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In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
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Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
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.
.
Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
.
.
.
Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
.
.
.
Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
.
.
.
Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
.
.
.
Photos @danieleratti
#architecture #giorgini #casaesagono
In the Gulf of Baratti, Casa Esagono by Vittorio Giorgini represents a key experiment in late 20th-century modular architecture.
The project is based on the hexagon as its basic construction unit, chosen for its geometric and aggregation properties, allowing a non-hierarchical and potentially expandable spatial configuration.
The building is raised on stilts, a solution that responds both to environmental conditions of the coastal site and to a deliberate design approach focused on lightness and site adaptability.
Casa Esagono anticipates themes that are now central to architectural discourse, such as prefabrication, modularity, and the minimal relationship between built form and ground, positioning itself as a still-relevant reference for experimental architecture.
Read more on domusweb.it
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Photos @danieleratti
#architecture #giorgini #casaesagono
Brera is one of the symbolic landmarks of Milanese culture, where art, architecture, and history have coexisted for centuries. From the Courtyard of Honor of the Brera Academy of Fine Arts to the Pinacoteca di Brera, expanded through the Grande Brera project, the complex also extends to the spaces of Palazzo Citterio.
This architectural and cultural ensemble, which reflects the evolution of Milan, was also featured in the film The Devil Wears Prada 2, further highlighting its status and its active role in representing the city’s identity.
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Brera rappresenta uno dei luoghi simbolo della cultura milanese, in cui arte, architettura e storia convivono da secoli. Dal Cortile d’Onore dell’Accademia di Belle Arti di Brera fino alla Pinacoteca di Brera, ampliata grazie al progetto della Grande Brera, il complesso si estende anche agli spazi di Palazzo Citterio. Questo insieme architettonico e culturale, che racconta l’evoluzione di Milano, è stato anche protagonista del film The Devil Wears Prada 2, a conferma del suo valore iconico e del ruolo attivo nel rappresentare l’identità della città.
#brera #devilwearsprada2 #milan #cinema
We asked Tom Dixon what he thinks about AI and how it’s changing the way we design, learn and adapt at a speed we’ve never experienced before.
Read the full interview on domusweb.it
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We asked Tom Dixon what he thinks about AI and how it is changing the way we design, learn, and adapt at an unprecedented speed.
Discover the full interview on domusweb.it
@tomdixonstudio
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
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.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
The new Issey Miyake flagship store opens on Madison Avenue, inside the New York Life Building: a neo-Gothic structure designed by Cass Gilbert and completed in 1928, whose limestone facade is one of the most recognisable features of Midtown Manhattan. The project is the work of SO–IL, the Brooklyn-based studio founded by Florian Idenburg and Jing Liu.
The space unfolds across two levels and is characterised by a generous, open floor plan that responds to the monumentality of the building's exterior envelope. Studded steel columns punctuate the interior volume, accompanied by perforated metal boxes that house mechanical systems and ceiling lighting. The display system consists of custom-made freestanding aluminium rails and glass-top tables on wheels, elements designed to allow flexible spatial configurations.
The project incorporates the glass panels from the previous Tribeca flagship, designed by Frank Gehry and in operation for 25 years, repurposed as display surfaces for accessories and folded garments. A titanium panel documents the long-standing collaboration between Gehry and Issey Miyake. The centrepiece of the space is a custom structural glass staircase connecting the two floors with a sculptural presence. Full-height perimeter glazing provides natural light throughout and maintains a visual connection with the surrounding urban context.
On the upper level, MADO makes its debut: the first permanent gallery space within an Issey Miyake store outside of Japan, dedicated to exhibitions and collaborations across fashion, design and contemporary craft.
.
.
.
Photos @isseymiyakeofficial
#newyork #store #interior
Opened in 1950 and completed with its iconic curved façade designed by the team led by Eugenio Montuori, Roma Termini remains one of Italy’s main transportation hubs and a landmark of postwar architecture. Originally developed from a project by Angiolo Mazzoni, the station reflects different phases of 20th-century Italian design.
Today, Termini has once again become part of the urban conversation with the new redevelopment project for the square in front of the station.
