One World Trade Center, previously known as Freedom Tower, is set to open in 2014 at the northwest corner of the plaza. The building is set to become one of the city’s most sought-after locations, with Conde Nast (publishers of Vogue and Vanity Fair among other titles) already signed on as tenants. One World Trade Center, already standing at 1,368 feet, will become the tallest building in the Western Hemisphere when its crowning spire is added. In total the building will reach a symbolic 1,776 feet, in reference to the year America won its independence.

Work on Two World Trade Center, located at the northeast corner of the plaza, has no set date for completion. The building will eventually reach 88 stories high, but until the building’s commercial spaces are bought up construction has focused on the other buildings. Three World Trade Center, set to open in 2015, will rise to 88 stories. Four World Trade Center, located at the southeast corner of the plaza, is set to open in 2013 and construction has already reached the full height of 977 feet.

In these stunning new photos from The Architect’s Newspaper, construction forges ahead. The view from work on the 103rd floor of One World Trade Center is a sneak peek at the incredible views which will greet guests to the observation decks planned on floors 100th, 101st and 102nd. Looking down from the top of the building, the memorial reflecting pools shine brightly. We will continue to monitor the completion of these buildings, which are such a poignant symbol of resilience and valor.

Photos courtesy The Architect’s Newspaper by photographer Tom Stoelker.

The post A Look at the Progress of Construction at the World Trade Center Plaza appeared first on Haute Residence by Haute Living.

One World Trade Center, previously known as Freedom Tower, is set to open in 2014 at the northwest corner of the plaza. The building is set to become one of the city’s most sought-after locations, with Conde Nast (publishers of Vogue and Vanity Fair among other titles) already signed on as tenants. One World Trade Center, already standing at 1,368 feet, will become the tallest building in the Western Hemisphere when its crowning spire is added. In total the building will reach a symbolic 1,776 feet, in reference to the year America won its independence.

Work on Two World Trade Center, located at the northeast corner of the plaza, has no set date for completion. The building will eventually reach 88 stories high, but until the building’s commercial spaces are bought up construction has focused on the other buildings. Three World Trade Center, set to open in 2015, will rise to 88 stories. Four World Trade Center, located at the southeast corner of the plaza, is set to open in 2013 and construction has already reached the full height of 977 feet.

In these stunning new photos from The Architect’s Newspaper, construction forges ahead. The view from work on the 103rd floor of One World Trade Center is a sneak peek at the incredible views which will greet guests to the observation decks planned on floors 100th, 101st and 102nd. Looking down from the top of the building, the memorial reflecting pools shine brightly. We will continue to monitor the completion of these buildings, which are such a poignant symbol of resilience and valor.

Photos courtesy The Architect’s Newspaper by photographer Tom Stoelker.

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Head designer Stuart Geller set out to create a boutique company which would specialize in delivering stylish yet functional homes which reflect his clients and their lives. Geller has a penchant for classic design and decor, shirking one-off trends in favor of enduring style. The company is full-service, meaning they can guide clients from the consultation through to renovation and decoration.

Uninspired spaces are transformed into inviting rooms which play up architectural significance through minute attention to detail, down to the impact of lighting from daytime to nighttime. This exclusive peek into the stunning work of Geller Design Group offers a taste of home.

Visit www.stuartgeller.com for more information or call +305 937 0111.

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The original Nest showroom became renowned for its carefully curated selection of ultra modern and chic decor among high-end clients. The inventory is personally selected by Colombo, who travels to Europe frequently, identifying pieces made with precious and natural materials, including leather, wood, silk, cashmere and exotic skins. The new showroom will offer the same exclusive picks, as well as custom services. Homeowners and interior designers alike are sure to make this new Miami Design District location another mecca for impeccable taste.

For more information visit www.nestcasa.com or call +1 305 672 9611.

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The company has no restrictions when it comes to design or pricing; at their studio outside Austin, Texas, their team of designers have extensive capabilities to fulfill your heart's desire. The bold color, texture and unique design of these pieces have us re-imagining our rooms from the ground up!

For more information visit www.kylebunting.com or call +1 512 264 1148.

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Scala Luxury’s shagreen furniture is made from the most exotic of materials: stingray skin. Throughout history, shagreen has been a highly sought-after material, renowned for its beauty and durability. The material was used by Japanese samurai to cover their sword handle, coveted for its unique, non-slippery texture. The material was also popularised among the French aristocracy after designer Jean-Claude Galluchat featured shagreen prominently in designs commissioned for King Louis XV. Use of the material has become more rare today, as a high degree of technical skill is required to process the stingray skin. Which makes these designs by Scale Luxury true collectors pieces!

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Tomás Saraceno was born in 1973 in the small town of San Miguel de Tucuman, in northern Argentina. Saraceno began his career as an architect, receiving formal training at the Universidad Nacional de Buenos Aires. In 2001 he moved to Germany for postgraduate studies in the hybrid Art & Architecture program at the Academy of Fine Arts in Frankfurt. Saraceno received early acclaim for his innovative installations, including winning the Calder Prize and being named artist-in-residence at the International Space Studies Program of NASA. Below, Saraceno's concept sketch for Cloud City.

Saraceno’s works set out to establish a dialogue between people, objects and spaces. “Art is a space to imagine a possible future...it is a necessity to think about how we want to live. That’s something that we should try to pose, this question, much more often, because people are kind of lazy, right? It’s easy to let someone else think the future. It’s important to engage in the possibility of thinking [yourself]...”

