Metropolis Magazine - Metropolis Magazine November 2005
Two decades later, Michael Graves is still best-known for one Alessi design.
After completing an ambitious waterfront initiative the city recently changed leadership, raising the question: Is this the end of 20 years of urban enlightenment?
Atelier Bow-Wow uses bright colors to squeeze lively spaces out of a small structure.
Workplace design has long been on the verge of adapting a twenty-first-century model—even before the millennium rolled around. The dot-com boom of the 1990s dramatized the energy of the electronic workplace then went bust. But in those heady days we learned that instant, global, and seamless communication was becoming a reality. However, this new web of connections remains for many…
America’s mania for big has reached epic proportions. Bigger is now more than just better—it’s ginormous!
A Santa Cruz program promotes garage conversions as an alternative to sprawl.
The artist’s 612 cardboard boxes of junk offer a gateway to the past, the present, and maybe even the future.
Brand Central Station: Inside Bloomberg’s HQ
Bloomberg’s new offices, by Studios Architecture, weave information, technology, and space into a seamless display of interior urban planning.
Bloomberg’s new offices weave information, technology, and space into a seamless display of interior urban planning.
Equal doses of nature and art produce a healthier dialysis pavilion in Pistoia, Italy.
As the venerable conference reorganizes, a larger question persists: What relevance does it hold today?
A German studio responds to the ubiquitous Balkan air conditioner.
As thoughts of rebuilding turn to action, some important questions must be raised.
The Tel Aviv showroom for Israeli clothing line Delicatessen, by architect Guy Zucker, is inspired by the mutable nature of fashion itself. “Constant change is the most interesting thing about the fashion world,” he says. “I am always curious about where the line is drawn between the ephemeral and the stationary in architecture.” With that in mind Zucker set out…
Chris Garofalo’s transition from graphic designer to ceramist was evolutionary. “At first I did more painting on pieces than actual textures,” the Chicago-based artist says. “Eventually I wanted them to look like they grew by themselves, that my hand wasn’t involved. So I started doing less painting and more glazes that looked like skin and fur—natural things.” Garofalo’s work blurs…
Brass, steel, aluminum, and copper combine in a physical expression of a union’s craft.
Every product in Bloomberg’s headquarters reflects the brand as much as it serves the work.
Chicago’s premier venue for contemporary art overhauls its design collection and anticipates a new extension.
The latest contract products are tools for personalizing office environments.
A design-build workshop in Nova Scotia reconnects students and practicing architects with the past.
Information—key to the Bloomberg empire—becomes an intrinsic part of the visual experience.