Since 1928
Through a series of entangled instances of history and architecture in Palestine, the book edited by Petti, Hilal and Weizman asks the question: “what is decolonization today?”
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Through 35 design pieces conceived by a number of Japanese artists and people, the new project by Taku Satoh at 21_21 Design Sight restates the relationship between people and rice culture in Japan.
Part of a new urban script, the conservatory in Paris’s 17th arrondissement, designed by Basalt Architecture, features a copper cladding perforated by the beat of the melody.
A delicate exercise by a group of ENSCI's students in Paris describes the Domus magazine collection of the school, an inspiration tool for the youngs.
De Matos Ryan has completed The Garden House, a new 179 sqm house at the far end of the rear garden of a Victorian house in Battersea, London: a box with an exotic sensibility defined by white pigmented concrete walls and floor.
Lifschutz Davidson Sandilands has completed the new auction house’s headquarters, creating flexible accommodation on an extraordinarily tight, city centre site in Mayfair, London.
Since 1928
The first building designed by Frank Gehry in Latin America will be a gateway to new knowledge about the natural history of the isthmus of Panama and its biodiversity.
Addis Ababa a ‘Sleeping Beauty’ for decades, in the words of Haile Selassie, is now living the American dream. Photographer Anna Positano recounts its awakening.
Tempering beauty with function and combining nature with technology, the exhibition by Exploration Architecture at the Architecture Foundation communicates evolution in a nutshell.
Since 1928
The new Lemur exhibit at the Melbourne Zoo, a project undertaken by Snowdon Architects in collaboration with Urban Initiatives and Arterial Design, explores the role of architecture in creating a contemporary zoo experience.
A group of students from the Iaac designed the Bio-Photovoltaic panel: a battery in which energy is harvested from bacteria inside the soil to release electrons.
Both contemporary and historical, the “Point-Contrepoint” exhibition traces a series of parallels between the materiality and form of Korean architecture and the global context.
