Saynatsalo Town Hall Plan Drawing
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The 25 Nigh Significant Works of Postwar Architecture
Three architects, three journalists and 2 designers gathered over Zoom to brand a list of the most influential and lasting buildings that have been erected — or cleverly updated — since World War II. Here are the results.
A few months ago, I gear up up a Zoom call with the architects Toshiko Mori, Annabelle Selldorf and Vincent Van Duysen; the designer Tom Dixon; the artist and set designer Es Devlin; the critic and T correspondent Nikil Saval; and Tom Delavan, T's design/interiors manager, to talk near postwar architecture. Our goal was to make a list — like to ones we've done on influential rooms, protest fine art and contemporary art — of the 25 most significant buildings constructed after World War II. The word "significant" always inspires contend, and there was plenty of disagreement amongst those assembled, but nosotros hoped to surface projects fabricated over the last eight decades anywhere in the world, whether public or private — though we did limit our list to those that are still continuing (which, if y'all consider various oppressive governments, imposed some geographical limitations) — and and then nosotros asked each of our panelists to nominate 10 or so entries ahead of time, from which nosotros would mercilessly cull.
Modernists, of form, played an of import office in this discussion, and a few of them — Ludwig Mies van der Rohe, Louis Kahn, Lina Bo Bardi, Luis Barragán — were named once again and over again on our private ballots. There were also iii buildings — Mies van der Rohe's Farnsworth Firm (1951; Plano, Ill.); Kahn's Salk Institute (1965; La Jolla, Calif.); Bo Bardi'south SESC Pompéia (1986; São Paulo) — that received three preliminary votes each, practically mandating their inclusion every bit finalists. From there, though, the conversation was every bit sprawling and high-spirited every bit the styles, countries, aesthetics, typologies and practitioners represented by the projects nosotros narrowed in on below (which announced in chronological lodge, from their dates of completion), as our experts lobbied for or against compages that they felt had non simply reshaped the globe and era in which it was introduced but likewise has endured and remains influential today.
Given the difficulties plaguing our current moment, it's not surprising that the social concerns of architecture — the demand to provide housing, for case, or create useful civic and bookish structures; the idea that beautiful cities and communities shouldn't only be built for and past the rich; the urgency of sustainability, environmentalism and more conscientious materiality — were on everyone'south mind, and nosotros attempted to be democratic in more literal means, likewise, choosing projects from every continent except for Antarctica (though, spoiler alert, outer space makes an appearance) and considering the field's historical inequities, especially in the West, and especially when it comes to Black architects and women architects. That said, a different list would take emerged from a different group, or fifty-fifty from this same group on a different afternoon. Every bit Selldorf pointed out in a brief moment of frustration with the assignment, "The real trouble is in that location are more than than 25 important buildings." However, hither's our humble effort. — Kurt Soller
The conversation has been edited and condensed. The building summaries are by Michael Snyder.
1. Luis Barragán's Casa Luis Barragán in Mexico Metropolis (1948)
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Upon his arrival in Mexico City from Guadalajara in 1936, Barragán worked tirelessly to build his persona as a poet of color and light. While many of his peers were designing hospitals and housing projects on a k scale, Barragán generally eschewed such civic engagements, dedicating himself to upscale housing developments and cloistered individual homes, none finer than the ane he built for himself in 1948. Hidden behind a bare wall of plastered concrete, the building turns its dorsum to the street, unveiling itself through a sequence of passages and stairwells that open into spaces of brilliant austerity. With its overgrown back garden studded with narcissus and jasmine, and its interior spaces illuminated past collaborations with friends and colleagues like the German Mexican artist Mathias Goeritz and the Cuban Mexican furniture designer Clara Porset, Casa Barragán incorporates landscape and art into its intimate study of atmosphere and proportion. In recent years, the holding — also a base for the Fundación de Arquitectura Tapatía Luis Barragán and now open for tours by reservation — has become a site of architectural pilgrimage, popularized in countless photos. Simply despite its exposure, it remains a timeless argument for the power of architecture built not just around utility and class but around the elemental ideals of serenity and joy.
Kurt Soller: To start, how did you all come upward with your own lists? Were you lot thinking near architects who were influential after the wars and then choosing their most significant projects, or were you because buildings that instantly came to heed and what they represent, in terms of their significance?
Es Devlin: Inevitably, it's really emotional — heartfelt. We've all been influenced by these designs, so there's a personal aspect to it. And and so there is, I guess, a sense of a responsibility to this list, and who should be on it.
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Soller: In the instance of Casa Barragán, for example, did it affair that information technology feels peculiarly relevant today? There's obviously been a renaissance of interest in that business firm since it opened to the public.
Tom Dixon: Right. I was trying to look for things that changed something, that moved the conversation. [This house] stands the test of time because information technology'due south a kind of symbol. So that's what I was looking for, things that revolutionized some typology.
2. Ludwig Mies van der Rohe's Farnsworth House in Plano, Ill. (1951)
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Past the time Edith Farnsworth deputed Mies van der Rohe to design her suburban Chicago dwelling in 1945, the German American architect had spent ii decades working toward a philosophy that he called beinahe nichts ("near nothing"), reducing his designs for institutional buildings to their absolute essence. With the Farnsworth House, he brought that aesthetic into the domestic sphere. The house consists of a flat white roof, a white slab floor and a delicate membrane of glass to incorporate the structure, its but interior sectionalization a wooden enclosure for the bathrooms. Slender white columns raise the structure v feet three inches off the ground, and a broad flight of stairs, which seem to levitate equally if by magnetism, connects information technology to the backyard below. In that location's luxury in the materials — shantung silk curtains, travertine floors — merely the true appeal rests in the perfect proportions. In the terminate, such attention to detail pushed the house'southward price through the roof, driving a wedge between customer and builder, yielding a conform and a countersuit and Farnsworth'southward denunciation of the projection in the May 1953 issue of House Beautiful, in which she described the experience of living at that place as existence "like a prowling animal, always on the alert." The Farnsworth House immediately became shorthand for the anodyne excesses of loftier Modernism, yet even its critics couldn't deny the profound bear on of its openness, its transparency and its crystalline minimalism, dank and dazzling every bit ice.
Devlin: For me, it's the epitome of a cartoon made manifest into concrete architecture. It'southward that connectedness to place and space, and that connexion of inside to exterior. Think how much influence it'southward had and continues to take. Information technology doesn't date. It could have been built yesterday.
