#Architecture

#Architecture

Norihito Yamauchi + 33 More SpecsLess Specs Norihito Yamauchi Text description provided by the architects.

Art Deco buildings are often visible from any angle. Instead of appearing two-dimensional-the way many buildings look when placed directly next to each other-art deco buildings consistently appear three-dimensional. "One way you do this is by building skyscrapers that tower over the neighbors, but they also did more than that." Robins says. "Architects would chamfer the corners or curve the corners, they'd use setbacks and other designs to give the sense of three dimensions."

Robert AM Stern, an architect who fashioned the New York City skyline with buildings that sought to invoke pre-war splendor but with modern luxury fit for billionaires and movie stars, has died at the age of 86. Dubbed The King of Central Park West by Vanity Fair, Stern was credited with designing 15 Central Park West that, in 2008, was credited as being the highest-priced new apartment building in the history of New York.

The Museum of the Amazons (MAZ), a cultural space dedicated to valuing science and technology in the region, opened to the public in Belém on October 4th. The museum is part of Porto Futuro II, which comprises a set of works carried out by the Government of Pará, left as a legacy from COP 30 to the capital of Pará.

Spending a long weekend in Budapest is always a good idea. It's a city of striking silhouettes and quiet corners - the domed Parliament reflected in the Danube, bright roofs of multi-coloured tiles crowning churches and markets, and grand boulevards interspersed with hidden courtyards and tranquil garden squares. Trams slide along the waterfront, bridges frame long views, and the mix of neo-Gothic, Baroque and Art Nouveau architecture lends a sense of discovery to every stroll.

The design by Heatherwick Studio and MANICA Architecture orients the stadium in Birmingham around twelve chimney-like towers that rise from the ground plane and support the roof. Heatherwick Studio draws from Birmingham's history of brickmaking, using reclaimed bricks where possible to give these structural elements a layered, tactile presence. Their scale defines the outer form while shaping light, airflow, and movement inside the building.

I have visited all 50 states, but when I think about the city that I find the most dynamic, New Orleans rises to the top. It's magical. I've been to New Orleans a few times - to see friends, immerse myself in its culture, and attend a conference. But ultimately, my love for the city rests on three pillars: its character, spirit, and cuisine.

The Studio Museum in Harlem reopens after seven years on 15 November. Its new home was created from the ground up on the museum's former footprint at 144 West 125th Street. The first purpose-built space in its 57-year history, the 82,000-sq.-ft building was designed by Adjaye Associates with Cooper Robertson as executive architect-the two teams also collaborated on the recently opened new Princeton University Art Museum. The Studio Museum's $300m price tag-fully fundraised, almost a quarter from public sources-includes construction, operating costs during closure and a $50m endowment (the institution's first).

What you see is the result of a collaborative journey between three fields: education, architecture, and fabrication. The educational perspective guided us in designing a school that responds to the needs of children in a world increasingly dominated by digital technology, fostering instead a connection to nature. The architects shaped forms, spaces, and light that make every living being-children, plants, and animals-feel recognized and alive.

Staring across the Hudson, the young architect imagined a helicopter lifting a trailer from a dinky New Jersey development and placing it on top of a building somewhere in Manhattan. "It was a fantasy," he tells me, "but it was kind of a crystallization of the way I wanted to live in New York." It was the late 1980s. Tesoro was more than a decade out of architecture school and had been running his own firm for a few years.

AD100 designer Robert Stilin, founder of the eponymous New York-based practice has done it twice, with his first monograph, Robert Stilin: Interiors (2019) and now Robert Stilin: New Work (published this fall). For our latest AD PRO Playbook, the designer reveals what it really costs to create a design book, how to connect with the right publisher, and the impact his books have had on his business.