Karim Rashid's residential building on Pleasant Avenue in Manhattan, called HAP 5, broke ground in April. If New York Mayor Bill de Blasio wants affordable housing that isn’t cookie-cutter, perhaps he should consult Karim Rashid. At 53, Rashid is best known for designing household products. But now he wants to design households for those products, and he is getting his wish: among his current projects are four Manhattan condo buildings, the first of which is already under construction. Though they are recognizably Rashid’s—with ample curves and Kool-Aid colors—they are also economical, with construction costs of about $250 per square foot.
The Rising: A museum devoted to a traumatic event provides space for soaring emotions as it descends to bedrock. Slurry wall and “Last Column” on the exhibition level. Fought over, stalled, reconceived, and finally built, the National September 11 Memorial Museum has followed a tortuous path since it was first proposed in Daniel Libeskind’s 2003 master plan for Ground Zero. While nearly every part of the redevelopment effort at the World Trade Center site in lower Manhattan has generated debate, the museum has been a lightning rod for particularly intense criticism and controversy. Its role as the main keeper and
New York architect James Biber is working with Andrea Grassi of the Milan firm Genius Loci and Susannah Drake of Brooklyn’s dlandstudioon the design of the U.S. pavilion at the Milan Expo 2015. The State Department has chosen a group to design, build, and operate the U.S. pavilion at the Milan Expo 2015. The theme of the Expo is "Feeding the Planet, Energy for Life”; the U.S. pavilion will focus on American food production, says its architect, James Biber, who runs a small firm in Manhattan’s Woolworth Building. Biber, who has designed several restaurants, including New York’s venerable Gotham Bar
The International Hurricane Research Center in Miami features 12, six-foot tall fans—a virtual Wall of Wind—capable of simulating Category 5 hurricanes to test the performance of structures and materials. In the weeks before the exhibition Designing for Disaster opened on May 11 at Washington, D.C.’s National Building Museum, a wildfire in Oklahoma forced 1,000 people to evacuate and tornadoes ripped through the South and Midwest, killing 34 people. In the U.S., the threat of natural disaster is always with us. As the exhibition (open through August 2, 2015) makes clear, our strategies for preventing disasters and lessening their impacts have
The Czech artist discusses her installation “The Architecture of Sleep” at the Frieze Art Fair. Performers precariously snooze in artist Eva Kotátková's installation The Architecture of Sleep at the Frieze New York art fair last weekend. The annual Frieze New York art fair took place last weekend, and as usual, conditions inside the quarter-mile-long tent that houses the event felt a bit overstimulating. Inside the brightly lit belly of the temporary structure, a snaking white form designed by Brooklyn firm SO–IL, visitors bounced among 190 booths where dealers presented work in eye-catching installations arranged to command maximum attention from collectors.
It’s typical for a public institution to announce a big building project with fanfare. But when the same project is dropped, the institution may invoke its right to remain silent.
Istallation view of Binet's work on view in Ammann//Gallery's booth at Collective 2. The second edition of the Collective design fair takes place this weekend in Manhattan. This year, the fair—founded by architect Steven Learner—has set up shop in the atrium at the McKim, Mead & White-designed Farley Post Office in Manhattan and added 19 additional galleries to its roster. One of the newcomers, German dealer Gabrielle Ammann, is offering work by Zaha Hadid, Wolfs + Jung, Satyendra Pakhalé, and several others—including an impressive table by Studio Nucleo—but among the highlights of her booth are 10 prints by architectural photographer
Diamond Table During the recent season finale of the NBC sitcom "Parks and Recreation," the show’s resident curmudgeon-slash-woodworker, Ron Swanson, while rushing to finish a handmade chair before an important deadline, smashes his intricate design. “It was too perfect,” he explains. “People will think it was made by a machine.” It’s a sentiment that pops into mind when touring Joris Laarman’s new exhibition Bits and Crafts (through June 14) at Friedman Benda gallery in Manhattan. The show features the results of Laarman’s experiments at the crossroads of technology and design. By using the latest in 3D printing, like the MX3D
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