Tom Delavan: In my mind, it'due south the archetype of a modern residential firm, but what do you lot all call back of Philip Johnson'south the Glass Firm (1949; New Canaan, Conn.) versus the Farnsworth Business firm? Isn't that a debate among architects?
Toshiko Mori: No. There's absolutely no comparison in terms of execution. If y'all really look at the Farnsworth House, every single detail has a relationship to logic, from the corners to the steel to the cabinets to the grid of the entire structure. There's this astonishing bailiwick.
Devlin: I couldn't agree more than.
Selldorf: The tectonic vocabulary in the Farnsworth House is far superior. It'southward much more rigorous.
Nikil Saval: The other thing is that, with the Glass House, Johnson had been a fascist [who had supported the Nazis and consort racist and white supremacist views]. We should acknowledge that. Maybe it's ane of the reasons he didn't announced on any of our lists.
3. Hassan Fathy's New Gourna Village in Luxor, Egypt (1952)
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Though the terminal xx years take seen a widespread return to vernacular materials among the world'due south architectural avant-garde — compressed globe in Paraguay, for instance, or bamboo in Vietnam — edifice with mud was notwithstanding seen as anti-modern by the architectural establishment when Fathy, an Egyptian architect, created an unabridged village out of mud brick on the West Banking concern of the Nile River. At that point, he had spent his career unearthing the Arab identity that colonialism had attempted to destroy. This project, conceived to include housing, a mosque and a marketplace, was commissioned by the Egyptian Department of Antiquities to relocate residents who lived to a higher place the nearby Pharaonic tombs of ancient Thebes, in order to protect the artifacts below. Though never formally completed, and badly neglected over the ensuing decades, New Gourna, with its rhythmic procession of domes and passageways and reliance on indigenous techniques for cooling the air and adding light, repudiated modern architects' tendency to impose their will on landscapes and the communities that lived at that place. A pioneer of sustainable, participatory architecture long before those ideas took hold, Fathy crafted an organic structure built around lived feel and born, both literally and figuratively, from the soil itself.
Annabelle Selldorf: I've never seen a Fathy building in person, and then —
Soller: Can yous talk almost why you nevertheless nominated it?
Selldorf: Because I recollect he'southward securely continued to a tradition of building — a profoundly humanist attitude between architecture and urban communities. He was a hugely influential teacher and a transformative person.
Vincent Van Duysen: It'south beautiful.
Selldorf: I've just always been impressed with the philosophy behind his work.
4. Alvar Aalto'southward Saynatsalo Town Hall in Jyvaskyla, Finland (1952)
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Just over halfway through Alvar Aalto's half-dozen-decade career, the Finnish architect and furniture designer won a contest for a boondocks hall project in the recently founded milling village of Saynatsalo, set across three wooded islands on Finland'southward Lake Paijanne. Built to firm administrative offices, a library, apartments and retail spaces, the project represented an inflection signal in his career, between the functionalism of his early work and a mature aesthetic rooted in the environment and culture of a snowbound nation only recently independent later on centuries nether Swedish and Russian rule. At Saynatsalo, two ruby brick structures, totaling almost 18,300 square feet, form a foursquare around an elevated courtyard that descends to ground level via a staircase carved out of the globe, like a Scandinavian answer to a medieval piazza. The materials — stone and glass, brick and timber (Republic of finland's principal natural resource and traditional building fabric) — are warm and tactile; like the furniture designs that added to Aalto'due south fame, the building proved that clean Scandinavian rationality could as well be gentle. More a town center than a mere regime edifice, Saynatsalo is in one case once more as active today as it was at the time of its construction, a civic architecture congenital for the customs it still serves in always-evolving ways.
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Mori: I love everything Aalto did, but in terms of significance, there'due south this town hall in the center of Republic of finland, and information technology'southward multifunctional: housing, a public library, markets. It's a really interesting town center, and information technology'due south important to gloat a civic building that's likewise successful.
Van Duysen: I know Aalto from his design piece of work. To be honest, I'g not very familiar with his architecture — maybe some of his private houses, but non his public buildings. Only yep, I dearest Aalto for sure.
Selldorf: Aalto is huge, and the mode Toshiko outlines the importance of this — over again, in my listen, it'due south not just one thing. I think it'south made a huge difference in how people think virtually the role of the builder relative to civic life. I honey information technology.
5. Ludwig Mies van der Rohe's Seagram Building in New York City (1958)
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One time completed, the 38-story Seagram Building on Park Avenue in Manhattan instantly became one of Mies van der Rohe's virtually influential works, representing a high indicate in the history of corporate Modernism. Bands of bronze-plated mullions and dark-brown-glass windows weave over the tower'due south dark surface, which soars over its iconic streetscape. The stone arches of McKim, Mead and White'due south 1918 Racquet & Tennis Social club, a superb example of the Renaissance-revival grandeur of New York before the Low, are mirrored in the sheet-glass panels of the tower's recessed entryway, while its rigid right angles echo the rigorous geometry of Gordon Bunshaft and Natalie de Blois'due south 1952 Lever House a cake away. Past day, the Seagram Edifice's dark, reflective surface is impenetrable, a mirror to the city exterior; at nighttime, it glows similar a lantern woven from strips of light and shadow. Abode from 1959 to 2016 to Philip Johnson'due south landmark Four Seasons Eatery and its shimmering reflecting pool, the Seagram Building brought a subtle opulence to the oftentimes astringent International mode. But of all its aesthetic innovations, none is more important than the footing-level plaza that occupies roughly half the building's corner plot, an expression of the bold ideas championed by Phyllis Lambert, a daughter of the Seagram'southward C.E.O. Samuel Bronfman, and the director of planning for the project. The cede of valuable space to the public realm permanently changed Manhattan'due south urban material, inspiring zoning laws that would encourage future developers to push their structures dorsum from the street. The edifice has since come to embody the coldness of capitalist power, with endless corporate headquarters copying its irreducible monumentality, only it revolutionized the way that compages, even at such an imposing scale, could contribute to the lived space of the city beneath.
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Soller: This is the 2nd Mies van der Rohe building that people nominated, later the Farnsworth Firm, and I was curious if others felt we should compare them: If making a list of just 25 projects, do we demand to cull one over the other?
Selldorf: I think they are ii different things: The Seagram Building has urban importance. I mean, only imagine that you're edifice this high-rise and you're setting it back from the street to create this generous plaza in front. At that place's a kind of heroic quality on an urban calibration that is very of import.
Saval: With Mies, as well, I call back of his part in the Bauhaus, and his depoliticization of modernistic architecture.
