“Voiture Minimum: Le Corbusier and the Automobile” ($49.95) focuses on Le Corbusier’s design for a “minimum car,” a two-seat, bare-bones people mover with a sheer, angled front. His design existed only in drawings during his lifetime, but became probably the most famous of all automobile designs contributed by architects. — NYTimes.com

Most ills in this world (and we know there isn’t a shortage of them) require massive change on systematic and ideological levels. Indeed, it is a capacity—and many say, a responsibility—of design to address the many pressing problems facing the world today.

But is this the only role for design? Is design solely a form of crisis management and problem solving? Or can design also offer a different perspective on a problem, without having the aim of solving the problem entirely? — openhouse2011.com

Place: Living Room Studio
Time: 12:18 PM

Photos from the final! — Columbia University GSAPP (Anthony)

Junaid Younis, Modern Associates principal told Mr. Buncombe that his father, Mohammad, made the drawing,
“Lots of people come to us,” Younis said. “We are more interested in making money rather than the individual.” — International Business Times

Dieter Rams is a German industrial designer who trained and worked as an architect for a few years until he joined the electronic devices manufacturer Braun. Within a few years he became their chief of design, a position he held for almost 35 years. During his tenure, he and his team designed many iconic devices ranging from record players to furniture to storage systems. — Life of an Architect

Taking the term to whole new levels, the British food and design consultancy duo Sam Bompas and Harry Parr has breathed new, refreshingly artificial, and entertaining life into what is known as "food experience." [...] Using cutting-edge technology, they even beat the gingerbread house as the known climax of architecture and food symbiosis and came up with what is known as "Alcoholic Architecture." — vimeo.com

When we think of wood and paper, we usually see it in this manner; wood=source, paper=result. What if we flipped the model and saw paper as the source and wood as the end product? This was the concept behind Mieke Meijer's project at the Design Academy Eindhoven. — yatzer.com

"that is just fantastic ..." — A reader's reaction, MailOnline

But it is no longer a work of Gaudí. It cannot overcome the central paradox, which is that Gaudí's architecture was organic, living and responsive, whereas posthumous simulation of his ideas makes them fixed and lifeless. The fusion, the melting, the integration of structure and ornament and the demented frenzy that drove Gaudí to do strange things with comatose turkeys and dead babies cannot be replicated. — Guardian