Assistants, monsters, warriors, metaphors or participants of humanity? We dive into a 1984 exhibition from New York that sought through history to give robots an identity beyond Asimov and Mazinga.
The last major work by the maestro of a new global monumentality, the government buildings for the capital of contemporary Bangladesh, was completed years after his death in 1974. While the works were in full development, two of Kahn’s friends and collaborators discussed it with Domus.
Four decades before the Olympic season, the Mitterrand era brought a new vision to the French capital by involving big names in architecture such as Koolhaas, Piano and Nouvel in projects capable of writing a new urban identity: we re-explore them from the Domus archive.
In 1984, Domus explored an unusual workspace: the extension that French architect Adrien Fainsilber had designed for his studio, in a barge on the Seine River.
From the Domus archives we rediscover a design for a laboratory complex epitomizing the “green over gray” philosophy with which the Argentinian designer, architect and theorist has become a forerunner of green architecture.
We dive into the Domus archive to go back to the 2000s, when the project by OMA radically revolutionized the image and the very idea of public buildings.
Over sixty years of Domus archive gives us the portrait of a polyhedral figure who has challenged technology to assert that architecture is (also) a work of art.
In 1986, amid prefab gables and capitals, Domus explored the new large complexes that the Catalan architect was building on the outskirts of Paris, symbols of a new political and aesthetic season.
From the Domus archives, the story of a project born over thirty years, uniting the Milanese master with the mastermind of modern American design, longtime art director at Herman Miller.