A house for a visiting artist offers seclusion and inspiration.

A longtime editor of RECORD who was also an architect and teacher, embraced both the past and the future during the development of modernism in America.

Historian Kenneth Frampton points to the architectural significance of two early 20th-century industrial buildings.

Apple takes its futuristic wares to a stately building in an historic neighborhood.

We may think we know all there is about the most famous display of architecture to be mounted in the the U.S., the Museum of Modern Art’s landmark show, Modern Architecture: International Exhibition, curated by Henry-Russell Hitchcock and Philip Johnson in 1932. But there’s always more to dig up about this ultra-influential event and the fertile period from which it emanated, as we find in Partners in Design: Alfred H. Barr Jr. and Philip Johnson.

You might say that East Harlem in Manhattan is well-known for the wrong reasons, such as high rates of crime and joblessness. But the neighborhood, traditionally called El Barrio for its largely Latino population, has shown significant signs of change—and not just gentrification as landlords renovate apartments to lure young professionals able to pay higher rents.

Frank Lloyd wright did not take criticism lightly. He was furious at the stinging denunciation of his revolutionary Larkin Building in Buffalo that was published in Architectural Record in April 1908. Its author, Russell Sturgis, an eminent architect and historian who had written for RECORD since its inception in 1891, called Wright’s office building for a mail-order soap company “ungainly” and “awkward.” Wright retaliated in an unpublished reply that it was “pathetic” to see a well-respected critic “picking over bit by bit his architectural ragbag for architectural finery wherewith to clothe the nakedness of the young giant.”

Designing a museum is nothing new for Zaha Hadid Architects. Creating one on top of Mount Kronplatz in northern Italy is something else entirely.