A rollercoaster ride through three decades of cynicism exposes the crassness of an era best left behind, says William Wiles.
Rafael Viñoly’s banana-shaped arts centre in Colchester shelters a number of creative organisations – with very mixed results.
Keith Williams’ new home for this Canterbury theatre combines civic dignity with a few touches of appropriately theatrical flair.
The Turner-prize nominated sculptor is inspired by classic pieces of modernist furniture and reinterprets them to make “places, not things”.
The Portuguese architect uses bright colours in this refurbished townhouse to highlight his interventions. Just don’t call the results “striking”.
“Icon” is not a word to be used lightly on these pages but, on the occasion of our hundredth issue, somehow it seemed appropriate
With a hidden garden of wild flowers at its heart, this year’s design is a call for architects to reassess the relationship of building and garden.
Design practice BERG has adopted science fiction authors William Gibson, Bruce Sterling and Warren Ellis as its “giant uncles”, but it is less interested in the distant future than in today’s ever smarter technology. The really hard task, they say, is “inventing next year”.
William Wiles finds that Serbia’s creative industries give reason to be hopeful as tensions run high after the arrest of Ratko Mladic.
The Slovenian designer’s range of furniture may have overtones of luxury but it is intended to make you work.
Hadid has parked the city’s vast collection of transport artefacts in a technically ingenious, column-free space under a striking zigzag roof .
London has two new skyscrapers: the Heron Tower, the tallest building in the City, and the Shard, the tallest building in the EU. We took sculptor Richard Wentworth to appraise them as additions to the street scene – and peek at OMA’s super-discreet bank HQ along the way.
David Chipperfield’s second major UK gallery in as many months sits in the river Calder like a fortress, but is a modest and thoughtful building.
William Wiles is disturbed and impressed by a show that frees the ideology of hallucination from its tie-dye chains.
David Chipperfield’s ice-cool Turner Contemporary is a symbol of calm and order, quietly resisting the pounding waves of the North Sea and drawing in the light from Margate’s stormy skies. Which is a small miracle, given the troubled history of the project.
Hawkins Brown’s Northamptonshire town hall and arts centre is defiantly not an “icon” – its design is all about its Tardis-like interior.
E Roon Kang and Richard The’s new branding for the institute is based on an algorithm that can randomly generate more than 40,000 variations.