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?
Kimihiko Okada’s winding, modernist, hilltop house on stilts towers over its neighbours in a distinctly dull suburb of Hiroshima.
London-based creative agency Rosie Lee has employed straightforward design principles that websites use every day to relieve what is arguably the greatest British headache – travelling by train.
Kenyan architect Jim Archer has turned Nairobi’s rubbish problem into a solution for those who cannot afford fuel to cook with.
Shanghai’s latest super-sized hotel, office, retail, art and theatre complex employs almost as many architectural styles as it has uses.
Kengo Kuma has combined water, clay and light to create a museum in China that reflects the ancient Taoist tradition's affinity with nature.
Apple stores are not only filled with devout followers, they are loaded with the symbolism and rituals of cathedrals. Has the company's curious mix of Californian hippydom and hyper-capitalism finally turned it into a world religion?
Ab Rogers, new Head of Interior Design at the RCA, has pioneered a new two-year MA course that will encourage graduates to extend their thinking on "altering architecture" and take a multi-disciplinary approach to purpose-filled interiors (the deadline for applications is September). Rogers shared 5 of his favourite things with Icon in our June issue.
K2S Architects has used simple shapes and local materials to create a quiet, intimate space for reflection at the heart of bustling Helsinki.
The Pershing Square Signature Center is an off-Broadway venue that ditches the flash alloys and returns to Gehry’s rough and ready roots.
Jean-Louis Cohen’s history of avant-garde architecture in the 20th century explores how ideas are conceived through buildings, providing fascinating insights into more familiar narratives, says Tim Abrahams.
Pyongyang is a magpie collection of authoritarian forms and styles which draw on influences such as Moscow’s Metro and Haussman’s Paris. Owen Hatherley dips into a collection of essays on and photographs of the North Korean capital’s maniacal monuments.
With the 1948 “Austerity Olympics” as its starting point, the V&A surveys 60 years of British design, architecture and fashion. From punk posters to Laura Ashley florals, the exhibition questions contrived notions of national identity to reveal a country caught between modernity and nostalgia. Here’s our review.