Architectural Record.]]> https://www.architecturalrecord.com/rss/314 en-us Three projects in both big cities and small towns reflects aspects of our country's rich history.

]]> http://www.architecturalrecord.com/articles/12834 Sat, 01 Jul 2017 08:05:00 -0400 https://www.architecturalrecord.com/articles/12834-america-the-beautiful 1707-Projects-America-the-Beautiful-01pg.jpg Museum of the American Revolution by Robert A.M. Stern Architects Photo © Peter Aaron / Otto 1707-America-the-Beautiful-A-Kentucky-Classic-011.jpg Kentucky Museum of Art by Christoff: Finio Photo © Kevin Kundstadt Home to works by Stella, Rauschenberg, Chamberlain, and more, the Glass House Sculpture Gallery reopens with an entirely new roof.

]]> http://www.architecturalrecord.com/articles/12669 Mon, 01 May 2017 08:05:00 -0400 https://www.architecturalrecord.com/articles/12669-restored-sculpture-gallery-reopens-at-philip-johnsons-glass-house New glazing and lighting restore the gallery to its original glory. Photo © Lane Coder courtesy the Glass House A new cold-cathode light system was modeled after the original. Photo © Lane Coder courtesy the Glass House The building is home to works of art including Frank Stella’s 1990 sculpture Raft of the Medusa, Part 1. Photo © Architectural Record During the day, sunshine streams in through the glazed roof, casting a shadow grid on the white walls and brick floors. Photo © Architectural Record A new cold-cathode light system was modeled after the original. Photo © Lane Coder courtesy the Glass House At night, the new cold-cathode tube lights affixed to the steel structure overhead bathe the space in a peachy glow. Photo © Lane Coder courtesy the Glass House The $2 million restoration kicked off in May 2015. Photo © Lane Coder courtesy the Glass House The project team removed the old glazing, as well as the coatings of all interior and exterior brick and steel, before installing and sealing the precisely fabricated glass. Photo © Lane Coder courtesy the Glass House The project team installed new custom glass panels to the skylight system. Photo © Lane Coder courtesy the Glass House The new glass panels are UV-coated and insulated. Photo © Lane Coder courtesy the Glass House The new skylight system was fully installed in a matter of days. Photo © Lane Coder courtesy the Glass House Archival photos show the original construction of the building’s steel structure. Photo © Horst Hahn courtesy the Glass House Archival photos show the original construction of the building’s steel structure. Photo © Horst Hahn courtesy the Glass House Construction progress as of April 10, 1970. Photo © Horst Hahn courtesy the Glass House Construction progress as of May 28, 1970. Photo © Horst Hahn courtesy the Glass House Construction progress as of June 15, 1970. Photo © Horst Hahn courtesy the Glass House Construction progress as of June 30, 1970. Photo © Horst Hahn courtesy the Glass House Two buildings open on a new campus in upper Manhattan, with a promise to enhance the community.

]]> http://www.architecturalrecord.com/articles/12676 Mon, 01 May 2017 08:00:00 -0400 https://www.architecturalrecord.com/articles/12676-columbia-universitys-arts-and-science-centers-by-renzo-piano-building-workshop A subway viaduct sets an industrial tone for the site. Photo © Columbia University / Nic Lehoux The mostly opaque Lenfest Center for the Arts, contains galleries and theaters, while the predominantly transparent Jerome L. Greene Science Center holds neurobiology research facilities. Photo © Columbia University / Nic Lehoux Jerome L. Greene’s southern facade will soon look onto the forthcoming University Forum, a conference facility that is part of the larger master plan. Photo © Columbia University / Nic Lehoux An internal stair and airy social space help promote informal interactions in the science center. Photo © Columbia University / Nic Lehoux Jerome L. Greene’s lobby, open to the public, features a digital artwork, Brain Index, based on neuro-imagery by Laura Kurgan (of Columbia’s Graduate School of Architecture, Planning and Preservation) and Mark Hansen (of the Graduate School of Journalism). Photo © Columbia University / Frank Oudeman Student groups, from the neighborhood and beyond, will learn about the brain in an education space on Jerome L. Greene’s ground floor. Photo © Columbia University / Frank Oudeman A stair connects the building’s workspaces and provides a colorful accent. Photo © Columbia University / Frank Oudeman Lenfest’s screening room also functions as a lecture hall. Photo © Columbia University / Frank Oudeman The building’s new south-facing Wallach Gallery occupies nearly a full floor, as does a similar gallery above it. Photo © Columbia University / Frank Oudeman Image courtsey Renzo Piano Building Workshop Image courtsey Renzo Piano Building Workshop Image courtsey Renzo Piano Building Workshop Pritzker Prize–winner Wang Shu and Lu Wenyu, his partner, tie a museum and cultural complex in Fuyang to China’s rich traditions of landscape painting.

