#american-modern

#american-modern

The collection spans several categories in the home, featuring smart storage pieces like the electric lime Lacquer Entryway Storage Pillar and a crescent moon-shaped chair and ottoman set.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

In the digital world that we're in, you know, negative videos are what goes viral. People are always knocking people down a peg and it's really easy to fall into that. If something bad happens-which, when you own your business, something bad happens every day- it's easy to circle in despair. But my challenge is to look for the positive and figure out how to pivot, and if something isn't working then figure out a different way to get it done.

"It has been estimated that one million five hundred thousand houses each year for a period of 10 years will be needed to relieve the urgent housing problem of this country. The enormity of such a need cannot even be partially satisfied by building techniques as we have known and used them in the past."

The style is characterized by raw, exposed concrete and bold geometric forms. You've certainly seen it before in many cultural and civic buildings built between the 1950s and '70s. With countless examples spanning countries and continents, the look has both historical significance and remains popular-particularly in residential design-today.

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

Like the chambered nautilus, its shell was a logarithmic spiral. A wall of rough sandstone and aquamarine glass cullet twisted up fifty feet to an oil-drill-stem mast from which a floating roof was hung by the stainless-steel struts of World War II biplanes. You slid in with the humid air from the ravine outside to stroll a terraced garden of pools and plants, over which suspended and carpeted pods for living and sleeping drifted like clouds.

Bassman's photographs, in fact, looked more like illustrations. She achieved this effect through darkroom experimentation and manipulation: donning a cardboard mask with a pinhole aperture, she selectively exposed portions of the paper to light, tracing the contours of the garments until they seemed to dissolve into atmosphere.

Designed by noted residential architect Roland E. Coate, the home was built in 1926 for Annie Wilson, daughter of pioneering Southern California businessman and politician Benjamin Wilson, for whom Mt. Wilson is named. The gently sloping 1-acre-plus property was once part of the vast holdings of George S. Patton, father of the famed U.S. general.

The Walker Guest House, a 24-foot cube designed by Paul Rudolph in 1953, is now reassembled in West Hollywood and available for $2 million.

I never thought of it as making sculpture. It's just the way I think.

Robert Therrien's 'Under the Table' is a 10-foot-tall sculpture that captivates visitors, inviting them to experience its scale and intricacies from below. The piece exemplifies Therrien's ability to transform everyday objects into monumental art.

Georgia O'Keeffe's work persists in the wider culture because of how well it happens to reproduce in a variety of contexts, including postcards, mugs, and even apparel.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

Postmodernism began as a critique of modernism's exhausted promises. By the late 1960s and early 1970s, many designers no longer treated modernism as radical or socially redemptive. Urban renewal projects accelerated the demolition of historic neighborhoods, and landmark preservation battles raised urgent questions about what the United States valued and, ultimately, protected. The loss of major civic icons, including New York's Penn Station, sharpened public awareness that progress often arrives through erasure.

Every architectural project is the result of deliberate choices. Beyond form and function, buildings embody technical, political, and cultural decisions that shape their relationship with both their surroundings and the people who inhabit them. ArchDaily's AD Narratives series explores these processes by bringing together accounts that trace projects from initial conception to built realization. In parallel, the AD Classics series turns to works of historical significance, presenting not only the stories behind these buildings but also technical drawings