In Park City, Utah, large estates dot world-class ski slopes on epic mountain ranges, locals are decked out in expensive winter sports gear, and the richest of residents have spas in their houses and more bathrooms than bedrooms.The 20-square-mile ski town east of Salt Lake City has 8,000 residents, many of whom live in luxury.According to a Realtor.com study published in April, 84060 (Park City) is the most expensive ZIP code in the state, with a median listing price of roughly $3.5 million.I spent one day in Park City in January to get a taste of how millionaires live and vacation in this popular ski hub. Wandering from the downtown streets to the slopes, I clocked five signs of wealth. Perhaps the most obvious sign of wealth in Park City, Utah, is the ski-in, ski-out housing. Homes sit on the slopes in Park City's Deer Valley neighborhood. Joey Hadden/Business Insider Park City's most expensive listing on Realtor.com is a $39 million mansion with 9 bedrooms, 14 bathrooms, and ski-in, ski-out access.Real-estate agent Derrik Carlson, who has lived in Park City for over 20 years and began selling homes in the area in 2012, told me that many of his clients buy houses in the Colony and Deer Valley, as well as the Canyons, located in Park City's 84098 ZIP code. All three neighborhoods are popular choices for incoming residents who want direct access to the slopes."You just go right out the door and pop on your skis, and you're on the slopes," he said.The luxury amenities in these homes go beyond skiing. Many have lap pools, spas with saunas and massage rooms, and even movie theaters. It might not scream wealth like a fleet of fancy cars, but the free public transit felt like a luxury you wouldn't find just anywhere. A funicular moves down the mountain in Deer Valley. Joey Hadden/Business Insider Living in NYC, free public transportation is a luxury I'm not used to. In addition to the city's free bus system, I found another costless ride that felt like an activity.At the St. Regis Deer Valley, a free funicular takes patrons to the slopes at Deer Valley Mountain Resort. And you don't have to be a hotel guest to use it.I marveled at the views as the wide-windowed car trekked up the mountain. At the top, there was an outdoor lounge overlooking the slopes. From the deck with firepits and glass walls, skiers sliding down the trails looked like toy action figures in the distance. In downtown Park City, I found more upscale public amenities. A communal fire pit sits in a courtyard in Park City. Joey Hadden/Business Insider Downtown Park City was full of shops, restaurants, and public courtyards where I found large, electric lit firepits that were round and made of stone. Wide benches surrounded each pit.It was a pleasant place to warm up and rest.I also saw a public bathroom in downtown Park City — a rarity for a New Yorker. Although I didn't go inside, I checked Google Maps and found that most public restrooms in Park City have five-star reviews. I also saw private dining globes on outdoor restaurant decks. Alpenglobes at Butcher's Chop House & Bar in Park City. Joey Hadden/Business Insider Winters are harsh in Park City, so it made sense to me that the wealthy would want to enjoy the views without the weather. Park City has many restaurants with private, heated igloos and Alpenglobes. These enclosed spaces are designed to give guests views of the mountains and night skies while feasting with friends and family.The experience isn't cheap. The Alpenglobes I saw at Butcher's Chop House & Bar cost about $100 to book, with a minimum dinner bill of $500, according to the restaurant's website.If dinner in a globe isn't your vibe, you'll find plenty of fine dining establishments along Main Street. The downtown area also housed luxury boutiques and celebrity-loved shops. Kemo Sabe and other shops in downtown Park City. Joey Hadden/Business Insider The downtown streets were lined with art galleries and upscale boutique stores selling fashion lines from international designers, locally made goods, and luxury furniture and decor.The store I instantly recognized was Kemo Sabe — a celebrity-loved western apparel brand with other stores in Wyoming, Colorado, Montana, and Texas.Kemo Sabe is best known for its hats that cost up to $900, as seen on icons from the Kardashians to Rihanna and Shania Twain. The hats can cost thousands with customizations like leather and diamond bands. In Park City, it's almost impossible to forget you're in a wealth enclave. The reporter enjoys a day in Park City. Joey Hadden/Business Insider After spending just one day in the affluent ski town, I found signs of wealth and luxury around nearly every corner.

