On a bright Sunday morning, the Dutch designer Trude Hooykaas rode her bike to the ferry to the northern part of Amsterdam, across the sea arm called the IJ.
To First-time visitors to Boston’s Museum of Fine Arts (MFA), it might appear that the fruits of its $345 million capital project are limited to the recently opened Arts of the Americas Wing at the building’s eastern end, designed by London-based Foster + Partners.
A four-level, 27,000-square-foot performance hall with an auditorium on the two main floors, office space on a small third floor, a lounge and parking below plaza level, and three additional floors of subterranean parking.
A three-story, 50,000-square-foot classroom and research building at North Carolina State University, with lecture halls, laboratories, advising offices, a television production studio, video editing suites, and an internet caf'.
The ubiquitous “Keep Austin Weird” movement seems more defined by what it’s against — big-box stores, Mediterranean-style buildings, Hummers — than what it’s for.
Toward the turn of the 20th century, the world’s fair as galvanizing cultural phenomenon had long been capturing the collective imagination, while its more demure cousin, the regional expo, busily proliferated in its shadow.
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