• Getting It Wright

    FRANK LLOYD WRIGHT’S 1921 Hollyhock House, a temple-like home on top of Los Angeles’s Olive Hill, marks not only a sharp divergence from the architect’s previous Prairie School period but the starting point of all that came after it. Wright’s first foray onto the sun-soaked LA landscape and the radical leanings of the client, Aline Barnsdall—oil heiress, anarchist sympathizer, single mother by choice—synthesized into an experimental architectural program. Wherever possible glass doors, rooftop terraces, and outdoor counterparts to indoor spaces join the building to the open air of the site

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  • New York’s new skyscrapers

    THE FLUCTUATING TROUGHS and crests of New York’s skyline have always registered another set of shifts: that of the seemingly incessant stratification of money and power in the city. The past year has been marked by a particularly accelerated spate of construction, one dominated not just by the starchitect but by the star building. First came 157 West Fifty-Seventh Street, or One57, Christian de Portzamparc’s awkward, crested tube of glass panels, finished in August. Now 432 Park Avenue, an ascetic monolith of stacked squares designed by Rafael Viñoly, is nearing completion. Rising fast behind

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  • Square Roots

    LISTS. It is hard to imagine architecture not getting its regular fix. The announcement of competition longlists, shortlists, and final lists pace the field’s collective conversation in a way that individual building projects or even group exhibitions usually do not. And if the playing field is not always leveled—too often, high-profile invited competitions read like Who’s Who lists—the site and the project size are at least common enough to make quick correlations and easily measure-up the contestants.

    So this past June when the Solomon R. Guggenheim Foundation announced that the two-stage design

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  • Bernard Tschumi’s retrospective

    “ARCHITECTURE IS the materialization of a concept.” This is just one of many polemical positions that Bernard Tschumi has articulated throughout his forty-year career, and it is the perfect summation of the celebrated architect’s position—capturing his conviction that his discipline is fundamentally about thinking, that building is first and foremost about ideas. But such a statement also leaves the definition of architecture uncertain, contingent on its material realization and on the vagaries of putting ideas into practice. Yet, the paradox is, perhaps, the real force behind Tschumi’s

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  • Renzo Piano Building Workshop’s Harvard Art Museums

    MUSEUM ADDITIONS are like the leftovers of the art world—difficult to keep interesting, mostly bland at best. And they are perhaps the structures most susceptible to the pitfalls of architectural practice—which is, after all, a discipline of constraints, often defined less by the vision of the designer than by the demands of the client, the limitations of the site, and the contingencies of building codes.Yet additions are inevitable. Art museums grow through accumulation—Adorno once remarked that, like the casino, the museum always wins—and so the day for expansion invariably

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  • Grace Under Fire

    WHEN CARLO SCARPA ASSUMED LEADERSHIP of Istituto Universitario di Architettura di Venezia in 1972, he directed that graduation diplomas be inscribed with the aphorism of the Counter-Enlightenment philosopher Giambattista Vico, Verum ipsum factum—truth itself is made. Scarpa shared Vico’s understanding of the world as constructed rather than observed, a product of creative individuals rather than universal reason. A voracious reader and an ambidextrous draftsman, Scarpa nevertheless insisted upon the built.

    In particular, he made strange with it. This is partially attributable to Scarpa’s having

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  • “Beyond the Supersquare”

    IT’S BEEN A BANNER YEAR for Latin American art in New York, with the Museum of Modern Art’s retrospective of Lygia Clark just one of the many recent highlights.Unfortunately, the complex themes addressed by Latin American artists are often lost in the regional surveys and monographic exhibitions most commonly mounted by large institutions. But the curators of “Beyond the Supersquare” at the Bronx Museum of the Arts—Holly Block, the museum’s director, and María Inés Rodríguez, director of the CAPC Musée d’Art Contemporain in Bordeaux, France—provide a refreshing thematic approach,

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  • Kulapat Yantrasast

    KULAPAT YANTRASAST is willing (though perhaps not happy) to play second fiddle. For seven years he worked for Tadao Ando, serving as project architect on the Modern Art Museum of Fort Worth, a quintessentially Ando-ish collection of concrete boxes. And though Yantrasast started his own firm, wHY, in Los Angeles in 2003, he continued serving as Ando’s right hand on additions to the Clark Art Institute in Williamstown, Massachusetts, unveiled this summer. At the same time, he has been working with the curators of the Harvard Art Museums to install their collection in Renzo Piano’s new galleries

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  • Infinity and Beyond

    MARSEILLE MODULOR (MAMO), the art space on the newly refurbished roof of Le Corbusier’s Cité radieuse housing block, a midcentury experiment in vertical-urban planning in the south of France, has taken an audacious step forward in its sophomore annual summer exhibition. The show (on view through September 30) presents a monumental, site-specific installation by Daniel Buren, DÉFINI, FINI, INFINI, which significantly raises the bar for the fledgling space by staging a remarkable encounter between a weighty architectural context and an ambitious artistic intervention.

    MAMO has evinced a strategic

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  • preservation and MoMA’s proposed expansion

    THE MUSEUM OF MODERN ART’S contentious decision to raze the former American Folk Art Museum building, designed by Tod Williams Billie Tsien Architects, has put preservation at the center of an international debate about cultural value and the public’s appreciation of contemporary architecture. The heart of the controversy is a disagreement over whether or not MoMA has a responsibility to preserve the thirteen-year-old building. While the structure is too new to qualify for the protections associated with historical status, and MoMA is therefore under no legal obligation to save it, advocates of

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  • the MoMA expansion

    THESE DAYS, it’s hard to blame architects for being jealous of art. Times are tough, and buildings always seem to get the worst of it, battered by innumerable market pressures, while artworks manage to float above the storm, enjoying a sacred status both cultural and economic. This disparity is at the heart of the furor that erupted this past January, when the Museum of Modern Art in New York reaffirmed its intent to demolish the building formerly occupied by the American Folk Art Museum. MoMA acquired the home of its far smaller, next-door neighbor in 2011, after the latter found itself in a

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  • architectural copies

    IN 1749, at the height of the European mania for chinoiserie, an employee of the Swedish East India Company named William Chambers traveled to England after two voyages to the port of Guangzhou, China. His accounts of his experiences there were hungrily lapped up by the English nobility, and Chambers, building on this notoriety, soon fashioned himself into the leading architect and landscape designer of his day, notably designing the Chinese Pagoda at the Royal Botanic Gardens at Kew, completed in 1762, and becoming master surveyor and architect to King George III. A pet project of the well-heeled

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