6. Kenzo Tange'south Kagawa Prefectural Government Office Building in Takamatsu, Japan (1958)
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Following the devastation of Globe War II, Japanese architects confronted a new claiming: how to rebuild a society — and the infrastructure to support information technology — in a linguistic communication that could embrace global modernity without turning its back on a proudly preserved cultural heritage. Congenital between 1955 and 1958, Kenzo Tange's Kagawa Prefecture Building, amid the architect's commencement major projects, proposed a synthesis of traditional Japanese techniques — exposed posts and beams, the rhythmic procession of arcades embracing a garden — with the monolithic force of physical, a Shinto shrine reimagined for the machine age. In the building's foyer, a mural by the abstract painter Genichiro Inokuma, born and raised in Kagawa Prefecture, introduced color and curves to Tange's orderly design, while furniture by the pioneering industrial designer Isamu Kenmochi inverted Tange's approach, rendering gimmicky forms in traditional materials, in this case woods. In 2019, seismic retrofitting was completed on the building, which is still in agile use today, a testament to its continued relevance in one of the earth's most technologically advanced nations. The building was part of a postwar boom in civic structures across Nihon, but none of those, even ones designed by Tange himself, has surpassed this masterpiece.
Mori: It's similar to Aalto, in terms of its civic importance. The concrete work is very fine because information technology was all done by hand. It has a balcony all around it, and so you tin always get fresh air and ventilation — it'due south one of the before open-plan buildings. It all the same functions, and the people who piece of work there dearest information technology.
seven. Carlo Scarpa's Renovation of Fondazione Querini Stampalia in Venice, Italy (1959)
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In the center of the 20th century, when many of the world's prominent architects strove to eradicate decoration, Carlo Scarpa congenital a career on his eye for precision, material and, above all, place. He brought all of those talents to bear in his renovation of the ground flooring and archway of the Fondazione Querini Stampalia, established in 1869 every bit a museum and library fix in a centuries-old palazzo in the heart of Venice, his hometown. Meticulous in its attention to particular — see the delicate mosaic tiling on the entry hall floor and elaborately worked channels and drains that weave through the garden's labyrinthine fountains — the projection, which began in 1949, was also prescient in its adaptability to the vicissitudes of nature. Restoring the deteriorated basis floor and gardens, Scarpa raised a walkway over an open infinite where h2o from the canal outside flows in through sea gates, splashing constantly against the Istrian stone steps, a reminder of the mercurial lagoon that shapes every aspect of the city's life. Venice today is famously sinking, its magnificent piazzas under constant threat. As just a local might, Scarpa understood that vulnerability is no less central to the edifice'southward history than are its svelte limestone arches, more than a one-half-century before widespread sensation of climate alter started to reshape the style we live and build.
Soller: Tom Delavan, you fabricated this point that several buildings on the long list are adaptive-reuse projects, old buildings updated after the wars —
Delavan: I was wondering, should those exist included or not if we're talking about postwar architecture?
Mori: They're all different, merely I had a specific thought for Fondazione Querini Stampalia because it's completely built for flooding. Scarpa designed it precisely for ascension ocean levels, which is a pregnant mental attitude for an architect. He actually made this historical palazzo adaptable to climatic change [some sixty years ago], and that'due south incredible.
Van Duysen: Besides that, he was a master in detailing and use of materials. You can see his influences from Japan. Besides, his furniture? The use of colors? Very poetic. It really shows his unique qualities as an architect.
8. Le Corbusier's Couvent Sainte-Marie de la Tourette in Éveux, France (1960)
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Perhaps no person had a greater bear on on the course of 20th-century architecture than Le Corbusier. Through his innovations, from the crisp, mechanical clarity of Villa Savoye, built in 1931 outside Paris; to the concrete bulk of the Unité d'Domicile in Marseille, the housing projection in southern France that helped usher in Brutalism; to his piece of work leading the team that designed Chandigarh, India, a purpose-built state capital that (for amend or worse) reshaped urban pattern, the Swiss French architect inspired countless builders around the world to pursue their own idiosyncratic visions of Modernism. One of the last European projects completed earlier his death in 1965, the monastery of La Tourette exterior Lyon in east-central France, incorporates elements from all of his developmental periods: The physical pilotis that lift much of the structure off the ground gesture toward the white stilts of Savoye; the windowpanes of the library, designed in collaboration with the composer Iannis Xenakis, interpret the concrete brise-soleil of the Loftier Court in Chandigarh to the temperate French climate; the crypt's cylindrical oculi (Le Corbusier called them "light cannons"), which illuminate the black, yellowish, reddish and blue surfaces inside, nod to the primary colors deployed as accents in Marseille. Most of all, La Tourette uses those elements to foster both introspective tranquillity and a powerful sense of communion, a political and philosophical posture born out of the architect's public housing projects. In La Tourette, those concepts coexist in even greater harmony, enjoyed non only by the Dominican monks who alive at that place but also by scholars and artists who travel there to study, meditate and pay their respects to a master working at his meridian.
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Selldorf: The be-all and end-all. It's and then interesting how he internalized the idea of a monastic life that too represents community life, and the architecture is really the simplest manner of getting to it. He utilizes concrete as a nonmaterial in my listen — information technology's really nigh space and how you circulate inside it, and the low-cal and the liberty of expression that nevertheless serve a purpose. It'southward not per se a religious building, even if it's a monastery. And that staircase in the library is one of the most cute I know.
Mori: When I was a student, I did an analysis of this building, and then the monks hired me as a guide, then I actually lived in it. It's very crude in stop: If you impact the walls, they volition scrape you. There's a nunnery down the street, and sometimes nuns will come upward and in that location are very friendly interactions. The monks are dandy cooks — it'due south Lyon, so in that location'southward an amazing quality of nutrient — and they know what wine to go, and I was treated really well. I think Corbusier was very much interested in customs life.
9. Edward Larrabee Barnes's Haystack Mountain Schoolhouse of Crafts in Deer Isle, Maine (1961)
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"I've always been fatigued to making things as simple every bit possible, if you can practice that without making them inhuman or slow or oppressive," said the American architect Edward Larrabee Barnes in 1989, 28 years after completing his landmark campus for the Haystack Mountain Schoolhouse of Crafts. Designed every bit an initial cluster of 26 cedar-shingled volumes connected by wooden decks and platforms — more a village than a building — the project takes the vernacular of saltbox cottages with steeply pitched roofs from New England's rural and littoral communities and abstracts it. Lifted on stilts over a wooded granite gradient, the structures (afterwards expanded to 36 under Barnes's eye) look out over the steel bluish water of Jericho Bay, their rooflines prepare at 45-degree angles similar saplings seeking light. However used today for artists' residencies and workshops, the welcoming, lucid blueprint has, for more than one-half a century, provided fertile basis for ceramists, weavers, carpenters and scholars, including such visitors as the textile designer Anni Albers, the glass blower Dale Chihuly and the ceramist and painter Toshiko Takaezu. Barnes'due south finest achievement is not merely an elegant set of buildings only an ideal infinite for collaboration: between artists and thinkers, humans and nature.