Damen Compact Crafts (DCCr), a division of the Dutch shipbuilding company Damen Shipyards Group, has partnered with CEAD, a developer of large-format additive manufacturing solutions, to build a 3D printed high-density polyethylene (HDPE) Workboat. The joint initiative will be carried out at CEAD’s Maritime Application Center (MAC) in Delft. This project brings together maritime design and industrial 3D printing expertise to investigate more sustainable and efficient vessel production methods. DCCr is designing the workboat for multipurpose operations including inspections, patrol, support, and logistics. As part of the research, the hull will be produced using CEAD HDPro material, a high-performance polyethylene blend. The aim is to determine whether additive manufacturing can introduce greater flexibility, reduce waste, and accelerate production timelines. 3D printing the hull enables more complex geometries and may allow integration of recycled or renewable materials into the build process. Nick Pruissen (Damen Compact Crafts) and Charlène van Wingerden (CEAD) formalize the collaboration to develop a 3D printed HDPE workboat at the Maritime Application Center in Delft. Photo via CEAD. Founded in 2014, CEAD develops turnkey large-format additive manufacturing systems for industrial use. Its portfolio includes robot-based and cartesian-style solutions capable of producing fiber-reinforced thermoplastic components. For this workboat project, CEAD is providing its hardware and process expertise in printing large polymer structures. “The MAC was founded to accelerate exactly these kinds of innovations – and a 3D printed HWB is a perfect example of that,” said Charlene van Wingerden, Chief Business Development Officer at CEAD. Damen Shipyards, which operates 35 shipyards and 20 affiliated companies across 20 countries, delivers approximately 100 vessels annually. The company focuses on serial construction, modularity, and integrated systems to streamline design and production. “3D printing allows us to respond more quickly and flexibly to what our customers really need,” said Nick Pruissen, Managing Director at Damen Compact Crafts. “It’s an exciting step toward smart, sustainable solutions that work.” Damen views additive manufacturing as a potential fit within its broader digitalization and standardization strategy. Both parties describe the initiative as an exploratory step toward incorporating additive manufacturing into maritime production workflows. The project will serve as a technical evaluation of process capabilities, material performance, and structural feasibility. According to the partners, the workboat program reflects a practical use case where market-specific vessel requirements can be tested against automated, large-scale 3D printing technologies. Facade of CEAD’s Maritime Application Center (MAC) in Delft. Photo via CEAD. Large-format additive manufacturing gains traction in marine sector In the United States, ErectorCraft has begun commercially producing 3D printed boat hulls using large-format additive manufacturing (LFAM). The company employs high-density polyethylene (HDPE) and proprietary ErectorBot extrusion systems to fabricate full-scale marine components without the use of traditional molds. ErectorCraft’s approach includes on-site production capabilities, engineering services, and 3D concrete printing (3DCP) for marine infrastructure. According to the company, its decentralized manufacturing model shortens production timelines and lowers material waste. Chief Technology Officer Leonard Dodd developed the ErectorBot system and previously contributed to Autodesk’s direct metal deposition process used in the first class-approved 3D printed propeller. In Europe, yacht builder Pershing has integrated LFAM into its GTX116 model through a collaboration with Caracol. The yacht’s side air grilles and visor were produced using Caracol’s Heron AM platform, a robotic extrusion system operating at the company’s Milan facility. The components, made from ASA reinforced with 20% glass fiber, were printed in 72 hours and finished with a gel coat. According to Ferretti Group, this production method resulted in a 50% lead time reduction, 60% less material waste, and a 15% weight savings compared to traditional fiberglass lamination. Caracol operates one of the largest LFAM centers in Europe and has expanded its applications across the aerospace, marine, and construction sectors. 3D printed intake grilles. Photo via Caracol. Ready to discover who won the 20243D Printing Industry Awards? Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights. Take the 3DPI Reader Survey — shape the future of AM reporting in under 5 minutes. Featured image shows Nick Pruissen (Damen Compact Crafts) and Charlène van Wingerden (CEAD) formalize the collaboration to develop a 3D printed HDPE workboat. Photo via CEAD. Anyer Tenorio Lara Anyer Tenorio Lara is an emerging tech journalist passionate about uncovering the latest advances in technology and innovation. With a sharp eye for detail and a talent for storytelling, Anyer has quickly made a name for himself in the tech community. Anyer's articles aim to make complex subjects accessible and engaging for a broad audience. In addition to his writing, Anyer enjoys participating in industry events and discussions, eager to learn and share knowledge in the dynamic world of technology.

At a time when digital convenience often overshadows physical spaces, the newly opened Yellamundie Library in Western Sydney proves they’re not going out of style; they’re just getting smarter. Designed by fjcstudio as part of the Liverpool Civic Place development in Sydney, this striking new library isn’t just a place to read, it’s a place to gather, grow, and imagine. Serving one of the most rapidly developing and culturally diverse regions in Australia, Yellamundie is a civic space built for now and built for what’s next. Walk by Yellamundie and you’ll immediately know something is different. Its oval form and round windows break away from the rigid geometry of the surrounding urban blocks. This building curves like the nearby Georges River it’s inspired by, creating a gentle pull for people to step inside. Designer: fjcstudio The building is transparent from all sides, offering an open invitation to the community. It doesn’t just hide books behind walls; it puts activity on display, showing people reading, collaborating, and exploring inside. At night, the library glows like a lantern, a literal and symbolic beacon in the heart of the city. Beneath the sleek exterior lies a deeply thoughtful and flexible interior. The building spans 5,000 square metres, space made possible by nestling part of it below ground, beneath the public plaza. The subterranean level is flooded with natural light, thanks to skylights and a lush, biophilic courtyard, creating a quiet zone for exhibitions, reading, and study. On the ground and upper levels, the space transforms into something much more dynamic: study zones, maker spaces, digital labs, and adaptable event areas. All shelving is mobile, allowing the entire layout to shift based on programming or future needs. Importantly, Yellamundie isn’t a one-size-fits-all building, it’s been carefully designed for a community that spans cultures, generations, and needs. There are multilingual collections, heritage research spaces, and community-led programs. There are job-readiness workshops, homework help sessions, and Create Spaces for digital learning. It’s a place where people don’t just consume knowledge, they create it. One of the most joyful aspects of the library is its celebration of youth. The entire top floor is reserved for young people, giving them ownership of a safe, vibrant space. There are areas for group study, hangouts, and playful nooks like the wildly popular “king of the castle” treehouse lounges. A circular stage for storytime doubles as a passive play zone, reminding us that learning doesn’t always need to be structured. From the hammock-like window perches to the quiet corners designed for retreat, the building gives kids and teens room to breathe, grow, and dream. This isn’t just a beautiful building, it’s a smart one. A green roof, high-performance façade, and passive design strategies help keep the building energy-efficient and comfortable year-round. Outside, the building is wrapped by a timber-decked garden, shaded by mature eucalypts and lined with sunken courtyards for informal gatherings. The architecture seamlessly connects with the public realm, weaving the library into the life of the plaza and surrounding streets. It’s not just a building you enter, it’s a place you move through, linger in, and return to. At its core, Yellamundie is more than a library, it’s an answer to a bigger question: What does a city give its people when it wants them to thrive? In a region marked by rapid growth and socio-economic disparity, Yellamundie offers more than resources. It offers possibility, a place where someone can learn a new skill, start a business idea, help their child with homework, or simply find peace in a busy world. The post Inside Sydney’s Latest Library That Turns Public Space Into Living Architecture first appeared on Yanko Design.

