When we first talked, Heatherwick was working on three major projects in New York: the Vessel; a renovation of David Geffen Hall, at Lincoln Center, which was expected to cost half a billion dollars; and a two-hundred-and-fifty-million-dollar pier, on the West Side, to be paid for largely by Barry Diller and Diane von Fürstenberg. Among projects elsewhere, Heatherwick was co-designing, with the Bjarke Ingels Group, headquarters buildings for Google in Mountain View, California, and in London.
At eight-thirty on a recent morning, Heatherwick sat with Stuart Wood, a senior colleague, at a round table in the King’s Cross studio. Heatherwick said, “What I like about stairs—as soon as you start using your body, it breaks down potential artistic bullshit, because there’s just an immediacy to straining your leg.” His work consistently embraces the public appetite for near-art experiences: visual and experiential novelty, ideally in a noncommercial setting, delivered without the distractions of ambiguities or subtext. Other artists and designers harness the same desire: the German artist Carsten Höller recently attached a helter-skelter slide to Kapoor’s ArcelorMittal Orbit tower. But Heatherwick is unusual, and perhaps canny, for making work that’s widely understood to be sculptural, and that sells at auction as sculpture, even as he relieves those who experience his products from the burden of paying heightened attention. The Olympic cauldron was given an award as the best British work of visual art of 2012, but, Heatherwick told me, “I’m not an artist.” And he suggested that it would have been a mistake, at Hudson Yards, to cause anyone to “wonder what the artist had meant.” (Jonathan Jones, the Guardian’s art critic, has written, of Heatherwick, “If he were an artist, he would be a really bad one.” The Olympic cauldron, he said, did its symbolic work well—separate nations, together—but “it did not have any deep poetic secret.” And B of the Bang was a “monstrous and clunking expression of a slight idea.”)
“It turned out to be a gold mine,” Mr. Holes said of the sample. The investigators matched his genetic material against a sample in a federal database known as the Combined DNA Index System.
Married for 51 years, both in their 70s, the Uihleins rarely grant interviews. But in a statement responding to questions provided by The Times, the couple said,“We care about our community and our country and choose to personally support candidates that share our policy beliefs.”
The lines are staffed by a mix of paid professionals and unpaid volunteers trained in crisis and suicide intervention. The confidential environment, the 24-hour accessibility, a caller’s ability to hang up at any time and the person-centered care have helped its success, advocates say.The International Association for Suicide Prevention and Befrienders Worldwide also provide contact information for crisis centers around the world.
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