Architectural Archives

The Use of AI in Architectural Archives and Historic Preservation

An obviously fake image of the Paul Rudolph Institute’s headquarters we posted for Star Wars day this past May 4th. The online hate we received for using AI was strong with this one.

Editor’s Note: we used AI to help provide examples of how it can and cannot help our work. It turned out that AI came up with some ideas we hadn’t thought of when we were drafting this post.

AI - whether we like it or not - is becoming an everyday tool. We give tours several times a month to architecture students and staff of local New York City architecture firms. Afterwards, one topic we ask about (besides how’s the profession doing overall?) is whether people are using AI and if so, what are they using it for and is it any good.

The answers have surprised us as we thought it wasn’t being used as much as the online hype would suggest. It turns out many offices we spoke to are using AI and students are using it as part of learning the design process - although its most popular for making graphics and renderings.

There’s also discussion that AI is replacing the work of entry level architecture jobs. From our experience, we think that may be somewhat true. We don’t have enough evidence to support a direct connection, but we do see more architecture grads interested in volunteering at the Institute. Assuming its not a sudden groundswell of love for the work of Rudolph, Goldfinger or Geller - could it be a lack of entry level jobs affected by AI? A warning sign of a softening economy? A mix of both? We don’t know but have noticed that something is going on.

The Architecture Billings Index for July 2026: Architecture firm billings remain weak. “The persistent downturn in business conditions now extends to nearly three and a half years, as many firms continue to struggle” - AIA

Change brought about by new technology has always been an issue in the architectural profession. Think of what it was like for those who - like Paul Rudolph - insisted that everything be drawn by hand as Autocad took over the profession. Even though he as working well into the 1990’s, Autocad was not used in his office. Autocad (and similar CAD software) allowed smaller offices to design bigger projects more efficiently and AI will probably have as big - if not more - of an impact.

For small organizations like ours, AI can help with tasks that there are not simply enough people or time to do otherwise. Our work is often controlled by where we choose to put the limited time and money we have. Do we digitize archives or spend the time on fundraising? If AI can make it possible to do both quicker and more efficiently, then it becomes a useful tool. A powerful tool, but one that still needs to be managed.

But what can AI do that’s useful in historic preservation?

Used well, AI can help preservationists work faster and tell better stories which lead to more buildings being recognized and (hopefully) preserved. This post lays out where AI can genuinely help, where it can hurt, and how preservation organizations like the Institute can use it responsibly.

What AI can do well

1. Speed up documentation

Preservation work often has limited time and labor for documentation. Digitizing physical archives, organizing them, and entering the material into a database takes a lot of time. On a good day the Institute can digitize about 20-30 items. Sometimes we can do up to 100 items if they are already digitized (like photographs).

AI can help by:

  • Transcribing and summarizing interviews, meetings, and oral histories

  • Extracting data from scanned written materials (e.g. dates, addresses or names)

  • Tagging and clustering image collections to make archives searchable

The key value of AI isn’t replacing expertise in this instance. It’s reducing the busywork that keeps people from doing what’s really valuable.

The Institute’s in house database showing the materials digitized of Myron Goldfinger’s 1971 Ellis Residence.

2. Enhance research

Sometimes preserving a project starts with: What do we already know? AI can help pull and summarize what is already known about a site or an architect. Sometimes it finds an obscure reference that would have taken hours to find otherwise.

Examples include:

  • Searching across large collections of written materials by meaning - and not just keywords

  • Generating research outlines and bibliographies to help staff and volunteers focus on what matters most or what needs to looked into further

This can be especially helpful for volunteer-heavy organizations like the Paul Rudolph Institute where training time is limited or information about a project is incomplete.

A volunteer used AI to discover that an unknown Myron Goldfinger project believed to be in New York City (left) was in fact the Cosmopolitan Hotel in Denver, Colorado (a proposed redevelopment circa 1977-1978 of the adjacent Hotel Metropole which was eventually torn down in 1984). This information allowed us to date the project, making it the only project by Goldfinger in Colorado.

3. Improve public engagement

Preservation succeeds when the public cares enough about a building or an architect’s work to want to see it taken care of and not destroyed. AI can help turn technical knowledge into stories that bring public attention to threatened buildings and sites.

AI can help with:

  • Drafting exhibit labels, blog posts, and tour scripts

  • Repurposing a lecture into a newsletter, a short article or a set of social media posts

  • Creating FAQs that answer the questions donors, students and journalists typically ask

AI can also help test messaging to see what resonates with different stakeholders (e.g. students vs. members of the local community)

4. Support planning

In theory, AI can help identify which sites are most at risk by tracking warning signs like:

  • Permit activity and zoning changes

  • Real estate listings and redevelopment

  • News coverage and comments on social media

If used carefully, this can help preservationists prioritize limited resources and intervene earlier. At a minimum a simple google search is a good start, but AI can be much more powerful if setup to monitor important works continuously.