]]> http://www.architecturalrecord.com/articles/12473 Sat, 01 Apr 2017 08:12:00 -0400 https://www.architecturalrecord.com/articles/12473-huang-gongwang-museum-by-amateur-architecture-studio The architects choreographed a complex procession through the project, including terraces and walkways on the multipeaked roofs. Photo © Iwan Baan Overlooking the Fuchun River, the Fuyang Cultural Complex resembles a traditional Chinese village. Rendering courtesy Amateur Architecture Studio 1704-Projects-The-Good-Earth-Amateur-Architecture-Studio-Fuyang-China-Huang-Gongwang-Museum-04.jpg After entering the museum via a covered walkway, visitors exit at the opposite end of the complex. Photo © Iwan Baan 1704-Projects-The-Good-Earth-Amateur-Architecture-Studio-Fuyang-China-Huang-Gongwang-Museum-05.jpg Visitors enter the museum from a covered walkway. Photo © Iwan Baan Seen from a small tower on the river side, the project unfolds as a series of terraces, courtyards, and paths. Photo © Iwan Baan The architects love to contrast heavy elements such as concrete walls with large open spaces. Photo © Iwan Baan 1704-Projects-The-Good-Earth-Amateur-Architecture-Studio-Fuyang-China-Huang-Gongwang-Museum-08.jpg Bamboo formwork leaves its imprint on concrete in the gallery of contemporary art. Photo © Iwan Baan 1704-Projects-The-Good-Earth-Amateur-Architecture-Studio-Fuyang-China-Huang-Gongwang-Museum-09.jpg Bamboo formwork leaves its imprint on concrete in the main lobby. Photo © Iwan Baan 1704-Projects-The-Good-Earth-Amateur-Architecture-Studio-Fuyang-China-Huang-Gongwang-Museum-10.jpg As Chinese landscape painters have done for centuries, Wang and Lu frame views of pavilions and pathways. Their architecture offers multiple perspectives, instead of a fixed point of view. Photo © Iwan Baan Photo © Iwan Baan Photo © Iwan Baan Photo © Iwan Baan The new Centre International de l'Art Pariétal museum in France takes its cues from the famous prehistoric vault.

]]> http://www.architecturalrecord.com/articles/12474 Sat, 01 Apr 2017 08:06:00 -0400 https://www.architecturalrecord.com/articles/12474-lascaux-iv-by-sn%C3%B8hetta The orientation space at the center of the museum is formed from canted poured concrete walls and topped with skylights. Photo © Eric Solé A ramped outdoor passage leads to the cave replica. Photo © Eric Solé The new museum cuts into the base of the hill in which the actual cave is located. Photo © Eric Solé Conditions within the cave replica are as close as possible to the real thing. Photo © Eric Solé 1704-Projects-Cave-Dweller-Snohetta-Montignac-France-Centre-International-de-Art-Parietal-05.jpg After reentering the museum from the cave, visitors can spend more time with specific artworks, reproduced again in an interactive gallery. Photo © Dan Courtice Image courtesy Snøhetta Image courtesy Snøhetta goncharj@bnpmedia.com (Joann Gonchar, FAIA) Renovations of the Hall of Science in Queens, New York; the Richards Medical Research Laboratories at the University of Pennsylvania; the Greeley Memorial Laboratory at Yale; and the Manton Research Center at the Clark Art Institute in Williamstown, Massachusetts.

]]> http://www.architecturalrecord.com/articles/12201 Wed, 01 Feb 2017 08:01:00 -0500 https://www.architecturalrecord.com/articles/12201-four-midcentury-landmarks-get-a-new-lease-on-life Harrison and Abramovitz’s Hall of Science in Queens, New York, was originally built for the 1964 World’s Fair. Photo © Ezra Stoller/ESTO Recently renovated by Ennead, the hall’s defining features are curvilinear eggcratelike walls infilled with panels made of concrete and shards of blue glass. The result is an interior that evokes outer space. Photo © Jeff Goldberg/ESTO The hall currently hosts an exhibition that focuses on the earth’s diverse natural habitats. Photo © Aislinn Weidele/Ennead Architects Louis Kahn’s Richards Medical Research Laboratories, built on the campus of the University of Pennsylvania in 1961, consists of four interconnected towers in concrete, brick, and glass. Photo courtesy University of Pennsylvania Architectural Archives A phased renovation of Richards by EYP and Atkin Olshin Schade includes a complete revamp of all mechanical systems and replacement of Kahn’s extra-large, single-glazed windows with laminated glass within the original steel frames. Photo © Halkin Mason A phased renovation of Richards by EYP and Atkin Olshin Schade includes a complete revamp of all mechanical systems and replacement of Kahn’s extra-large, single-glazed windows with laminated glass within the original steel frames. Photo © Halkin Mason Richards Site Plan Image courtesy EYP Richards Typical Floor Plan Image courtesy EYP Distinctive Y-shaped columns support the roof of Paul Rudolph’s 1959 Greeley Memorial Laboratory at Yale University. Image courtesy the Paul Rudolph Foundation A recent renovation of Greeley by New Haven architect Christopher Williams included the creation of a space where scientists can relax and informally meet. The area is defined by cherry cabinets that stop short of the sculptural ceiling in order not to interfere with the building’s free-flowing configuration. Photo © John Giammetteo Williams removed the agglomeration of mechanical equipment that had accumulated over time inside Greeley and routed the new building services so that they are largely exposed, but arranged in a thoughtful and integrated way. Photo © John Giammetteo Annabelle Selldorf and Gensler recently revamped Pietro Belluschi’s Manton Research Center (1973) at the Clark Art Institute in the Berkshires. Photo © Jeff Goldberg/ESTO The Manton renovation included the transformation of what had been—when the building was first completed—an indoor sculpture court. It is now a reading room. Photo courtesy the Clark Institute The Manton renovation included the transformation of what had been—when the building was first completed—an indoor sculpture court. It is now a reading room. Photo © Tucker Blair As part of the Manton project, the renovation team reconstructed the former sculpture court’s skylight. It now has baffles to address glair. They also serve to cleverly conceal electric illumination as well sprinklers. Photo © Tucker Blair Idyllwild Arts Academy in California gets a world-class performance space on a tight budget.

