Metropolis Magazine - Metropolis Magazine December 2007


Life After the Atelier

Rogier van der Heide’s transition from intimate studio practictioner to running Arup’s global lighting operation has been a case study in collaboration.

George Lois

George Lois answers a few questions on graphic design, inspiration, and process—using his thumbs.

Total Garbage

Konstantin Grcic, the prolific industrial designer from Munich, has a soft spot for rubbish. His trash cans for the German company Authentics were small miracles of functionalist design, and now he’s reprised them with Top, a new line of rainbow-hatted polypropylene bins. A weight in the back of the lid aids in opening and closing, and retractable connectors daisy-chain the…

7 Seminal Spaces

Some of our best interior designers take a walk through their favorite rooms—past and present—showing us the moves behind the magic.

Green Watching

When Tad Fettig and Karena Albers, castaways from the world of commercial advertising (they met in Hawaii on a shoot for Degree deodorant), conceived of a show about eco-architecture, they imagined a small-bore project: “Sort of like This Old House meets green,” Fettig says. But as they began research for what became the PBS documentary series e2 design—which, in its…

Custom Cuts

Rudy’s Barbershop–a West Coast mini-chain with national aspirations–may have a formula for growth that satisfies a new generation’s thirst for authenticity.

In the Bag

With thick felt cables that give it an accordion-like ability to expand, the Stockholm bag reveals a lot about its provenance—no, not the Scandinavian capital for which it was named, but its architectural origins. Both Kelly Smith—the carryall’s ­designer—and her husband, Chris Grimley, logged time at Boston’s Machado and Silvetti Associates before launching Etcetera Media to tackle structure on a…

Redefining Local

The American University of Sharjah injects some regional ­tradition into the rapidly modernizing Middle East.

Sublime Insanity

­Herzog & de Meuron’s 40 Bond is Ian Schrager’s latest over-the-top attack on the cultural status quo.