The Calouste Gulbenkian Foundation's complex in Lisbon has been one of the city's best-loved landmarks since it opened in the 1960s. The foundation aims to improve quality of life through art, charity, science and education, and its Lisbon campus encompasses a main office, library, scientific research centre and contemporary art museum, Centro de Arte Moderna (CAM), which reopens this month following an extensive four-year renovation by Japanese studio Kengo Kuma & Associates. Designed in collaboration with landscape architect Vladimir Djurovic, the update cleverly reconfigures the space and extends the foundation's gardens to craft a more cohesive relationship between the existing structures.
The original CAM building was designed in 1983 by British architect Leslie Martin, who led the team behind London's Royal Festival Hall, completed in 1951.
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COOL RUNNINGS
Palace founder Lev Tanju is bringing his own unexpected brand of weirdness and love of eclectic mash-ups to Fila's new contemporary line
LIVING COLOUR
Mexico's San Miguel de Allende is home to a bold young crowd of talent that's thriving off the city's brightly-hued heritage
STARS ASCENDING
In a rapidly changing world, the route designers take to discover their calling is increasingly circuitous. We profile ten creatives forging their own paths to success
SUITE DREAMS
Cathay Pacific’s new aircraft interiors turn the inflight experience into an art form, upgrading the business-class cabin for the next generation of flyers
Brutal harmony
The Escheresque Italian villa designed by Fausto Bontempi for sculptor Claudio Caffetto
LOCAL HERO
London studio Holloway Li’s recent makeover of Polish hotel Puro Poznan is right up our street
STAR TURNS
An exhibition at Louvre Abu Dhabi unveils the stellar shortlist for this year's Richard Mille Art Prize
SCREEN GEM
A multifaceted residence in Beverly Hills puts the beauty of potentiality in the frame
SOFT SPOT
We've taken a shine to Bottega Veneta's collaboration with Flos on a special edition of a Gino Sarfatti lamp
Between the lines
Frequently drawing comparisons with Francis Bacon, painter George Rouy is gaining peer points for his use of classic techniques to distort the human form
