With sensitivity to Abu Dhabi’s local culture, climate, and architectural heritage, SOM designed a medical campus that creates a "city within a city."

Visiting the hospital for any length of time can be a difficult experience for patients and their families, what with adjusting to new surroundings, being separated from loved ones, or just missing the familiarities of home. That is why the designers of the Sheikh Khalifa Medical City have put hospitality and psychological well-being at the forefront of their medical campus design.

A tale of two buildings, and an Art Deco heritage that almost didn’t happen in Cincinnati.

If you were to glance at an original 1929 sketch of Cincinnati’s Union Terminal, a masterpiece of Art Deco architecture and one of the last great train stations built in America, you’d be confused. That’s because the building was originally envisioned as neoclassical. “The sketches were almost gothic looking, and the design was thought to be cold,” says Scott Gampfer, director of the library and historic collections at the Cincinnati Museum Center. “The Cincinnati Union Terminal Company and the Cincinnati Public Works Department were not entirely satisfied with the look that was presented. They wanted to project the idea of modernity,” he says.

Madrid’s Matadero, or slaughterhouse, has been renovated to serve as a social and cultural space, but remembrances of its macabre past remain.

One part of a renovation project has nothing to do with heavy machinery, building materials, or even endless CAD documents. It’s that challenging moment that occurs with every repurposing plan, when planners must decide exactly what percentage of the original building will stay and what should be discarded. How much of the building’s original essence is relevant within the new design?

A traditional industrial building type is adapted to create a modern, sustainable facility in Mexico.

The Mexican government recently developed a new Research and Technology Innovation Park (Parque de Investigación e Innovación Tecnológica or PIIT) in Monterrey.  An automotive company that manufactures chassis for heavy trucks and pickups selected a 100,000 sq. ft. parcel within the research park as the site of its new building – a research lab, office, and industrial testing facility. Brooks + Scarpa Architects, based in Los Angeles, designed the structure.

A Spanish Renaissance building in Houston gets a much needed restoration and is finally completed, according to the architect’s original intent, more than 80 years after the first stone was laid.

The Julia Ideson Building has been a Houston landmark since it opened in 1926. Designed by architect Ralph Adams Cram of the Boston firm Cram and Ferguson, the Spanish Renaissance structure served as the Houston Central Library until 1976 and has long been regarded as one of the city’s most prominent public buildings. The library’s first director, Julia Ideson, was also regarded as one of Houston’s most prominent citizens.

In September 2011, publisher Rizzoli New York released The Glass House, a photo tour of Philip Johnson’s famous estate. The book includes text by Philip Johnson himself and by architecture critic Paul Goldberger, and is the official Glass House book of The National Trust for Historic Preservation. Robin Hill’s photo “Glass House Dawn” was selected to appear on the book’s cover.

Below is the final piece of a three-part installment wherein Robin Hill shares his experience of photographing the Glass House estate. View Part One and Part Two for the rest of the story.

My journey continues in its roundabout way, and I am now upon a gate, the likes of which I have never seen before. It is most unusual. I try to find a historic connection to its design but find none. What I do find is a beautifully scaled, welcoming structure that entices one to enter. It is everything that an entrance way to a gated community is not. Even when the barrier is down, it feels open. The Pillars rise high on both sides and are painted a welcoming tone of brown, quite different from the brown that smothers the library. Slung low across the bottom quarter is a brushed aluminum tube that splices the composition perfectly, both in terms of its height and its color. The gate is also quite a trick of visual play, as it actually consists of four pillars, not two as it appears from the full frontal view. The pillars on either side stand back to back with their identical twins behind them. This is a very clever way of hiding the mechanism that lifts and lowers the gate. The wires are hidden from the front view and delicately balance the gate between the two pillars. The engineering is sublime and gives a gentle equipoise to the whole structure. There are not enough Os in the word "smooth" to describe this gate.

In September 2011, publisher Rizzoli New York released The Glass House, a photo tour of Philip Johnson’s famous estate. The book includes text by Philip Johnson himself and by architecture critic Paul Goldberger and is the official Glass House book of The National Trust for Historic Preservation. Robin Hill’s photo “Glass House Dawn” was selected to appear on the book’s cover.

Below is the second of a three-part installment wherein Robin Hill shares his experience of photographing the Glass House estate. Read part one here.

