In placing an emphasis on socially and environmentally conscious subjects, two New York museums must address the challenges of presentation. Architectural exhibitions aimed at a general audience are hard to pull off. Small-scale representations'photographs, models, drawings, and, increasingly, video'can only approximate the sense of the full-size work. Like art objects, they need to captivate the museum visitor while acknowledging the thicket of constraints'program, site, budget'that shape the form. If the projects have a socially or environmentally conscious dimension, the challenge is tougher: The display may lack the wow factor'the visual panache of extravagantly innovative or elegant architectural works and objects
Once you get past the eye-popping turquoise green prepatinated copper of Renzo Piano's new 70,000-square-foot addition to the Isabella Stewart Gardner Museum in Boston, you discover that the new wing echoes the older museum in its proportions, sleek lines, and taut planes.
As many American architects know too well, public schools in the U.S. lose out big-time on the scale of invention compared to their European and Asian counterparts.
With all the glitzy-hip hotels opening in New York City these days, you could get very tired of the boutique approach that went into full throttle after Ian Schrager and Steve Rubell opened Morgans Hotel in 1984.
While regarded as one of Eero Saarinen's most distinctive works during his short career, the Morse and Ezra Stiles Colleges at Yale University (1958–62) in New Haven have long seemed more appealing in photographs than in real life.
The showy skyscrapers that established Dubai's identity in this hot, humid, desert site on the Persian Gulf have been overshadowed by the towering Burj Khalifa.