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VENICE FILM FESTIVAL
Toast of the Mostra
Critics catapult Hayao Miyazaki’s ‘Ponyo on the Cliff by the Sea’ to the top of the chart
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Larger than life
Sculptor Marc Quinn says the scale of his seven-tonne effigy of a naked infant, currently being installed, is capable of transforming its substantive meaning, writes Peter Aspden
The blob of awe and wonder
The new Darwin Centre at London’s Natural History Museum is a cultural building expressed in the language of the regenerated business district, and is not particularly original, writes Edwin Heathcote
Fuglsang Kunstmuseum, Denmark
The Fuglsang concentrates on the sweep of Danish art, particularly the romantic Nordic landscape and the sublime; it is a building rooted in the rural and the landscape, both inside and out
The new New York
The US’s biggest city is changing fast; the challenge on the international architects who have converged on it is to recapture its essence, writes Edwin Heathcote
Magic mountains of brick and stone
Modernism is nothing new in Chinese architecture, finds Edwin Heathcote at an exhibition tracing buildings from the western imperial era of Shanghai and Hong Kong to the postwar brutality of Stalinist classicism
Business Life: No longer haunted by historical discoveries
Archaeological finds can delay construction and add to development costs, but if integrated successfully into a modern structure they can be of great benefit and add value
The best of Basel
Novartis’ mini-city taking shape on the banks of the Rhine proves that corporate design can be as compelling as any of the grand arts buildings in the arts sections of newspapers
Power games
Whether it’s a political gesture or an act of regeneration, the rationale behind Olympic architecture is about far more than sporting prowess, writes Edwin Heathcote
Hexagons, teardrops and hubris
A retrospective of Buckminster Fuller’s exploits illuminates the man but neglects the continuing relevance of his genius and his megalomania, says Ariella Budick
East meets west in the north
This show reveals the point at which design, architecture, landscape and space coalesce. It reveals an extraordinary prescience and range, and it is as good a show on Isamu Noguchi as you will ever see, writes Edwin Heathcote
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