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In the papers today: 15.02.08. Disappointments, vandalism and Marmite

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The Evening Standard has run not one but two stories about the cancellation of the Architecture Foundation's HQ, as broken by The Architects' Journal yesterday.

The paper describes this as 'another blow for the Iraqi-born Hadid' (why does the paper never mention her without her nationality?), following the revelation earlier this week of the level of consultants' fees on the Aquatics Centre. But she looks cheerful enough photographed in its ES Magazine today, in a stripey jacket among the 'rock'n'roll crowd' a the opening of Pop artist Ed Ruscha's show at the Gagosian Gallery.

There is general, and justified, outrage over the vandalism to the Stephen Lawrence Centre in Deptford. The Times shows the damaged windows designed by Chris Ofili, and quotes the Stephen Lawrence Trust's chief executive Karin Woodley saying: 'It's really tragic to have this exactly a week after opening the centre'. The Guardian quotes Richard Stone, an adviser to the Stephen Lawrence inquiry, saying: 'It just suggests there are people out there who are filled with hate.'

The Independent picks up on Justin Jacobs of the Association of British Insurers (ABI) saying that the ABI may no longer be able to insure homes on floodplains if the government doesn't do something to protect them – a statement that Jacobs launched at the AJ's Designing for Floodplains conference yesterday.

But we mustn't forget that yesterday was Valentine's Day. While the Independent has a story about the London Undergound banning a poster of a Cranach nude, the Evening Standard shows a 2m replica of Rodin's The Kiss that sculptor Jeremy Fattorini has created for Greenwich Park – in champagne-flavoured Marmite.

If you are wondering what the next generation of architects will design, there may be some clues in the ES Magazine's profile of sculptor Antony Gormley. He reveals that his daughter Paloma (get the architectural reference?) is studying architecture at Cambridge, so look out for some anthropomorphic towers. Gormley also describes going home from his huge and beautiful Chipperfield-designed studio, to his 'horrible, ugly mock-Tuscan home in Camden Town'. There must be a commission for somebody there.

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