"What we wanted to do was to make this about people. When I came into my role, it was exactly at the time that the pandemic began. We built a team, an idea, and a vision through remote work."
Sabahs are made entirely by hand from 100% leather in either Texas or Turkey—two regions with distinct yet deeply rooted relationships to the material. The result is a shoe that varies subtly from pair to pair, even within the same size.
The curators of Greater New York really captured the energy of the city well - not the out-of-towner's New York with its glossy surfaces, brands, and trendy fare, but the gritty New York that's always in the process of formation, that rejects surface in favor of rawness.
Crews have begun shedding layers of scaffolding that kept the Flatiron Building covered since before the COVID-19 pandemic, allowing New Yorkers and visitors to once again bask in its glory.
I realized that we don't really think about it this way, but Sodom was a book about war profiteers, that the four men who perpetrated the atrocious, sexual, violent acts of kidnapping people-girls and boys-to bring them to their chateau to do whatever they want with them, they could do that because they were war profiteers within the war of Louis XIV.
The whole reason we're here is we know something is impossible, but we also know it's inevitable. He pulled off a trick where a member of the audience mixed up a Rubik's Cube, then Blake presented a second cube with identically arranged colors, demonstrating the paradox of magic where the impossible becomes inevitable through skillful illusion.
It is with heavy hearts we would like to share with you personally that this season at Coney Beach will be our last. It's the end of an era. For over 100 years we and other showmen and their families have lived and worked in Porthcawl helping to make it a busy seaside destination bringing fun, laughter, and fond memories to so many.
While working on a graduate school paper on the mystical powers of coral, gemologist Anna Rasche ventured deep into the archives of the Cooper Hewitt Smithsonian Design Museum's library. Coral is the most powerful material to ward off the evil eye-a belief Italians have held since ancient times. Romans often gifted newborns coral amulets to prevent sickness and bad luck.
While most people think of the New York subway as a way to get somewhere, I happen to think of it as one of the greatest art museums in the world - and it only costs $3 to get in. As long as you don't go through the turnstiles, you can go from station to station all day long marveling at the wall art.
The story of this corner of London runs deep. The roots of settlement here stretch back to the 10th century, when King Edgar granted 13 acres of riverside land to 13 knights (yes, an acre per knight), with permission to use it for trading along he river. By 1125, there was already a dock at St Katharine's. Over the centuries, the area grew into a small but busy community, complete with a hospital, a monastery, a school, almshouses and its own court.
In a white and sterile office that could belong to any one of the warehouses that dot this industrial strip between Brisbane's airport and horse-racing precinct, a young woman is engrossed in a puzzle. Only this puzzle comprises, perhaps, three different sets, each almost (but not quite) identical to the other and none likely to be completed. Emily Totivan wears blue plastic gloves. She is an archaeology student helping to catalogue artefacts.
New Hampshire, like several states in New England, is home to a ton of abandoned and forgotten ski areas. Many of them have completely faded, recognizable only by the slight appearance of a trail or two. Others still have buildings, lift parts, and other lost equipment spread throughout the area. Mount Whittier in West Ossipee, New Hampshire, is one of those abandoned areas that still visible through buildings and gear. Avery Zucco explored the area, finding lift poles, buildings, gear, and much more.
As someone who loves vintage things, you can find me at my local thrift store regularly. I enjoy stocking my closet with secondhand finds and finding gifts or unexpected storage gems instead of buying them new. The thrill of the hunt is ultimately what keeps me going back time after time. Whether I have 10 minutes or an hour to peruse, flipping through clothing racks and scouring the shelves always brings me joy,
A Gothic cathedral can take centuries to complete. A world exposition pavilion may stand for six months. A ritual structure in Kolkata rises and vanishes within five days. Yet each draws pilgrimage, shapes collective memory, and reorganizes urban life. If heritage has long been defined by what endures, architecture repeatedly shows that cultural authority can also belong to what gathers people.
Life doesn't pause for grief or fear. You might be going through something devastating but you're still packing lunches, still driving your kids to baseball practice, still showing up to work. One minute I find myself prepping for a whole home presentation and the next minute I'm checking the news, hoping and praying that no one has been killed on the streets today.
Picture this: you're knee-deep in renovation dust, crowbar in hand, when something unexpected tumbles from behind century-old plaster. A yellowed envelope? A strange metal box? That moment when your heart skips because you realize you might have just found something extraordinary. For some lucky homeowners, these discoveries turn out to be worth thousands of dollars, transforming a simple home improvement project into an unexpected treasure hunt.
Heritage sites constitute complex spatial archives in which architecture, history, and collective memory converge. They encompass a wide spectrum of contexts-from archaeological remains, ancient and historic townscapes, UNESCO-listed landscapes, to early modern civic structures and industrial infrastructures. Yet these environments confront challenges: climate change, urban transformation, disaster, shifting social needs, and the gradual erosion of material fabric. Revitalization and restoration projects respond to these conditions by positioning architectural and spatial practice as an active mediator between preservation and the contemporary topologies.