HIS work is known all around the world and here in Scotland the architect Enric Miralles will forever be remembered as the man who brought us the Scottish Parliament building at Holyrood, which can still trigger as much debate now as it did when it opened, four years after his death. Love it or loathe it, the building, with its roof of upturned boats and striking – if unusual – window frames, is regarded by many as the Catalan architect’s finest work and is featuring in a tribute organised by his home city of Barcelona. MIRALLES has been organised by the Enric Miralles Foundation, along with support from Barcelona City Council and the Catalan government and is aimed at giving the wider population the opportunity to appreciate the legacy he left after he died in July 2000 from a brain tumour, aged just 45.
Will a summer holiday in the Med be possible? : The Holiday Guru answers travellers questions
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Zhang Ke Awarded 2017 Alvar Aalto Medal
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Louis Kahn (1901–74) was an architect who designed buildings that looked like castles; this was true whether they were small Philadelphia villas or vast institutions such as his parliamentary complex in Dhaka. His style – which he arrived at only in his fifties – is characterised by what look like thick fortified walls of massive masonry pierced by simple geometrical shapes and sometimes topped with turrets, as if they have been designed by a necromancer or numerologist in the 13th or 14th century. The architectural historian Vincent Scully, an admirer, thought these buildings an intimation of divinity, and much writing about Kahn is overblown: ‘inventive power’, ‘personal discovery’, ‘fundamental geometry’ – that sort of thing.
Alan Bowness was an art historian whose eye and influence shaped the British contemporary art world over more than 40 years. He never sought the limelight, but his quiet self-assurance and belief in his own convictions inspired confidence in others and made him the most persuasive and effective voice in a talented post-war generation of curators, writers and critics.
In the late 1950s and through the 60s and 70s, he was a pioneering academic and a friend to a generation of abstract artists in England, whose work he championed in print and in the many committees on which he served. In the 80s he became a more public figure as the director of the Tate Gallery, where he made important acquisitions for the national collection, achieved a resolution of the long-running debate about how to honour J.M.W. Turner’s magnificent bequest to the nation and established a new northern outpost for the gallery in creating Tate Liverpool. In the 90s and beyond, he continued his patronage as