For some, architecture has a unique ability to transpose fantasies into reality. And if you were an urbane heterosexual male in the last half of the 20th century, there weren’t many better fantasy generators than Playboy.
Keynote speaker Neri Oxman presented a fantastic architectural future, while the AIA launched a film contest and plans for special-edition bullion coin
This morning, after a marathon night of celebrations across Philadelphia, architects (caffeine at the ready) assembled for Day Two of the 2016 AIA convention.
Romaldo “Aldo” Giurgola was born in Rome, Italy, and died this week in Canberra, Australia, the site of his most famous work: a government complex surrounded by bermed earth that made it possible for visitors to walk on and around the building.
When the Philadelphia Museum of Art started to plan an exhibition about Africa, it informally surveyed visitors, asking for their general impressions of the continent.
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.
Though the scaffolding on the National Museum of African American History and Culture’s new building on the Mall in Washington, D.C. has been down for some time, allowing the public full view of its three-tiered, crown-shaped exterior of bronze-colored cast-aluminum panels, on Thursday, a small group of journalists was given a tour of its nearly complete interiors, where installation of exhibits has already begun.
Related Midwest has signed a deal to develop a vacant 62-acre parcel of land linking the city’s South Loop and Chinatown neighborhoods, the Chicago Tribune reports.
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.