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Inaugurata nel 1950 su progetto di Angiolo Mazzoni e completata con il celebre fronte curvilineo firmato dal gruppo guidato da Eugenio Montuori, Roma Termini è uno dei principali nodi infrastrutturali italiani e un esempio centrale dell’architettura del dopoguerra. Oggi la stazione è tornata al centro del dibattito urbano con il nuovo progetto di riqualificazione della piazza.
#romatermini #architecture
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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.
.
@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
.
.
.
@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
.
.
.
@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
On the outskirts of Tulum, one of Mexico’s most sought-after tourist destinations, the architects have designed a housing development that balances expressive intensity with spatial quality. The stark, rigorously composed volumes in dark concrete evoke the romanticism of an ancestral landscape immersed in the forest, alongside the restrained monumentality of early Brutalism.
The project comprises 200 affordable housing units for workers in the local tourism and hospitality sectors. Its compact and highly ordered layout hybridizes the courtyard block with a linear scheme. Four-story buildings interlock in a comb-like configuration, interspersed with a network of courtyards punctuated by tropical vegetation and linked by pedestrian paths and shared public spaces.
Read more on domusweb.it
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@jesus_vassallo @anonimous.mx @g3.arquitectos
Photos @cesarbejarstudio
At CityLife, Bjarke Ingels reflects on his experience as Guest Editor of Domus, and what it means to engage with Italy’s rich architectural and cultural tradition.
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A CityLife, Bjarke Ingels riflette sulla sua esperienza come Guest Editor di Domus e su cosa significhi confrontarsi con la ricca tradizione architettonica e culturale italiana @bjarkeingels
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
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Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
.
.
.
Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
.
.
.
Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
.
.
.
Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
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Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
.
.
.
Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
.
.
.
Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
.
.
.
Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
.
.
.
Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
The cross-pollination between architecture and fashion finds one of its most fertile grounds in watchmaking, where form, structure, and function merge into objects that become true “architectures for the wrist.” Many brands have drawn from architectural language, translating buildings, volumes, and compositions into iconic timepieces; others, instead, have directly involved renowned architects, transforming their visions into wearable micro-structures.
A striking example is Renzo Piano, who, in collaboration with Swatch, created the Jelly Piano: a watch inspired by the Centre Pompidou, echoing its famous “inside-out” aesthetic by making the movement visible, just as the building exposes its structural and technical systems. Similarly, Louis Vuitton partnered with Frank Gehry for the Tambour Moon Flying Tourbillon, a timepiece that reflects the sculptural spirit of the Fondation Louis Vuitton, translating its fluid forms into a complex and dynamic case.
More experimental is the project developed in the 1990s by ACME Studio together with Zaha Hadid: a watch with irregular, unconventional lines that remained at the prototype stage due to production challenges. Of the six pieces created, each now stands as a testament to the architect’s visionary aesthetic. A different approach is taken by Mido, which, without direct collaborations, draws inspiration from the Solomon R. Guggenheim Museum by Frank Lloyd Wright. The Guggenheim Limited Edition model references the building’s dome through an eggshell-colored dial with a granular texture.
Finally, Audemars Piguet explored, in the 1960s, a dialogue with Brutalism, creating asymmetrical and geometric watches produced in extremely limited series, an exercise in style that translates the expressive power of radical architecture into horology.
.
.
.
Photos @guggenheim - @dmheald - @fondationlv
Domus 752, settembre 1993
#watch #architecture #design
At the 2026 Venice Art Biennale, the international exhibition In Minor Keys invites visitors to slow down, tune into more intimate narratives, and make space for voices operating outside the mainstream spotlight.
From Andreas Angelidakis’ immersive reflection on memory and nationalism in the Greek Pavilion, to Maja Malou Lyse’s exploration of the relationship between images, the body, and virtual sexuality in the Danish Pavilion: if you need help navigating the Giardini, these are four pavilions we recommend visiting at the Venice Biennale.
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Alla Biennale Arte 2026, la mostra internazionale In Minor Keys invita ad abbassare i toni, ascoltare narrazioni più intime e dare spazio a voci che operano lontano dai riflettori del mainstream.
Dalla riflessione immersiva di Andreas Angelidakis su memoria e nazionalismo nel Padiglione Grecia, all’indagine di Maja Malou Lyse sul rapporto tra immagini, corpo e sessualità virtuale per la Danimarca: se avete bisogno di aiuto per orientarvi, questi sono quattro padiglioni che vi consigliamo di visitare ai Giardini della Biennale.
