Available in both cherry and walnut, the towering geometrical lamp was originally designed by Wright for the Hillside Home School theater that had burned and was reconstructed at Taliesin in 1952. It features an array of stacked boxes, embellished with red accents, that indirectly reflect off directional boards placed above and below each cube.
A community of 750 units interconnected on, below and above ground, Steven Holl Architects"Linked Hybrid" was an intentional shift away from the monolithic, monofuctional skyscraper. The entire complex was designed to be a "three-dimensional urban space" that encouraged chance encounters beyond the ground floor.
In this video architect Steven Holl talks about the building's design and how it has performed, seven years after the building's completion.
Toronto-based architectural photographer Michael Muraz has shared with us some of the first images seen inside Santiago Calatrava's nearly complete World Trade Center Transportation Hub. Set to open this year, the "glorious" birdlike structure boasts a 355-foot-long operable "Oculus" - a "slice of the New York sky - that floods the hub's interior with natural light, all the way down 60-feet below street level to the PATH train platform.
Though its been shamed for being years overdue and $2 billion over budget (making it the world's most expensive transit hub), the completed project is turning heads. Take a look for yourself after the break.
With the opening of the Fondazione Prada art galleries in May, OMA showed a different side to their practice, one focusing on preservation and assemblage rather than the iconography and diagrammatic layout that many associate with the firm. In this interview, originally published by Metropolis Magazine as "Koolhaas Talks Prada," Rem Koolhaas explains the reasoning behind this new approach, and how they attempted to avoid falling into the clichés of post-industrial art spaces.
When the Fondazione Prada opened its doors to a new permanent home in Milan dedicated to contemporary culture, it not only placed the Italian city firmly at the forefront of today’s global art world, but also introduced an ambitious new way of thinking about the relationship between architecture and art. The location—an original 1910 distillery in a distinctly gritty part of the city—comprised seven spaces including warehouses and three enormous brewing cisterns with a raw industrial quality that the architects, Dutch firm OMA, retained while adding three new buildings made of glass, white concrete, and aluminum foam. One, the centrally located Podium, is intended for temporary shows, while another—still under construction—is a nine-story tower that will house the foundation’s archives, art installations, and a restaurant. The third, a theater with a mirrored facade, features folding walls that allow the building to open onto a courtyard. In total, the collection of buildings provides nearly 120,000 square feet of exhibition space, more than twice that of the new Whitney Museum of American Art. Metropolis correspondent Catherine Shaw visited the site with Pritzker Prize–winning architect Rem Koolhaas to find out more about the challenges of creating a new cultural paradigm.
The structure is composed of 600 pallets, creating a stage that embraces visitors and provides an intimate environment within the crowded festival. By placing the DJ booth in the center of the structure, the stage is made tactile and experiential for visitors.
For this week's edition of Section D, Monocle 24's weekly review of design, architecture and craft, the Monocle team take a trip to the near-complete Olympic Village in Rio de Janeiro, plus take a look at the history of the US Embassy in Havanna. The latest edition of The Urbanist explores etiquette and politeness in the metropolis, examining the unspoken rules of conduct that make our cities tick and delve into the psychology of 'urban etiquette'.