Metropolis Magazine - Metropolis Magazine May 2010
This year’s competition asked for simple, but brilliant and elegant, design fixes—small gestures with big reach.
In a long career that includes collaborations with Harry Bertoia and Florence Knoll, the furniture designer Richard Schultz has carved out a space in the domestic landscape that’s all his own.
This year’s winner—a bioengineered brick, conceived by a young American architect—may be modest in physical scale, but it has the potential for global impact.
Designers prepare themselves for better times to come.
A new collection from Oberflex brings visual flair to acoustic paneling.
A fresh crop of products brings nature home.
Patrick Morris’s ceiling-hung planters free up space and optimize watering.
A Brooklyn designer makes novel use of a scrappy New York resource.
The economy may be sluggish and budgets tight, but five up-and-comers are doing incredibly rich interiors.
A West Hollywood gallery is designed to capture the interest of passing drivers.
How American designers are weathering the tough economic climate—and what they’ll show at ICFF.
Jason Miller parlays the success of an antler-shaped lamp into a new venture.
The architect Emanuela Frattini Magnusson brings her business education to bear on her latest design venture.
With rolling floors and winding pathways, SANAA’s student center in Lausanne is a building like no other.
Combining a sensitivity to site with an elemental feel for materials and an affinity for people, Peter Bohlin has created a body of work grounded in the principles of enduring architecture.
New York is no stranger to architectural controversy—the Atlantic Yards, the ongoing drama at Ground Zero—and this month the city will be home to two new plays about the recurring tension between an architect’s grand intentions and a client’s conflicting vision. The problem, according to June Finfer, who wrote The Glass House, arises when powerful people “each have a different…
It took a trip to MIT’s new media lab to realize that the era of the computer screen may be over.
When Thomas Phifer and Arup developed a budget for their expansion of the North Carolina Museum of Art five years ago, they weren’t outlining financial expenditures—they were determining lighting levels. “We calculated how much light was best for each kind of art,” Phifer says. “Then we worked to create a museum with a system of variable levels.” As a result,…
GRO Architects finds major opportunities in a tiny residential lot in New Jersey.
The irrepressible designer talks about changing the world, dream clients, and guilty pleasures.