]]> http://www.architecturalrecord.com/articles/12108 Sun, 01 Jan 2017 08:10:00 -0500 https://www.architecturalrecord.com/articles/12108-william-m-lowman-concert-hall-by-sander-architects The concert hall is sheathed in weathering steel. The panels have an irregular topography derived from an abstracted musical phrase by composer Richard James. The rusted skin also alludes to the landscape of folded rock. Photo © Sharon Risedorph The concert hall is sheathed in weathering steel. The panels have an irregular topography derived from an abstracted musical phrase by composer Richard James. The rusted skin also alludes to the landscape of folded rock. Photo © Sharon Risedorph In the plywood-clad lobby, 40 pendant globe lamps hang at various levels. Photo © Sharon Risedorph The 4-by-8-inch wood ribs that arch up the side walls and across the ceilings of the performance space are slightly offset to evoke a forest of trees and to scatter the sound and create cleaner acoustics for the performers. Photo © Sharon Risedorph The 4-by-8-inch wood ribs that arch up the side walls and across the ceilings of the performance space are slightly offset to evoke a forest of trees and to scatter the sound and create cleaner acoustics for the performers. Photo © Sharon Risedorph Image courtesy Sander Architects Image courtesy Sander Architects A striking copper-clad assembly combines the sacred and the secular for a diverse community in Finland.

]]> http://www.architecturalrecord.com/articles/12109 Sun, 01 Jan 2017 08:01:00 -0500 https://www.architecturalrecord.com/articles/12109-suvela-chapel-by-oopeaa The dramatically pitched–roof form of the worship hall is clad entirely in copper. Photo © Marc Goodwin The building’s site, adjacent to a park, encouraged the inclusion of a kindergarten and teen center. Photo © Marc Goodwin The interior courtyard fa­cades are glazed structures of glue-laminated wood columns. Photo © Marc Goodwin The dramat­ically pitched–roof form of the worship hall has a sculptural and symbolic character. Photo © Mika Huisman The pyramidal form of the spruce-slatted worship hall is topped with a large window that directs daylight into the warm and tactile interior. Photo © Marc Goodwin  In the other interior spaces, an outer layer encases a sequence of rooms for entrance, orientation, movement, and meeting. Photo © Marc Goodwin Image courtesy OOPEAA Image courtesy OOPEAA The institution reopens at its new location in an adapted 1960s landmark, refreshed and reimagined by a trio of notable firms.