Not every client has a firm grasp on their priorities when starting a project, but the marching orders from one Central Texas couple were abundantly clear: They wanted to convert a classic car garage on their estate into a dance hall and speakeasy, creating their own social sanctuary. After enlisting designer Sarah Stacey to bring their vision to life, that “simple” project quickly catapulted into a four-year, all-encompassing design journey when the pair added the renovation of their 4,900-square-foot primary home into the scope. It was during this time that Stacey, an avid auction enthusiast, shared her passion and expertise with her clients. “Walking through auction previews is thrilling—you wonder who owned the items and how they were used. You can feel the history,” she explains. “New homes need stories; we can design an entire room around a piece. Plus, you can save a lot of money at these events.”But before the bidding wars came planning. Stacey reimagined the space that once housed the former owner’s car collection as a moody billiards club, replete with plenty of lounge seating, a full bar salvaged from a Ruth’s Chris Steak House, and vintage collectibles, including an original Jimi Hendrix guitar. To separate the dance hall from the speakeasy, she cleverly utilized an iconic British telephone booth as the secret entrance from one area to the other. A simple push of the back wall gets you in—if you know there’s a door, that is. This is a dopamine interior.... It’s immersive and just makes you happy.For the main house, the objective was to embrace the home’s original Mediterranean style, but amplify it with a series of thoughtful selections. Stacey meticulously evaluated “every single Sherwin-Williams white” to find the ideal buttery color for the main living areas (Casa Blanca, Sherwin-Williams), incorporated 200-year-old salvaged wood beams, and designed the laundry room in the spirit of a French garden, complete with an undercounter striped sink skirt worthy of a Parisian café.She then set out to blend old-world charm—like the lavishly draped canopy bed in the primary suite—with contemporary pieces, such as large-scale pendants and multitiered chandeliers. The overall design is enhanced by colorful carpets, including a striking snake pattern in the living room and a hand-tufted graphic rug in the dining area. Auction house wins, antique treasures, and Parisian flea-market finds complete this unexpected and unconventional Texas haven.FAST FACTSDesigner: Sarah Stacey Interior DesignLocation: Central TexasThe Space: A garage-turned-speakeasy with a dance hall and a 4,900 sq ft main house with 3 bedrooms, 2 living rooms, a dressing room, sauna, and wet bar. SPEAKEASYThe former garage transformed into a go-to party hub.Stephen KarlischWallpaper: Phillip Jeffries. Sconces: Visual Comfort. Bar Stools: Nior. Armchairs: Hickory Chair. Coffee table: Sunpan. Drink Tables: Robert James. The bar is from a Ruth’s Chris restaurant and has become the heart of the space. It’s where friends and family naturally gather, often ending the night belting out karaoke songs, tipsy and totally in the moment.Stephen KarlischStephen KarlischThe husband won the six Orgy lithographs by Picasso at an online auction and Stacey hired artist Elisa Gomez to paint the frames. One of the standout features above the bar table is an original Jimi Hendrix guitar—a striking tribute to the rock 'n' roll legend. A custom tufted banquette in Schumacher fabric sits alongside Robert James café tables and under Hinkley pendants for the ultimate lounge experience.Stephen KarlischSeating: Hickory Chair. Coffee table: vintage. Rug: vintage, EtsyA cozy corner of the room is designed for dance breaks, providing plentiful options where guests can sit and take five. A framed archival photograph of Jimi Hendrix features a guitar that the couple purchased for their own collection. Stephen KarlischA British telephone booth gets recast as the secret entrance between the speakeasy and dance hall. See Stacey's go-to formula for a memorable entrance below. Create your own one-of-a-kind entrance like designer Sarah StaceyFind something that resonates with you. Stacey’s clients considered a Coca-Cola machine but fell in love with this phone booth.In this case, the designer brought on a contractor to remove the back of the booth and then cleverly recreate it as a hidden door.Keep it simple with a wall panel that pushes open, or go elaborate with an engineer-approved coded release—just type in the numbers and voilà!Always make sure there’s a manual way in and out!LIVING ROOMA warm white by Sherwin-Williams complements the original stone floors.Stephen KarlischSofas: custom, in Vervain fabric. Seating: Alfonso Marina, in Pierre Frey (chairs) and Fox Linton (bench) fabrics.Vivid and bold, the living room design comes alive through a colorful carpet, highlighted by a striking snake-patterned centerpiece designed by a tattoo artist. The Picasso to the right of the fireplace went missing, but was thankfully found and now has a place of prominence.KITCHENClever storage solutions are packed in this European-inspired kitchen.Stephen KarlischRange: La Cornue. Backsplash and Countertops: Aria Stone Gallery. Runner: vintage, Black Sheep Unique. Island Pendants: Urban Electric. Island: DeVOL.  Stephen KarlischLight fixture: Vintage. Dining table: Vintage. Dining chairs: Gregorius Pineo with Pierre Frey fabric.  