 Sun, 01 May 2016 08:30:00 -0400 https://www.architecturalrecord.com/articles/11643-musee-unterlinden Musée Unterlinden As part of the renovation and expansion project, the architects unearthed the previously covered Sinn Canal and created a new public space between an old indoor swimming pool and the historic convent. Photo © Ruedi Walti Musée Unterlinden A new brick-clad wing, the Ackerhof (background), houses modern art, while a copper-roofed Petite Maison recalls an ancient mill that once stood on the site. Photo © Ruedi Walti Musée Unterlinden The convent’s former chapel, with its groin-vaulted ceiling, is the home of the carefully preserved Isenheim Alltarpiece, painted by Matthias Grünewald in 1516. Photo © Ruedi Walti Musée Unterlinden Throughout the Unterlinden campus, Herzog & de Meuron has deployed forms that are sympathetic to the existing medieval architecture, including several sculptural stairs and lancet-arched doorways and windows. Photo © Ruedi Walti Musée Unterlinden Throughout the Unterlinden campus, Herzog & de Meuron has deployed forms that are sympathetic to the existing medieval architecture, including several sculptural stairs and lancet-arched doorways and windows. Photo © Ruedi Walti Musée Unterlinden Throughout the Unterlinden campus, Herzog & de Meuron has deployed forms that are sympathetic to the existing medieval architecture, including several sculptural stairs and lancet-arched doorways and windows. Photo © Ruedi Walti Musée Unterlinden With the addition of a parquet floor, the architects have transformed an early 20th-century swimming pool into an event space. Photo © Ruedi Walti Musée Unterlinden The galleries in the new Ackerhof building feel airy, thanks to “floating” display walls, skillfully designed electric illumination, and the occasional window. Photo © Ruedi Walti Musée Unterlinden The galleries in the new Ackerhof building feel airy, thanks to “floating” display walls, skillfully designed electric illumination, and the occasional window. Photo © Peter Mikolas Musée Unterlinden Some of the museum’s new below-grade spaces also have access to daylight, such as the gallery beneath the Petite Maison. Photo © Ruedi Walti Musée Unterlinden Image courtesy Herzog & de Meuron When it was founded in 1935, the San Francisco Museum of Modern Art (SFMOMA) occupied one, then two floors of the War Memorial Veterans Building in the Hayes Valley neighborhood before moving into its purposebuilt, Mario Botta–designed home in nearby SoMa in 1995.

]]> http://www.architecturalrecord.com/articles/11644 Sun, 01 May 2016 08:20:00 -0400 https://www.architecturalrecord.com/articles/11644-san-francisco-museum-of-modern-art San Francisco Museum of Modern Art The new structure offers an additional entrance from busy Howard Street and the quiet alley facing its pristine white undulating facade. Photo © Henrik Kam San Francisco Museum of Modern Art The 200-foot-tall addition is sandwiched between the museum’s original red-brick building fronting Yerba Buena Gardens and the PacBell Building behind it. Photo © Henrik Kam San Francisco Museum of Modern Art The addition’s undulating facade tops the glazed Howard Street gallery, free to the public, whose opening exhibit is Richard Serra’s 2006 Sequence. Photo © Henrik Kam San Francisco Museum of Modern Art Visitors can gather on the stepped seating. Photo © Henrik Kam San Francisco Museum of Modern Art A Sol LeWitt drawing blankets the upper wall of the new lobby, which is accessed from the Howard Street gallery and the outdoor staircase perpendicular to a narrow alleyway. Photo © Henrik Kam San Francisco Museum of Modern Art Circulation along the bowed facade, with windows overlooking the city in places, encourages taking the stairs. Photo © Henrik Kam San Francisco Museum of Modern Art A Sol LeWitt drawing blankets the upper wall of the new lobby, which is accessed from the Howard Street gallery and the outdoor staircase perpendicular to a narrow alleyway. Photo © Henrik Kam San Francisco Museum of Modern Art Several galleries on the fourth floor highlight the work of Ellsworth Kelly. The modular, coved ceiling system evenly diffuses ambient light. Photo © Henrik Kam San Francisco Museum of Modern Art Visitors can access a terrace from the dedicated Alexander Calder gallery for close-up views of the living wall, which contains 15,000 plants. The bridge above it leads to a café and sculpture terrace. Photo © Henrik Kam San Francisco Museum of Modern Art View from Yerba Buena Garden. Photo © Iwan Baan San Francisco Museum of Modern Art Photo © Iwan Baan San Francisco Museum of Modern Art Photo © Iwan Baan San Francisco Museum of Modern Art Photo © Iwan Baan San Francisco Museum of Modern Art California and the West Photography. Photo © Iwan Baan San Francisco Museum of Modern Art The Campaign for Art. Photo © Iwan Baan San Francisco Museum of Modern Art Approaching American Abstraction. Photo © Iwan Baan San Francisco Museum of Modern Art Approaching American Abstraction. Photo © Iwan Baan San Francisco Museum of Modern Art Pop, Minimal and Figurative Art. Photo © Iwan Baan San Francisco Museum of Modern Art Pop, Minimal and Figurative Art. Photo © Iwan Baan San Francisco Museum of Modern Art A City Gallery at SFMOMA. Photo © Iwan Baan San Francisco Museum of Modern Art The Campaign for Art. Photo © Iwan Baan San Francisco Museum of Modern Art German Art after 1960. Photo © Iwan Baan San Francisco Museum of Modern Art The Campaign for Art. Photo © Iwan Baan San Francisco Museum of Modern Art The Campaign for Art. Photo © Iwan Baan San Francisco Museum of Modern Art City Gallery stairs. Photo © Iwan Baan San Francisco Museum of Modern Art SFMOMA facade. Photo © Iwan Baan San Francisco Museum of Modern Art SFMOMA facade. Photo © Iwan Baan San Francisco Museum of Modern Art SFMOMA facade. Photo © Iwan Baan San Francisco Museum of Modern Art Early sketches and massing studies for the building’s skin, galleries, and landscape. Image courtesy Craig Dykers San Francisco Museum of Modern Art Early sketches and massing studies for the building’s skin, galleries, and landscape. Image courtesy Craig Dykers San Francisco Museum of Modern Art Early sketches and massing studies for the building’s skin, galleries, and landscape. Image courtesy Craig Dykers San Francisco Museum of Modern Art Image courtesy Snøhetta San Francisco Museum of Modern Art Image courtesy Snøhetta San Francisco Museum of Modern Art Image courtesy Snøhetta San Francisco Museum of Modern Art Image courtesy Snøhetta The completion of Renzo Piano Building Workshop’s (RPBW) Valletta City Gate comes 30 years after the architect was first invited to remodel the main entrance to Malta’s walled capital.

]]> http://www.architecturalrecord.com/articles/11646 Sun, 01 May 2016 08:10:00 -0400 https://www.architecturalrecord.com/articles/11646-valletta-city-gate Valletta City Gate Photo © Renzo Building Workshop Valletta City Gate Photo © Renzo Piano Building Workshop Valletta City Gate The narrowed gateway aligns with the Triton fountain in the middle of Valletta’s main bus terminal and initiates an axial route through the walled city. Photo © Renzo Piano Building Workshop Valletta City Gate The depth and angles of the parliament building’s stone louvers vary in response to the position of the sun, so the west-facing elevation overlooking the city wall differs from those facing the central courtyard, or north onto Freedom Square. Carving solar shading from the stone cladding required deep facades, and the walls are 33 inches thick. Photo © Renzo Piano Building Workshop Valletta City Gate An earlier rendering shows that RPBW intended one of the parliament’s two glazed foyers to have a public use, but both have been adopted as secure entrances. Photo © Renzo Piano Building Workshop Valletta City Gate While visiting Valletta Gate’s site, Renzo Piano sketched its topography, using his own stride as a measurement tool. Image courtesy Renzo Piano Building Workshop Valletta City Gate Photo © Renzo Piano Building Workshop Valletta City Gate Cherry wood reflectors adjust the acoustics of the quarrylike parliamentary chamber. Photo © Mario Carrieri Valletta City Gate A steel structure carries tiered seating and access walkways over the exposed foundations of the opera’s ruins. Photo © Renzo Piano Building Workshop Valletta City Gate A steel structure carries tiered seating and access walkways over the exposed foundations of the opera’s ruins. Photo © Renzo Piano Building Workshop Valletta City Gate Image courtesy Renzo Piano Building Workshop jim@jamesgauer.com (James Gauer) http://www.architecturalrecord.com/articles/11647 Sun, 01 May 2016 08:00:00 -0400 https://www.architecturalrecord.com/articles/11647-speed-art-museum-by-why-architecture Speed Art Museum The boxy, aluminum-sheathed galleries of the second and third levels, slightly askew, sit atop the glass-clad ground-level spaces, which are accessed from a plaza open to a main boulevard in one direction and the nearby university campus in the other. Photo © Rafael Gamo Speed Art Museum The aluminum and glass facade of the addition matches the champagne color of the original building’s limestone walls. Photo © Rafael Gamo Speed Art Museum The insulated glazing units are fritted in a wavy pattern to give a sense of depth and provide additional light control to the lobby. Photo © Rafael Gamo Speed Art Museum wHY developed the pattern for the folding aluminum panels of the addition’s facades by taking profiles of the classical moldings from the original building and combining them horizontally. Image courtesy wHY Architecture Speed Art Museum Contemporary galleries are vast open-plan volumes scaled for rotating exhibits of large pieces, and feature white oak floors and board-formed concrete walls at the elevator core. Photo © Rafael Gamo Speed Art Museum Contemporary galleries are vast open-plan volumes scaled for rotating exhibits of large pieces, and feature white oak floors and board-formed concrete walls at the elevator core. Photo © Rafael Gamo Speed Art Museum The axially planned ground floor, clad almost entirely in glass, reorients the institution to engage the city. Photo © Rafael Gamo