This website requires certain cookies to work and uses other cookies to help you have the best experience. By visiting this website, certain cookies have already been set, which you may delete and block. By closing this message or continuing to use our site, you agree to the use of cookies. Visit our updated privacy and cookie policy to learn more.
This Website Uses Cookies By closing this message or continuing to use our site, you agree to our cookie policy. Learn MoreThis website requires certain cookies to work and uses other cookies to help you have the best experience. By visiting this website, certain cookies have already been set, which you may delete and block. By closing this message or continuing to use our site, you agree to the use of cookies. Visit our updated privacy and cookie policy to learn more.
A playful take on the recognizable form of a house, complete with a back yard swimming pool, becomes a gallery celebrating the firm’s decade of production.
New Yorkers can take the subway to Coney Island and Angelenos can cool off in Venice or Santa Monica, but Washingtonians are out of luck if they want to hit the beach—the shore is a three-hour drive away. Alex Mustonen and Daniel Arsham, partners of the New York design studio Snarkitecture, thought that Washington, D.C. could use a beach of its own. So they created one inside the National Building Museum, filling a giant pit with almost a million plastic balls that visitors can float on or swim through. The pit, which opened on the Fourth of July, is fronted
Snarkitecture, the name that artist Daniel Arsham and designer Alex Mustonen have given their nearly 10-year-old design collaboration, cuts two ways. On the one hand, it references the fictional creature in Lewis Carroll’s nonsense poem “The Hunting of the Snark”; on the other, it invokes the arch tone of Internet writing.
Subscribe
