Fusing Japanese and Scandinavian design, Norm Architects brings poetic, minimalist rigor to a collaborative space for cult-favorite Kinfolk magazine.
A kaleidoscope of palette-driven projects highlights contemporary design at its most vividly realized.
Artists and architects are the curators of our physical world. Leaders in each field are creating bold interactions between space and surrounds, challenging the landscape at some of our most revered museums to change how, and what, we see.
Transformation in its broadest sense, whether concerning a product, space or tradition, is pushing and expanding the boundaries of American Modern design. At the forefront of this movement, Egg Collective and O&G Studio are innovating all categories, honestly and sustainably, with a reverence for art and nature. Meet the makers.
Whether modest A-frame or A-level chalet, the cabin is one of the most democratic forms of architecture ever imagined and, perhaps because of its historically egalitarian quality, endures. The same can be said of California-born brand Heath Ceramics, which under its current owners Robin Petravic and Catherine Bailey, is in very good hands indeed. The company’s latest design coup concerns not wares for the home, but the home itself—a Cabin by Heath.
French renaissance is underway in Provence, where, in the village of Vallabrègues, Benoit Rauzy and Anthony Watson happened upon an 18th-century hôtel Particulier
Coherence, as a word, does not elicit an animated response, nor should it particularly. It is a fixed and broad-shouldered term, reliant as a new day. Used in an architectural context, like when describing the work of Pritzker Architecture Prize-winning architect Tadao Ando
The Hill House had seen better days when its steward, the National Trust for Scotland, first conceived of a solution to protect it, the Box. In the annals of architectural intervention, this concept is actually so far out of any box at all that it should be seen as pioneering as The Hill House was when it was designed in 1902, with the optimism of a new century by architect Charles Rennie Mackintosh.
On a windswept cliff-edge of Tasmania’s Bruny Island, an architectural remnant of an earlier age asserts itself utterly without ceremony, but rather as a thoughtful provocation of the past for present times.
If not hyperaware of the elephant in the room—Frank Lloyd Wright and his architectural opus Fallingwater—the design team at internationally recognized architecture firm Bohlin Cywinski Jackson was aware nonetheless.