At this time of hyper-commercialism, the German mall is bucking the trend with a Christmas market that focuses on independent design brands and a changing roster of small-scale local makers, says Giovanna Dunmall
From Lyon's experiment in public lighting, to Ireland's efforts to establish its international design reputation, our latest issue looks at the design that has a tangible impact on people's lives and moods
This ambitious exhibition at the Barbican in London reminds us that the celebrated American designers were making films to shed light on their thinking process long before it was commonplace – with greater depth and insight than many doing the same today, says Peter Maxwell
Germany once ruled the auto industry, but all that’s left today are nods to history, macho fascias, broad haunches, sagging sides – and cheating on emissions tests, says John Jervis
From plywood to crowdfunding, they're being hailed as the next big thing – but how long will that fuzzy feeling last?
Too often, vibrators are designed from a male perspective, but a Czech designer has taken a less flashy, less phallic approach on her collection, Whoop-de-doo, which launches later this month
An exhibition in Washington documents the freeing influence of landscape designers Wolfgang Oehme and James van Sweden on the carefully-manicured gardens of the US in the mid to late 20th century, but it fails on occasion to capture the exuberant spirit of their work, says Nate Schulman
The British designer froze metal to –346 degrees while living in a Liverpool factory to produce a collection of tactile, weighty furniture, on display in an exhibition in New York. Caia Hagel went to the show’s opening
From “artisanal” and “timeless” to, erm, "iconic", these words are the most slippery and overused in the design industry. Of course, we haven’t used any of them in our latest issue ...
The annual publishing conference highlighted the increasingly blurred boundaries between different mediums and initiatives within a magazine brand, says Anja Wohlstrom
Serious money is moving into the city’s old shipyards, now one of Europe’s most vibrant creative quarters. For ICON 150, Enya Moore went to find out whether the area's rapid transformations means the designers will eventually be moving out. These photos, by Raoul Kramer, accompany the article
The absence of a “Bond Villain’s Lair” aesthetic in Spectre, the latest instalment in the James Bond franchise, reveals the disconcerting state of London's corporate architecture, says Edwin Heathcore.
Over-indulging on food has always been a symbol of wealth and status. But today, it’s not the produce that counts – it’s the packaging
Businesswomen, kings and medieval Asian warriors have all understood the symbolic power of heeled footwear. And its impracticality only seems to add to its allure
Rem Koolhaas mixes preservation and provocation in Moscow, turning a Soviet-era workers’ canteen into a contemporary art space, says Edwin Heathcote
While there has long been a vast archive of critical writing about architecture, design in general has been somewhat neglected – until now. Icon contributor Edwin Heathcote explains his latest project
“Futuristic” novelty workplaces, far-too-smartphones, greenwashed office developments, anthropomorphic corkscrews ... These are all, frankly, abominations and we shall smite you down
A show in Copenhagen examines why Danish architects and designers have drawn so much inspiration from a country on the other side of the globe, says Mille Collin Flaherty
A mirror’s function has always been to provide an accurate likeness. So why are recent designs more interested in playing with the viewer’s sense of identity?