Selldorf: When I think of Barnes, I always think of this building because I've loved it and then much. Simply it sort of alludes to a different menstruum, doesn't it?
Mori: Information technology's a very elementary series of buildings, modestly built, basically past carpenters.
Saval: A smashing one, though.
10. Louis Kahn'southward Salk Constitute in La Jolla, Calif. (1965)
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From the early 1950s until his decease in 1974, the Estonian American Louis Kahn adult a mystic architectural language all his own, using runic geometries and ritualistic chiaroscuro to turn galleries, academy campuses and government offices into spaces of sublime meditation. No building on American soil comes closer to that transcendent ability than his Salk Institute, a biological research facility in La Jolla, Calif., commissioned in 1960 by the inventor of the polio vaccine, Jonas Salk. Assail bluffs overlooking the Pacific, the middle of the institute consists of two elongated blocks that face each other across a patio paved in travertine and bisected by a channel of water, like something from a Mughal garden. (Kahn had imagined this space filled with greenery; it was Barragán who convinced him, ingeniously, to leave it blank.) The buildings themselves are innovative in their functionality — they remain in use as research laboratories, with dedicated utility floors that allow maintenance to be done without interrupting the lab'southward activities. Simply it'south the buildings' grandeur that sets them apart: Viewed from the west, their surfaces alternating between panels of physical, sun-bleached teak and shaded voids like monastic cells; from the due east, they become stake greyness escarpments, turning toward the sea. At the Salk Plant, science and the humanities were not conceived as opposites, simply extensions of each other, the buildings themselves improved by their empirical rigor, the pursuit of noesis supported by the power of at-home contemplation. And though Kahn is often remembered for the poesy of his structures, his finest works (this one amidst them) also gloat the man need for borough space.
Soller: Kahn had the most projects nominated for this list: v different buildings. In a lot of ways, this is a kill your darlings kind of task. They're all worthy, but if someone wants to advocate —
Mori: I advocate for the Salk Establish. Life science buildings are, of course, very pregnant today, and this one survived over time, evolving through changes in scientific research, but it also combines amazing site strategy: the landscape, the views, the materiality. Information technology really considers the life of scientists, not simply every bit machines but people who live in a customs. Information technology's timeless and of import.
Selldorf: I agree. I'm emphatic about the intelligence Kahn brought in making places for people to come together in the labs, but also in piddling monastery-similar cocoons or cells. At that place is this structural concept that's rather bright and belies the simplicity that you lot feel.
11. Buckminster Fuller's Geodesic Dome for Expo '67 in Montreal (1967)
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Modernism produced countless architectural utopias, but few captured the public imagination more than completely than Buckminster Fuller'due south geodesic domes — acrylic bubbles supported past an intricate lattice of steel tubes — scores of which the American inventor made throughout his life, starting in 1949. Past the fourth dimension Fuller erected his largest dome, which was commissioned by the U.Due south. regime for the United States Pavilion at the Expo '67 World'south Off-white in Montreal, he'd fine-tuned similar structures at a more pocket-sized scale for years, following in the footsteps of a scheme invented, patented and commencement congenital in Frg by the engineer Walther Bauersfeld after World War I. Because, every bit Fuller explained, a sphere independent the greatest volume within the to the lowest degree surface area, the geodesic dome could reduce both material and economic waste, an early suggestion for a sustainable, egalitarian architecture. In the first six months of Expo '67, 5.3 million people visited Fuller's structure, which soared more 200 feet into the sky and soon became a symbol for Montreal: a describe for outsiders, a source of fresh amazement for locals and a centerpiece for and then-mayor Jean Drapeau's aggressive endeavor to identify his native metropolis on the international map. Geodesic domes never became the global standard for inexpensive modular housing, but they nevertheless captured a moment of unrivaled architectural and technological optimism.
Saval: I wanted to enquire both Toms, who likewise chose Fuller projects … I'k curious, like, I felt weird picking any Fuller project. I but wanted to selection Fuller as a strength in the world, and a particular dome is less representative than the fact that multiple people built geodesic domes across the world who were not Buckminster Fuller. If you get into his archives, in that location are thousands of letters: "How practise I build a dome?" "Tin you send me your dome volume?" Obviously, he revealed a lot about construction, and he influenced so many people, but that influence is really represented in the burgeoning of, yous know, encampments and communes and efforts beyond the world to realize that vision by people who aren't Fuller.
Delavan: I agree with you. It's function of what Es was talking about earlier — I have a personal connexion: He came to speak to our class when I was in first class, and I became obsessed with geodesic domes as a kid. I call back telling my begetter, "We should purchase one. It can resist earthquakes and floods and hurricanes!" And he said, "Well, we live in Connecticut, nosotros don't have any of those things," then we didn't go information technology. I feel like Fuller was thinking ahead in terms of sustainability, and maybe even climate change.
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Dixon: In that location's as well an statement that he didn't invent that structure. I did flip-flop myself and had exactly the same problem about picking which dome, but there was something about Montreal that fabricated information technology kind of, well, just so visible at the Expo, and the Expo itself was full of great compages of many types, but information technology'southward also now a biosphere. He had climactic controls in there and other innovations that accept gone on to exist super important. Nikil, I like what you're maxim about the fact that it'due south influenced so many other nonarchitects to build structures that are sound. I also quite like the fact that you didn't get your own dome, Tom. I'd accept been very jealous.
Delavan: I'k yet mad about information technology.
Mori: Fuller himself is a construct, really. I concord with Nikil that I couldn't pick a edifice past him because it was then much about himself.
Dixon: I don't think that you tin mark him down for constructing a persona. A lot of people on this list had teams that were working nether the master and had a lot of input, you know? The idea of the heroic architect is definitely unfashionable now, but a lot of these people are also constructs, I'd say.