A prep island by Devol provides easy access to dinnerware stored behind glass doors. It’s finished with an aged copper countertop that sets off the beveled white oak herringbone floor. New herringbone wood floors add a built-in patina to this newly created kitchen. The breakfast room chairs are upholstered in Pierre Frey fabric that Stacey treated with a wipeable vinyl coating. Pendants: The Urban Electric Co.WET BARA convenient bar for entertaining in the main living space. Stephen KarlischSconces: Allied Maker. Stools: Paul Ferrante, in Kelly Wearstler fabric. Table Lamp: Sunday Shop. Wanting an option to entertain in the main house, the homeowners asked Stacey for a bar with seating and room for their collection of cocktail glasses. A mirrored backdrop adds shine and glamour while bouncing light around the room. DINING ROOMContemporary and vintage pieces make this dining room memorable.Stephen Karlisch Dining chairs: Gregorius Pineo, in Moore & Giles leather. Chandelier: custom, Apparatus Studio. Rug: Christopher Farr.In the dining room, an eclectic mix of furniture and accessories meld into a one-of-a-kind entertaining scene. The mismatched Venetian mirrors were won at an auction, the bust of David originally sat outside in the flower beds, and the painting was found online. OWNER'S SUITEA bedroom bathed in rich green sets the scene for a luxurious, serene escape.Stephen KarlischPaint color: Chimichurri by Benjamin Moore. Wallcovering: Porter Teleo. Bedframe and fabric: Alfonso Marina.Stephen KarlischLight fixture: Fortuny. Sofa: Vintage, recovered in House of Hackney fabric. Trunk: Vintage, Louis Vuitton. Inspired by kintsugi, the Japanese art of repairing broken pottery with metallic lacquer, the Porter Teleo wallcovering sets the palette for this room. Yards of Fortuny fabric give the Alfonso Marina bed a regal air. The vintage sofa is reupholstered in a luxurious House of Hackney textile, featuring a bold, substantial trim detail.BATHROOMLavish stone and custom flooring create a one-of-a-kind en-suite.Stephen KarlischStone: Aria Stone Gallery. Vanity: Custom. Fixtures: Watermark. Sconces: Apparatus Studio.A custom terrazzo floor by Marble Buro grounds this space. Its unique coloration and less organic structure allow the marble backsplash and elaborate custom wood-carved mirrors, meant to mimic Black Forest-style design, to take center stage.Stephen KarlischStacey originally wanted the marble book-matched, but when her fabricator said the slabs weren’t symmetrical, they decided to rotate each one 180°, creating a consistently random design with even veining. Bench: custom.LAUNDRY ROOMThis utilitarian space is full of natural light. Stephen KarlischPaint: Stone Blue, Farrow & Ball. Wallpaper: Botanica Claustra by Papier Francais. Backsplash: Zia Tile. Curtain fabric: Clarence House.Papier Français partnered with Bibliothèque Nationale de France to bring back more than 60 archival prints, including this Bon factory flowering-trellis wallpaper, which turns this utilitarian space into a year-round spring jewel box. THE DRESSING ROOM The "closet" was quickly expanded to feel more like a boutique retail space.Stephen KarlischCeiling wallpaper: Gracie. Light fixture: Visual Comfort. Sofas: Mr. Brown in De la Cuona fabric and Samuel & Sons trim. Carpet: Nourison. Pillows: Dedar. Library ladder: Alaco. Hardware: Armac Martin.Stephen KarlischPaint color: Brinjal by Farrow & Ball. Hardware: Armac Martin.The entire main house and garage renovation began with a closet redesign. Stacey came to assess the closet, cataloging everything from long- and short-hang sections to shoes and bags, and it quickly became clear the space was too small. This discovery sparked the decision to expand and elevate the closet...and set the stage for a full home transformation.SAUNAThe ultimate in-home spa experience. Stephen KarlischA discreet sauna is the preferred spot to recover after a night of dancing. About the DesignerSarah Stacey is known for her artful approach to layering, creating spaces that balance timeless elegance with a fresh, eclectic edge. Raised in Louisiana and influenced by antique auctions, Southern cities, and global travel, her style embraces bold contrasts and personal storytelling. With a background in studio art and interior design from LSU, she brings a vibrant, collected sensibility to both residential and commercial projects. Now based in Texas with her musician husband and their son, Sarah’s work is infused with the same energy and joy that defines her life.SHOP THE SPACEFarrow & Ball Stone Blue Paint Color$143 at Farrow & BallItalian Venetian Murano Blue Glass Chandelier$8,250 at 1stDibsLa Cornue Cornu Fé 110 Range Matte Black$13,275 at Williams SonomaCredit: Williams SonomaPablo Picasso LithographNow 20% Off$3,000 $2,400 at 1stDibs

