Ian Siegel is a futurist. As founder and CEO for ZipRecruiter, the job-seeking site, he spends a lot of time thinking about what happens next in work. From his 11th-floor office in downtown Santa Monica, Siegel says, he can see seven different parking garages, each one capable of hosting north of 1,000 cars—none of which will be necessary in the future he foresees.
From gentrification to unaffordability, how do you fix a city in crisis? We speak to Richard Florida about his book ‘The New Urban Crisis’. We’re also in Paris to look at the mayor’s plans for an abandoned railway.
Seminal art and design theorist Hal Fosters reviews Piano: Renzo Piano Building Workshop 1966-2005 by Philip Jodidio and Renzo Piano Building Workshop Vol. IV by Peter Buchanan for the London Review of Books, Published in September of 2007.
Antoni Gaudí is known to many as the genius behind Sagrada Família, the monumental church in Barcelona, Spain, that has been called “the most extraordinary personal interpretation of Gothic architecture since the Middle Ages.”
Throughout the French countryside, especially in less visited rural areas of eastern and central France, some homes have fallen victim to speculators who strip their architectural treasures and sell them, often abroad, leaving once graceful historic structures little more than empty shells behind gaily painted facades.
IN AN OBLIQUE commentary on global politics, the Pritzker Prize jury just awarded architecture’s highest honor to a little-known trio of Spanish architects who carefully honor local topography and culture in their contemporary designs.
With just a few lines and shapes, Isamu Noguchi’s set design for Martha Graham’s ballet “Appalachian Spring” suggests a landscape and a way of life. The outline of a house, described with soaring beams, is clean and severe. The only furnishings are a narrow bench and a rocking chair.
The Urbanist looks at those slightly unusual structures that make you ask: how did that get built and what does it say about the city that hosts it? They cover some very obvious eyesores, peculiar street furniture and divisive buildings challenging all architectural norms and models. Is it time for us to embrace them?
Take an object. Do something to it. Do something else to it. Art can take something as dark as the Hay Institution for Girls, as hateful as that graffiti, and in applying the transfiguring power of ‘something else,’ it can give us the strength not to turn away and normalize, but to keep looking—and in doing so to question, provoke, understand, reject, change.
The secret to happiness in almost any relationship is knowing what not to say. Ask your new love about her old loves and you’ll learn more than you want to know, and hear things you’ll never be able to unhear.
With murder rates double, and robbery rates three times, the state average, the Sydney suburb of Blacktown is not an obvious choice as a world leader of sustainable living.
But, in 2016, a new master-planned estate in the suburb became the first residential community in New South Wales to be awarded a top, six-star Green Star community rating by the Green Building Council of Australia (GBCA).
In the future, our cars will drive themselves. That much is clear. But what we choose to do with our time while being driven to our destinations has sparked a weird, little-noticed movement in the technology and auto industries to redefine automobiles as social environments on par with our homes and work places, a space also known as the “third place.”
A sense of orientation is a useful asset for a living thing. Many creatures appear to tap into the Earth´s magnetic field to locate themselves within, and move around, the planet. Sea turtles, pigeons, dolphins, migrating birds and even dogs—who show a preference for a North-South alignment when they excrete—all seem to be equipped with such a sense.
After a factory in Dongguan, China, replaced most of its workers with robots, it witnessed a spectacular rise in productivity.
Random International’s Rain Room, the large-scale, interactive installation in which visitors experience an artificial downpour but never get wet, has been acquired by the Los Angeles County Museum of Art (Lacma).
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