]]> http://www.architecturalrecord.com/articles/12104 Sun, 01 Jan 2017 08:00:00 -0500 https://www.architecturalrecord.com/articles/12104-the-new-design-museum-in-london The museum occupies a renovated modernist landmark, now flanked by three OMA-designed residential blocks (Holland Green) set in a landscape by West 8. Photo © Paul Raftery Visitors enter the site through double-height arcades in the base of one of the apartment buildings on Kensington High Street. Photo © Paul Raftery References to the building’s history are made through the selective reuse of original materials, including marble flooring that now lines a wall on the mezzanine within the atrium. Photo © Paul Raftery References to the building’s history are made through the selective reuse of original materials, including a stained-glass window that was relocated to the museum shop. Photo © Paul Raftery Replacement glazing admits daylight and views to spaces such as the second-floor restaurant (above), but maintains the outward appearance of the original opaque, blue-glass facades during the daytime Photo © Paul Raftery At night, the fritted glass allows electric light to seep from the building. Photo © Paul Raftery Photo © Gareth Gardner Photo © Luke Hayes Photo © Gareth Gardner Photo © Gareth Gardner Photo © Gareth Gardner Photo © Gareth Gardner Photo © Gareth Gardner Photo © Luke Hayes Photo © Luke Hayes Photo © Luke Hayes Photo © Luke Hayes Photo © Gravity Road Ground-floor plan Courtesy Design Museum Mezzanine Floor Plan Courtesy Design Museum Second-floor Plan Courtesy Design Museum Third-floor Plan Courtesy Design Museum Lower-basement Floor Plan Courtesy Design Museum Upper-basement Floor Plan Courtesy Design Museum Section A-A Courtesy Design Museum Section B-B Courtesy Design Museum Site plan Courtesy Design Museum http://www.architecturalrecord.com/articles/11995 Fri, 11 Nov 2016 00:00:00 -0500 https://www.architecturalrecord.com/articles/11995-the-manetti-shrem-museum-of-art-by-so-il-bohlin-cywinski-jackson UC-Davis-Manetti-Shrem-01.jpg The form of the museum’s sensuous canopy was inspired by the nearby fields. Photo © Iwan Baan Supported by circular columns, the canopy covers a 50,000-square-foot area to create a generous entry plaza in front of the building. Photo © Iwan Baan Above the main entrance, a large circular disc protects visitors from infrequent rain. Photo © Iwan Baan Photo © Iwan Baan Photo © Iwan Baan Polished concrete covers the floors of the galleries, lobby, and auxiliary spaces. Photo © Iwan Baan Polished concrete covers the floors of the galleries, lobby, and auxiliary spaces. Photo © Iwan Baan The arcing canopy dips as low as 12 feet at the front of the building. Photo © Iwan Baan The canopy’s array of perforated triangular beams creates alluring silhouettes on the exterior wall of the building and floor of the entry plaza. Photo © Iwan Baan Image courtesy SO-IL & Bohlin Cywinski Jackson Image courtesy SO-IL & Bohlin Cywinski Jackson Image courtesy SO-IL & Bohlin Cywinski Jackson http://www.architecturalrecord.com/articles/11989 Mon, 07 Nov 2016 00:00:00 -0500 https://www.architecturalrecord.com/articles/11989-national-music-centre-of-canada-by-allied-works-architecture Studio-Bell-01.jpg Photo courtesy Allied Works Architecture, © Jeremy Bittermann The interlocking volumes allow views between and across interior spaces. Photo courtesy Allied Works Architecture, © Jeremy Bittermann The fifth-floor lounge, known as “the Cloud,” is an open space that invites reflection and offers stunning views of the interior. Photo courtesy Allied Works Architecture, © Jeremy Bittermann Music from the 300-seat performance hall on the second floor spills out to other spaces, including the main lobby below it. Photo courtesy Allied Works Architecture, © Jeremy Bittermann The theater’s ceiling features an array of hanging aluminum tubes. Photo courtesy Allied Works Architecture, © Jeremy Bittermann Visitors in exhibition spaces at Studio Bell. Photo courtesy Allied Works Architecture, © Jeremy Bittermann Studio-Bell-07.jpg The building, inside and out, is covered in over 200,000 terra-cotta tiles. A connecting bridge rises 65 feet above the street. Photo courtesy Allied Works Architecture, © Jeremy Bittermann The curving volumes and helical staircases combine for a dynamic spatial experience. Photo courtesy Allied Works Architecture, © Jeremy Bittermann The complex, known as Studio Bell, connects two properties on opposite sides of a street at the threshold of Calgary’s newly emerging East Village neighborhood. It incorporates a squat century-old brick building that once housed the King Edward Hotel, the site of a legendary blues club. Photo courtesy Allied Works Architecture, © Jeremy Bittermann Studio Bell lobby. Photo courtesy Allied Works Architecture, © Jeremy Bittermann The curving volumes and helical staircases combine for a dynamic spatial experience. Photo courtesy Allied Works Architecture, © Jeremy Bittermann Galleries feature end-grain oak floors and ceilings of black-painted aluminum grilles. Photo courtesy Allied Works Architecture, © Jeremy Bittermann Image courtesy Allied Works Architecture Image courtesy Allied Works Architecture Image courtesy Allied Works Architecture Image courtesy Allied Works Architecture Image courtesy Allied Works Architecture http://www.architecturalrecord.com/articles/11986 Thu, 03 Nov 2016 00:01:00 -0400 https://www.architecturalrecord.com/articles/11986-elbphilharmonie-by-herzog-de-meuron Photo © Iwan Baan An escalator dramatized by reflective disks embedded in white stucco walls rises on a gentle curve to the upper levels.  Photo © Iwan Baan At the top, a brick stair takes visitors to the main plaza on the eighth floor. Photo © Iwan Baan Photo © Iwan Baan Broad, spiraling stairs lead up from the plaza to the two auditoriums. Photo © Iwan Baan A large balcony is backed by rippled glazed panels, to protect against the wind while offering expansive views of the city and harbor. Broad, spiraling stairs lead up from the plaza to the two auditoriums. Photo © Iwan Baan Photo © Iwan Baan Photo © Iwan Baan Photo © Iwan Baan The twisting plan offers unexpected glimpses of the concert hall foyer. Photo © Iwan Baan Visitors look out at the working harbor through fritted glass with bent profiles and swiveling ventilation panels. Photo © Iwan Baan With the help of acoustician Yasuhisa Toyota, Herzog & de Meuron designed the 2,100-seat concert hall, where tiers of gray-upholstered chairs loop around the orchestra under a mushroom-shaped canopy. Photo © Iwan Baan The team also covered walls and ceilings with a biomorphically contoured gypsum fiberboard. Photo © Iwan Baan On the roof, white metal perforated disks add to the optical pleasure. Photo © Iwan Baan Photo © Iwan Baan Photo © Iwan Baan Multiple views of interior spaces are on display from outside. Photo © Iwan Baan Drawing courtesy Herzog & de Meuron Drawing courtesy Herzog & de Meuron Drawing courtesy Herzog & de Meuron Drawing courtesy Herzog & de Meuron Drawing courtesy Herzog & de Meuron Drawing courtesy Herzog & de Meuron Drawing courtesy Herzog & de Meuron Drawing courtesy Herzog & de Meuron The longtime home of the Swiss National Museum, or Landesmuseum, in Zurich, is a stolid 19th-century pile.

