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"Norman Foster, Past and Present\nAD editors showcase a range of projects by the Pritzker Prize\u2013winning architect\nGlass and steel combined into mesmerizing modernist silhouettes is British starchitect Norman Foster's stylistic hallmark, from London's Swiss Re Tower to New York City's Sperone Westwater gallery to the revamped Museum of Fine Arts, Boston\u2014the latter two are featured in AD's January 2011 issue. Our round-the-world slide show of Foster projects highlights some of the legendary architect's triumphs.\nFormally known as 30 St. Mary Axe, for its address, the tapering UK headquarters of the global reinsurer Swiss Re stands on the London skyline like a giant pickle\u2014which explains why some wags have called the 41-story structure the Gherkin or the Crystal Phallus.\nStanding more than 1,100 feet above the Tarn River in southern France, the elegant four-lane Millau Viaduct is the tallest road bridge in the world. Foster and French engineer Michel Virlogeux designed its sail-like combination of cables and pylons to take up as little visual space as possible.\nCapitalizing on stunning views of the Mediterranean, Foster created a seven-level villa in France with a 30-foot-tall glass fa\u00E7ade that opens onto a terrace and white-sailcloth shades that keep high-noon sunlight at bay.\nThe headquarters of Formula One carmaker McLaren in Woking, England, features a sensational whiplash-curve fa\u00E7ade. Appearance is not the only dazzling aspect of its design\u2014the manmade lake abutting the structure is a major component of the complex's cooling system.\nIn a renovation of the headquarters of the Hearst Corporation in New York City, Foster set a 46-story shaft of glass atop the company's original six-story building, which had been created in the 1920s by Ziegfeld Follies set designer Joseph Urban. The result is a modernist reimagining of the office tower Urban had originally envisioned for the site.\nBy covering the Great Court of the British Museum in London with a netlike glass canopy, Foster not only gave the sprawling complex a central meeting place, he also created the largest enclosed public space in Europe.\nFoster's four-year restoration of Berlin's majestic 1894 Reichstag\u2014home to Germany's parliament\u2014included the construction of a glass dome to symbolize government transparency. It offers visitors a 360-degree view of the capital city.\nFor the French carmaker's warehouse, showroom, and training facility in Swindon, England, Foster encased the glass building in a spidery yellow skeleton of tie rods and tendons. Now known as the Spectrum Building, it appeared as the villain Max Zorin's lair in the 1985 James Bond movie A View to a Kill.\nAnother design master, British interior decorator David Mlinaric, joined Norman Foster in the creation of the Asprey flagship in New York City, at the base of Trump Tower. The gloss-black framework surrounds huge sheets of glass that render the luxury goods store entirely transparent; at night, it resembles a glowing lantern.\nIn yet another \"biggest\" feat, Foster designed the world's largest single-span greenhouse as the centerpiece of the National Botanic Garden of Wales in Llanarthne, Carmarthenshire. The structure's hill-like profile artfully nestles into the rolling landscape of the 568-acre park.\nThough the exterior of this apartment building in St. Moritz, Switzerland, resembles a giant lima bean\u2014reflecting Foster's rounded geometries\u2014its larch-shingle cladding references traditional Swiss architecture. Its name means \"house of the future\" in the local dialect, Romansh.\nAble to host 90,000 visitors at a time, Wembley Stadium in London is the largest covered venue for soccer in the world. The towering illuminated arch is part of the support of the stadium's retractable roof."^^<http://www.w3.org/2001/XMLSchema#string>
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