After spending 10 years in the Spanish countryside, painter Joseba Sánchez Zabaleta needed a change of scenery. So he and his wife traded in the wheat fields for the sea, and have landed in a valley that ends in the mountains of Morocco across the Strait of Gibraltar. Not a bad spot for a live-work studio.<br>
Today we start from Berlin’s subway, the U-Bahn, because the subway is where most people start when they arrive in a new city. More precisely, we’ll start at the steady, silent ticket machines of the U-Bahn: bright yellow boxes that…very…slowly…print out fragile tickets that leave ink stains on your fingers.
Walk along Grace Street in San Francisco's evolving South of Market district during the day and you are bound to miss No. 49, a nondescript box of a building that is the live-work space of one of 2017's American Architecture Award winners. Pass by it at night, though, and you are bound to stare at the glowing structure in wonder.
Skateboarders zoom along the wavy planks of Tel Aviv's new boardwalk while beachgoers soak up the Mediterranean sun. A little further inland, couples and families, locals and tourists alike, linger amid the geometrical flower gardens of the cultural center of the city known as Habima Square. Yet that is just about where the term seaside town loses its relevance as a descriptor for Israel's second largest metropolis.
By 2010, the London-based creative agency AnalogFolk, a digital startup launched in 2008 by Brit Matt Dyke and American Bill Brock, had expanded within its original space in East London past the threshold of comfort – close to 40 people were working in a space meant for 30. “We wanted to make an investment in the environment, so that people are able to think more laterally” says Brock. “We also wanted a place where clients would want to spend time with us.”
Sailboats moored at the edges of Nyhavn’s canal rock beneath a sentinel of 17th-century townhouses whose brightly colored facades only heighten their fairy-tale geometry. Café tables jamming the promenade are packed with people soaking up the sun, salty air, and nautical vibe, with a view of Paper Island and Inner Harbor in the distance. Founded by the Vikings and established as a fishing village, Copenhagen is as modern and forward-thinking as it is well-preserved and rooted in its storied past. Few cities have morphed from charming capital to international culture destination as quickly as Copenhagen, which has built a new metro system, a Jean Nouvel–designed opera house, and a five-mile, cable-stayed bridge to Malmö, Sweden, since the turn of the 20th century alone. <br>
Just as wildfires play a vital role in nature, renewing the land they burn, human fires have a way of spurring unprecedented innovation in efforts to rebuild what was lost. A quintessential case in point is the small German town of Weil am Rhein, home to the architectural park cum production facility–retail complex known as Vitra Campus, owned by the Swiss interior design firm whose corporate headquarters lies just across the border in Birsfelden, Switzerland. The Weil am Rhein facility was Vitra's factory until a massive fire destroyed nearly everything in 1981, leaving Rolf Fehlbaum, son of founders Willi and Erika Fehlbaum, to ponder the site's future. Little did he know his anything but straight-line choices would give a select group of architects a carte blanche creative playground and their followers the architectural equivalent of a magnificent outdoor sculpture garden whose works are by turns whimsical, edgy, and exuberant.
A series of unfortunate events led Instrument to its new 30,000-square-foot offices in north Portland. First, there was a fire that unexpectedly broke out on the Fourth of July in 2009, prompting them to get booted from their original space that very day. So they set up shop in a former World War II airplane hangar nicknamed “The Outpost” that was cool and all, but really best used for parking airplanes and not necessarily dreaming up visual campaigns. Still, the team had nowhere else to go. “It was a company moment when everyone had to hunker down and tough it out,” says Instrument’s chief creative officer JD Hooge. But the predicament led Hooge and company CEO Justin Lewis to wonder: What if they built a new office from scratch and customized it to their specifications?
By Kiana S.
Distraction has reached new heights at the office of creative agency DHNN. Instead of trying to ignore buzzing group texts on your phone or the snacks in the company kitchen, imagine having to avoid the temptation to jump in the office pool?
By Kiana S.