News
Thanks to the Cooper Hewitt, Smithsonian Design Museum's 19th-century roots and the Hewitt sisters' collection, the institution has strong holdings in that era's decorative arts. This month, the New York museum announced that its 20th-century collections were strengthened with a considerable gift fr
Guide
New York City's second big week of art fairs, Frieze Week, has become almost as dauntingly vast as its first, Armory Week, but we're here to help!
News
This September, you may be able to perfect your golf swing in the center of Trafalgar Square.
Art
Sometimes an exhibition can be so packed with information and ideas that it can send viewers racing home to try their hands at their own creations. That’s the kind of pay-off that can feel as rewarding as examining a deeply illuminating show itself.
Art
The built environment of the United State was constructed on grand ideas, including parks that inspired morality, towns designed to curb strikes, and homes that offered everyone their own slice of the land.
Art
Can a house sustain itself by eating its own tail?
Art
Emile-Allain Séguy was enamored with the overlooked wonders of the natural world.
Art
Raymond Loewy earned the nickname "father of streamlining" for his influential career in industrial design, shaping sleek icons of 20th-century America such as the Lucky Strike cigarette packet and the Art Deco shell of the PRR S1 steam locomotive.
Books
When the TWA Flight Center opened in 1962 at New York's JFK Airport, its swooping form seemed to embody flight itself, with its two white wings rising from the tarmac.
Books
In the 1960s, Italian artist Bruno Munari explored the visual history of the square, circle, and triangle in three books, which Princeton Architectural Press recently compiled.
In Brief
Archelis, a futuristic new "wearable chair" by Japan's Hiroaki Nishimura Design, provides workers with a healthy middle ground between deadly all-day sitting and tiring all-day standing.
Books
In April of 1789, a few months before the storming of the Bastille, the paper factory of Jean-Baptiste Réveillon in Paris was taken over by labor protestors, who commandeered the machines to print paper in red, white, and blue.