Part investor, part industry-navigator, Map Project Office helps crowdfunded ideas to become a reality. Could this be a model for other studios to follow, asks Will Wiles?
Owen Hatherley’s latest book examines the 1930s/40s/50s revivalism that has engulfed this country since the financial crisis and delivers a solid kicking to the austerity nostalgia of the left, says Will Wiles
Darran Anderson’s ambitious tour of the city in myth, fiction and history veers down some unexpected paths, but Will Wiles is more than happy to tag along
Will Wiles is gripped by an exhibition that exposes the links between art and crime like luminol on a blood-spattered carpet
For over 60 years, this single company has systematised and shaped designers' notions of colour. So how did that happen?
Sometimes it is the unexpected or overlooked that can have the greatest impact. UltraRope is a new carbon-fibre cable for lift shafts that could revolutionise our skylines, and possibly even our journeys through space
There's something nasty in the flatpack furniture store ... Will Wiles enjoys a ghost story with a truly sinister setting
After closing time at Tate Britain, four silent robots move around the galleries. As their flashlights illuminate the walls, an internet audience enjoys a robot's-eye view of 500 years of Old Masters. But this project is not about art – it is about the special power of a museum at night, and the transgressive thrill of being allowed to enter
Slaughterhouses are meant to look anonymous, so rarely is much thought given to their exterior design. Yet those assembly lines of suspended carcasses played a fundamental role in the grisly birth of modern architecture
From spaceship airlocks to hotel floor tiles, the director went to painstaking lengths to create the physical environments of his most famous films, writes Will Wiles
In 2001, Rem Koolhaas put a name to the soulless, mallified space that was spreading virus-like across the planet. His rambling, witty essay still serves as a powerful lament for modern architecture.
For their exhibition at the Design Museum, Edward Barber and Jay Osgerby capture a series of objects during the process of manufacture. The show explores the duo's concerns that society is losing touch with the act of making, as well as the cryptic beauty of half-formed products, says Will Wiles
Lifts changed how classes mixed inside buildings and skyscrapers couldn't exist without them. Will Wiles rides up to the executive suite
The architectural historian may be closely identified with conservation, but his essays reveal a remarkably flexible outlook, says Will Wiles
While much recent design has been preoccupied with the opportunities presented by new technologies, this Dutch design studio has been thinking ahead to the risks of the future
The painstaking, at times obsessive, work of self-taught artists and inventors presents a poignant vision of the future says Will Wiles
Dunne & Raby envisages four futures for the United Kingdom, each displaying a different attitude to technology. Will Wiles considers the options.
Richard Rogers has always urged people to consider the dialogue between structures in a cityscape, rather than just individual buildings – an interest that can be traced back to his mother’s arrangements of ceramic pots that occupy a central space in his home