Latest news with #PritzkerPrize-winning
New York Post
25-06-2025
- Business
- New York Post
Here's your rare chance to live in a Zaha Hadid building
The late Pritzker Prize-winning architect Zaha Hadid designed breathtaking works around the world — but when it comes to homes, and particularly in the United States, they're in very short supply. Now, there's a rare chance to own an apartment at her One Thousand Museum tower in Miami. It asks $7.79 million — and, in this building, that could be a bargain. Especially since One Thousand Museum was the Iraqi-British architect's final edifice. It was completed in 2019 by her firm, three years after her death in 2016 at age 65. The 62-story structure rises 707 feet across from Museum Park. Such rarity of homeownership in one of her properties brings big-name owners — and the prospective owner of this listed unit can be in some powerful company, at least for now. Advertisement 9 The tower even looks striking in the evening hours. Become Legendary 9 The residence has a wide open layout. Become Legendary 9 Dining comes with a view through massive exposures. Become Legendary Advertisement 9 A close-up of the building's exoskeleton. Become Legendary This is where billionaire hedge funder Ken Griffin, of Citadel, has currently listed his 9,200-square-foot penthouse for $21 million — down from its $23 million ask in March. He bought the five-bedroom, six-bath aerie as a blank box for $18 million in 2021. Grammy-winning singer/songwriter Marc Anthony has also just rented his apartment in the building for $43,000 a month, Gimme Shelter has learned. It's also on the market for $9.9 million to buy. And Loren Ridinger, the co-founder and CEO of Market America and close pal of fellow mom-preneurs Victoria Beckham and Kim Kardashian, also listed her penthouse in April for $24 million. (Ridinger's late husband, Market America co-founder J.R. Ridinger, bought the unit with her for $19 million in 2021, a year before his death.) Advertisement 9 There's no shortage of space for chic lounging areas. Become Legendary 9 The apartment also has space for wine storage. Become Legendary 9 The main bedroom suite has its own impressive view corridor. Become Legendary 9 The outdoor entertainment areas are also jaw-droppingly beautiful. Become Legendary Advertisement 9 The views also wow at night. Become Legendary The sellers of the $7.79 million unit, Miguel and Cristina Rodriguez, bought it for $6.18 million in 2021. The half-floor residence comes with stunning views of Biscayne Bay, the Atlantic Ocean and the Miami skyline. Inside, there's a chef's kitchen with a refrigerated wine storage area. The main bedroom suite has a walk-in closet and a private terrace. The listing brokers are Douglas Elliman's Miguel Solis and Fernando Rodriguez.
Qatar Tribune
22-06-2025
- Entertainment
- Qatar Tribune
We continue to invest in culture as a driver of social and economic development: Sheikha Al Mayassa
Tribune News Network Basel Her Excellency Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, Chairperson of Qatar Museums, recently participated in a thought-provoking panel discussion 'Beyond the Canon: Art, Architecture, and Global Imagination' at the Fondation Beyeler in Basel, Switzerland, speaking before distinguished guests during this year's Art Basel fair. Heralding the inauguration of Art Basel Qatar in February 2026, the event explored the public role of artists and architects in shaping today's society. Following an introduction by Noah Horowitz, CEO of Art Basel, HE Sheikha Al Mayassa was joined by Pritzker Prize-winning architect Jacques Herzog, Founding Partner of Herzog & de Meuron and designer of the future Lusail Museum; artist Urs Fischer, whose large-scale sculpture Lamp/Bear in Hamad International Airport is part of the Qatar Museums public art programme; and artist Wael Shawky, artist and artistic director of the Qatar Museums artist-in-residence and exhibition space Fire Station. The discussion was moderated by Hans Ulrich Obrist, artistic director of London's Serpentine Galleries. Addressing the emergence of new cultural centres in a shifting art world, HE Sheikha Al Mayassa said, 'Under the leadership of the Amir His Highness Sheikh Tamim bin Hamad Al Thani, we continue to invest in culture as a driver of social and economic development. Our institutions are designed to support artists and creative industries as they shape the future of our region. 'Through creative hubs like M7, Liwan Design Studios and Labs, and the Fire Station, we are furthering the cultural economy of our nation and region. This work will be enhanced by the addition of Art Basel Qatar to our cultural ecosystem. This is also what the Lusail Museum will do as an international gathering place. Artists, scholars, students, and leaders in business and public affairs will be brought together to bridge a divided world through dialogue, art, and innovation.' Speaking about the Lusail Museum's design as encouraging dialogue in a changing world, Jacques Herzog said, 'Architecture is a long-term endeavour. It must be as relevant in the future as it was when designed and built. We began working on the Lusail Museum project over 18 years ago, and it has evolved to become a place which will not only house a collection but will be a platform for political, social, and cultural exchange – and an architecture that can serve as a model for building in this region now and in times to come.' Reflecting on a question about the role of art in the public realm, Urs Fischer said, 'Lamp/Bear was originally created out of a smaller idea, how light can shine on your face, making you appear scarier or kind of cute. This idea grew and became a bigger object, originally for a city, but through Her Excellency's vision, has found a home at Hamad International Airport. 