For one week in May, New York City is a scheduling race for contemporary art lovers, with multimillion dollar auction previews at both Christie’s & Sotheby’s, over eight major art fairs, and over a 100 peak gallery openings. In the scheduling competition to see it all, it’s no small feat for an artwork to pull you back for a second view or a longer pause. Below are the two most “paused” artworks from my visits to the four biggest fairs in New York this spring. FRIEZE NEW YORK Frieze New York, the fair at the center of it all, was again located at The Shed in Hudson Yards, bringing more than 65 leading galleries from over 25 countries across three floors. Frieze New York has a wonderful crowd energy and this year was a great reminder that the most famous contemporary artists working today continue to dream and produce the unbelievable. Jeff Koons at Gagosian Gallery Jeff Koons. Frieze New York, 2025, installation view. Artwork © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Maris Hutchinson. Courtesy Gagosian Jeff Koons. Hulk (Tubas), 2004-2018. © Jeff Koons, Incredible Hulk , and © Marvel. All rights reserved. Photo: Ela Bialkowska, OKNOstudio. Courtesy Palazzo Strozzi and Gagosian This year, Gagosian Gallery presented a crowd-gathering trio of Jeff Koons’ “Hulk” sculptures in a booth fully designed and conceived by the artist. Though each appears to be store-bought vinyl inflatables, all are made from heavy polychromed bronze. “Hulk (Tubas), 2004-2018” (above) includes a functional brass multi-belled tuba, while another was imbedded with real organ parts. Read more about the works and the history of the Hulk Elvis series on the gallery’s page or watch a performance on the functional instruments on Jeff Koons’ Instagram. Jeff Koons. Hulk (Tubas), 2004-2018. Photo: David Behringer   Lorna Simpson at Hauser & Wirth Gallery Hauser & Wirth Gallery presented an incredible selection of gallery artists, including these brand new works on paper by Lorna Simpson. Continuing her series of small collages that combine images cut from advertisements in vintage Ebony and Jet magazines with surreal expressive ink washes – each is a celebration and questioning of representation, history, and culture. Lorna Simpson. Walking Glare, 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang Lorna Simpson. Amplified. 2025. © Lorna Simpson, Courtesy the artist & Hauser & Wirth. Photo: James Wang   TEFAF Art Fair TEFAF (The European Fine Art Foundation) occupied the entirety of the historic Park Avenue Armory. The fair is known for its museum-quality presentation with works that span from ancient Rome, Contemporary Art and world-class design – a unique and must-visit experience all its own. View of art fair from above with visitors and booths.   George Condo at Gladstone Gallery The mixing of historical weight and contemporary art at TEFAF is the perfect setting for an amazing collection of George Condo drawings. Presented by Gladstone Gallery in a deep red “salon-style” hanging, the early works all range from 1984-1986, a critical moment of Condo’s artistic development. Each gives the sense that we’re watching an idea being born – images and individuals being pulled between representation and abstraction. Installation view, TEFAF New York 2025, New York, May 9 – 13, 2025. Courtesy of Gladstone. Photo: David Regen George Condo. Untitled (NYC 38th St.), 1986. © George Condo / Artists Rights Society (ARS), NY. Courtesy of the artist and Gladstone. Photo: David Regen George Condo. Untitled, 1985. © George Condo / Artists Rights Society (ARS), NY. Courtesy of the artist and Gladstone. Photo: David Regen   Yeesookyung at Massimo De Carlo Gallery One of the best exhibitions at The Metropolitan Museum of Art this summer is Monstrous Beauty – a must-see show that features these massive sculptures in a sunlit atrium by South Korean artist Yeesookyung. So it was such a gift at TEFAF to see several smaller works by the artist at two different gallery booths. Works were spotted at The Page Gallery from South Korea and at Massimo De Carlo Gallery (below). Continuing her use of broken pottery shards to build organic forms using the Japanese technique of kintsugi, the new forms and combinations are most surprising as you circle them – always beautiful but never predictable. Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo Yeesookyung, Translated Vase 2020 TVG 13, 2020. Presented by Massimo De Carlo   INDEPENDENT Art Fair INDEPENDENT was hosted again this year at the super modern and sunlight-filled “Spring Studios” in Tribeca where over 118 artists were presented by 82 international galleries and nonprofit organizations. My personal favorites this year celebrated process and material with a joyful wonder and high level of craft. Maximilian Schubert at Off Paradise Off Paradise installation at INDEPENDENT art fair. Photo: Marc Tatti Presented by Off Paradise, Maximilian Schubert’s ethereal “paintings” are not what they appear to be – created from solid pigmented urethane resin that has been cast from a mold of a real painting (also created by the artist) and painted only on the sides to mimic canvas and tacks/staples. The object is heavy and solid, allowing Schubert to create ethereal color transitions with multiple layers of resin pours. Even from close examination, everything about them looks like paint on canvas and yet they emit something psychically different – a sustained aura of intrigue that never expires. Maximilian Schubert, Untitled (Over New York), 2024. Photo: Marc Tatti Maximilian Schubert, Untitled 2025, Photo:  Marc Tatti Maximilian Schubert, Untitled 2025 (detail)   Terran Last Gun at Diane Rosenstein Gallery This was my first time seeing Terran Last Gun’s incredible work that uses antique ledger paper (most over 100 years old) with the addition of colorful geometric forms in ink and colored pencil. Presented by Diane Rosenstein Gallery, the artist is based in Santa Fe, and an enrolled citizen of the Piikani Nation (Blackfeet) of Montana. The work feels like a dance across time – a complex conversation with material and traditions, past and present. Learn more about his work and its history on the gallery webpage. Terran Last Gun, Stop For A Moment And Appreciate, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer Terran Last Gun, Gathering Of