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'A typical interior by a young British architect is like a piece of writing made up only of very short, verbless sentences. 'A piece of stone. Some wood. Some expensive stainless steel door handles.' By sticking to these in controvertible assertions, the young British architect . . . hopes to deflect all possible criticism.' Rowan Moore. Evening Standard, 24.3.98

'Archigram's members were frank exponents of a friendly petit-bourgeois sensibility. They started not only from an embrace of the refinements of metal joinery, but from a love for the Britain of toby mugs, caged budgies, and Callard & Bowser toffees.' Michael Sorkin. Metropolis, April 1998

'Cool is so now. Exciting and energetic design has been going on in Britain for years, ' she says. 'It comes partly from our heritage, bloody mindedness, the fact that we are an island. This exhibition is a snapshot for now.' Claire Catteral, curator of the 'Powerhouse: : uk' exhibition. Nonie Niesewand, Independent, 27.3.98

'The British way in architecture is to promise the world and then to pull the carpet from under the feet of the starry-eyed and naive. Terribly politely, of course. No offence intended, old boy.' Jonathan Glancey mourns the refusal of heritage funding to Libeskind's Imperial War Museum of the North. Guardian, 30.3.98

'Contemporary Britain, for all the talk about cool, hip, hot, happening design, is awash with polite, dull architecture. We are foolish if we let some of the most inspired designs offered us drop from our limp and slightly damp hands.' Ibid.

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