Now I am making my way the few steps toward the lakeside pavilion. Here Johnson is up to new tricks. As I approach the lakeside, I am reminded of the London Underground loudspeaker system, which brusquely ejaculates "MIND THE GAP" every time you board or deboard a train. Instead of designing the pavilion to gently nudge the shoreline, there's this intentional but irritating gap that Johnson has deliberately placed in one's way. Why? My first thought is "to mess with your head" or perhaps it is to make you pay attention. OK, so now I'm paying attention, and the impression is that ordinary scale has been obliterated by the architect's hands. This is a perfect modern folly. It is barely functional, save to sit underneath and have an uncomfortable picnic. Through these photographer's eyes excellent framing opportunities are created by the multiple archways. The visual pun is too obvious for my taste, however, and the pavilion does nothing for me in an architectural sense. I begin to feel that this is a dud, a Johnson experiment that doesn't really work very well in either form or function. Perhaps, this is indicative of Johnson's uneven career as an architect, brilliant one minute and mediocre the next. In the space of a few steps I have gone from momentous elevation to ungarnished mediocrity, from design excellence to controlled vacuousness. Still, the adventure of being here leaves my intellect alone for a while and I am left in solitude in the middle of a 46-acre design campus. Heaven! There is a serenity here that is both palpable and meaningful.

In September 2011, publisher Rizzoli New York released The Glass House, a photo tour of Philip Johnson’s famous estate. The book includes text by Philip Johnson himself and by architecture critic Paul Goldberger and is the official Glass House book of The National Trust for Historic Preservation. Robin Hill’s photo “Glass House Dawn” was selected to appear on the book’s cover.

Below is the first of a three-part installment wherein Robin Hill shares his experience of photographing the Glass House estate.

A handful of iconic houses have reached the public imagination, and the Glass House is among the finest. In this transparent pavilion, surrounded by nature, Philip Johnson designed an architectural gem of quiet depth and epic simplicity. Its power arises from the Earth and exerts itself into a natural auditorium that can suffuse the visitor with a sense of grateful contemplation. It is a chapel in a cathedral of nature. One could be tempted into thinking that the Glass House is just a brown rectangular box with see-through walls, but to follow this line of thinking is to miss the point, because its simplicity hides a raw architectural sophistication that transcends an ordinary interpretation of space, providing the visitor with a unique opportunity to experience nature and architecture as a continuous whole.

What are some of the challenges – and pathways to success – when it comes to designing commercial architecture?

Stuart Silk Architects, based in Seattle, Washington, has more than 25 years of experience producing residential and commercial architecture. We spoke with John Adams, AIA, Principal of Stuart Silk Architects, to learn more about the latest challenges associated with commercial design. Although commercial design certainly has its nuances, his firm has successfully bridged residential and commercial design with a simple and unified insight: the client is always passionately and personally invested.

As Madrid’s population continues to expand, its suburban areas are becoming more and more popular with those looking for affordable housing outside the city limits. However, these neighborhoods, while more economically practical, have long been plagued with the cookie cutter design all too often seen these days. Full of generic residential developments and chain restaurants, these areas have very little character and no touristic value; as such, they have been dealt a short hand in the design game.

The Aqua Tower in Chicago brings the fresh perspective of a young architect, Jeanne Gang of Studio Gang Architects, to bear upon century-old skyscraper design challenges.

The Aqua Tower, looming over 1.9 million square feet, is an 82-story mixed-use high-rise complex that includes 55,000 square feet with a hotel, apartments, condominiums, offices, and parking. This aesthetically pleasing Chicago skyscraper is the tallest building designed by a woman-owned architectural firm and the first skyscraper from Jeanne Gang, principal and founder of Studio Gang Architects (SGA), which is based in Chicago.

SubCat Studios by Fiedler Marciano Architecture

The addition of an independent recording studio was an ideal fit for Syracuse, New York’s burgeoning local arts scene, but who would consider building a recording studio on a site surrounded by noise?

Although it is situated between downtown Syracuse’s Armory Square district and the Near Westside, two artsy neighborhoods on the rise, the Redhouse Arts Center is physically isolated. The 89-seat theater occupies a "private island" of sorts, severed from the urban fabric by highly trafficked roads and a freight rail overpass. Now it is no longer alone. When the adjacent three-story masonry structure known as 219 West became available, a benefactor of the Redhouse Arts Center, who is also an associate of the owner of SubCat Studios, saw a mutually beneficial opportunity to cement this little island’s status as a cultural destination.