Using the European standard shapes for warnings, Calvert designed the pictorial instructions for road users, referencing what was familiar to her – a cow for livestock crossing, modelled after Patience, her favourite heifer on the family farm; children crossing the road, inspired by her upbringing and including a subtle self-portrait.When Calvert began her career, graphic design didn’t exist as a profession. Six decades later, her work is all around us – from the signs on Britain’s roads to the website for the UK government
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