The Architect's Newspaper May 2025
A new entrance at the National Gallery, Storm King expands, and more news page 6
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Salone del Mobile: A romp through the good, rad, weird, schlep, and zen page 8
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AN stays close to home in Tribeca to check out projects by Fogarty Finger page 16
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Read an excerpt from Sérgio Ferro’s English introduction to a new book of his texts page 82
9 Open: AAPI Heritage Month 74 Marketplace 77 Happenings 78 Pictorial: Nicholas Venezia 80 Review
A Place Where the Soul Can Rest
“A porch was a sign of living a life without shame,” bell hooks wrote in Belonging: A Culture of Place. “To come out on the porch was to see and be seen, to have nothing to hide. It signaled a willingness to be known.” The U.S. Pavilion is now open at the Biennale Architettura 2025 in Venice, and its focus on porch as an architecture of generosity promotes the value of this liminal space. A new porch, designed in wood by Marlon Blackwell Architects and complete with a blue soffit, lines the front of the building; the courtyard has been reimagined by TEN × TEN and D.I.R.T. Studio; and Stephen Burks Man Made offers contemporary expressions of vernacular home furnishings. Inside, 54 contributions from across the country showcase the variety, utility, and beauty of the idea of the American porch. Read on page 10.
Rockefeller had more of it. Mellon did more with it. Barnes had more interesting ideas about it. But in the annals of great early-20th-century art collectors, no other plutocratic culture vulture quite measures up to Henry Clay Frick—not, at least, when it came to an eye for the good stuff. When the Pennsylvanian coal baron moved into a spacious, Thomas Hastings– designed mansion on Fifth Avenue in 1914, he brought with him an already substantial trove of paintings, which he continued to augment right up to his death, five years later, at the age of 69. He didn’t bother with such trivial distinctions as movements or styles; he didn’t even organize the work by theme or by era. He just bought solid-gold masterpieces, over and over, and put them wherever he felt they looked best. And then, after he was gone, he invited the world to come have a look. After a prolonged separation, Frick’s house and his masterpieces—1,800 of them, in total—continued on page 14
VERY ONLINE ARCHITECTURE
West Bund Grand Museum Theater by SHL Futures Read on page 12.
Two experts chat. Read on page 81.
The museum refuses spatial optimization—there’s no “best” way to design one. In part, that’s because contemporary art is evolving.
Meet the new creators shaping archiculture. Read on page 26.
—JULIAN ROSE
What everybody profoundly believes is that a successful museum experience must have a magic combination of three things: objects, humans, and architecture. R AW VISION STUDIO
—ANDRÁS SZÁNTÓ
Facades The Architect’s Newspaper 25 Park Place, 2nd Floor New York, NY 10007
Frickin’ Sweet
TIM HURSLE Y
Surfaces, signs, and specs. Read on page 29.
MARCO CAPPELLET TI
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