Whether they are fitting out a Savile Row shop or adapting a grade I-listed house, London duo 6a Architects take a radical approach to history and conservation, cherry-picking elements of the past to weave into new narratives
During London Design Festival, 100% design welcomed more than 27,000 visitors over four days at Earls Court in London, and this year expanded into both exhibition halls. Here are three of Icon’s highlights from the show.
The contradictions that run through the Royal Academy’s retrospective sum up the architect perfectly, says Charles Holland.
Sou Fujimoto’s structure in Kensington Gardens leaves us yearning for more permanent realisations of his utopian architectural vision
Haworth Tompkins’ red box on London’s South Bank tests directors and actors in an intimate space and highlights the contrast between temporary and permanent structures.
Marcel Duchamp is the ghost at the party at this exhibition about his influence on four great American artists, says Fleur Darkin.
The London that rose up in the 1960s and 70s proved inherently cinematic, luring film-makers such as Kubrick and Truffaut to its new offices and housing estates. But their dystopian visions were to create an indelible link in the public imagination between modernism and failure
Cinema has come a long way since an actor first sat in front of a coloured screen and pretended to fly a magic carpet. But today’s hyper-real digital worlds still start with a lurid green wall.
Since the launch of his first store in 1970, Paul Smith has mixed his fashion designs with the collection of curiosities that inspire them. He refers to this ever expanding hoard, which overflows his disorderly office and fills storage facilities, as The Department of Silly.
Richard Rogers has always urged people to consider the dialogue between structures in a cityscape, rather than just individual buildings – an interest that can be traced back to his mother’s arrangements of ceramic pots that occupy a central space in his home
The London-based designer is fascinated by imperfections in everyday objects – the “runts of production”. It is only when things go wrong, he says, that we can appreciate how things are made.
The architect’s esoteric collection of objects plays past against present, with ancient Greek pots alongside Sex Pistols magazines. It is a theme she explores in many of her buildings, from Selfridges Birmingham (Icon’s first cover) to the new V&A courtyard
Paul Bush’s film about a city that rises endlessly into the future is visually ingenious, but too beautiful to be dystopian, says Fatema Ahmed.
This 9.5g disc of brass and nickel has proved reassuringly durable, surviving counterfeiting, inflation and the wrath of the Daily Mail to reach its 30th anniversary this year.
London’s newest attraction – the 244m-high viewing platform of Renzo Piano’s Shard, western Europe’s tallest building – opened to the public in February. Is it worth climbing up this very tall building just to look back down to where you came from? And are buildings like these more about the view than the architecture?
Haworth Tompkins’ latest addition to the RCA’s Battersea campus is an “art factory” where the production facilities take centre stage.
The sight of 204 copper torches rising to form one vast bowl of flame was an extraordinary finale to the London 2012 opening ceremony. It was also one of the highlights of an extraordinary 12 months for designer Thomas Heatherwick – who is also the winner of Icon of the year, an award decided by public vote.
Few designers get to watch their work being ceremonially paraded up and down the country, but that’s how Ed Barber and Jay Osgerby spent the summer of 2012. The question is, after the “whirlwind” of the Olympic torch, what will they do next?
Troika's experiments with light offer intriguing narratives on everything from truth in digital photography to the British weather. This month, the London-based trio will design a project room for Biennale Interieur (20-28 October) that imagines the future of living spaces.