Distinguished Knowledge Holders, 2025. Courtesy the artist and Diane Rosenstein Gallery, Los Angeles. Photo: Robert Wedemeyer   NADA ART FAIR The NADA Art Fair (New Art Dealers Alliance) was hosted for the first time at The Starrett-Lehigh Building in the very heart of the Chelsea gallery district. My favorite works were an intelligent mix of whimsy and grit that resulted in many great conversations and new revelations on how to see the world. Jaime Pitarch at Spencer Brownstone Gallery Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery After seeing an number of great Calder works up for auction this season, Jaime Pitarch’s whimsical reference to Calder was both joyous and profound. Presented by Spencer Brownstone Gallery, this 7-foot hanging work is titled “Calderilla” – a reference to both the Spanish word for “pocket change” AND the name Alexander Calder. Made from the real coins found in the artist’s pocket, it continues the artist’s long practice of re-presenting everyday objects to create sustained curiosities and beautiful artworks. Here metal currency is literally elevated – both in gravity and function, questioning ideas of value, craft, art, and perhaps the future of physical money itself. Jaime Pitarch. Calderilla, 2025. Courtesy of the artist & Spencer Brownstone Gallery   Alexandria Tarver at Et al. Gallery The most time was spent with these quietly mysterious pairings by Alexandria Tarver, presented by San Francisco-based gallery Et al. Each frame holds two works on paper: a larger colorful painting and a small sketch on a ripped out page of note paper. The pencil sketches were produced on a visit to Baja California where the artist used the only “drawing materials” available to capture seascapes and landscapes. They each feel as if they are recording enough information for the artist to remember a precise moment – a necessary speed of transcription that perhaps captures a particular ocean wave or an ephemeral breeze. That tiny notepad was then used as a reference to create the larger colorful paintings – a second translation into something different but still emotionally connected. Here too we play witness to the evolution of a memory and idea, sharing a feeling of a place and time. Alexandria Tarver. questions, TS 2, 2025. Courtesy the artist & Ed al. Gallery Alexandria Tarver. questions, TS 5, 2025. Courtesy the artist & Ed al. Gallery I highly recommend signing up on any/all art fair newsletters or creating a login for any of the below. The emails they send out are not too much, and are perfect reminders when the next fair/events will take place. See you there! FRIEZE NEW YORK TEFAF NEW YORK INDEPENDENT NADA 

With New York State officials set to award up to three downstate casino licenses in New York City by the end of 2025, more than a dozen proposals across the boroughs have emerged to vie for the prize. Earlier this week, Related Companies and Wynn Resorts, pushing a casino scheme as part of the westward extension of Hudson Yards, have officially withdrawn from the race, citing local opposition to the project. Instead, Related Companies will focus on building luxury housing above the Western Rail Yard site, targeting the construction of 4,000 residences overlooking the Hudson River. Wynn Resorts will exit the project entirely, Michel Weaver, a spokesman for the company, said in a statement. “The recent rezoning process has made it clear to us that there are uses for our capital more accretive to our shareholders, such as investment in our existing and upcoming developments and stock buybacks, than investing in an area in which we, or any casino operator, will face years of persistent opposition despite our willingness to employ 5,000 New Yorkers,” said Weaver. The pairt’s vision for the undeveloped rail yards, dubbed Hudson Yards West, was denounced by both the Friends of the Highline and Manhattan Community Board 4, an advisory committee for development in the neighborhoods surrounding Hudson Yards. Hudson Yards West’s viability had hinged on a controversial augmentation to its zoning, which would have drastically reduced the number of residential units in favor of commercial use and the aforementioned casino program. Though the rezoning proposal had been advanced to City Council by the City Planning Commission, it appears that councilmember Erik Bottcher, who represents the lower west side of Manhattan, was unlikely to approve the scheme. “I am highly skeptical of any alterations to the existing zoning regulations and the potential reduction of housing units,” Bottcher said previously, in a statement. Hudson Yards West would have included a 5.6 acre park named Hudson Green. (Courtesy Related Companies and Wynn Resorts) The initial concept for Hudson Yards West was master planned by SOM in collaboration with Hollander Design and Sasaki. It included a public park, in addition to housing and office space. How much the master plan will be revised going forward remains to be seen. Other casinos bids include Citi Field, backed by Steve Cohen and Hard Rock; a Times Square bid from SL Green, Caesars, and Roc Nation; an 11th Avenue site developed by Silverstein Properties; a proposal at Freedom Plaza by Mohegan and Soloviev Group; a Coney Island scheme from Legends Entertainment and the Chickasaw Nation; an extension of the existing Aqueduct Racetrack; and Bally’s takeover of a former Trump golf course in the Bronx. Formal bids for a casino license are due by June 27, with the winning proposals announced by the end of the year.