]]> http://www.architecturalrecord.com/articles/11966 Tue, 01 Nov 2016 08:10:00 -0400 https://www.architecturalrecord.com/articles/11966-extension-of-the-swiss-national-museum The new building’s exterior is composed entirely of board-formed concrete. Photo © Iwan Baan The Landesmuseum sits directly across from the main railway station in Zurich, along the Limmat River. Photo © Iwan Baan The addition connects to the old building at the second level, permitting pedestrian access between the museum’s courtyard and nearby park. Photo © Iwan Baan The triangular passage that forms beneath the raised chevron is nearly 100 feet across at grade. Photo © Iwan Baan The addition’s bold geometry is a stark contrast to the traditional masonry building with its oriels and stepped gables. Photo © Iwan Baan A stairway rises 30 feet along one side of the chevron. Photo © Iwan Baan The exhibition areas are cavernous spaces that are not discrete galleries but parts of a continuous circulation route. Photo © Iwan Baan A neutral color scheme pervades the interiors, with walls of gray concrete and floors of buff-toned terrazzo. Photo © Iwan Baan The exhibition designers have worked to insert color, with lavender walls and magenta partitions backing some displays. Photo © Iwan Baan Image courtesy Christ & Gantenbein 1611-Projects-Landmarks-Christ-Gantenbein-Zurich-Extension-of-the-Swiss-National-Museum-11.jpg Ground-floor plan Image courtesy Christ & Gantenbein 1611-Projects-Landmarks-Christ-Gantenbein-Zurich-Extension-of-the-Swiss-National-Museum-12.jpg Second-floor plan Image courtesy Christ & Gantenbein One of the first completed projects from Zaha Hadid’s office since her untimely death, at 65 in March this year, the new Port House on the sprawling docks of Antwerp, Belgium, is a bravura, if distinctly eccentric work.

]]> http://www.architecturalrecord.com/articles/11965 Tue, 01 Nov 2016 08:00:00 -0400 https://www.architecturalrecord.com/articles/11965-the-port-house-by-zaha-hadid-architects In transforming a century-old fire station into the offices for Antwerp’s Port Authority, Zaha Hadid Architects created a faceted, glazed cloudlike structure atop the older building. Photo © Hufton + Crow While the old and new sections are stylistically disparate, the size of the upper portion’s glass panes retains the scale and proportion of the lower fenestration. Photo © Hufton + Crow The original station, a copy of a 16th-century Hanseatic League  structure, has been stripped to its basic frame for new offices. Photo © Hufton + Crow The stairway between the foyer and the auditorium on the sixth floor is enclosed by cloudlike, swerving walls. Photo © Danica Kus The courtyard functions as a reception and exhibition area. V-shaped black-painted steel columns push through its glazed steel-lattice roof to keep the superstructure rigid. Photo © Danica Kus Two diagonal steel supports meet in the sixth-floor restaurant. Photo © Tim Fisher On the seventh floor, offices and meeting rooms echo the lines of the faceted exterior. Photo © Danica Kus A narrow, vaulted corridor on the periphery of this floor takes visitors along a dramatic route from the foyer to the restaurant. Photo © Tim Fisher Image courtesy Zaha Hadid Architects Ground floor plan Image courtesy Zaha Hadid Architects Bridge floor plan Image courtesy Zaha Hadid Architects Sixth floor plan Image courtesy Zaha Hadid Architects Seventh floor plan Image courtesy Zaha Hadid Architects Image courtesy Zaha Hadid Architects http://www.architecturalrecord.com/articles/11964 Tue, 01 Nov 2016 08:00:00 -0400 https://www.architecturalrecord.com/articles/11964-national-museum-of-african-american-history-and-culture The National Museum of African American History and Culture by Freelon Adjaye Bond/Smith GroupJJR is one of six finalists for the Mies Crown Hall Americas Prize. Photo © Alan Karchmer It occupies the last available spot on the National Mall, in the shadow of the Washington Monument. Photo © Alan Karchmer The heritage hall at the ground level is a vast lobby for welcoming visitors. Photo © Alan Karchmer At the south entrance, a massive canopy referred to as the Porch spans 175 feet. President Obama presided over the museum’s opening here. Photo © Alan Karchmer In stark contrast to its Neoclassical neighbors, NMAAHC’s 250,000 square feet of facade are covered in a latticework of bronze-colored cast aluminum panels. Photo © Alan Karchmer Escalators move visitors through the upper-level galleries. Photo © Alan Karchmer A Jim Crow–era passenger car from the Southern Railway Company is exhibited within the below-grade history galleries. The 154,000-pound car was installed in the museum with two coordinated cranes before construction was complete. The slab supporting it is specifically designed for the load. Photo © Alan Karchmer A concrete guard tower from Louisiana State Penitentiary was cut from its original foundations and transported to the museum. Photo © Alan Karchmer A self-supporting spiraling steel staircase links the lobby to the concourse level below. Photo © Alan Karchmer A Tuskegee aircraft hangs in the History galleries. Photo © Alan Karchmer Views through the facade’s latticework over the capital are possible from the upper-level galleries. Photo © Alan Karchmer The underground Contemplative Court, with cascading water and daylight streaming in from above, offers a moment of reflection. Photo © Alan Karchmer, courtesy NMAAHC Concourse level plan Image courtesy Freelon Adjaye Bond/Smith GroupJJR Ground floor plan Image courtesy Freelon Adjaye Bond/Smith GroupJJR Image courtesy Freelon Adjaye Bond/Smith GroupJJR Second floor plan Image courtesy Freelon Adjaye Bond/Smith GroupJJR Fourth floor plan Image courtesy Freelon Adjaye Bond/Smith GroupJJR Fifth floor plan Image courtesy Freelon Adjaye Bond/Smith GroupJJR Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer Photo © Alan Karchmer http://www.architecturalrecord.com/articles/11908 Sat, 01 Oct 2016 09:00:00 -0400 https://www.architecturalrecord.com/articles/11908-lighthouse-for-the-blind-and-visually-impaired-by-mark-cavagnero-associates The intimate reception area opens to a central stair, daylit by glazing alongside and above it.  Photo © Jasper Sanidad Color-changing LED panels animate the polished-concrete circulation path and an adjacent social space. Photo © Jasper Sanidad A training kitchen accommodates 12 workstations and was designed so that instructors can be clearly heard over the activity. Photo © Jasper Sanidad http://www.architecturalrecord.com/articles/11907 Sat, 01 Oct 2016 09:00:00 -0400 https://www.architecturalrecord.com/articles/11907-etsy-headquarters-by-gensler A dramatic steel stair connects Etsy’s entrance lobby with a second-floor reception and lounge space. Photo © Garrett Rowland The headquarters includes numerous custom pieces by local makers, such as cast-concrete and walnut lighting pendants by IN.SEK and Lukas Lighting. Photo © Garrett Rowland Etsy hosts craft nights and workshops in its “lab”, which features tables sized for large, collaborative projects. Photo © Garrett Rowland Brooklyn designer and fabricator First Third created the office’s workstations. Photo © Garrett Rowland Every floor has a kitchen, where employees are encouraged to recycle and compost. Photo © Garrett Rowland A variety of environments, including tall tables with stools situated near the old manufacturing building’s generously sized windows, allow employees to work where and how they please. Photo © Garrett Rowland A new school in the sprawling Nairobi slum of Kibera stands in striking contrast to the informal settlement that surrounds it.

