Over his 60-year career, Roberto Burle Marx established himself as a key figure in South American Modernism by designing more than 2,000 gardens and landscapes around the world for private residences, civic buildings, and public spaces.
Harry Bertoia may be best known for the Diamond chair, an airy icon of sculptured wire. But last week, New York’s Museum of Arts and Design debuted two exhibits showcasing some of the Italian-born sculptor and designer’s less familiar talents: his jewelry and his forays into sonic art.
While the Yale School of Architecture is one of the leading architectural education programs in the country, it is—probably to the surprise of many—much younger than similar programs at universities with whom it shares top billing.
The New York architecture community has been in a swivet since the posting of an article titled “MoMA to Abolish Architecture and Design Galleries” in Architects Newspaper on April 12.
Ai Weiwei, China’s most famous living artist, is not a licensed architect, but he sure acts like one: He designs buildings, creates gigantic site-specific installations, organizes art exhibitions, and makes works of art constructed like houses.
Named for the visual phenomenon of a mirage suspended just above the horizon, the installation Fata Morgana by Brooklyn-based artist Teresita Fernández hovers above New York's Madison Square Park.
Currently on view at the Fondation Louis Vuitton in Paris is Olafur Eliasson: Contact, a monographic exhibition devoted to the internationally renowned Danish-Icelandic artist. In his show, which closes February 16, Eliasson explores the mysterious spatial effects of electric light, mirrors, and other materials to superbly complement the architecture of the strikingly sculptural building designed by Frank Gehry.
The Immersion Room on the museum’s second floor features more than 200 examples of the Cooper Hewitt’s collection of wallcoverings, and allows visitors to select their favorites or draw their own designs, and then project them onto the gallery walls. There are “super-high-definition smart tables”—glass touchscreens mounted on aluminum pedestals—throughout the newly renovated Cooper Hewitt, Smithsonian Design Museum in Manhattan. By running their fingers across the tables, visitors make shapes that are then displayed as hats, lamps, tables, vases, chairs, or buildings. During the museum’s opening week earlier this month, the system attracted the attention of everyone from a 4-year-old
