These 12 photos of Domoto's Lurie and Bier houses were taken for Domoto: Visions of Usonia, a new exhibit at SUNY Purchase's Richard & Dolly Maass Gallery.
The show features materials collected by designer Jan Tschichold and created by the movement's many members, including El Lissitzky, Kurt Schwitters, and László Moholy-Nagy.
While it offers some engaging installations and artifacts, David Adjaye: Making Memory struggles to broaden its scope beyond Adjaye's work and interrogate memorialization in today's culture.
From a snake-sofa that unpacks the ethical implications of virtual reality to tapestries that speak to material innovation, these items reveal latent truths about the present moment.
Renegades: Bruce Goff and the American School of Architecture at Bizzell presents a fascinating chapter of American architectural education.
Shown at Stockholm's ArkDes this fall and now available online, Value in the Virtual explores how our everyday experiences of the built environment will be changed through virtual and augmented reality.
Metropolis interviews the renowned Japanese architect, whose retrospective exhibition Futures of the Future is currently on view at Japan House Los Angeles.
A new show at AIA New York’s Center for Architecture makes the case for a growing global design movement that is forging its own canon.
With curving vignettes designed by Hariri & Hariri, Contemporary Muslim Fashion at the de Young Museum aims to upend stereotypes that come with modest dress.
To evaluate this year’s international design festival, themed “Emotional States,” we used the lens of psychologist Robert Plutchik’s classic “wheel of emotions.”
Freespace, now in its third month, is an exercise in subjective taste-making rather than research-driven programming.
The gallery at the AIA New York Chapter takes an unflinching look at the civil rights leader’s call to action, 50 years later.
Of the cohort of Modern designers working in postwar Italy, few rivaled Gio Ponti—either in sheer prolificacy or in blending industrial…
The collaborative ecosystem of commissioned artists, architects, botanists, activists, journalists, and many others embeds itself into the context of the city, engaging with the cultural palimpsests of Palermo on an intimate scale.
The contributions of these female architects, designers, and planners to the postwar state are told in an excerpt from the Museum of Modern Art's Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980.
Home (Act 1) speaks to a relatable paranoia over smart technology's impact on domestic privacy.
The show, curated by Sebastian Hackenschmidt, head of the MAK’s furniture and woodwork collection, makes the Jugendstil master the focal point of an alternative modernity.
A new exhibition held within a pioneering building of the so-called High Tech movement prompts a reevaluation of the relationship between architecture, technology, and structural expression.
The pavilion, part of the Venice Architecture Biennale's unofficial offerings, explores the culture—and appropriation—of illicit sexual encounters.
At this year’s edition of the Venice Architecture Biennale, there was little evidence of a discipline coming to grips with pressing issues.