Wim Wenders lets the architecture do the talking in his latest series of documentaries about landmark buildings. It's just a shame the buildings don't have a better script, says Isabel Stevens
Our October issue, available from 5 September, looks at the V&A's mannequins, Tate Britain's robots, Rogers' British Museum extension and the politics of designing the 9/11 museum exhibits
The RIBA has announced the shortlist for the annual architecture awards. Here are the six buildings in the running
London’s newest attraction – the 244m-high viewing platform of Renzo Piano’s Shard, western Europe’s tallest building – opened to the public in February. Is it worth climbing up this very tall building just to look back down to where you came from? And are buildings like these more about the view than the architecture?
In this issue Icon talks to Adrian Smith, chief architect of Dubai’s Burj Khalifa, the tallest building in the world. Smith has been designing skyscrapers for 44 years and is working on an even taller tower in Saudi Arabia. Winy Maas of MVRDV tells us about his pixel towers project, and we take in the view from Renzo Piano’s Shard in London. Plus: the latest Scandinavian designs in this month’s design report.
Renzo Piano’s art complex on Oslo’s waterfront is suitably monumental on the outside, but strangely sterile within.
Hal Foster turns a spotlight on famous buildings, but pays no heed to their contexts, says Kieran Long.
The ten-block extension to James Corner’s New York rooftop garden takes in breathtaking views and an ever-changing variety of tropical greenery.
London has two new skyscrapers: the Heron Tower, the tallest building in the City, and the Shard, the tallest building in the EU. We took sculptor Richard Wentworth to appraise them as additions to the street scene – and peek at OMA’s super-discreet bank HQ along the way.
Cassina has recreated a 1940s bookcase by the celebrated neo-rationalist designer, solving the structural problems of an influential but precarious prototype.
Is speed an essential quality of the 21st-century museum? If the architect’s job is to oil the wheels of the culture industry, then perhaps it is. With Tate Modern getting 4 million visitors a year, you need to drive the culture-hungry through the pens quickly. But the museum is not traditionally a place of swift passage, it’s one of thoughtful wandering and edifying pauses
Part treatise, part memoir, part moan, this latest book from the doyen of Finnish architecture makes a case for craft, touch and memory, says Tom Emerson.
The architect that every American museum has on speed-dial has just ticked off another city with the extension to the Art Institute of Chicago.
Renzo Piano's Modern Wing extension for the Art Institute Chicago opened to the public on Saturday. Piano says that civic pride made the building a reality and the turnout would support that: 25,000 people walked through its doors on the first day.
A living roof covers the headquarters of the California Academy of Sciences in San Francisco, designed by the Genoa-based Renzo Piano Building Workshop in collaboration with local practice Stantec Architecture (formerly Chong Partners Architecture).
Marco Goldschmied, erstwhile partner of Richard Rogers, once told me a story about taking a cab from the airport to Beaubourg in the centre of Paris. When he told the driver that he was one of the architects responsible for the Centre Pompidou, the cabbie abruptly stopped and told him to get out and walk.