Having been drenched in the fluorescence of the Hayward's Dan Flavin exhibition (see opposite), you could head east to Bloomberg SPACE, 50 Finsbury Square, London EC1, for Backdrop - another show of light works, this time by eight contemporary artists. The one whose pieces look to be most like Flavin's is Leo Villareal, though the resemblance is superficial. In Villareal's room you are surrounded by 51 neon tubes ranged vertically in groups of three, but while Flavin's installations are static, the light unwavering, here all is hyperactive, as colours keep changing and dart from one tube to another. There's a moment of calm as the space is flooded with red or green - and then the dizzying sequence continues.
But the star of the Bloomberg show is David Batchelor, whose mission to bring a little colour into our lives while recycling our cast-offs has now resulted in a huge elongated chandelier, made from 500 plastic bottles that he's intercepted somewhere between the supermarket and the dustbin. Lit individually inside, then trussed together and suspended in the Bloomberg atrium, they form a vividly colourful interloper in these corporate surroundings, their presence multiplied by reflections in the glass balustrades (see picture).
The show continues until 18 March (tel 0207330 7959).
One of last year's best books was Elisabetta Andreoli and Adrian Forty's Brazil's Modern Architecture (24.02.05).
A new exhibition at the Henry Moore Institute, Leeds, called Open Space, Closed Space: Sites for Sculpture in Modern Brazil, explores the sculpture that developed in tandem with the buildings of Niemeyer & Co, with the show's flyer featuring a striking photo of Niemeyer's pavilion for the São Paulo Bienal of 1957 (www. henry-moore-fdn. co. uk).
There are none of Brazil's Modernist aspirations in the latest exhibition at The Lighthouse, Glasgow, running until 26 March. Bungalow Blitz looks at the impact of a 1971 publication by the Irish architect John Fitzsimon, Bungalow Bliss, which offered a number of self-build bungalow designs and proved very popular, expanding in size in subsequent editions. What's happened to the landscape as a consequence?
The show isn't upbeat (www. thelighthouse. co. uk).