The New Cities Foundation is a recently formed non-profit Swiss institution dedicated to improving the quality of life and work in the 21st-century global city.The foundation believes that cities are humanity’s most important source of innovation, creativity and wealth-creation. It acts as a clearinghouse for information on urbanization and supports on-going original research. The Foundation’s membership is open to key public and private sector entities around the world who are stakeholders in the future of urbanization.The New Cities Summit, an annual meeting bringing together the Foundation members and other leading voices in the global discussion on urbanization, is held under the auspices of the Foundation.
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Metro Matters, A podcast in collaboration with the Brookings Institution
Word of Mouth, New Hampshire NPR, April 13, 2009
Smart City Radio, December 03, 2008
Smart City Radio, September 11, 2008 Martha Stewart Living Radio, Sirius, September 10, 2008
Topic A, KDHX in St. Louis, September 08, 2008
When Bill Pedersen, FAIA, co-founder and principal design partner of Kohn Pedersen Fox, bought a three-acre piece of land on Shelter Island, New York in 1981, “Things were a little different on the island,” he wryly recalls. He means that one could buy a waterfront plot with views of Long Island Sound and Coecles Harbor without the excessive fanfare or money that nowadays accompany real estate purchases. In the intervening years, the island has grown more expensive to live on and crowded with visitors during the summer, but Pedersen has created a residence that, nested in the earth and angled to create uninterrupted views of nature, is protected from those changes. Read more…
Sarah Morris’s art is touted for its allusions to and interpretations of the urban environment. With deft mimcry of the grids found in cityscapes, her Midtown series of paintings (1998-99) recall the green-glass-windowed facades of a Gordon Bunshaft building. She followed these up with the series Los Angeles (2005-06), in which her Mondrian-like abstractions were more frantically paced and garishly colored, referencing architectural icons in Los Angeles.
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Monocle Magazine, Urban Legends, April 2010
Paper Magazine, Do Gooders: Next American City, December/January 2008-2009
Smart City Radio, December 03, 2008
Smart City Radio, September 11, 2008 Martha Stewart Radio, September 10, 2008
Phillyist VIP, Phillyist, May 28, 2008
Paper Magazine, Brooklyn Modern, May 23, 2008
New York Times, City Room, “Answers About Brooklyn Architecture,” April 16-18, 2008
Fuhgedaboutit! Hipsters Reinvent Brooklyn Arts, Bloomberg,March 24, 2008
Brooklyn Modern, Cool Hunting, March 17, 2008
A Young Editor’s Passion for Work, Media Life Magazine, October 2004
It’s every architect’s fantasy—getting carte blanche from a client. “It was excellent, and the first time for me,” Gus Wustemann says with evident glee, recalling how a couple contacted him after seeing his work in magazines, and offered complete creative license. The couple owned a 2,000-square-foot attic apartment in the historic quarter of Lucerne, Switzerland, and wanted it not just renovated, but transformed. Read more…
By photographing buildings and streets, Thomas Struth transcended the role of architectural photographer to become the creator of contemplative portraits of urbanism, globalization, and architectural spectacle. Over several decades, Struth was developed a method of making familiar sights fresh, causing viewers to look more closely at what they take for granted. While this retrospective explores Struth’s vast range of subjects, his recent images of urban architecture suggest he is returning to his original interest in photographing streets. Read more…
When Paul Chan visited New Orleans for the first time in November 2006, the digital media and video artist expected to hear the sound of jackhammers and to see evidence of post-Katrina progress. He instead witnessed a far different scene: “The streets were still, as if time had been swept away along with the houses. Friends said the city now looks like the backdrop for a bleak science fiction movie. … I realized it didn’t look like a movie set, but the stage for a play I have seen many times. It was unmistakable. The empty road. The bare tree leaning precariously to one side with just enough leaves to make it respectable. The silence.”What the streetscape reminded him of was the setting in Samuel Beckett’s classic work Waiting for Godot. In the play, two men grapple with their nonsensical wait for a third; its philosophical reflection upon man’s uncertainty in the world seemed to Chan an apt metaphor for New Orleans’s precarious condition. Read more…