'Like architecture, the seed of an artwork is unknown, and then if the seed is successful, it can grow, expand and give a place an identity. Places that have public art can make you feel that you have arrived somewhere. The work gives you an idea of a place, a location.' Discussing the role of the Fire Station in advancing creative activity in Qatar and the region, Wael Shawky said, 'We have just introduced a new, fully-funded Arts Intensive Study Programme, which is designed to foster, critical thinking, hands-on learning, and professional development for 20 emerging international and Qatari artists bringing together students from all over the world. 'In doing so, we are seeking to find a new format for education that cultivates talent. Our first participants, selected from more than 1,000 applicants, are going to have the opportunity to be guided by some of the art world's most influential figures, in a dynamic, immersive environment that encourages experimentation. It's a perfect embodiment of Qatar's vision of being a global centre for artistic innovation and cultural exchange.' The talk complemented and extended Qatar's programming at Art Basel in Basel. In the Collectors Lounge at the fair, the Qatar Pavilion, open from June 17 to 22, features the Qatar Airways Lounge and Al Maha Island Gallery. The lounge offers a comfortable setting for meetings, and features authentic Qatari cuisine fused with international flavours by Chef Noof Al Marri, head chef of the Desert Rose Café at the National Museum of Qatar. The Pavilion's Al Maha Island Gallery provides an advance look at the Lusail Museum and the vision for the island it will be located on, both designed by Herzog & de Meuron. On view in the gallery are examples of the Lusail Museum's unparalleled collection of Orientalist art, with paintings by Gustav Bauernfeind, John Frederick Lewis, Jean-Léon Gérôme, and Osman Hamdi Bey, as well as a painting by Hamdi Bey on loan from the Musée d'Orsay as part of the programme of cultural exchange established by a 2025 agreement between Qatar Museums and the French Ministry of Culture. The inaugural edition of Art Basel Qatar will be held in February 2026 at creative hub M7 and in the Doha Design District in downtown Msheireb, in proximity to world-renowned landmarks, including the National Museum of Qatar. It is a partnership among Art Basel, Qatar Sports Investments, a major investor in sports, culture, entertainment, and lifestyle, and QC+, a strategic and creative collective specialising in cultural commerce. Additional details will be announced soon.
New York Post
18-06-2025
- Entertainment
- New York Post
Jacob the Jeweler bought his son a $4.72M home in NYC
Jacob Arabo, an Uzbekistan-born jeweler to the stars — who creates watches worth millions more than most people spend on their homes — just purchased a $4.72 million jewel-box home for his son, Gimme Shelter has learned. The two-bedroom, 2.5-bath residence is at 53 W. 53rd St., which stands 1,050 feet high in Midtown. The tower, which rises above the Museum of Modern Art, was designed by Pritzker Prize-winning architect Jean Nouvel with interiors by the late Thierry Despont. Advertisement 5 Arabo has long had a number of A-list clients, such as Madonna. Getty Images for Bulgari 5 Arabo's pieces sell in the millions of dollars. WireImage 5 The home's modern kitchen. Douglas Elliman Development Marketing Arabo lives nearby in a $16.1 million aerie at 432 Park Ave. on Billionaires' Row. He bought that residence in his wife Angela's name for $16.1 million in 2016, Page Six reported. His son's name was not disclosed. Advertisement Known as 'Jacob the Jeweler,' Arabo's clients include Madonna, Rihanna, Pharrell Williams and Tom Brady. To put the $4.7 million apartment purchase price into perspective, it's less than the cost of two watches that Arabo, founder of Jacob & Co., sells for a cool $3 million apiece. In February, Brady, the retired NFL quarterback, aired a now-viral video on his YouTube channel showing the moment he gifted his 15-year-old son Benjamin a $3 million Jacob & Co. watch just before the Super Bowl, Page Six also reported. 'Yo!' Benjamin said on camera as he showed off the Billionaire Mini Ashoka watch, which is covered in diamonds around the bracelet and bezel. Only 18 were ever made. Advertisement In 2006, Arabo was charged with helping two drug lords launder some of their $270 million in dirty drug profits by selling them jewelry. In 2008, Arabo pleaded guilty to lying to prosecutors and the money laundering charges were dropped in exchange, according to reports. 5 The main bedroom fills with light through floor-to-ceiling exposures. Douglas Elliman Development Marketing 5 A luxe spa bath retreat. Douglas Elliman Development Marketing His son's new 2,051-square-foot apartment comes with ceilings that rise nearly 11 feet high. It opens to a formal entry gallery that leads to a corner great room with floor-to-ceiling windows, and then to a chef's kitchen. Advertisement The main bedroom suite comes with a walk-in closet and a spa-like bath with radiant-heated floors. Additional details include custom lighting and motorized Lutron solar shades. The apartment was a sponsor sale, last asking $5.6 million. The brokers involved on the sale side were Douglas Elliman's Shari Rollins, Renee Micheli, Jade Chan and Frances Katzen.
