Schwarz
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i love how the new yorker fucks up their text on purpose when you cut and paste it:
It must be tough to be a British architect thes days if your name isn’t Norman Foster o Richard Rogers. The most famous Britis architects since Christopher Wren are filling th world with so many sleek glass-and-stee buildings that it can be hard for thei compatriots to get noticed. All the more reaso to enjoy the rise, in recent years, of Will Alsop Alsop, now fifty-nine, is the anti-Foster. Hi buildings are startling, but also whimsical, gentle, colorful, and modest. Alsop’ playfulness makes him unusual—wit is in short supply among architects today—but his work, on closer inspection, is just as notable for the commonsensica attitudes it embodies
The building that has done most to establish Alsop as an international figure is a bizarre structure in Toronto, the Sharp Center for Design, at the Ontario College of Art & Design. It is a slab, two hundred and seventy feet long and raised nine stories into the air on huge, slanted legs. The legs—red and yellow and black and blue and purple and white—look like a bunch of gigantic colored pencils, or pick-up sticks mid-fall. The slab, which accommodates two floors of classrooms, studios, and offices, is covered in white corrugated metal and decorated with black squares. The building as a whole looks like a crossword puzzle on stilts. It seems to float above its surroundings, and locals have taken to calling it the Tabletop.