After designing the headquarters of this professional networking and consulting company, Interior Design Hall of Fame member Clive Wilkinson knew a thing or two about corporate priorities and tastes. He applied that knowledge when the time came to expand a satellite office to 42,000 square feet. While reprising some key elements, he simultaneously invoked a location-appropriate Texas vocabulary.

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Visitors plunged into a mysterious alternate universe—saturated with sapphire blue and emerald green—at a jewelry exhibition by Interior Design Hall of Fame member Patrick Jouin and his partner, Sanjit Manku, who have also designed five boutiques for the storied company. Assembled at the ArtScience Museum, part of the Marina Bay Sands hotel, the 450 historic pieces and 250 mineral specimens from France’s Muséum National d’Histoire Naturelle seemed to float

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“An invitation to think differently about how we inhabit our future cities.” That’s how Bjarke Ingels describes his “court-scraper,” a whizzed-up blend of the 19th-century courtyard typology and a contemporary high-rise. In geometric terms rather than architectural ones, we’re talking about a hollowed-out tetrahedron.

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Lewis Carroll’s magical Through the Looking-Glass isn’t the only book to reveal a shadow realm of imagination and inspired possibility—perhaps old-fashioned print exerts even greater power in our digital era. Which is why design director Li Xiang used creatively shelved volumes to entice readers, particularly millennials, into an ambitious and growing retailer’s 11,000-square-foot shop in a luxury shopping mall. Li’s highly original vision strives for both cultural relevance and sensory nirvana.

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Like a bar at happy hour, packed shoulder-to-shoulder with suits, this part of the city skyline is crowded with what Kengo Kuma calls the “hard, cold, muscular forms” of the typical high-rise office. Which makes Kuma’s addition to the scene all that much more eye-catching. He sheathed the 29-story glass tower in creased panels of aluminum mesh that seem to flutter in the breeze as they refract the shifting sunlight.

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Emily Dickinson wrote, “Hope is the thing with feathers.” For the Mile High city, hope is a thing with wings. This avian complex in concrete and steel-framed glass soars alongside the famed white tents of the airport’s Jeppesen Terminal.     Guests who arrive via regional rail ascend from the train platform, sheltered by a netted glass cantilever, to an 82,000-square-foot plaza.

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Behind the ride-sharing app’s very first self-driving cars is a team working out of an advanced technologies center. And behind that office, 80,000 square feet in a 1990’s warehouse, are principals Denise Cherry and Elizabeth Guerrero. The project is also the first completed by their firm, founded after they departed Studio O+A, and they knew that the design would need to be special.

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Janis Joplin sang here. So did the Grateful Dead and the Doors. And that was just one chapter in the long history of the Avalon Ballroom. It was built in 1911 as a dance academy before becoming a music venue. When the 1960’s waned, it morphed into a movie house and, decades later, office space. Fledgling advertising agency Argonaut, hunting for a headquarters, applauded the Avalon’s creative backstory and wide-open volume.

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  Busy working on a pharmaceutical office in a southern port city across the sea from Taiwan, design director Xu Fu-Min received a phone call about a very different kind of project nearby. The client asked Xu to visit the site of his future family home—a weedy hillside that, on first glance, seemed less than enticing.

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Expanding by almost 50 percent in the past 15 years, this global financial center is among the world’s fastest-growing cities. And few parts of it are growing faster than Hongqiao. Already home to an airport, railway and subway stations, and an enormous expo center, the district now boasts a mixed-use complex that includes a five-story, 150,000-square-foot cultural building.

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Bionic in architecture

Bionic in architecture   The usage of forming principles of wild life got the new quality and received a name of architectural and bionic process and became one of the trends of architecture in the world architectural practice for the last 40 years. Bionics is an innovative architectural style that took all the best from nature: relief outlines and forms. It can be called architecture of future

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