The year ahead in architecture

Plus: Rosalind Savill (1951–2024)

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Gillian Darley praises new Scandi buildings and worries about London

Scandinavia and the neighbouring Baltic countries have long been driven by good practice in environmentalism and sustainability. In Sickla, south of Stockholm, Wood City is due to open this year. Designed by Danish and Swedish practices, respectively Henning Larsen and White Arkitekter, it offers commercial and residential buildings which are 100-per-cent timber-built. As if to encapsulate the mood in these more enlightened countries of northern Europe, this autumn Copenhagen is hosting that congenial city's inaugural architecture biennale, with a theme of 'slow down'.

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Jeremy Warren on Rosalind Savill's championing of the decorative arts

When in 1992 Rosalind Savill was appointed director of the Wallace Collection, she made it her mission to transform a much-loved but by then decidedly old-fashioned institution. She had no time for elitism but was passionate about excellence, believing that it was the best way to draw in new audiences and keep them. She wanted the whole world to love her museum and its remarkable collections as she did. Rather than being flattered, Ros would be a little irritated when journalists described the museum as a 'hidden gem' or 'London's best-kept secret', on one occasion exploding: 'I don't want us to be a bloody secret! I want the name of the Wallace Collection to be shouted from the rooftops!'

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In the studio… with Jakkai Siributr

'I always have my dogs all over the studio, and when I'm working on the floor, the dogs will walk on it. I just say it's part of the work, the paw prints. I have a 16-year-old nephew who is into exotic pets, so he'll bring in his python, geckos, birds and beetles, which he even lets crawl on the work. I guess those are the most interesting visitors.'

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Christina Makris on the centuries-old winemaking traditions of Tunisia

The Bardo Museum in the suburbs of Tunis is home to more than 5,000 square metres of Roman and Byzantine mosaics that depict more than 3,000 years of Tunisian history. The mosaics document Punic scenes ranging from the quotidian to the mythological and the outright fantastical. There are sea monsters, pleasure houses, nymphs, Bacchae, beasts and countless wide-eyed and wide-mouthed fish. Several mosaics feature scenes from the life of Dionysus. In one, the young god transforms Tyrrhenian pirates into Dolphins (3rd century, Dougga); another depicts him marrying Ariadne (late 3rd century, Thuburbo Majus); and in yet another he gifts a vine stock to Icarius (2nd century, Uthina). In the most majestic, a full-walled mosaic from the 3rd century in El Jem, he is 'in triumph', presiding over the birth of the vine.

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Charles Holland raises a martini glass to the suaveness of Roger Moore

Roger Moore's most accomplished performance was undoubtedly playing himself. As a lavish new documentary makes clear, 'Roger Moore' was an invented persona, one developed by the actor as he progressed from a childhood in south London to Hollywood A-list status, an army of celebrity friends and an international brood of children from his four marriages. From Roger Moore with Love is narrated by the beyond-the-grave voice of Moore himself, which is in fact Steve Coogan doing his best impression of the actor – almost as good as the real thing. It is Moore's children – particularly his fabulously louche-looking son Geoffrey – who provide most of the insights in this trip through the family archives.

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In the current issue…

Sarah K. Kozlowski on the Sienese painters who led a revolution in art

'Siena: The Rise of Painting, 1300–1350', on view in New York until late January and opening in London in March, begins and ends with two jewel-like paintings that define the geographical and chronological scope of the exhibition. In the Stoclet Madonna, a tiny poplar panel sheathed in gold leaf and painted with precious pigments, Duccio di Buoninsegna drew on traditions of Byzantine icons and French ivories to reimagine the subject of the Virgin and Child as a moment of tender interaction between mother and son. In Christ Discovered in the Temple, which Simone Martini painted more than 40 years later in Avignon, the most radical of the generation of painters immediately after Duccio recast that relationship. Here, Mary and Joseph reproach Jesus for going missing during a trip to Jerusalem, their remonstrating gestures silhouetted against the gold ground. Their 12-year-old, framed by the prickly tooling of an ornamental border, folds his arms against his chest, unmoved. The mother who once held her son close now addresses him across an unbridgeable divide as he sets out on his own journey toward the Passion.

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In the next issue…

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