Catálogo de publicaciones - revistas

<jats:title>Abstract</jats:title><jats:p>Brian Clarke is one of the UK's foremost international artists. For the last four decades he has specialised in creating highly beautiful stained‐glass work, instantly recognisable for its bright and arresting colours. His work is often thoughtfully integrated into buildings, providing them with a special sense of place. <jats:bold>Paul Greenhalgh</jats:bold>, Director of the Zaha Hadid Foundation, investigates Clarke's creative trajectory.</jats:p>

<jats:title>Abstract</jats:title><jats:p><jats:bold>Ian Ritchie</jats:bold> is not bound by stylistic fetishes and long‐established, old‐fashioned protocols of solving architectural problems. Each of his projects is designed from first principles, even before spaces and materials are projected. He prefers to get to know his clients and their organisations in extreme detail. At concept stage he uses the other arts to inspire his outputs – poetry, etching and painting, to name but a few. Here he describes his methodologies.</jats:p>

<jats:title>Abstract</jats:title><jats:p>In a wide‐ranging interview with AD Editor <jats:bold>Neil Spiller</jats:bold>, architectural artist Ben Johnson charts the course of his career to date – from his formative years at art school, through his epiphany moment when architecture took its key place in his practice, and beyond. He recalls the impact of painting the work of Norman Foster and Richard Rogers, particularly the reflections caused by their use of glass, and discusses the spiritual aspects that the act of painting instills in him, along with his more recent interest in depicting the geometries of Islamic religious buildings.</jats:p>

<jats:title>Abstract</jats:title><jats:p>The combination of an understanding of architectural history and a compositionally advanced architectural ‘eye’, integrated with a PhD in second‐order cybernetics, has shaped the preoccupations of architect <jats:bold>Felix Robbins</jats:bold>'s work. Here he describes his architectural world and his ongoing projected speculations within it.</jats:p>

<jats:title>Abstract</jats:title><jats:p>Artist Brendan Neiland's art is exuberant. It rejoices in the world and in beautiful juxtapositions of the manmade and the natural, revelling in anything from the blooms of flowers to the neon nights of the city, high‐speed trains and the sensuous lines of some cars. He likes high‐code aesthetics conjoined with the low, all of which he renders in a palette of vivacious, spray‐painted colour. It is not possible to pass a Neiland without admiring it. <jats:bold>Paul Finch</jats:bold>, founder of the World Architecture Festival, tracks his recent work and preoccupations.</jats:p>

<jats:title>Abstract</jats:title><jats:p>The oeuvre of artist Andy Goldsworthy utilises ‘found’ natural objects like leaves, rocks, ice and sticks to create captivating, often ephemeral interventions into the natural landscape that remind us of the power of natural beauty and the continuously changing seasons. Architectural writer <jats:bold>Eva Menuhin</jats:bold> discusses some of the traits in his work, which has recently become more monolithic yet is still concerned with movement, natural materiality and time, as seen in his work in progress ‘Hanging Stones’.</jats:p>

<jats:title>Abstract</jats:title><jats:p>Sculpting with glass is often the choice of artist and designer Danny Lane. He can combine it with steel, timber, acid etching and numerous other techniques and materials, yet at its root Lane's life's work is glass. He teases it to its limits for artistic effect – extruding, moulding, dripping, colouring, striating, cracking and nibbling at its edges. The other partner in his arsenal is light, the way it flickers, beams, glitters and projects. In an interview with AD Editor <jats:bold>Neil Spiller</jats:bold>, he reveals his thoughts on his creative history, his beloved material and his influences. Danny Lane, Etruscan Chair, 2016 This design for a glass and steel chair was originally conceived in 1986, and has been through various modifications since then; 1990s glass became 25mm thick and the metal was refined, with Jimmy Choo high‐heeled shoe tips.</jats:p>

<jats:title>Abstract</jats:title><jats:p>There is another type of art produced when creating work – a kind of second‐order art. It consists of what is left over after a piece is made: the residue, the detritus of creation. Some contend this is often as important as the initial piece itself. Architect and teacher <jats:bold>Peter J Baldwin</jats:bold> has long held that this is the case. He leads us on a journey of creative archaeology through some architectural examples, revealing how that which is seldom valued – the shrapnel of creative explosions – has a poetry of its own.</jats:p>

<jats:title>Abstract</jats:title><jats:p>As a founder member of the now international practice OMA (Office for Metropolitan Architecture), Zoe Zenghelis was responsible for some of the group's early iconic representations of its buildings. In recent times she has practised as a lone painter creating a plethora of work that is at once abstractly Constructivist yet gorgeously architectural as she mixes form and colour. Architect, teacher and writer <jats:bold>Hamed Khosravi</jats:bold> describes her artistic trajectory and influences.</jats:p>