In the industrialized port area of the small town of Izegem lies a somewhat odd monument with an art-deco front office and adjacent factory buildings. During the interbellum, for over a decade the “Eperon d’Or” factory received international attention for its luxurious shoe design and production.
This article was originally published on July 22, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.
The New Museum is the product of a daring vision to establish a radical, politicized center for contemporary art in New York City. With the aim of distinguishing itself from the city’s existing art institutions through a focus on emerging artists, the museum’s name embodies its pioneering spirit. Over the two decades following its foundation in 1977, it gained a strong reputation for its bold artistic program, and eventually outgrew its inconspicuous home in a SoHo loft. Keen to establish a visual presence and to reach a wider audience, in 2003 the Japanese architectural firm SANAA was commissioned to design a dedicated home for the museum. The resulting structure, a stack of rectilinear boxes which tower over the Bowery, would be the first and, thus far, the only purpose-built contemporary art museum in New York City.[1]
This article was originally published on April 21, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.
Although Zaha Hadid began her remarkable architectural career in the late 1970s, it would not be until the 1990s that her work would lift out her drawings and paintings to be realized in physical form. The Vitra Fire Station, designed for the factory complex of the same name in Weil-am-Rhein, Germany, was the among the first of Hadid’s design projects to be built. The building’s obliquely intersecting concrete planes, which serve to shape and define the street running through the complex, represent the earliest attempt to translate Hadid’s fantastical, powerful conceptual drawings into a functional architectural space.
The Enoura site, situated on a hilly citrus grove in the Kataura district of Odawara, offers breathtaking panoramic views of the Bay of Sagami. The facility was envisioned by contemporary artist Hiroshi Sugimoto as a forum for disseminating art and culture both within Japan and to the world and comprises a gallery space, two stages, a tea house, and other features that make the entire premise into a truly magnificent landscape.
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