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I had the first drink at Claridge s newest bar - here s why it will become London s post-pandemic hotspot
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News From Roseshire: Which Rosés Should We Be Drinking Now?
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Jul 2, 2021
SEOUL, South Korea – In 1951, as the Korean War dragged on, a young artist named Park Jae-Hong headed toward Seoul. The conflict had cut short his first year at art school, and he had been forced into service, first by the North, then by the South, stationed in coastal Masan. He had survived aircraft attacks, meager rations, bitter cold and had managed to get discharged. Back in the capital, trying to raise tuition money, Park asked soldiers from the United States if he could do their portraits. He traded their dollars for won Korea’s currency and bought art supplies and congee made with leftovers from military bases. “One cup of that and a glass of
The Richard Rogers’ Drawing Gallery at the Chateau La Coste in southern France. The gallery is a pure cantilever, with all the load supported at one end only © James Reeve
The 200-hectare Chateau La Coste estate and vineyard in the Luberon, southern France, is an impressive fusion of art, architecture and viniculture, where visitors are greeted by a Louise Bourgeois
Maman sculpture nearly hovering over a shallow pool of water, designed by the Japanese architect Tadao Ando. The latest addition, completed this month, is a new Drawing Gallery by the architect Richard Rogers, which joins buildings by Renzo Piano, Jean-Michel Wilmotte, Frank Gehry and Oscar Niemeyer. And since Rogers retired from architecture last year, this may well be his last work.
Pritzker Prize-winning architect Richard Rogers has completed his final building – a gallery that cantilevers 27 metres out above the hillside at the Château La Coste vineyard in southern France.
Named The Richard Rogers Drawing Gallery, the project was the last work produced by the architect before his retirement from Rogers Stirk Harbour + Partners (RSHP) – the studio he founded in 1977.
The Richard Rogers Drawing Gallery is architect Richard Rogers final work
The 120-square-metre art gallery is almost entirely suspended off the ground with only four small footings touching the ground.
It is supported within a bright-orange structure that is visible on the outside like many of the seminal buildings designed by the high-tech architecture pioneer including the Centre Pompidou and the Lloyds building.
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