How Zaha Hadid found acceptance

from International Design (US), June 2002

People have no problem acknowledging the talent of the Baghdad-born, London-based architect Zaha Hadid, who shot to prominence in 1982 when she won an architectural competition for the Peak, a clubhouse spectacularly perched on the summit of Hong Kong’s main island. Their problem seems to be knowing what to do with it.

Read more

Buckminster Fuller's vision realized

from International Design (US), November 2001

“Eden 1 mile”, said the road sign, and you could almost believe it, but for the traffic. The sign advertises the presence of the world’s largest plant-house, built using the lightest and most environmentally sustainable technology, and known properly as the Eden Project. Located in a disused clay pit in the scarred yet still beautiful landscape of coastal Cornwall, “Eden” is a victim of its own astonishing success.

Read more

Part Garrison Keillor, part cyberbabe: an interview with Laurie Anderson

from Graphis (US), September-October 2000

Laurie Anderson achieved celebrity rare for a performance artist in 1981 with the unlikely hit, O Superman. The eight-minute single chronicled life with her telephone-answering machine. The song was a fragment of a four-part work spread over two evenings, United States, a kind of multimedia version of Wagner's Ring Cycle, dealing not with love, money and redemption, but more modern American themes: democracy, (in)security, technology.

Read more

Why corporate identity doesn't matter any more

from the Royal Society of Arts Journal, Fourth quarter 2000

Among the heroic types of the latter half of the last century—the computer whizzkid, the stock trader, the media mogul—should also be counted the corporate identity consultant. These were men who could distill the essence of a great corporation into a single memorable symbol. But suddenly, their day is done. Corporate identity simply doesn't matter any more. Why? Here are ten reasons ...

Read more

Why Britain should let more foreign architects build

from the Independent on Sunday (UK), 13 August 2000

During the construction of Lord Foster’s wobbly millennium bridge there was a moment that spoke volumes for British attitudes to the foreign. Foster received Jacques Herzog, the Swiss architect of the Tate Modern, in his office in order to resolve the way his bridge would touch down in the landscaped grounds of the new gallery. Foster spoke clearly, explained patiently, listened little, never doubting he was in the right and in possession of the absolute authority of a colonial governor

Read more

<< Previous 1 2 3 4 Next >>

Powered by CuteNews