12. John Due west. Moutoussamy's Johnson Publishing Visitor Building in Chicago (1971)
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The first high-rise building in downtown Chicago designed by a Blackness architect, the Johnson Publishing Company Building was erected to house the offices of the media magnate John H. Johnson. Conceived by the pioneering Chicago builder John W. Moutoussamy, with interiors by Arthur Elrod and William Raiser, the tower housed the offices for epoch-making magazines similar Jet and Ebony, which reflected and shaped the tastes of countless Black Americans. Rising 11 stories over South Michigan Avenue, the building has a powerful sense of proportion and rhythm, with panels of concrete that seem to float between bands of recessed windows. Inside, Elrod and Raiser filled the infinite with the declarative colors and opulent textures of their fourth dimension: Wall-to-wall leopard print carpeted the Jet offices, and in the 22-foot-high lobby, an abstract bronze by Richard Chase, among the metropolis's virtually prominent sculptors, hung from one of the wood-paneled walls. In the iconic ovular exam kitchen for Ebony, earth-toned whorls of olive, ocher and rust papered the walls and cabinet fronts, a proud expression of Afrofuturist psychedelia. From the outside in, the Johnson Publishing Visitor Edifice was unabashedly luxurious, rigorous in its optimism — a proclamation of Black progress throughout the 20th century. (In 2010, the Johnson Publishing Visitor moved out of the edifice, and in 2019 information technology was converted to apartments.) That and so few high-rises by Black architects take joined Moutoussamy's most important work on the American skyline is a attestation to just how far the profession still has to go.
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Mori: Moutoussamy was a student of Mies van der Rohe's at Illinois Institute of Applied science and, every bit you know, the Johnson Publishing archive is completely preserved and Theaster Gates is managing it. So the building has this really important history; it's one of the most complete manifestations of African American aesthetics from that fourth dimension. You can encounter Mies's influence, but it'southward really one of the most pregnant buildings in Chicago, with its beautiful proportions.
Soller: There was a phenomenal art collection inside, right?
Mori: Yes, it was quite amazing. I don't know why that'south not happening today: consummate buildings, designed with interiors.
xiii. Jorn Utzon'southward Sydney Opera House in Sydney, Australia (1973)
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Xvi years passed betwixt the selection of the Danish builder Jorn Utzon'southward design for an opera firm in Sydney Harbor and that building's completion in the early on 1970s. Chosen based on the suggestive power of a dozen drawings, the Opera Firm, now among the most recognizable structures on earth, proved almost impossible to build. First there was the problem of how to create the sail-shaped physical shells that seem to rise off the h2o like clouds: It took more than three years for Utzon to find a geometric scheme that would allow for their fabrication in situ. To accomplish the shells' luminous surfaces, Utzon covered them with more a million handcrafted ceramic tiles, their surfaces roughened by trace amounts of crushed stone, a technique inspired by Japanese pottery. Construction costs soared, exceeding the building's initial budget of $7 million by some $95 million and driving Utzon to resign as chief builder in 1966. He never visited the completed building. Nonetheless that expressive roofline has since inspired countless cultural centers in cities around the world, conceived not just to serve their skylines but to transform them.
Saval: Kurt, you asked a question virtually buildings that define a city, and this is probably the nigh defining: I'm not a huge fan, personally, just I'm not going to brand a case against information technology.
xiv. Charlotte Perriand and Atelier d'Architecture en Montagne's Les Arcs in Savoie, France (1974)
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Every bit an off-piste Tall skier, the French architect and furniture designer Charlotte Perriand approached the structure of her aggressive Les Arcs resort every bit an opportunity to introduce the masses to what she described as the "possibility of self-transcendence" offered by mountain landscapes. Begun in 1967, Perriand's portion of the project consisted of ii clusters of hotels and apartments set into the mountain slope with views upwards to the pastures above (ii more sections would be added afterward without her participation). For the second phase of the projection, Perriand lifted prefabrication techniques from shipbuilding: To get together a structure that could accommodate 18,000 beds in the span of just seven months, she used mold-formed polyester to make easily reproducible kitchens and bathrooms. Carefully planned setbacks in the facade transformed the building itself into a slope, providing each of its long, narrow rooms with expansive views. Perriand would come to criticize the project's imposition of urban density onto the natural landscape, but its combination of avant-garde modular techniques with rural materials far from the urban center — a new typology that neither superimposed the layout of a city on the mountains nor resorted to rural kitsch — withal resonates today.
Dixon: The ski chalet doesn't rank that brilliantly in terms of sustainability or honorable usage of materials, especially nowadays, but that modular arroyo to building — the mode she integrated into the mural and the woodiness of the prefabricated construction — is amazing, as are the furnishings inside.
xv. Juliaan Lampens's Van Wassenhove House in Sint-Martens-Latem, Kingdom of belgium (1974)
Prototype
When Brutalism was born in Europe in the years after Globe War Two, the concept of monumental concrete edifices stripped downwards to their barest essentials seemed most apt for institutional buildings and public housing projects — imposing structures conceived at the scale of the urban center, notwithstanding a far cry from the gossamer glass of the International mode. Starting with his own business firm in 1960, the Flemish architect Juliaan Lampens applied that muscular aesthetic to intimate residential projects, the almost influential of which was the Van Wassenhove Firm, built for a bachelor teacher exterior the university town of Ghent. Board-formed concrete walls ascension in a stairlike silhouette, their surfaces blind to the trees (and neighbors) outside, while an oculus in the ceiling fills the interior with diffuse light. At i stop, a dramatic downspout funnels rainwater toward a round swimming embedded in the concrete patio, dropping from the roof at a 45-degree angle, a sculptural intervention in the building's geometric guild. Within, the flooring plan is radically open, with the bedroom independent in a plywood cylinder that doesn't attain the ceiling. Lampens wasn't the only builder to experiment with Brutalist houses — Paulo Mendes da Rocha made like explorations in São Paulo, Brazil, particularly with the twin homes he congenital in 1964 for himself and his sis — but in Northern Europe, Lampens's work helped open the door to a rapprochement with a Brutalist aesthetic long used principally by the land. It offered a different texture for domestic life, and for European Brutalism itself.