]]> http://www.architecturalrecord.com/articles/11895 Mon, 19 Sep 2016 06:00:00 -0400 https://www.architecturalrecord.com/articles/11895-the-kibera-school-by-selgascano-and-helloeverything The school rises above the surrounding informal settlement. Photo © Iwan Baan Its polycarbonate roof is a bright spot amid the sea of weathering tin and shelters two levels of classroom space, as well as a courtyard for group activities. Photo © Iwan Baan Its polycarbonate roof is a bright spot amid the sea of weathering tin and shelters two levels of classroom space, as well as a courtyard for group activities. Photo © Iwan Baan Students and community members enter the covered courtyard off the settlement's netowrk of labryinthine pathways. Photo © Iwan Baan The pink pipe structure reflects Kibera's improvised building materials. Photo © Iwan Baan A balcony provides views of Kibera and a place for students to gather in informal groups. Photo © Iwan Baan Boxlike spaces on the lower level are oriented toward traditional classroom learning. Photo © Iwan Baan The gift of a splendid complex and public park creates an oasis for the Greek people in austere times.

]]> http://www.architecturalrecord.com/articles/11855 Thu, 01 Sep 2016 08:11:00 -0400 https://www.architecturalrecord.com/articles/11855-stavros-niarchos-foundation-cultural-center-by-renzo-piano-building-workshop The opera house and the National Library are separated by a spacious agora and bounded by a 1,300-foot-long reflecting canal. Photo © Michael Denancé Close to a bay and to the 2004 Olympic Stadium, the complex has a green roof that can be reached by steps. Photo © Michael Denancé Close to a bay and to the 2004 Olympic Stadium, the complex has a green roof that can be reached by steps. Image courtesy RPBW An early Piano sketch shows the primacy of the canal as a unifying element. Image courtesy RPBW The elegant 1,400-seat horseshoe-shaped auditorium can be acoustically adjusted with specialized curtains. Photo © George Dimitrakopoulous / SNFCC The lobbies of the opera house and library, with its currently empty shelves, signal their respective functions through the glass-fin walls surrounding the agora. The hanging mobiles are by Susumu Shingu. Photo © Yiorgis Yerolymbos / SNFCC The lobbies of the opera house and library, with its currently empty shelves, signal their respective functions through the glass-fin walls surrounding the agora. The hanging mobiles are by Susumu Shingu. Photo © Shunji Ishida / RPBW The opera house roof under a ferro-cement canopy offers spectacular views of the city and the Acropolis, while a glazed viewing space cantilevers above the complex. Photo courtesy SNFCC The opera house roof under a ferro-cement canopy offers spectacular views of the city and the Acropolis, while a glazed viewing space cantilevers above the complex. Photo © Yiorgis Yerolymbos/SNFCC  The four-day public opening in June drew 115,000 people. Photo © Yiorgis Yerolymbos / SNFCC The 42-acre park, the largest in Athens, features native plants and slopes gently upward to cover the library with a green roof. It is targeted to be the first LEED Platinum project in Greece. Photo © Michael Denancé Image courtesy RPBW Image courtesy RPBW Image courtesy RPBW A community hub in Costa Rica works within tight constraints to give locals a place to gather.

