Designed by HWKN, Fire Island's New Pines Pavilion impresses. HWKN's Fire Island Pines Pavilion. In Fire Island Pines, the storied gay resort town 50 miles from Manhattan, the talk last weekend—somewhat surprisingly—was about architecture. At Whyte Hall, a community center designed by architect Scott Bromley (who got his start creating sets for Studio 54), Christopher Rawlins signed copies of his book about Horace Gifford, the designer of dozens of houses in the Pines in the 1960s and 70s. As Rawlins proves in his book, Fire Island Modernist, Gifford’s houses, though deferential to their natural surroundings, are based on serious architectural
On a recent hard-hat tour of the Whitney Museum of American Art’s new building in Downtown Manhattan’s Meatpacking District, the project’s architect Renzo Piano emphasized the way it will connect to its surroundings.
The new Tom Bradley International Terminal at the Los Angeles International Airport. Finishing touches remain, but Los Angeles residents and select media got a glimpse last weekend of the glittering new $1.9-billion Tom Bradley International Terminal (TBIT) at the Los Angeles International Airport. Built to improve the passenger experience and accommodate bigger airplanes, the new terminal is a cavernous 1.2-million square, suffused with natural light. Outfitted with more than 60 dining and retail options, including many local Los Angeles businesses, plus coveted electrical outlets and USB ports at 47 percent of the seats at the gates, the upgrade is a
Spanish architect Luis Vidal, principal of Madrid-based Luis Vidal + Architects, is just 44, but he’s already become one of the world’s top airport designers, with major projects in Spain (Madrid, Pamplona, Murcia, Reus, and other cities) and Poland (Warsaw). His current aviation project is the new T2 terminal at London’s Heathrow, scheduled to open in 2014. Although Vidal spends several weeks each year in San Francisco, he’s never done a project in the United States. But that could change. And no, he’s not designing a new U.S. airport. For now, at least, he’s leapfrogged past that to design a
On Thursday, U.S. Department of Housing and Urban Development (HUD) secretary Shaun Donovan launched Rebuild by Design, a multistage competition meant to generate designs that increase resiliency in vulnerable coastal communities.
Rojas and Honles have always made sustainability an important part of their agenda, but this year’s conference brought social issues to the forefront with its theme: Necessary Architecture.
Photo by Architectural Record Blake Mycoskie, founder of the shoe company Toms, delivers the opening keynote talk at AIA 2013. “When you incorporate giving into your business, your customers—or in your case, your clients—become your best marketers.” That was the advice that keynote speaker Blake Mycoskie, founder of Toms shoes, gave to the crowd at this morning’s kickoff session for the American Institute of Architects’ annual conference. The socially minded and affably scruffy entrepreneur recounted his winding and unusual career path for the audience seated in a theater at the Denver convention center. Photo by Architectural Record Tod Williams Billie
The Denver Museum of Nature & Science The Denver Museum of Nature & Science is one of the city’s most important institutions. It has been around for more than 100 years and has a strong national reputation. It’s also a top local tourist attraction and a destination for groups of schoolchildren—they arrive by the busload, more than 3,000 a day. But in a city with showpiece cultural projects by David Adjaye, Allied Works, and Daniel Libeskind, the Museum of Nature & Science is definitely not an architectural icon. In fact, it’s downright ugly. Sure, there are some fine neoclassical buildings
James Turrell, Solomon R. Guggenheim Museum, New York, June 21–September 25, 2013 Aten Reign, 2013 Daylight and LED light, dimensions variable The great rotunda of the Guggenheim Museum in New York has recently been transformed—replaced, really—by a grand new James Turrell installation called Aten Reign. Five elliptical rings of LED color rise up, funnel-like, to the oculus of Frank Lloyd Wright’s structure, concealing his ramps and walls. As Turrell’s lights slowly modulate from blues to lavenders to fuchsias or to neutral grays, our sense of depth alters too: sometimes the rings so flatten space that they read as concentric ellipses
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