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Van Duysen: Of the many Brutalist buildings, I want to bespeak out this one. Information technology'southward from a Belgian architect who was actually unknown until his book came out in 2010. He created buildings that refer to bunkers, and information technology's pretty much sculptural: The furniture is part of the architecture. He was a nifty Belgian Brutalist — a Modernist too, of course — but he also references Mies van der Rohe and Le Corbusier.
xvi. Renzo Piano and Richard Rogers's Eye Pompidou in Paris (1977)
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Richard Rogers and Renzo Piano were in their 30s, neophytes by the standards of their merchandise, when they were selected to build a new arts center in the heart of Paris's beloved medieval cadre. The pair had joined forces the twelvemonth before, not long afterward Piano, originally from Genoa, Italy, met Rogers in his native London (they would finish collaborating six years later, later the Pompidou's completion, though they remain close friends). With no major projects to their names, the pair beat out 680 teams to win the competition. The design was radical, including mobile interior floors, giant screens that would circulate messages into the surrounding plaza and an infinitely adjustable exterior. With its elaborate skeleton of tubes, pipes and rigging, painted in light-headed, principal school shades of green, blue, ruby-red, yellow and white, the Pompidou Heart looks like information technology'south been turned inside out, its guts revealed to the city effectually it, both a continuation of Modernism's investment in technology and a kind of satire of its dogmatic insistence on transparency. Contrasting against a cityscape of biscuit stone and gray skies, the Pompidou has inspired both love and consternation over the years. And though the young designers' almost ambitious plans for the building never materialized — the floors don't move; the exterior is static — its impact as a museum is undeniable, equally is its gleeful, winking embrace of playfulness every bit an architectural value in itself.
Delavan: For me, information technology's how information technology activates that space, how the building pulls you in. And on a very basic level, it's fun.
Mori: Too, information technology has many layers: nighttime use, daytime use, a restaurant, an exhibition center, a library — it's a multifunctional edifice, beyond the museum, which I just think is great programming.
Van Duysen: True, it's very dynamic.
17. Balkrishna Doshi'south Indian Institute of Direction Bangalore in Bangalore, India (1983)
Built of gray stone and concrete grown over with dense vegetation, Balkrishna Doshi'due south 1983 campus for the Indian Institute of Management in the South Indian city of Bangalore synthesizes centuries of architectural history with rare subtlety. The campus's elegant organisation of passageways, courtyards and gardens — set on a little over 13 acres — glances toward the layout of the briefly inhabited 16th-century city of Fatehpur Sikri in India'south northward, conceived by the Mughal emperor Akbar in part to encourage civic engagement and debate. Doshi's structural rigor and fabric honesty — stone corridors and pergolas built with strict right angles and open to the lush environment that gives Bangalore its nickname, the Garden City — gesture toward the work of his teacher Le Corbusier, while the careful modulation of light and shadow suggest Kahn's work at his ain IIM campus in Ahmedabad (Doshi worked closely with both architects on projects in his native India). Absorbing and indigenizing a diversity of styles, IIM Bangalore speaks to India's atypical talent for cultural synthesis and its millenniums-long history of openness to the entire globe.
Saval: My family is from Bangalore, and I have childhood memories of going to the campus, which is an extremely bucolic setting. Information technology'southward i of the best instances of a mod architect deferring to the landscape and to the civilisation of a city, besides as to indigenous architectural traditions.
18. Lina Bo Bardi'south SESC Pompéia in São Paulo, Brazil (1986)
In the mid-1970s, when the Italian Brazilian builder Lina Bo Bardi was deputed to design a cultural middle in a former factory in São Paulo'due south neighborhood of Pompéia, adaptive reuse of industrial spaces had even so to enter the architectural mainstream. Only Bo Bardi saw in the manufactory's saw-molar roofline and industrial scale a heritage construction no less valuable than the historic buildings that she'd evaluated for damage dorsum in her native Italy in the aftermath of Earth State of war Two. The factory was owned by a nongovernmental organization called SESC, or Social Service of Commerce, founded by business concern leaders in 1946 to provide employees with free community spaces. Soccer teams and a theater company had already taken up residency under the custodianship of SESC. With the aim of preserving that grass-roots vibrancy — consequent with a lifelong, community-oriented politics displayed past buildings such every bit the São Paulo Museum of Art (1968), which levitates over an urban plaza on the city's principal commercial avenue — Bo Bardi removed the mill's interior walls, and then softened the space with an undulating pool cut into the physical flooring. At the back of the complex, she added her own interpretation of an industrial vernacular with a pair of concrete towers, as whimsical as they are imposing, that house sports facilities. The shorter belfry's fortresslike walls are punctured by surrealist, globular windows and continued to the taller, narrower tower by flying pedestrian bridges that, seen from below, lock together similar fingers. One of dozens of SESC complexes in São Paulo, Bo Bardi'south masterpiece continues to serve its original purpose, containing a theater, a cafeteria and exhibition space, besides every bit open up areas that provide room to breathe in a cramped city.
Saval: In all honesty, I wanted to represent Bo Bardi in one way or some other. And I thought I could take called her house (Casa de Vidro, 1951; São Paulo), or the São Paulo Museum of Art, merely I just think this is a really joyous building: There'due south this combination of exuberance and monumentality.
Selldorf: It also shows courage, and I retrieve that celebrating Bo Bardi as an important voice in her time, being Italian, having gone to Brazil and actually staking out a vocabulary that is her own, contributes to what that building represents today. There's a delivery to social justice and equity that resonates.
19. Peter Zumthor'southward Therme Vals in Vals, Switzerland (1996)
Epitome
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In his blueprint for a thermal spa built over natural hot springs in the Swiss mountain village of Vals, Peter Zumthor used threescore,000 slabs of locally quarried quartzite — a stone created during the germination of the Alps some 50 million years agone from geologic elements that might exist as much as six times older than that — to cock what you could easily error for a forgotten ruin excavated from a hillside. The main structure projects from the slope as a solid rectangular mass, its face punctured by square windows and voids. Winding pathways traverse the interior similar tunnels into ancient tombs. Manipulating light and darkness, those channels command access to spectacular views of the surrounding Alpine massif, while variations in h2o temperature — the pools range from 57 to 97 degrees — generate their ain dramatic shifts in atmosphere, from the chill of a glacial lake to the dense steam of a Turkish bath. "Raised in the spirit of classical modernism and besieged by stylish postmodern designs, we were cautious nigh models," Zumthor wrote in a 2011 book on the building. Instead, Therme Vals draws on the essential structures of the region: quarries and bridges, traditional rock rooftops and the cathedral-like interior of the Albigna Dam (1959; Bregaglia) near the Italian border. Every bit cities around the world raced to build showpiece museums and opera houses in the '90s, Zumthor built something timeless, Teutonic in its logic but sensuous, also.