IOL News
07-06-2025
- Politics
- IOL News
Burkina Faso's revolutionary shift under Traoré's leadership
Captain Ibrahim Traoré, the President of Burkina Faso's transition. One thing is clear: Burkina Faso is once again positioning itself at the vanguard of Africa's liberation project. IN Ouagadougou, the capital of Burkina Faso, a structure has risen that embodies more than just memory: It symbolises vision, renewal, and resistance. It is the Thomas Sankara Mausoleum. The Thomas Sankara Mausoleum, designed by the internationally acclaimed Pritzker Prize-winning Kéré Architecture, is not merely a tribute to a distinctly revolutionary icon. It is a declaration: that the spirit of Sankara is alive, and under the leadership of Captain Ibrahim Traoré, the President of Burkina Faso's transition. One thing is clear: Burkina Faso is once again positioning itself at the vanguard of Africa's liberation project. The mausoleum — sleek, dignified, and rooted in African architectural identity — honours the legacy of Thomas Sankara, the pan-Africanist leader assassinated in 1987 (after just four transformative years in power), as well as twelve of Sankara's fellow comrades. The auspicious inauguration of the event was attended by an array of international dignitaries, including South African anti-apartheid activist and former chairperson of the African Union (AU) Dr Nkosazana Dlamini-Zuma. South Africa's former President Thabo Mbeki, although invited, was unable to attend as he was hosting the 15th Thabo Mbeki Africa Day Lecture in Dar es Salaam, Tanzania. The erection of this memorial site is a profound and befitting tribute to Sankara, the Burkinabe revolutionary whose influence and reverence were felt both continentally and internationally. This tribute also speaks volumes about today's Burkina Faso. Under the leadership of the significantly popular President, Captain Ibrahim Traoré, Burkina Faso has taken dramatic strides towards its advancement. From education and healthcare to infrastructure and security, the country is reclaiming agency over its development. By commissioning and championing this project, President Traoré is not only preserving history, but he is actively invoking it. He is steadfastly reviving the political and philosophical principles that made Sankara both admired and feared: integrity, self-reliance, unapologetic anti-imperialism, and a deep commitment to the African people. The Sankara mausoleum is more than a mere monument; it is a reclaiming of the Burkinabe narrative to a place long shrouded in pain. For decades, the site represented fear and pain, and today, it has been reimagined as a site of power, true leadership, and the positive reconstruction of Burkina Faso's society. This transformation is more than symbolic, it reflects the broader African awakening — a refusal to let our heroes be erased or our futures dictated. This is not just symbolic politics. It is part of a larger revolution Traoré is undertaking, one that seeks to realign Burkina Faso's path away from dependency and toward sovereignty, regional solidarity, and genuine national development. In fact, Traore markedly withdrew Burkina Faso from Ecowas, forming instead the Alliance of Sahel States with Mali and Niger, two nations also run by post-coup administrations. He has also reversed his predecessor's salary increase for government officials, and remained on his military captain earnings, similarly to South Africa's former President Nelson Mandela, and Gabon's military leader, Gen Brice Oligui Nguema. Furthermore, Traore has ended military cooperation agreements with former coloniser France, redirecting security efforts to local and national forces, and emphasising the importance of reclaiming ownership — not only of land and minerals but of policy, narrative, and identity. In many ways, the mausoleum is a fitting metaphor. It roots Burkina Faso in its radical past, while offering a platform for reimagining its future. And that future, under Traoré's guidance, is being shaped in bold and unapologetically African terms. This is the revolution within the revolution, a cultural and psychological shift that echoes Sankara's own emphasis on dignity. It is one thing to control a nation's territory; it is another to inspire its people, to nurture its identity, and to outrightly put the needs of the people at the top of the national mandate. Through Traoré's renewed focus on local agriculture, education, public