Founded and designed by Japanese-American artist Isamu Noguchi (1904–1988), The Isamu Noguchi Foundation and Garden Museum preserves the working atmosphere of the artist's former studio in New York.

XXXI (‘Thirty-One’) is ❶ a mixed-use community space for designers (and others) to exhibit, teach, and discuss self-initiated work; ❷ a shared studio space; ❸ a residency for designers; and ❹ an online (and sometimes physical) store. It purposefully lives outside (or against) the constraints of the city it exists in and traditional commercial practice to ask what design can do when its goal is not money.

Only a 40-minute subway ride from my apartment and a world unto itself, Coney Island is always a new experience and like seaside weather, it’s always different. I stumbled upon this kite festival one grey fall afternoon. Other visits have yielded dance parties on the boardwalk, roller coaster rides, shandies in plastic cups on the beach, a trip to "Little Odessa", and a myriad of interesting characters and experiences.

I have old friends in San Francisco who grudgingly tell me that the High Line is everything that's wrong with New York. Well, too bad. To me, it embodies a culture that's constantly reinventing itself: a defunct elevated railway that was becoming a burden to the city ("we used to climb up there to throw garbage bags full of rotting Korean food at the Hasids!", noted a successful photographer's assistant) becoming a startling example of urban greening for the public good. The expert landscaping makes it feel like walking on a Montauk beach - but a stone's throw from some of New York's most progressive galleries and hotels.

In 1963, the Italian-born sculptor Costantino Nivola filled a playground that covers an entire city block with avant-garde abstractions. In the middle of an Upper Manhattan housing project, there are cuboid cutouts sculpted in cement, a fountain made with two diamond-shaped boulders, concrete play horses, and a sand-casted relief carved high into a wall. In the northeast corner, a matriarchal figure known as “The Nanny” rises from the ground. The artist’s sculptures were built in an era when urban development incorporated art in its effort to uplift communities and express democratic ideals. “A work designed for a public space is less a work of art than a civic act,” Nivola once said. “It concerns the ways in which we live together, and in which we influence each other.”