Van Duysen: In terms of Swiss architecture, he influences a lot of people. Here, in that location's this interaction between massifs and voids. I dear it. And inside, the volumetric, spatial qualities are one of a kind.
xx. Francis Kéré's Gando Chief School in Gando, Burkina Faso (2001)
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Since the completion of his start project, a master school in his native hamlet of Gando, Burkina Faso, Francis Kéré has made his pocket-sized hometown into a laboratory for buildings as elegant in their forms as they are in their cleareyed solutions to matters of light, ventilation and social date. The first of these, the school, consists of a roughly 5,500-square-foot prism of clay-and-cement bricks, cast on-site using a simple manual press introduced to the community by Keré that, forth with the addition of cement to the clay mixture, improves the material's strength and makes production more efficient without raising costs. To protect the main construction from the baking desert oestrus and the downpours of the rainy season, he lifted an arched forehead of corrugated metal, a common building material throughout Burkina Faso, over the brick structure on a matrix of ruddy rebar. The perforated brickwork of the ceiling draws hot air up, cooling the building's interior and obviating the need for resources-intensive air-conditioning. (Kéré'south firm has since added a second set of classrooms, a public library and teachers' housing .) Modernism has always struggled to incorporate vernacular architectures created by and for the people who suffered the worst ravages of colonialism, and so Keré'due south piece of work represents an important footstep toward a new paradigm, declaring — albeit subtly — that tradition can provide a sturdy foundation for a improve future.
Soller: We should talk well-nigh latitude not only when it comes to way and era and typology just also when it comes to gender and geography. For instance, there are just two nominated buildings in Africa, one of them being New Gourna Village [above]. Nikil, you picked Gando Master Schoolhouse, right?
Saval: I did, yeah. It's a major work of sustainable and ecologically minded pattern, simply I also admire it in terms of articulating ideas within a item identify. Speaking to your broader question, in terms of breadth, I flirted with the idea of — and ultimately did not commit to — naming just social housing projects, considering that strikes me as one of the major challenges of architecture laid out in the modern motility, you know? Many architects were involved in that for a long time, including Kahn and Le Corbusier, of course. I merely thought … "What should we guarantee for people? What are rights?" Housing is an essential right. That was something that people once believed, and I think that'southward fallen abroad from compages and from most social democracies and governments, and now perhaps we're coming back to it.
Soller: Completely.
Saval: The other affair is that there are very few Black architects. Speaking from an American context, it'southward hard not to telephone call it a white supremacist profession. There were Blackness architects whose piece of work we're recognizing belatedly, but fifty-fifty if all that piece of work were recognized, information technology would still reveal how disproportionately the work is done by white architects in the U.s..
Soller: And male architects, too.
Saval: Yeah, absolutely.
21. Wang Shu and Lu Wenyu's Xiangshan Primal Campus of Communist china University of Art in Hangzhou, People's republic of china (2007)
With the completion of the aggressive starting time two phases of this projection, the Hangzhou-based business firm Amateur Architecture Studio claimed its place — and reclaimed China'southward — on the contemporary design phase. The campus consists of more than 20 buildings spread over 131 acres on the outskirts of the city where the husband-and-wife team Wang Shu and Lu Wenyu live, with verdant hills and mountains to the north and west. Their daring admixture of styles, materials and scales reads like a mission statement for a manner that neither idolizes modern technology nor romanticizes the past. Screens of timber stand aslope Mondrian-like grids of concrete, while irregular windows puncture surfaces of plain white plaster. Exterior walkways with wooden banisters rise and fall like the lines on a graph across the facade of a building crowned with a wavelike roofline. Wang has compared the studio's gratis, eclectic fashion to that of China's "literati" artists, who treated their calligraphy, painting and poesy as a form of self-expression more a virtuosic display of technical skill. The Xiangshan campus is both. Together, Wang and Lu have spurred an essential conversation about the cardinal importance of reconciling tradition and transformation in an ancient nation racing itself to modernity.
Mori: Wang won the Pritzker Prize, and he's very much an anti-institution architect, simply nosotros have to mention his married woman, Lu, because she was the one on-site telling people what to exercise: Their practice is based upon reclaiming debris from old buildings existence destroyed. Information technology's an astonishing option in terms of being anticapitalist, merely also in terms of the preservation of culture and materials. Their office is called Amateur Architecture Studio because, he claims, I'k just grooming. That's actually unique in what you call more commercially driven architecture in People's republic of china. Just with the onetime roof tiles stuck together, it'south also very beautiful.
22. Marina Tabassum's Bait Ur Rouf Mosque in Dhaka, People's republic of bangladesh (2012)
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Marina Tabassum's mosque sits on a small trapezoidal plot of roughly 8,000 square feet, in a peripheral district of Dhaka. The chaotic upper-case letter of Bangladesh, Dhaka is domicile to Kahn'south magisterial Parliament circuitous, which was completed in 1983 and remains a constant source of inspiration for one of Asia's nigh vibrant architectural communities. The mosque's bones structure is relatively unproblematic: a square prayer hall built from concrete set into a circular pavilion of bricks nestled within some other foursquare of load-bearing brick raised on a brick plinth to protect the edifice from seasonal floods. Tabassum creatively uses brick — a key indigenous material in this fluvial nation — to filter the tropical sun, casting shade into the transitional spaces between the blazing street and the sanctuary itself, a room defined equally much past the dappled light that filters in from in a higher place as by its walls or ceiling. Equally much as whatsoever edifice completed this century, it encapsulates the power of religious compages — and specially the compages of Islam — to generate and support a sense of customs.
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Mori: While nosotros're thinking in terms of inclusion, we [should] look at Middle Eastern and Muslim gimmicky compages. This mosque was built after gathering together money [from the customs], and it's a religious infinite, simply information technology's also a community middle. It's well ventilated — she figured out sustainable ways of moving air through. Effectually it, the area'southward really dense, and this provides peace and quiet, a moment of respite.
23. Amanda Williams's "Color(ed) Theory" Series in Chicago (2014-16)
Paradigm
Equally an compages student at Cornell, the Chicago-based artist Amanda Williams read and reread the German American painter and designer Josef Albers's seminal 1963 text "Interaction of Color," in which he argues that all colors are "relational," mutable according to those aslope them and to each person's individual experience. For her project "Color(ed) Theory" series, Williams, who was born in the Chicago suburb of Evanston and raised on the city's South Side, spent two years in the neighborhood of Englewood, also on the Due south Side, painting condemned houses using a color palette coded with cultural references specific to the Black feel: turquoise became "Ultrasheen," afterwards the hair conditioner; violet became "Crown Purple Bag," afterwards the whisky; teal became "Loose Squares/Newport 100," later the cigarette brand. "At that place'southward not a solar day that goes past that I don't think about color," Williams writes, "equally both an artistic medium, and and so as well equally race." The houses in "Color(ed) Theory" had already ceased to be habitable interiors delimited by walls; Williams made them mnemonics for cultural memory that lawmakers have spent decades trying to erase. While city planners apply colors to describe out maps that define how space is used (zoning) and what neighborhoods merit support and investment (redlining), Williams uses color to speak a different linguistic communication, ane legible, first and foremost, to her own community. If something as key as color is, at its core, relational, then Williams's projection suggests that architecture is, too.
