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With a mission to support, empower, and grow the city's design sector, New York's annual design festival, the NYCxDESIGN presented a selection of architectural installations, talks, and events to celebrate global creative accomplishments, share new ideas, and inspire through design. This year, the festival returned for its tenth edition, running from May 10th - 20th. Having been a special anniversary, this year showcased New York's creative diversity and talent, putting on display its designers, makers, manufacturers, innovative design businesses, as well as world-class cultural and academic design institutions.

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Over the past year, established practices have continued to champion the transformation of existing structures, with adaptive reuse and renovations increasingly becoming a defining aspect of contemporary architecture  From the renovation of landmark structures to the adaptive reuse of obsolete facilities, the idea of giving new life to existing buildings has been embraced as the premise for a more sustainable practice, but also as a means of reinforcing the urban and cultural identity of cities. Discover 8 designs and recently completed projects that showcase a new common practice of reusing existing building stock.

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Claude Monet and Vincent van Gogh used the impasto technique extensively in their paintings. Both applied thick layers of oil paint over the canvas, usually one shade at a time, and it was up to the viewer's brain to mix the colors and create the desired effects. When dry, the paint forms reliefs and textures on the canvas, evoking a sense of movement. Even without being able to touch the screen, the texture of the brushstrokes gives a three-dimensionality to the painting, something that can only be fully observed by seeing the artwork live, looking at it from more than one angle and actually experiencing it.

In his famous book “The Eyes of the Skin: Architecture and the Senses,” Juhani Pallasmaa points to "a predilection in favor of vision and in detriment of the other senses in the way architecture was conceived, taught and criticized, as well as the consequent disappearance of sensory and sensual characteristics in arts and architecture." According to the author, "an architectural work is not experienced as a series of isolated retinal images, but in its fully integrated material, corporeal, and spiritual essence."

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