The developers behind a potential casino planned for Hudson Yards have dropped the plans following “persistent opposition” to the proposal. As Archinect reported in February 2024, Related Companies and Wynn Resorts had submitted plans for Phase Two of Hudson Yards, with two scenarios for development. One of the scenarios included a five-story gaming/resort podium. “After careful consideration, we have decided not to lodge an application for a gaming license in New York City,” Wynn Resorts said in a statement. “The recent rezoning process has made it clear to us that there are uses for our capital more accretive to our shareholders, such as investment in our existing and upcoming developments and stock buybacks, than investing in an area in which we, or any casino operator, will face years of persistent opposition despite our willingness to employ 5,000 New Yorkers.” When revealed last year, the development plans prompted opposition from the founders of The High Line, which would hav...

Tucked behind an old tree in the heart of Gurugram, India, the Maurpankhi residence is a seamless interplay of architecture and nature. Designed by House & Beyond, led by architect Pushpender Arora, the 3230-square-foot bungalow is a place for the family to unwind, reflect, and reconnect. Conceived as a sanctuary for a family immersed in the intensity of corporate life, Maurpankhi was envisioned from the beginning as an emotional refuge. Rather than relying on ornate details or ostentatious luxury, the home finds its essence in openness, warmth, and a quiet dialogue with the outdoors. From the moment one steps inside, it’s evident that natural elements are the guiding force. An age-old tree marks the entrance – not simply preserved but celebrated, embraced by a curved zinc wall that both protects and frames it. This weathering metal facade will mature over time, developing a patina that reflects the ever-evolving story of the home and the family there. ”We chose zinc for its robust nature, timeless aesthetic, and unique weathering process – it galvanizes beautifully, much like the memories this home will hold,” Arora shares. The design weaves courtyards into the overall layout, allowing daylight and breezes to fill the interiors. These open-air pockets bring greenery indoors and become an active part of the family’s life, ushering in calm and offering views that change with the seasons. The home’s ground level offers an organic flow between social and private spaces. The absence of rigid walls between living, dining, and kitchen areas fosters connectivity without sacrificing function. Strategically placed furniture shapes the spatial experience, allowing sightlines to remain unbroken and the energy of the space to feel cohesive yet distinct. A sunken seating area with a U-shaped sofa offers a prime location in the main living space to connect with family and visitors while enjoying the views ahead. Descending into the basement reveals one of the home’s most surprising elements – a column-free space filled with natural light from a sunken courtyard. This level houses a vibrant lounge, a bar, and a play zone, shifting the conventional notion of what a basement can be. The upper level rooms were designed for each inhabitant. The primary suite is a tranquil hideaway; the daughter’s room expresses soft curves and pastel hues; while the son’s space merges function and solitude with a study nook that opens to the terrace. “This is where the family finds their quietest, most personal moments,” says Arora. “Each space is a true reflection of who they are.” A meditation room offers a quiet escape, while the terrace becomes a gathering point under the open sky – a platform for reflection and shared moments. What distinguishes Maurpankhi further is its curated material palette. Walls finished with limewash exude a soft, tactile beauty, while the overall color scheme leans into neutral, earthy tones that soothe the senses. The use of natural and time-responsive materials is deliberate, reinforcing the idea that the house isn’t static – it transforms with the people inside. For more information on House & Beyond, visit houseandbeyond.co.in or on Instagram. Photography by TakeIn Studios.

