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From Joan Dejean at The New York Times…

What exactly is a living room? Is it a formal room for special occasions, or a casual space for everyday life? The meaning has been unclear ever since the late 17th century, when architects first considered what “living” in the home meant.

In 1691, in the first edition of what was to become a hugely influential architectural manual, “Lessons of Architecture,” Charles Augustin d’Aviler drew a distinction between formal display spaces and a new kind of room, spaces that were “less grand.” D’Aviler used an unusual phrase to describe these new rooms: “le plus habité”  — literally the most lived in. This marked the first time that an architect discussed the notion of living rooms, rooms intended for everyday life.

Before this, anyone who could afford an architect-designed residence wanted it to serve as proof of status and wealth; almost all rooms were display spaces. But once d’Aviler opened the door, French architects began making rooms for specific activities of daily life integral to the design of the home: initially the bedroom, then dressing rooms and bathrooms. These “less grand” rooms were the original living rooms. More…

From Matt Tyrnauer at Vanity Fair…

Lever House, the first all-glass International Style office building in New York City, passes its half-century mark this year. The 24-story green glass building, which has been partially hidden by scaffolding for the past three years, has undergone a $60 million refurbishment—including a top-to-bottom restoration of its curtain wall, which, being the first of its kind, was technologically primitive and thus had decayed badly over the decades, to the point where it was literally starting to disintegrate. As one of the most acclaimed buildings of the 20th century, Lever House has often been called the Platonic building of the 1950s, a sea-foam-tinted gem which brought to a new level of refinement the Le Corbusier–Mies van der Rohe style of lightweight glass-and-steel construction. Its meticulous restoration is a cause to celebrate.

In 1952, the last year of Harry S. Truman’s administration, when only three percent of the American public traveled by plane and only 34 percent had TV sets, Lever House looked as if it had dropped from the sky onto Park Avenue across from the Racquet and Tennis Club and the grand old Montana apartments. Its elegant glass-and-stainless-steel slabs—a horizontal one set over columns on an open ground floor, and a vertical one perched as if floating above it—were quite unlike anything New Yorkers had ever seen. By day the structure shimmered in the sunlight and reflected the brick and limestone buildings around it. By night it lit up like a taut rectangular lantern—a vision of the future on a block between 53rd and 54th Streets. For weeks after Lever House opened its doors in April, curious citizens lined up to enter its airy lobby for a closer look. The architecture critic Lewis Mumford noted that the public was acting as if the new soap-company headquarters were “the eighth wonder of the world.” More…

From Vanity Fair…

Beginning in 1963, when she teamed up with Bea Feitler as co–art director of Harper’s Bazaar, Ruth Ansel has been busy revolutionizing the look and feel of American magazines. Vanity Fair’s design director from 1983 to 1988, Ansel also left her visual stamp on The New York Times Magazine, Vogue, and House & Garden before going on to found her own design studio, in 1992. As Oyster Press publishes Hall of Femmes: Ruth Ansel, VF.com celebrates the designer’s remarkable career with snapshots of her life and art—described by the subject herself. More…

From Martin Filler at The New York Review of Books…

Few developments central to the history of art have been so misrepresented or misunderstood as the brief, brave, glorious, doomed life of the Bauhaus—the epochally influential German art, architecture, crafts, and design school that was founded in Goethe’s sleepy hometown of Weimar in 1919. It then flourished from 1925 to 1932 in Dessau, an industrial backwater where the school’s first director, Walter Gropius, built its image-making headquarters (see illustration on page 25); and it ultimately but vainly sought refuge in cosmopolitan Berlin, where it closed in 1933, when Hitler took power. Now, nine decades after its inception and three quarters of a century after its dissolution, the Bauhaus has finally been explained to the museum-going public in terms much closer to its actual intent and immense achievement than ever before. More…

From Matt Tyrnauer at VF Daily…

When Romans criticize their incomparably beautiful city, they often mutter, terzo mondo—third world—and shake their heads. The sharp contrasts of Italy’s capital are part of its wonder and joy. The primness of the seat of the Catholic Church, where timid nuns scurry about in groups of two and three, stands in stark contrast to the overt sensuality—in mood and dress—of the general populace. The city is packed with more art treasures than any other in the Western world, yet, at least by European standards, Rome is an extreme backwater in terms of anything having to do with pre-19th-century art. Last week there was a sense of renewal and redemption in the air here as a new much-awaited museum devoted to contemporary art finally opened its doors. The mammoth structure, called MAXXI—short for Museo Nazionale delle Arti del XXI—is designed by Zaha Hadid, and is located in Flamino, a residential and former light-industrial area near the Tiber. MAXXI’s opening week was greeted with delight by both local sophisticates and average Romans. Romans have been praying for something to reinvigorate contemporary culture in this ancient place, which has been in an innovative art drought since the golden ago of Cinecitta expired many decades ago. To make matters more frustrating, MAXXI’s arrival has been long-delayed and full of dramatic twists and turns. (It was supposed to open in 2005.) More…

From Dezeen.com…

Italian design collective Acquacalda have designed a range of kitchen gadgets based on the laws of physics, including this device for pouring exactly equal amounts of wine into four glasses.

Called Applied Physics, the collection also includes a self-hydrating plant pot, a glass with a measuring reservoir, a bowl for weighing dry food in water and a vase that indicates the water level inside through its handle. More…

From Margalit Fox at The New York Times…

It was for decades the most enduring piece of ephemera in New York City and is still among the most recognizable. Trim, blue and white, it fits neatly in the hand, sized so its contents can be downed in a New York minute. It is as vivid an emblem of the city as the Statue of Liberty, beloved of property masters who need to evoke Gotham at a glance in films and on television.

It is, of course, the Anthora, the cardboard cup of Grecian design that has held New Yorkers’ coffee securely for nearly half a century. Introduced in the 1960s, the Anthora was long made by the hundreds of millions annually, nearly every cup destined for the New York area. More…

From GOOD…

The pat social critique of architecture is doubtless as old as architecture itself: High design is nice to have, but it’s a luxury. MASS, a new Boston- and Kigali, Rwanda-based firm, aims to change the mindset that shelves ambitious building design in times of crisis. MASS co-founder Marika Clark says the revelation came three years ago, when she and fellow designers learned that NGOs often weren’t using architects for major projects in troubled areas: “[They] were building critical infrastructure work without the use of design professionals.” And at first architecture was a tough sell, even to current client Partners in Health: “PIH was very unsure of how architects could be useful at that point,” she says. Eventually, the organization came around, commissioning the project MASS now sees as its flagship, the under-construction Butaro Hospital in the Burera District. More…