FROM THE ARCHIVE: Moshe Safdie has had a storied career as an architect. He has not only seen enormous changes but also played a role in making them happen. His pursuit for “inherent buildability”, rather than a one-aesthetic-fits-all model, defines his creations.
There is more to this home than meets the eye.
FROM THE ARCHIVE:Perched atop a remote cliff in Nova Scotia, overlooking the Atlantic Ocean, they stand like a row of silent sentinels at the edge of the world.
Monasteries aren’t what they used to be. Today, we think of them as quiet, modest, even austere places in which monks pursue their relationship with God without the noisy distractions of the world around them. It wasn’t always thus.
A man’s home may be his castle, but in James Stewart’s case, it was also his showcase, workspace, pleasure palace, and personal concert hall.
The Aga Khan Museum, an oasis on the outskirts of Toronto, is North America’s first museum for Islamic Art.
At first glance, it’s unclear whether Fobe House is actually a house at all. It has the usual features of domesticity—doors, windows, rooms—but not in the usual places.
It wasn’t until Oren Safdie decided to become an architect that he discovered what he wanted to be—a playwright.
The year was 1966. Hair was growing longer and time shorter. While Canadians prepared for the country’s upcoming centennial celebrations, Americans were embroiled in an increasingly futile and bloody war in Vietnam, as well as race riots at home. Meanwhile, far from the madding crowd, Walter and Leonore Annenberg were putting the finishing touches on the 200-acre estate in Rancho Mirage, California, that they called Sunnylands.
Condos come in all sizes and many shapes, but we rarely think of them as voluptuous. That was before the appearance of Absolute World, better known locally as the Marilyn Monroe towers, in Mississauga, Ontario.