#biennalearte #venice #inminorkeys
Much of Konstantin Grcic's work starts with a hack: an object or system from daily life, taken apart and put back together until it looks less like furniture and more like a tool. THING_04, the latest piece from his radical design brand, is no different.
The raw material this time is scaffolding. The result is a seat that feels almost blunt, bare and utilitarian, and works because of it, equally at home in a private apartment or a public space. Grcic sells it as a self-assembly kit: you build it yourself, and what you end up with is a freestanding seating system you can keep rearranging.
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@konstantingrcicdesign @25kg.eu
#design #radical
Much of Konstantin Grcic's work starts with a hack: an object or system from daily life, taken apart and put back together until it looks less like furniture and more like a tool. THING_04, the latest piece from his radical design brand, is no different.
The raw material this time is scaffolding. The result is a seat that feels almost blunt, bare and utilitarian, and works because of it, equally at home in a private apartment or a public space. Grcic sells it as a self-assembly kit: you build it yourself, and what you end up with is a freestanding seating system you can keep rearranging.
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@konstantingrcicdesign @25kg.eu
#design #radical
Much of Konstantin Grcic's work starts with a hack: an object or system from daily life, taken apart and put back together until it looks less like furniture and more like a tool. THING_04, the latest piece from his radical design brand, is no different.
The raw material this time is scaffolding. The result is a seat that feels almost blunt, bare and utilitarian, and works because of it, equally at home in a private apartment or a public space. Grcic sells it as a self-assembly kit: you build it yourself, and what you end up with is a freestanding seating system you can keep rearranging.
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@konstantingrcicdesign @25kg.eu
#design #radical
Much of Konstantin Grcic's work starts with a hack: an object or system from daily life, taken apart and put back together until it looks less like furniture and more like a tool. THING_04, the latest piece from his radical design brand, is no different.
The raw material this time is scaffolding. The result is a seat that feels almost blunt, bare and utilitarian, and works because of it, equally at home in a private apartment or a public space. Grcic sells it as a self-assembly kit: you build it yourself, and what you end up with is a freestanding seating system you can keep rearranging.
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.
.
@konstantingrcicdesign @25kg.eu
#design #radical
Much of Konstantin Grcic's work starts with a hack: an object or system from daily life, taken apart and put back together until it looks less like furniture and more like a tool. THING_04, the latest piece from his radical design brand, is no different.
The raw material this time is scaffolding. The result is a seat that feels almost blunt, bare and utilitarian, and works because of it, equally at home in a private apartment or a public space. Grcic sells it as a self-assembly kit: you build it yourself, and what you end up with is a freestanding seating system you can keep rearranging.
.
.
.
@konstantingrcicdesign @25kg.eu
#design #radical
Much of Konstantin Grcic's work starts with a hack: an object or system from daily life, taken apart and put back together until it looks less like furniture and more like a tool. THING_04, the latest piece from his radical design brand, is no different.
The raw material this time is scaffolding. The result is a seat that feels almost blunt, bare and utilitarian, and works because of it, equally at home in a private apartment or a public space. Grcic sells it as a self-assembly kit: you build it yourself, and what you end up with is a freestanding seating system you can keep rearranging.
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@konstantingrcicdesign @25kg.eu
#design #radical
Ma Yansong, Guest Editor of Domus 2026, shared the vision behind the monumental Lucas Museum of Narrative Art: an architecture that goes beyond simply housing stories, turning the entire experience into active engagement, where visitors become part of the narrative itself.
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Ma Yansong, Guest Editor di Domus 2026, ci ha raccontato l’obiettivo dietro l’imponente Lucas Museum of Narrative Art: un’architettura che non si limita a contenere storie, ma trasforma l’intera esperienza inpartecipazione attiva.
#project #storytelling #architecture @lucasmuseum
At Seoul Plaza, two eras and two visions of the city confront each other: the 1926 historic city hall and the new Seoul City Hall. A sweeping glass wave, inspired by Korean tradition, redefines the relationship between architecture, public space and historical identity.
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A Seoul Plaza, due epoche e due visioni della città si confrontano: il municipio storico del 1926 e la nuova Seoul City Hall. Una grande onda di vetro, ispirata alla tradizione coreana, ridefinisce il rapporto tra architettura, spazio pubblico e identità storica.
#seoul #architecture #hall
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
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