Architecture News

RSS

A stylized version of the hollyhock adorns the roofline. When Frank Lloyd Wright built the Hollyhock House, between 1919 and 1921, he couldn’t have imagined it would one day appear as the Piranha Temple in the 1989 movie Cannibal Women in the Avocado Jungle of Death. But perhaps not entirely by coincidence, he had designed it for a female client with an independent and adventurous spirit and a passion for the theatrical. And with this project—his first in Los Angeles—he was clearly beginning to explore the Mayan, or Mesoamerican, themes that would evolve throughout his work in Southern California. Though

The lack of architects' voices in the fallout over 40 Riverside Boulevard. Photo © Architectural Record The ignominious cry of “separate but equal” is rarely heard these days, nevermind in the offices of architects, developers, city government, and the court of public opinion. But that’s exactly what Linda Rosenthal, a local New York State Assembly Representative, called the design of developer Extell’s 40 Riverside Boulevard, now under construction. The decision to build a “poor door” in the building’s rear, a separate entrance for the building’s 55 affordable rental units, has divided commentators: is the real story here our time’s de

Jonas Mekas, who helped Warhol shoot the eight-hour film, reflects on the relevancy of a star vehicle for the Empire State Building.  Andy Warhol, Empire, 1964, © The Andy Warhol Museum Empire is a window on a bygone New York. On the evening of July 25, 1964, Pop artist Andy Warhol and five associates armed with a single camera and a bag of 33-minute film cartridges entered an office on the 41st floor of the Time-Life Building in Manhattan. For the next six hours, Warhol and his crew pointed their camera at the top third of the Empire State

Photo © Declan Quinn, courtesy Abramorama Wallace Shawn as Halvard Solness in A Master Builder. The cinematic partnership between Wallace Shawn and André Gregory—actors, writers, and renaissance men—spans 34 years and includes two classics: My Dinner with André (1980) and Vanya on 42nd Street (1994). Their third collaboration, A Master Builder, was released in cinemas in July and is currently playing at Film Forum in New York through August 5. And where the previous two films were masterpieces of a kind of anti-cinema, merging cinematography and stagecraft to find the sublime in the mundane, their latest film is despairingly straight

A revival finally opens in New York’s Union Square. The restored pavilion at night. Nearly four years after it was painstakingly restored by Architecture Research Office (ARO), the Beaux Arts pavilion at the north end of New York City’s Union Square finally opened to the public in May. Delayed by a lawsuit over its use, the open-air building serves as a restaurant from May through October and then as a multiuse space for educational and community activities the rest of the year. Critics of the project said a commercially-operated restaurant was inappropriate in a public park, while supporters countered that

Designed for LEED Gold certification, the Center is set into a hillside facing Atlanta's Pemberton Place, a pedestrian park.

An exhibition at the Architecture and Design Museum riffs off of S, M, L, XL by Bruce Mau and Rem Koolhaas and explores the ways in which Los Angeles has nurtured design at all scales, from tiny to enormous. Cut Bend Fold Score, by Jonathan Louie, uses postcard sized models to reconfigure the forms found in S, M, L, XL.  Come In! S,M,L,XLA is the Los Angeles Architecture and Design Museum's new exhibition of work by young, local design practitioners. Devoted to “spatial interventions reflecting on the inquiry of scale," the group show (through August 31) takes inspiration from

Dancing architectural models channel "West Side Story" as a group of artists pay homage to the architect in an unusual exhibition.  Gunpowder-equipped mobiles by artist Cai Guo-Qiang illuminate models of Frank Gehry's work in Solaris Chronicles, an exhibition at the future site of LUMA Arles. In 2018, Frank Gehry’s 180-foot-tall Arts Resource Center, with towering swaths of pixelated-looking steel, is set to open on a 20-acre former train repair site in the South of France. It will be the centerpiece of LUMA Arles, an art and culture campus founded by Swiss collector Maja Hoffmann that is slowly taking shape