David Heymann

The third installment of a narrative survey in which educators and practitioners share perspectives on the intensifying demands for change across design pedagogy and practice.

At this moment in national and world history, an empty cemetery felt correct as public space.

The second installment of a narrative survey focusing on the massive move to emergency online instruction.

Public art is a growth sector for architects. But when it comes to objects in landscape, our experience is altered by who builds what and how we know the difference.

Sustainability should be revolutionary to architectural form. But it hasn’t been, at least not yet.

Why not make buildings today as they once were made? This is actually a really good, really radical question.

From prehistoric cliff dwellings to recent projects by Morphosis and Herzog & de Meuron, the question of how a building should relate to its site offers no easy or universal answer.

A series of photographs — an ongoing experiment — that document walks taken in high summer in the Svalbard Archipelago, above the Arctic Circle.

A story about the incongruency of clients’ desires and the hope many architects secretly harbor, that architecture is a conduit to the real.

Why the Folk Art Museum is a great modernist building, and why the Museum of Modern Art should reverse its decision to tear it down.

A story about Austin then and now, and a heartbreak of a house commission.

On the challenge of developing the “radical aesthetic potential” of sustainable design.

An analysis of the very different ways in which works of sculpture and works of architecture occupy the landscape.

Reconsidering Adolf Loos’s proposition: “Only a very small part of architecture belongs to art: the tomb and the monument.”

Should the relationship of a building to its landscape be a key element of its design? Unpacking the logics and illogics of this powerful cultural presumption.

A contemporary critic extends the imaginative history of the American house begun in J.B. Jackson’s “The Westward-Moving House.”

On the rising importance of landscape to architecture, seen in works by Tod Williams and Billie Tsien, Peter Zumthor, OMA, Zaha Hadid, and others.

Exploring the dynamic relationship of landscape and architecture, from big civic projects by Norman Foster to small rural houses by Glenn Murcutt.

How does the building relate to its site? Considering the relation between humans and nature, from the Blur Building to Hiroshi Sugimoto’s seascapes to Mark Rothko’s late works.