In the history of modern architecture, Louis I. Kahn is regarded as the undisputed master of monumentality in the United States. At the height of his career, Kahn managed to create a unique type of architecture, often awe-inspiring, but avoiding overdone grandiosity, expressing its constructive system, yet avoiding structural exhibitionism, steeped in history but developed with a new language and system of forms. His interest in light as a functional element and the specific qualities of materials extended beyond his buildings, in all the objects he created to populate them following their intrinsic spirit. To celebrate this legacy, Form Portfolios has now launched "Monumental Modernism," the first collection of lighting, objects, and furniture modeled after those discovered in Louis I. Kahn's buildings.

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The relationship between architecture and naval design has been a fascinating interplay of form and function that has evolved significantly. Both disciplines have a shared history of innovation, aesthetics, and functionality that have informed and inspired each other. This "love affair" has seen architects drawing inspiration from boats, particularly in the modernist era when ships' streamlined, efficient designs influenced the aesthetic of buildings. Conversely, architectural principles have also been adapted to enhance the functionality and form of boats, demonstrating a reciprocal exchange that continues to shape both disciplines.

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With the high population density of cities and voracious appetite of the market for every square meter, it is not uncommon for urban vegetation to be forgotten. For this reason, forests, vegetable gardens, and vertical gardens have aroused much interest and figured into a variety of different innovative proposals. Using the vertical plane to maintain plants in an urban setting is a coherent and common-sense solution, especially when there is little possibility of bringing green to the level of the people on the streets.

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Located in the southern region of the United States, the state of Florida is one of the most populous states and the 22nd largest. The state hosts some of the most populated areas in the country, such as Jacksonville and the Miami Metropolitan Area.

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After he achieved celebrity status at the turn of the millennium, in recent years the conversation around Frank Gehry has switched tones, going from near-universal admiration to widespread controversy. Yet according to Paul Goldberger, whose biography of Gehry was released in September, both adoration and critique of the architect might engender an overly simplistic interpretation of his long and storied career. In this interview originally published by Metropolis Magazine as "Q&A: Paul Goldberger on Frank Gehry's Life and Work," Goldberger delves into the many ways Gehry has been misunderstood over the years, and how his work, his psyche, and the interplay between the two have made him one of the most conversation-worthy architects of a generation.

Frank Gehry isn’t just the world’s foremost architect; he is, by all public standards, also one of our greatest living artists. Paul Goldberger’s new biography (his first), Building Art: The Life and Work of Frank Gehry, acknowledges the architect’s celebrity status but doesn’t acquiesce in it. Rather, Goldberger interrogates the peculiar psyche and restless contradictions of the man to shed light on the motivations behind the architecture. Metropolis editor Samuel Medina speaks to the newly minted biographer about defying genre conventions, unpacking the ambiguities of Gehry’s work, and giving reporters the finger.

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"An avid yachtsman," Frank Gehry has designed his first yacht. As Esquire reports, the traditional larch wood sailboat boasts titanium and red accents with windows clad in warped lattice work. "Foggy," as it's named (an acronym for Frank Owen Gehry), was designed for Gehry's friend and developer Richard Cohen. Gehry collaborated with naval architect Germán Frers, who was charged with keeping Gehry's design practical. "Don't let me go too crazy," Gehry told Frers. "The boat has to work."

“The River,” SANAA’s first US commission since winning the 2010 Pritzker Prize, is currently underway in Connecticut. Designed by the Japanese practice in collaboration with OLIN, the meandering and almost transparent building will be built on a 75-acre preserve as a multi-use platform for events and initiatives put on by the community of New Canaan and non-profit Grace Farms Foundation.

“We are thrilled that Grace Farms will begin welcoming the public in autumn 2015,” Sharon Prince, president of the Grace Farms Foundation stated. 

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The people behind Frank Gehry's Fondation Louis Vuitton (FLV) in Paris, which is set to officially open on the 27th October 2014, recently invited a band of architecture critics to take a look around and pen their thoughts. Gehry's bold approach to architectural form, most evident in buildings like the Guggenheim Museum in Bilbao and the Walt Disney Concert Hall in LA, matches the foundation's aim to "promote and support contemporary and artistic creation" in France. According to their website, they in particular embody "a passion for artistic freedom." How, then, has the enormous sailed structure, challenged by local opposition from the outset, settled into its Parisian parkland surroundings?

See what The Guardian's Oliver Wainwright, The Observer's Rowan Moore, Vanity Fair's Paul Goldberger, The LA Times' Christopher Hawthorne, as well as the Architectural Digests' Mayer Rus, had to say about Gehry's latest completed building after the break.

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