Previous works such as Air-Port-City have expressed the artist’s fascination with futuristic living arrangements of cloud-like units which would float above cities. Cloud City is part of this ongoing conceptual fascination; it is a constellation of interconnected, reflective modules. The highly reflective surfaces of the units show the surrounding Manhattan skyline and Central Park below, creating an almost camouflage-like effect. Viewed from across the garden, it almost looks as if the installation really is floating above New York.

Cloud City will be on view from now until November 4 on the roof of the Metropolitan Museum of Art. For a hands-on experience of the installation, head to the museum early to snag one of the first-come first-served tickets which give you access to climb the structure. The museum is located at 1000 5th Avenue; for more information visit www.metmuseum.org.

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The company was even featured in an exhibit at New York’s Museum of Arts and Design. In honor of the exhibit, which highlighted nature in design, the company created a special piece titled Eight Thousand Miles of Home. The piece was a light sculpture constructed from more than twelve thousand silk cocoons assembled on a hand-soldered wire matrix. A celebration of nature’s strength, each cocoon measured nearly a third of a mile when laid flat, so that the whole sculpture would total eight thousand miles.

The company now has more than sixty models in demand all over the world, in addition to creating exclusive, large-scale one-of-a-kind installation pieces.

For more information, visit www.angoworld.com or call +66 2 873 0167.

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For more information on Baxter sofas, visit www.internum.com or call +1 305 576 1135.

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For more information on the made to order kids collection by Nitzan Home for Nitzan Design, visit www.nitzandesign.com or call +1 646 209 3246.

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Lewis began her career as an interior designer in the 1970s, but became frustrated when she was unable to find pieces with the style and quality she wanted. Lewis enlisted a small group of craftsmen to realize her own designs, and before long was  the first woman to open a showroom on Melrose Avenue in West Hollywood. Lewis’ designs were a departure from the mass marketed goods of the 70s; she pioneered a fresh approach which came to be known as “California Design”. Pale tones and textures feature in a minimalist fashion, with a keen awareness of design’s relationship to existing architecture. Lewis also translated her appreciation of couture into her upholstery designs, featuring silks, chenilles, fine wools, and rich textural weaves.

With their commitment to luxury and high quality, J. Robert Scott has a longevity in the design world which will set them apart for years to come. Three of the company's most iconic pieces are featured in our exclusive gallery below.

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The year 2008 marked the first time in history that more than half of the world’s population lived in cities and towns rather than in the rural countryside. Though this incredible population shift passed us by with little remark, the design world has worked for years to adapt to our new urban environment, particularly with regards to the impact on children. The urbanization and industrialization of the 20th century wrought incredible change on society, both positive and negative; mass production, World War I, World War II, the boom years, the Cold War. Through it all, society began thinking about its children through design.

In 1900 Swedish design reformer and social theorist Ellen Key wrote her seminal treatise called Century of the Child, in which she predicted the change to come. The previous century had not been kind to children; industrialization in England, for example, exploited poor children as a cheap source of labor. Governments lacked even the most basic social security net for their youngest and most vulnerable. Goods and services virtually ignored the existence of children. Parents raised children to be neither seen nor heard.

At the turn of the 20th century, things began to change. New Art, an amalgam of the Arts and Crafts movement and Art Nouveau, merged with the Kindergarten movement to mandate a prescribed number of years wherein children could draw, dream, and learn, protected by law from demand for cheap labor. Designers encouraged this movement early on by creating spaces for children to play, such as Charles Rennie Mackintosh’s design for a toy cupboard pictured below.

The horrors of World War I, with its mechanized and systematized traumas, drove designers to contemplate how to save society from another such breakdown. Children, the “citizens of the future”, were seen as the answer. Creative environments were conceived in an effort to allow children to retain the innocence which designers hoped would better society. Toys, playgrounds and children’s books abounded, and mass production meant more children were afforded access to such designs, including the Skippy-Racer, pictured below.

Unfortunately, these hopeful ambitions for children to save the world were not enough to stave off the explosion of socio-political tensions which led to the outbreak of World War II. Suddenly, designers were being drafted to create military uniforms and propaganda showing children as the troops of the future. Even board games were designed to incorporate political messages and notions of victorious war. The game Gioco delle 3 oche pictured below was given to children in wartime Italy; it depicts enemies as silly geese ready for slaughter.

It was not until the dust had settled after World War II that designers revisited the possibility of design as an agent of change and political transcendence. Designers, manufacturers, educators and child psychologists created international coalitions to develop “good toys”. Safe, nonviolent toys re-imagined the place of children in post-war cities around the world. As schools went up all over the world, designers like Jean Prouvé responded with practical but elegant designs, such as the school desk pictured below.

As children’s spaces like schools and playgrounds grew to represent larger parts in the design of cities, the space of children in the commercial market grew as well. Major manufacturers grasped the significance of the untapped market represented by children, and began designing and marketing goods specifically for children. The tin toy Ford cars pictured below engendered lucrative feelings of brand loyalty. Retail consultant Paco Underhill remarked on the phenomenon, saying; “You no longer need to stay clear of the global marketplace just because you’re three-and-a-half feet tall, have no income to speak of and are not permitted to cross the street without Mom. You’re an economic force, now and in the future, and that’s what counts.”

Children now control a significant interest in the markets and design of prosperous cities. However, as we move forward we must embrace the capacity of design to help children where inequalities persist. Though there remains much work ahead, the designer Sugata Mitra has demonstrated how simple designs can effect change. Mitra’s Hole-in-the-Wall Learning Stations provide children in urban slums and rural locations with computer access through simple outdoor designs encasing PCs in durable materials. Children gather at these stations, taking turns playing and learning valuable skills to enrich their potential. We cannot predict the future, but we can try our best to design it.

Century of the Child: Growing by Design (1900-2000) will be on display at the MoMA until November 5. For more information, visit www.moma.org.

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