Where AI can go wrong

1. Hallucinations

Generative AI can produce beautiful text and images that are simply wrong. In preservation, that can lead to:

  • Incorrect attributions (architect, date, style)

  • Invented citations or “facts” that never existed

  • Making up graphics that do not match the actual site or building

Because preservation work often becomes part of the public record, errors can propagate for years. In the case of the Institute, we update our project files as new verifiable sources become available that have been reviewed by volunteers.

Anyone who’s been to Wright’s Falling Water would not recognize this graphic of the ‘Water Falling House’ found online

2. Bias

AI models are trained on what’s already documented, and what’s documented is what’s considered important which may leave out equally important but lesser documented projects or facts.

That can reinforce existing inequities:

  • Overemphasizing well-studied examples of an architect’s career over lesser known or less publicized works

  • Underrepresenting vernacular buildings or marginalized histories

  • Treating the absence of data as the absence of significance

Preservation of historic properties already struggles with whose stories and what works are worthy of getting preserved. AI can amplify that imbalance and miss equally important, yet lesser known works.

Paul Rudolph’s 1972 Louis Micheels residence shortly before it was sold and demolished in 2007. The destruction of the Micheels House - after a legal battle where a judge ruled a "lack of criteria for significance" - served as a painful wake-up call for local preservationists. The loss became a call to action for The National Trust for Historic Preservation, which initiated its own Survey of New Canaan Mid-Century Modern Houses following the teardown.

How to adopt AI without compromising integrity

1. Treat AI as a tool for writing drafts

Use AI to generate options, outlines, and first drafts. Keep final decisions - especially about significance and public claims - in the hands of humans.

2. Build a verification workflow

Follow a simple rule: no claim without a source.

  • Require citations for dates and attributions

  • Add a review by a human before anything becomes public or online.

3. Be transparent

If AI helped draft a public-facing post (like this one) consider a short disclosure statement.

So is AI worth it?

The answer, like the ethics of using AI in the first place, is complicated. AI can help preservation: faster documentation, better access to archives, and clearer storytelling. But preservation is also a field where errors and bias have lasting consequences.

The goal isn’t to “use AI” because it’s new. The goal is to protect and interpret the built environment while also showing care to being accurate. If AI helps you do that - while keeping humans accountable for truth and meaning - it’s worth using.

Happy 119th Birthday to Luis Barragán !

The Torres de Satélite ("Satellite Towers",) located outside of Mexico City—one of the country’s first major monumentally sized Modern sculpture groups (whose highest tower is 170 feet.) It is the result of a combination of input from…

The Torres de Satélite ("Satellite Towers",) located outside of Mexico City—one of the country’s first major monumentally sized Modern sculpture groups (whose highest tower is 170 feet.) It is the result of a combination of input from architect Luis Barragán, painter Jesús Reyes Ferreira, and sculptor Mathias Goeritz., and was inaugurated in 1958.

LUIS BARRAGAN WOULD HAVE BEEN 119 oN MARCH 9, 2012—AND TODAY WE CELEBRATE HIS BIRTHDAY!

If any architect’s work truly exemplifies Dieter Rams’ saying, “Less but Better”, it would be the Mexican architect Luis Barragán (1902–1988). Barragán’s oeuvre was known for an asceticism of form, and an utter avoidance of the casual or frivolous. Yet the buildings and spaces he created were brought to vivid life by careful composition, devoted detailing, keen juxtapositions and choices of materials, and—most famously—a florid use of color.

His work encompassed whole residential districts, artwork (like the Torres de Satélite show above), a chapel and convent, and other projects—but he is probably most well-known for individual homes he created, both for clients and for himself.

WITH BARRAGAN, MATERIAL BECOMES SPIRITUAL

Architect Luis Barragán (1902–1988)

Architect Luis Barragán (1902–1988)

Barragán is often classified as a “Minimalist”—but this would be an error, as the interior and exterior spaces he created are alive with a sensuous serenity. His is a body of work that aspires to embrace (and invoke) the spiritual. As Barragán himself put it:

“…the words beauty, inspiration, enchantment, magic, sorcery, charm and also serenity, silence, intimacy and amazement have disappeared at an alarming rate in publications devoted to architecture. All of them have found a loving welcome in my soul, and even if I am far from claiming to have made them complete justice in my work, they have never ceased to be my beacon.”

And:

“Any work of architecture which does not express serenity is a mistake.”

