was known globally for her dynamic public buildings. She was the first female architect to receive the Pritzker Prize, in 2004, and the. Her singular career was abruptly cut short when she passed away suddenly on 31 March 2016 in Miami, aged just 65.
With such buzzing thoughts in my head, I step into an old school building in London’s Clerkenwell, which has been turned into the great architect’s practice. The spaces haven’t been done up outrageously – just white paint. It still looks like a school. Only, instead of children at desks, it’s 20-somethings and 30-somethings at computer screens, nearly 200 of them in all, the architect’s employees.
What does ‘deconstruction’ in architecture mean? Like fashion at the end of the 20th century: a sense of something ordered and classical, but an elegant unravelling of the same thing, so you feel you’re getting both, neither stuffy nor silly. She has a sense of an ordered building, she undermines it by inserting a whole new set of contemporary values, and the result is convincing.
She is the real thing, my friend had thought, and I do too: this amazing-looking figure, like a female Wizard of Oz, a wizard of the night, in striking black and gold Prada, with her big eyes and deep, growling voice. The artwork for Wallpaper* relates to a set of ideas about space and fluidity that she’s been developing for the last ten years.
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