Songzhuang Z Museum | © Jonathan Leijonhufvud Located in the remote mountainous terrain of Zhejiang Province, The Quartet: Songzhuang Z Museum presents a compelling study of architectural adaptation, contradiction, and transformation. Situated in Songzhuang, a 600-year-old village that remained largely untouched by modernization until recent years, the project by TEAM_BLDG offers an architectural response that neither retreats into nostalgia nor imposes a foreign image. Instead, it constructs a spatial and material dialectic, acknowledging incongruity, emphasizing contrast, and subtly embedding itself into the evolving cultural landscape. The Quartet: Songzhuang Z Museum Technical Information Architects1-6: TEAM_BLDG Location: Songzhuang Village, Songyang County, Zhejiang Province, China Area: 472 m2 | 5,080 Sq. Ft. Project Year: 2024 – 2025 Photographs7: © Jonathan Leijonhufvud Better to stand out than to disappear. – TEAM_BLDG Architects The Quartet: Songzhuang Z Museum Photographs © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud © Jonathan Leijonhufvud Reframing the Village Artifact The project begins with a conflict: a 1990s brick-concrete residence towering awkwardly over the village’s low-slung, contiguous rammed-earth structures. Its scale and materiality severed it from the surrounding context, and it was long deemed a misfit within the village’s traditional fabric. Yet rather than camouflage its presence, the architects embraced its dissonance as a narrative condition. Guided by the client’s directive to amplify, rather than suppress, the building’s incongruity, TEAM_BLDG approached the structure not as a problem to resolve but as a site of architectural inquiry. The question was not how to erase the past intervention but how to recalibrate it into a new typology: the rural museum. In doing so, the firm leveraged the tension between the old and new, not as a binary opposition but as an opportunity for mediation. From Monolith to Quartet The building’s spatial transformation unfolds through a deconstructive logic. The formerly monolithic mass was subdivided into four distinct volumes, a gesture that echoes the scale and fragmented rhythms of the surrounding village dwellings. Interstitial courtyards separate and unite these volumes, allowing light, air, and spatial rhythm to intervene in the once-heavy structure. The design’s vertical core is a newly inserted light well. This atrium spans the height of the building, acting as a conduit for natural light while simultaneously connecting the interior’s horizontal strata. Circulation is organized around this vertical void, allowing for a fluid visitor experience that maintains visual continuity between floors. Each level wraps around the central shaft, reinforcing a sense of openness and transparency that contrasts with the building’s original opacity. Visitors enter through an adjacent, preserved rammed-earth house that has been minimally modified to serve as a “prologue” space, a deliberate moment of compression and quietude before ascending into the brighter, open volumes of the main structure. This spatial sequencing, dark to light, low to high, becomes a sensory transition that enhances the visitor’s perceptual engagement with the museum’s content and context. Weaving Lightness into Mass The project’s defining material intervention is its façade, reconceived as a woven skin inspired by the techniques and metaphors of textile making. TEAM_BLDG wrapped the structure in a finely spaced lattice of aluminum square tubes, painted red on three sides and white on one. The resulting grid creates a dynamic interplay of light, shadow, and chromatic variation, responding to the shifting sun and weather conditions. The design team intentionally avoided a uniform application. Instead, they introduced variations in spacing and density, especially across different levels and orientations. The upper portions of the façade are denser, while the lower remain more open, modulating both visibility and porosity. On the terrace, the façade becomes multidirectional, layering dimensional complexity and deepening the woven metaphor. In bright sunlight, the façade takes on a soft pinkish hue; in overcast or snowy conditions, it becomes a subdued white veil. This chromatic fluidity imparts a temporal quality to the structure, each visit offering a subtly different impression of the building’s mood and presence. The weaving principle is further extended through custom interior furniture, constructed with woven red straps over slender steel frames, echoing the façade’s tectonic logic and material language. Songzhuang Z Museum: Mediation Through Architecture Rather than asserting itself as an icon or retreating into contextual mimicry, the Z Museum mediates between eras, materials, and scales. Its relationship with the village is neither submissive nor dominating; instead, it engages in a form of spatial dialogue. Reconfigured windows frame specific views of the surrounding village, allowing exterior scenes to interact with interior exhibitions. On the third floor, large apertures in the stairwell wall transform the space into a semi-outdoor condition, encouraging visual and behavioral connections with the outside world. The rooftop terrace offers a final moment of release: an unprogrammed panoramic platform where boundaries dissolve, and visitors are immersed in the landscape. The architecture recedes, allowing elevation changes and open material transitions to a gently structured experience without overt control. In an architectural climate often dominated by formal spectacle or overbearing contextualism, The Quartet – Songzhuang Z Museum proposes a third way, rooted in spatial logic, material clarity, and conceptual subtlety. It neither replicates tradition nor denies its presence. Instead, it proposes a weaving of time, space, and perception, where architecture becomes an active thread in the evolving cultural fabric of rural China. The Quartet: Songzhuang Z Museum Plans Level 1 | © TEAM_BLDG Level 2 | © TEAM_BLDG Level 3 | © TEAM_BLDG Roof Plan | © TEAM_BLDG Section | © TEAM_BLDG The Quartet: Songzhuang Z Museum Image Gallery About TEAM_BLDG Design Team: Xiao Lei, Deng Caiyi, Shen Ruijie Structural Design: GongHe Architecture Design Group Co., Ltd. Custom Furniture & Lighting Design: TEAM_BLDG Visual Identity Design (VI): TEAM_BLDG Client / Operator: Mountain Creations (山风大美) Curatorial Team: CSC Communis Photography Assistant: Wai Wai Altitude: Approximately 400 meters above sea level