]]> http://www.architecturalrecord.com/articles/11798 Mon, 01 Aug 2016 09:09:00 -0400 https://www.architecturalrecord.com/articles/11798-community-center-of-el-rodeo-by-%C3%A1lvaro-rojas Gaps between the roof panels and the lattice-like brickwork cause the structure to glow at night. Photo © Fernando Alda A layered roof structure made of steel trusses and concrete panels links an orthogonal ancillary building to the main circular one. Photo © Fernando Alda Inside the drum, the layered roof panels and steel structure create elegant patterns. Photo © Fernando Alda The trusses of the roof link the central drum with an outbuilding that houses bathrooms and a kitchen. Photo © Fernando Alda The ancillary building was finished using broken tile pieces donated to Rojas by a tile company. Photo © Fernando Alda The three-tiered panel structure of the roof creates a complex geometric pattern when viewed from beneath. Photo © Fernando Alda Ventilating bricks provide the infill for the drum’s concrete frame. Photo © Fernando Alda On a majestic landscape in Montana, Ensamble Studio creates a group of enigmatic sculptural works for Tippet Rise Art Center.

]]> http://www.architecturalrecord.com/articles/11807 Mon, 01 Aug 2016 09:00:00 -0400 https://www.architecturalrecord.com/articles/11807-ensamble-studio-designs-monumental-works-for-tippet-rise-art-center Beartooth Portal is one of three completed sculptures by Ensamble Studio on the grounds of Tippet Rise. The piece is comprised of two giant slabs of site-cast reinforced concrete that appear to be balanced against each other. The interior surfaces of the piece are textured and rough, while the exterior is rounded and smooth. Photo © Iwan Baan Inverted Portal, like Beartooth Portal, is made of two balanced slabs. But here the rough side of the concrete is placed on the outside. Photo © Iwan Baan Like the Beartooth and Inverted portals, Domo is made of reinforced concrete cast on-site. The piece, which is 100 feet long and weighs more than 4 million pounds, has a cavernlike interior that is 16 feet high. Photo © Iwan Baan To build Beartooth Portal (shown), as well as Inverted Portal, Ensamble scooped out molds from mounds of gravel, built a rebar armature within each mold, then lifted the reinforcing out in order to line the mold with plastic membrane. The armature was reinserted once the concrete pour was under way. Photo Courtesy Ensamble Studio To build Beartooth Portal (shown), as well as Inverted Portal, Ensamble scooped out molds from mounds of gravel, built a rebar armature within each mold, then lifted the reinforcing out in order to line the mold with plastic membrane. The armature was reinserted once the concrete pour was under way. Photo Courtesy Ensamble Studio To build Beartooth Portal (shown), as well as Inverted Portal, Ensamble scooped out molds from mounds of gravel, built a rebar armature within each mold, then lifted the reinforcing out in order to line the mold with plastic membrane. The armature was reinserted once the concrete pour was under way. Photo Courtesy Ensamble Studio A short-term-housing village in Malawi by MASS Design Group provides safety and comfort for expectant mothers.

]]> http://www.architecturalrecord.com/articles/11775 Fri, 01 Jul 2016 09:00:00 -0400 https://www.architecturalrecord.com/articles/11775-kasungu-maternity-waiting-village-by-mass-design-group Expectant mothers often arrive in the company of two or three “guardians”—female relatives who help care for the women while they wait. Photo © Iwan Baan Designed with this tradition in mind, the buildings’ extended awnings create sheltered exterior spaces to accommodate many more than just the 36 temporary residents. Photo © Iwan Baan Tapered columns and benches built into building exteriors serve as comfortable outdoor seating areas.  Photo © Iwan Baan Expectant mothers and their guardians cook in area just outside the perimeter of the waiting village. Photo © Iwan Baan Expectant mothers and their guardians cook in the communal kitchen. Photo © Iwan Baan Image courtesy MASS Design Group “Bigamy” in architecture, at least according to the Copenhagen-based Bjarke Ingels Group, means the combination of diametrically opposed parts.

]]> http://www.architecturalrecord.com/articles/11746 Fri, 17 Jun 2016 00:00:00 -0400 https://www.architecturalrecord.com/articles/11746-serpentine-pavilion-and-summer-houses Bjarke Ingels’s Serpentine Pavilion. Photo © Danica O. Kus Bjarke Ingels’s Serpentine Pavilion, interior. Photo © Danica O. Kus Bjarke Ingels’s Serpentine Pavilion. Photo © Iwan Baan Bjarke Ingels’s Serpentine Pavilion, interior. Photo © Iwan Baan Bjarke Ingels’s Serpentine Pavilion, interior. Photo © Iwan Baan Bjarke Ingels in front of his Serpentine Pavilion. Photo © Iwan Baan Asif Khan’s Serpentine Summer House. Photo © Danica O. Kus Asif Khan’s Serpentine Summer House. Photo © Iwan Baan Asif Khan’s Serpentine Summer House. Photo © Iwan Baan Barkow Leibinger’s Serpentine Summer House. Photo © Iwan Baan Barkow Leibinger’s Serpentine Summer House. Photo © Iwan Baan Barkow Leibinger’s Serpentine Summer House. Photo © Danica O. Kus Kunle Adeyemi’s Serpentine Summer House. Photo © Iwan Baan Kunle Adeyemi’s Serpentine Summer House. Photo © Iwan Baan Kunle Adeyemi’s Serpentine Summer House. Photo © Iwan Baan Yona Friedman’s Serpentine Summer House. Photo © Iwan Baan Yona Friedman’s Serpentine Summer House. Photo © Iwan Baan Yona Friedman with his Serpentine Summer House. Photo © Iwan Baan Walking through Louis Kahn’s Center for British Art—where sunlight streams in from skylights, and concrete, wood, metal, and stone combine in precise yet monumental ways­—leaves one yearning for the days when museums, quite honestly, weren’t so sterile.