For those not familiar with Barragán’s oeuvre, here is a mosaic of images which may serve to convey the flavor—and, as important, the atmosphere—of his work:

Casa Gilardi

Casa Gilardi

Fuente de los Amantes

Fuente de los Amantes


Fountain spout and pool at Casa Barragán

Fountain spout and pool at Casa Barragán

Roof patio at Casa Barragán

Roof patio at Casa Barragán

Casa Gilardi

Casa Gilardi

A close-up of the Torres de Satélite

A close-up of the Torres de Satélite

A stair within Casa Barragán

A stair within Casa Barragán

Faro del Comercio

Faro del Comercio

FAME, INFLUENCE—AND THE AFTERLIFE OF AN ARCHITECT

The book, by Emilio Ambasz, which accompanied the Museum of Modern Art’s 1976 landmark exhibit on Barragán

The book, by Emilio Ambasz, which accompanied the Museum of Modern Art’s 1976 landmark exhibit on Barragán

Luis Barragán received the Pritzker Architecture Prize in 1980 (and you can read his insight-filled acceptance speech here)—but he had not been very well-known, outside of Mexico, until the 1976 retrospective exhibition of his work at New York’s Museum of Modern Art. That exhibition was accompanied by a book, “The Architecture of Luis Barragan”—also published by the MoMA—whose complete text (by Emilio Ambasz, who curated the exhibit) and luminous photographs and informative drawings you can see here.

He was a direct influence on Louis Kahn (who received advice from him about the great open space at the heart of Kahn’s Salk Institute) and he was consulted by designers from both Mexico and other parts of the world.

Barragán—besides the inspiration which can, ongoingly, be taken from his work—has had another kind of afterlife. After he passed in 1988, his will directed that his estate be divided into different categories of materials, and allocated to several people who had been important in his life. The legacy that comprised his professional archives and copyrights went through more-than-one ownership, until this important body-of-work reached its current residence in Switzerland at the Barragan Foundation.

But that was not the end of the story. Jill Magid is an artist (working in various media), writer, and film-maker—who has had exhibitions at major venues around-the-world. She became fascinated with the numerous facets of the Barragán estate—-not the least of which include its location an ocean away from the architect’s homeland, Mexico; and (at the time Magid was doing her work) the perceived restrictions on access to the archive. Her artistic activism on this topic resulted in works in a number of forms: several exhibits, a 2016 book, and a 2018 film (both titled “The Proposal”)—and Magid’s project achieved further prominence when it was written about in a series of articles in The New Yorker.

Her project asked important questions about art, creativity, relationships, identity (both personal and national,) and artistic legacies (both their control and protection). We know that these are complex matters, and all sides can bring forth pertinent evidence and cogent arguments. Moreover, there seems to have been further developments since Magid’s exhibits, book and film came out—so we can offer no pronouncement about the important issues she raises. Nevertheless, what Magid presents is compellingly told (and includes a strikingly unorthodox proposal!) and you might find it of interest to view the film. You can see the trailer here; as well as view a more recent symposium about her project here.

BARRAGAN: AN ARCHITECT TO CELEBRATE !

Whatever the issues around the archives—and however their status may stand or change—the important thing about Luis Barragán is the amazing body-of-work which created during more than a half-century of practice. So, for this, the 199th anniversary of his natal day, we wish him a HAPPY BIRTHDAY !

A twilight view of the Torres de Satélite, a project on which Barragán collaborated.

A twilight view of the Torres de Satélite, a project on which Barragán collaborated.


IMAGE CREDITS

The Paul Rudolph Heritage Foundation gratefully thanks all the individuals and organizations whose images are used in this scholarly and educational project. If any use, credits, or rights need to be amended or changed, please let us know.

Note: When Wikimedia Commons links are provided, they are linked to the information page for that particular image. Information about the rights to use each of those images, as well as technical information on the images, can be found on those individual pages.

Credits, from top-to-bottom, and left-to-right:

Torres de Satélite: photo by Octavio Alonso Maya Castro, via Wikimedia Commons;  Photo portrait of Luis Barragán: photo by Tomjc.55, via Wikimedia Commons;  Casa Gilardi with pool: photo by Ulises00, via Wikimedia Commons;  Fuente de los Amantes: photo by Susleriel, via Wikimedia Commons;  Fountain spout and pool at Casa Barragán: phot by Daniel Case, via Wikimedia Commons;  Roof patio at Casa Barragán: photo by  Ymblanter, via Wikimedia Commons;  Casa Gilardi interior: photo by Ulises00, via Wikimedia Commons;  A close-up of the Torres de Satélite: photo by ProtoplasmaKid, via Wikimedia Commons;  A stair within Casa Barragán: photo by  Francesco Bandarin, via Wikimedia Commons;  Faro del Comercio: photo by Cvmontuy, via Wikimedia Commons;  A twilight view of the Torres de Satélite: phot by Correogsk, via Wikimedia Commons