The tumult of Kiev's postwar history is evident in its architecture: The bombast of Stalin's elephantine classicism was abruptly superseded by swaths of grimly utilitarian housing after Khrushchev's turn against “unnecessary excess.” 

Mass Tourism has a paradoxical effect: The infrastructure for access and interpretation it demands can obscure the very thing visitors come to see.

Thomas Heatherwick’s unconventional approach flouts design orthodoxy. A visit to Thomas Heatherwick’s London studio is like stepping into a Renaissance cabinet of curiosities—one of those idiosyncratic efforts to capture the wondrous variety of the natural and man-made worlds. Strange objects crowd the shelves and floor, indeterminate forms that might be product prototypes, scale models, or sculpture, hinting at the fertile imagination of a designer who transcends any narrow job description. For a New York City Longchamp store, Heatherwick created a series of curving, thermoplastic balustrades.  Heatherwick set up his studio in 1994 fresh out of college, and he employs 80