service delivery, and so much more, Traoré is successfully reconstructing the foundations of Burkinabè society, from the ground up. This is why the Sankara Mausoleum is so immensely invaluable. It is a reminder that leadership is not about personality cults or grandstanding; it is about purpose. Traoré, like Sankara, is leading with vision and intention, rather than from palaces and pompous acts of grandiosity. Critics, particularly in European and Western circles, have cast doubt on the trajectory of Traoré's leadership, particularly the long-term sustainability of Burkina Faso's break from its former strategic partners. However, we must remain wary of the age-old habit of non-Africans speaking on African matters. In fact, any critique of Traore must also be balanced against the undeniable decades of ineffective governance, chronic instability, and external interferences that have brought Burkina Faso to the brink of collapse. Traoré's leadership has proven itself to be rooted in the pan-Africanist belief that Africa can govern itself, defend itself, and define itself, without relying on those who have historically (and continue to) benefit from its vulnerabilities. This leadership model is not limited to Burkina Faso. From Northern Africa's Arab Maghreb Union (AMU) to the Southern African Development Communities (SADC), and beyond, the world is watching Traore intently. Traoré's assertiveness has resonated with citizens across Africa — and beyond — who are sick and tired of corruption, dependency, and underdevelopment despite abundant resources. His actions have rekindled the passionate values of Pan-Africanism, not as a theoretical ideal, but as a practical, implementable, transformational political path. Traoré, propelled by the will of the people rather than elite interests, represents a break from the old order that served foreign agendas more than African futures. The reforms taking root today reflect a broader continental awakening: one where sovereignty, dignity, and justice are no longer negotiable. Traoré is showing us what is possible when leadership listens, acts, and stands firm. The Thomas Sankara Mausoleum is more than a memorial; it is a cornerstone of a new national narrative. It signals to Burkinabè youth, and to African youth everywhere, that we are not condemned to repeat the cycles of the past. We can choose leaders who reflect our values, who honour our history, and who are willing to challenge the structures that have kept us marginalised and grossly underprivileged for far too long. Ibrahim Traoré is far from finished. But what he has begun, from policy reform to cultural renewal, is already shifting the political horizon. The revolution he leads is not just about Burkina Faso's future, it's a profound declaration of what Africa is yet to achieve. As the prolific former leader of Ethiopia, Emperor Haile Selassie once famously stated: 'Throughout history, it has been the inaction of those who could have acted… that has made it possible for evil to triumph.' If the Sankara Mausoleum is the foundation, then perhaps what follows will be the architecture of a new, sovereign, self-defined Africa. And that, at last, is what true leadership looks like. While many invoke Sankara's legacy, it is Traoré who most visibly fulfils Sankara's revolutionary challenge: 'We must dare to invent the future.' * Tswelopele Makoe is a gender and social justice activist, editor at Global South Media Network ( a researcher and Columnist. She is also an Andrew W Mellon scholar at the Desmond Tutu Centre for Religion and Social Justice, UWC. ** The views expressed here do not reflect those of the Sunday Independent, IOL, or Independent Media.
AU Financial Review
05-06-2025
- General
- AU Financial Review
Millions have flocked to this billionaire's art islands
On a tree-dotted hill on Naoshima, an island in Japan's Seto Inland Sea, a museum was being completed, with construction equipment on hand and workers finishing their day. The Naoshima New Museum of Art opened last weekend. A concrete structure by Tadao Ando, it has a few unusual touches for a building by this Pritzker Prize-winning architect. There's a pebbly wall along the walkway to the entrance. To harmonise with the townscape, it has a black plaster exterior, exhibition spaces that are largely underground, and a single storey above, topped by a sloped metal roof. The iridescent sea is visible from the top floor.
