first of its kind smartwatch providing the time with tactile information instead of visual clues. you don’t see time ticking away, you feel it.
note: this is a special category used only when we wish to place the object in the e-zine “Editor’s pick” window.
this zero-emission car is designed for an era of luxurious limited space.
frida escoberdo has designed a monolithic timber, tiered platform in randolf square – a singular formal gesture with moveable modules that allows for informal lounging, gatherings, and forums. the installation mirrors the chicago cultural center’s gridded ceiling.
asks 24 architects to reconsider the status of the architectural interior. the exercise foregrounds the importance of the interior as a model of sociability. the architects reference a photograph of a canonical interior, from any time period.
the serial nature of these works might suggest a reading against a lineage of art from the 1970s often called process or serial art, which exhausted an idea or concept in a monotonous way.
redistribution as a practice has the potential to recover a type of building that – unlike renovation, adaptive reuses, preservation, or restoration = permits the circulation of building components, taken apart, moved around, piled up, and mixed with new construction to create alternative uses. t + e + a + m is looking for a patron to make it happen.
nuez is described as enveloping, suggestive, warm and at the same time technological.
the wallderful: mexico city dellekamp arquitectos proposes not a wall, but a bridge between countries.
caruso st john (london) present a room that highlights the circulation of images, references, and histories between their own office and their collaborators artist thomas demand and architectural photographer hélène binet. a felt wallpaper – folds – forms a wall around a table of five models. works by benet hang on the wallpaper.
super models presents replicas of twelve models collected by german architecture museum (dam ) during the 1980s. despite the assumption that museums only knowingly show original works of art, models commissioned to replicate buildings have long been part of the culture of architectural exhibitions.