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Saval: This project highlights disinvestment and neglect in urban Black neighborhoods in the United States, and it also alludes to the government'southward hand in redlining — systematically excluding Black people from homeownership and from the aggregating of wealth. It's non nearly the construction of space, or the adaptation of space, just information technology'southward drawing attention to a spatial dynamic in racial capitalism, I would call it. Williams is a real visionary.
Selldorf: I recollect it's difficult to put in this category. This is very interesting, but I feel like we're getting into rudderless-send syndrome here. There are many artists who mess with architecture, simply this is non architecture. Practise not misunderstand me: I think it bears looking at, talking almost, thinking about, but it'south exterior the territory that we've been circling. I'd have to rethink my list: I'd and so like to as well include David Hammons's version of a Gordon Matta-Clark building ["Day's End," 1975] in the Hudson River, that's just been completed in New York. It has all kinds of connotations that connect with what you were saying.
Mori: I have to say it's quite unlike, because that project is a retention of the pier. … And that's also representative of the L.One thousand.B.T.Q. community [who socialized there, and] which was oppressed. Then at that place'due south this idea of retentiveness, whereas Williams's projection, I experience, is this idea of identity through colour.
Selldorf: Oh, I didn't advise that they are the aforementioned. I'grand just maxim it's going abroad from buildings to built form.
Van Duysen: We should stay with buildings.
Selldorf: If everybody is into Williams, I'm fine with that. Now I want to meet them.
Mori: Williams's work is pregnant, especially in our fourth dimension, because one would accept the colors in "Color(ed) Theory" for granted, merely she's saying there's incredible racial and social connotations associated with them.
24. Lacaton & Vassal, Frédéric Druot and Christophe Hutin's Transformation of 530 Dwellings in Thou Parc Bordeaux, France (2017)
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Architecture in the decades following the 2nd World War was defined in no pocket-sized part by the need to firm a growing urban population, and by the optimistic belief that modern technology could brand that goal a reality. Vast housing projects went up all over the world, many of which would later on become grim symbols for Modernism'south failure. In 2011, the urban center of Bordeaux held a competition for designs to improve three such state-built structures, ultimately selecting the French architects Anne Lacaton, Jean-Philippe Vassal, Frédéric Druot and Christophe Hutin to lead the project. Seven years earlier, in 2004, Lacaton, Vassal and Druot had published a manifesto criticizing the French authorities'south plush and wasteful addiction of demolishing housing blocks rather than rehabilitating them. So, with the structures fully occupied, the architects remade the buildings with a deceptively basic intervention. Tacking deep winter gardens onto the drab facades, they extended the modest apartments out toward the terra-cotta rooftops of the city's celebrated middle and introduced calorie-free and air into their stuffy interiors. In the architects' delivery to improve the quality of urban life, their 530 Dwellings are a render to the politics of Modernism — dedicated to the idea, if not always the practice, of architecture that could work for ordinary people — 1 reimagined with a deeper, more than nuanced understanding of sustainability.
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Saval: It seems similar the future of greenish social housing to me, which is essential if we want to consider the survival of the planet.
Mori: It's difficult to communicate this project without extensive narrative, and that's the challenge, I think, simply actually what'southward so smashing about it: It has very complicated programming and processes.
Saval: That'south a skillful case for it in my mind. Information technology's distinct in that information technology'due south not immediately arresting.
25. Various Designers' International Space Station in Outer Infinite (ongoing)
Prototype
The 3rd brightest object in the night sky is non a far-off planet or a solar system but a building nearly the size of a football field. Designed and assembled by five space agencies representing 15 countries, the construction represents not simply a triumph of technology only also of politics, an unprecedented international endeavor in the name of science. Largely congenital over the course of some thirty split missions beginning in 1998, information technology remains the closest humankind has always come up to creating a habitat in outer space. Crafted from pieces manufactured in Russia, the European union, Japan, Canada and the U.s. — with a new pod currently in the works by a individual company looking to stake its merits to the adjacent stage of space exploration — the I.South.S. is a complex construction of cylinders and passageways fabricated from lightweight materials like Kevlar, titanium and aluminum, and assembled in infinite, where it orbits 250 miles above Globe's surface. Floating in shut orbit, its solar panels fanned out among pinpricks of alien low-cal, the construction resembles a abyssal animal or a tropical insect more a building in the traditional sense. Initially conceived every bit a laboratory, manufacturing constitute and servicing facility for off-planet exploration, amid other uses, the I.S.S. today serves exclusively equally a research laboratory. Simply the sheer ambition of the enterprise however inspires awe: It remains a powerful symbol of hope for a more peaceful, unified future, bright and distant equally a star.
Dixon: You couldn't actually classify it as architecture in the conventional sense, but it'southward possibly the future of the field. I retrieve that we've got an overwhelming midcentury-mod majority, and that's what I find a bit frightening — that we can't discover more than gimmicky buildings that are revolutionary. Obviously, we can't tell whether they'll stand the exam of time, but nosotros can tell whether they've changed the chat, right?
Soller: Do the remainder of you lot think the International Space Station qualifies every bit compages?
Delavan: It didn't even occur to me to think of something like that, but it'south so different from everything else on the list and patently an important collaboration and important in that it's not fixed.
Selldorf: I am totally irrelevant in this conversation.
Soller: What exercise you hateful?
Selldorf: I think very few things are compages or, alternatively, I think everything is architecture.
Dixon: Information technology's architecture because people live in it for years, and — although I'm actually quite against the space race — I recall we should be dealing with the planet starting time from a cooperative point of view. There is something symbolic about the infinite station in terms of getting people to [work together] from strange nations, and there is likewise something actually fascinating near it existence made on Earth but architected in space. It'south more meaning than almost whatsoever other building: It shows the imagination of the human race.
Photography Direction: Betsy Horan and Jamie Sims
Research Editor: Alexis Sottile
Copy Editors: Erin Sheehy and Diego Hadis
Production: Nancy Coleman and Kristina Samulewski
Source: https://www.nytimes.com/2021/08/02/t-magazine/significant-postwar-architecture.html
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