The Venetian designer has recently opened a second studio in Stockholm and is letting his new, bicultural existence influence his work.
With several new buildings in Tbilisi, Michele De Lucchi is bringing Italian design to the historic heart of Georgia’s capital. But is his latest work a powerful statement or a bridge too far?
Frank Gehry’s first skyscraper, the tallest residential tower in the western hemisphere, is being marketed as “New York by Gehry” and rubs shoulders with City Hall and the Woolworth Building. But how much does it connect with the city around it?
In his Disassembly series, Canadian photographer Todd McLellan dissects discarded machines, laying out their parts with forensic precision.
Artists, architects and designers – among them Zaha Hadid and Kiki & Joost – come to the Berengo Studio in the Venetian Lagoon to work with its glass masters, part of a project to restore art to the craft.
Designers Sam Hecht and Kim Colin – better known as Industrial Facility – have been collecting curious examples of inexpensive industrial design for years.
Designers Sam Hecht and Kim Colin – better known as Industrial Facility – have been collecting curious examples of inexpensive industrial design for years.
The simplicity of Philippe Malouin’s work is misleading. What really excites the London-based furniture designer is a tricky brief and the experimentation that eventually reveals a new way of doing things.
William Wiles finds a dinner-based exploration of protests and policing hard to swallow (unlike the dreamy dessert).
Owen Hatherley enjoys two different photographic takes on London council estate interiors: one melancholic, the other urgent and polemical.
As the internet allows the general public a front-row view of catwalk shows, labels are seeking ever more exclusive venues.
Was the demolition of a St Louis housing project in 1972 the death of modernism? This heartfelt documentary won’t be drawn.
The actress’s love affair with kitsch recreations and unrestrained antiquing is part romcom, part confessional horror movie.
Since it started in 1995, the Cape Town design conference has grown to attract some of the sharpest minds and most original talents from the worlds of architecture, design and graphics. Here Icon talks to three of this year’s participants.
In the lead-up to the year’s biggest furniture fair, we preview products from British designers Barber Osgerby and Benjamin Hubert, shine a light on Greta Grossman’s reissued 1940s lamps, and ask Tom Dixon why he’s leaving the exhibition halls to break new ground.
Odile Decq’s Rome gallery is a bold collage of interior spaces, but makes a quieter insertion into the city fabric than Hadid’s MAXXI.
Michael Maltzan and James Burnett have created a “campus” of gardens, play areas and built elements across nine acres of West Los Angeles.
The architect’s stem cell research laboratory in San Francisco provides communal spaces for creative thinking, as well as dramatic views.
Barcelona’s neglected masterpiece of Catalan art nouveau has been restored by Factoria Uda and upgraded to a four-star hotel.
The world’s richest man employed his son-in-law to design a “gift to Mexico” – a shining gallery housing Rodins, old masters and national art.
Sebastian Bergne’s range of cookware for Tefal might look like cast iron, but it’s lightweight aluminium – and it’s meant to help its user lose weight too.
Ljubljana-based architect Enota brings an air of festivity to a tiny rural community on the Croatian border.
An architect’s home in Madrid doubles as his research laboratory and makes whimsical use of gigantic elements from civil engineering.
Hagy Belzberg’s design for LAMH’s new home folds quietly into the landscape, allowing people to pass by while “horrible things happen just yards away”.
An apartment building in Cascais, Portugal,acts as a large-scale sculpture connectingthe surrounding park to the coast.
An unusual upholstery method makes the experience of sitting on this bench by Swedishduo Fulo more comfortable than it looks.
Shigeru Ban marries a simple concrete structure with locally crafted teak screens and ceilings on a clifftop in southern Sri Lanka.
Peter Eisenman’s vast arts centre is the culmination of a lifetime of ideas, and a fitting end to an era of grand civic building in Europe.
Eight years after his death, the architect who built very little – and occasionally argued for the demolition of what he did complete – is still making people think sideways about the spaces we inhabit.
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