]]> http://www.architecturalrecord.com/articles/11703 Wed, 01 Jun 2016 07:30:00 -0400 https://www.architecturalrecord.com/articles/11703-yale-center-for-british-art The center houses philanthropist Paul Mellon’s gift to Yale, an important collection of British art. Photo © Richard Capsole The Entrance Court. Photo © Richard Capsole The Library Court. Photo © Richard Capsole The Long Gallery. Photo © Michael Marsland The stair tower inside the Library Court. Photo © Richard Capsole A pogo wall within a fourth-­floor gallery. Photo © Richard Capsole 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 http://www.architecturalrecord.com/articles/11545 Tue, 01 Mar 2016 09:00:00 -0500 https://www.architecturalrecord.com/articles/11545-berkeley-art-museum-and-pacific-film-archive-by-diller-scofidio-renfro Berkeley Art Museum and Pacific Film Archive A torqued-steel-clad addition is the centerpiece of the museum’s new home within a restored 1939 printing plant, cantilevering over the museum entry and culminating in a 161⁄2-foot-by-28-foot LED screen at the back of the building. Photo © Iwan Baan Berkeley Art Museum and Pacific Film Archive A torqued-steel-clad addition is the centerpiece of the museum’s new home within a restored 1939 printing plant, cantilevering over the museum entry and culminating in a 161⁄2-foot-by-28-foot LED screen at the back of the building. Photo © Iwan Baan Berkeley Art Museum and Pacific Film Archive The museum’s café, painted blood red, is the apex of a sweeping vertical space. Photo © Iwan Baan Berkeley Art Museum and Pacific Film Archive The museum’s café is prominently perched, the apex of a sweeping vertical space with views over the busy street. Photo © Iwan Baan Berkeley Art Museum and Pacific Film Archive The main galleries soar to 28 feet at the top of the sawtooth roof truss. Photo © Iwan Baan Berkeley Art Museum and Pacific Film Archive A view of the café. Photo © Iwan Baan Berkeley Art Museum and Pacific Film Archive Exterior View. Photo © Iwan Baan Berkeley Art Museum and Pacific Film Archive The addition is clad in neatly tailored strips of 18-gauge 316L stainless steel. Photo © Iwan Baan Berkeley Art Museum and Pacific Film Archive Basement galleries. Photo © Elizabeth Daniels Berkeley Art Museum and Pacific Film Archive Image courtesy Diller Scofidio + Renfro Berkeley Art Museum and Pacific Film Archive Image courtesy Diller Scofidio + Renfro Berkeley Art Museum and Pacific Film Archive Image courtesy Diller Scofidio + Renfro The CKK Jordanki concert hall emerges like an outcrop of weathered rock from an urban park in Toruń, in northern Poland. Its Spanish architect, Fernando Menis, has yoked such imagery to local architectural references and technical ingenuity to establish a strong character for the building while deferring to its sensitive setting on the edge of the medieval Old Town.

]]> http://www.architecturalrecord.com/articles/11544 Tue, 01 Mar 2016 09:00:00 -0500 https://www.architecturalrecord.com/articles/11544-ckk-jordanki CKK Jordanki Concert Hall Red “picado” brickwork in the facade recurs in the chamber hall and the main concert hall. Photo © Iwan Baan CKK Jordanki Concert Hall The hall can be tuned by lowering five large white concrete shells, known as cupolas, to vary the reverberation times between 1.85 and 1.2 seconds. Photo © Iwan Baan CKK Jordanki Concert Hall The halls share foyers, where “picado” stonework peels away from the poured-in-place concrete structure, whose thermal mass regulates temperature. Photo © Iwan Baan CKK Jordanki Concert Hall Stairs descending to the basement level from the street and park form a top-lit route through the building. Photo © Iwan Baan CKK Jordanki Concert Hall Photo © Iwan Baan CKK Jordanki Concert Hall Photo © Iwan Baan CKK Joradanki Concert Hal Photo © Iwan Baan CKK Jordanki Concert Hall Photo © Iwan Baan CKK Jordanki Concert Hall Photo © Iwan Baan CKK Jordanki Concert Hall Photo © Iwan Baan CKK Jordanki Concert Hall Photo © Iwan Baan CKK Jordanki Concert Hal Photo © Iwan Baan CKK Jordanki Concert Hall Photo © Iwan Baan CKK Jordanki Concert Hall Photo © Iwan Baan CKK Jordanki Concert Hall Photo © Iwan Baan CKK Jordanki Concert Hall Image courtesy Fernando Menis CKK Jordanki Concert Hall