For David Gill's gallery in west London, Zaha Hadid has created an ice-like table that appears to be melting into its own legs.

The sleek mahogany yachts made by Italian boatyard Riva in its 1950s and 60s heyday are a high watermark in the relationship between art and luxury. But the world of ostentatious status symbols continues to court that of high culture – and vice versa. Charles Holland made a visit to Riva's base for Icon's August issue.

Tom Loois’ navigational app doesn’t tell users which route to take, it tells them the routes they never take – inviting them to reacquaint themselves with the places where they live.

The Global Design Forum is a new one-day event staged by the London Design festival and intends to inspire new directions for the industry. Book now to secure your place and join the debate.

It seems this simple design tool is a little too simple for some. Magpie Studio proposes another dimension.

The Center for Land Use Interpretation maps and catalogues the aspects of landscape that are otherwise overlooked, from concealed urban oil fields to the architecture of police training centres. It applies the rigour of the early surveyors to the layers of human development that satellites don’t detect. In its understated way, it’s a call to action.

On a lush green hill overlooking the fragrant harbour, Frank Gehry has completed his first Asian building, a block of twelve apartments.

In Icon’s 100th issue, Kieran Long took a prescient look at the Olympic park not only to examine the site itself, but also to find out what it tells us about how the British make cities. A year later, with the Olympics about to start, seems like a good time to revisit the piece and look ahead to the “legacy”.  

Icon 110 is all about Boats. Our cover features Ole Scheeren’s floating cinema in Thailand and we profile the architect – best known for his work on Beijing’s CCTV building – and ask him about life after leaving OMA. British architect David Kohn has beached a boat on top of London’s Southbank Centre, and we also wonder what the new Cutty Sark and Titanic Belfast museums say about modern visitor attractions.

Attempts to reimagine objects at the centre of rituals have proliferated in recent years, as designers seek to restore meaning to age-old habits and symbolism to significant but fleeting moments. Are such items bridging the gap between tradition and modernity or merely commodifying faith?