George Baird is a principal in Baird Sampson Neuert Architects and was the dean of the John H. Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto until 2009.
Alexandra Lange is a critic, journalist, and architectural historian. She is the coauthor, with Jane Thompson, of Design Research: The Store That Brought Modern Living to American Homes.
Bowdoin College in Brunswick, Maine, has one of the few consistently picturesque New England campuses where brick-and-stone 19th-and-20th-century Federal, Classical Revival, and Gothic Revival structures are clustered around a large, tree-lined quad.
Zimmer Gunsul Frasca Architects' hospital and medical office building avoids an institutional look through natural materials and evidence-based design.
In designing St. Anthony, a privately funded hospital in the wooded area outside Seattle, the architects at Zimmer Gunsul Frasca (ZGF) asked themselves, “What would you want to see in a five-star hotel?” says ZGF interior designer, Anita Rossen.
Ben van Berkel, principal of the Amsterdam-based architectural firm UNStudio, is known for his breathtakingly swoopy designs of sleek surfaces that never seem to end. The gleaming, aluminum-clad Mercedes-Benz Museum in Stuttgart, Germany, with its double-spiral-ramped concrete structure, convincingly argues the case [RECORD, November, 2006, page 128]. After completing that nine-story-high, 270,000 square-foot building, you might think that a 5,840-square-foot (gross) residential loft would be too rinky-dink a commission. Van Berkel argues otherwise: “I’m not interested as much in the scale of a project as with the program,” he explains. In this case, he was asked to design a loft
As one more sign of the decline of the West and its dominance in things ultra-chic, Milanese fashion designer Giorgio Armani chose the Burj Khalifa tower in Dubai for the setting of his touted debut in the hotel business.
A former business partner of acclaimed architect Philip Johnson recently unveiled an archive of nearly 25,000 sketches, tracings, and renderings from between 1968 and 1992, a sparsely documented period of Johnson’s prolific career.