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Designs of the Year exhibition opens rubs shoulders with the Shard.

February saw the announcement of the Designs of the Year shortlist and last week the concurrent exhibition opened at London’s Design Museum, where it will run until 7 July. 

Since 2008, Designs of the Year has been an industry measuring stick for where design stands now. Ambition, innovation, and a bit of pizzazz tend to win across the seven categories for Architecture, Digital, Fashion, Furniture, Graphic, Product and Transport. An overall winner will be announced on the 17 April. This year’s shortlist was chosen by a panel of distinguished judges and comprises near 100 projects. 

Last time, the London 2012 Olympic Torch (designed by Barber Osgerby) scooped the top prize. Another iconic object of the Games - Heatherwick Studio’s Olympic Cauldron - is honoured with a nomination this year. Other nominees include much-applauded works like The Rain Room (rAndom International), A Room for London (David Kohn Architects in collaboration with artist Fiona Banner) and The Shard (Renzo Piano); while at the less-well heeled end it’s grand to see the year’s favourite condiment meme Liquiglide Ketchup Bottle (Dave Smith/Varanasi Research Group MIT) cozying up alongside the gorgeous data-meets-art interaction Wind Map (Martin Wattenberg and Fernanda Bertini Viegas) and Lisa Immordino documentary on fashion empress Diana Vreeland, The Eye Has To Travel.

And in a unexpected gesture of art-political solidarity, the jury gave a nod to the new government services and information website Gov.UK (designed by Government Digital Service), which replaced the user unfriendly Direct Gov in October last year. Conceived as a “one website to rule them all” super-destination, with ambitions of drawing together the web presences of all government departmental and public by 2014,’s clean and navigable site deserves its design kudos. Frost your cupcake with that one, Mr Cameron.

For a full list of the nominations click here

Charlotte Simmonds is a writer and blogger living in London. She was formerly an editorial assistant at the New Statesman. You can follow her on Twitter @thesmallgalleon.

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Do you have to look like someone to play them in a film?

Physical resemblance between an actor and the real-life figure they are portraying is highly prized, but there’s much more to a successful biopic than the right face under a good wig.

The Program is a film in search of a hero. It never really finds one. On one hand it has the crusading journalist David Walsh, played by Chris O’Dowd, who risks the derision of his colleagues and the scorn of the cycling industry to expose Lance Armstrong as a drugs cheat. On the other, it has Armstrong himself (Ben Foster), propelling himself to multiple Tour de France victories and into the hearts of his countrymen by foul means, not fair. It feels hard to root for Walsh: he’s on the side of truth, but he never comes to life as a character, and the movie hits a slump whenever we’re back in the newsroom with him. Then again, we know we shouldn’t get behind the cyclist. But if the film is conflicted over whose story it’s telling, there is at least one element about which there can be no argument: Ben Foster’s resemblance to Armstrong.

It is not a prerequisite that an actor playing a real figure must be able to swap places with them unnoticed in an identity parade, but Foster could certainly pass that test if it were. Both men have their features crammed into the centre of their faces, lending them a concentrated intensity. And Foster has captured the intentness of Armstrong’s expressions – that taut downward curve in the mouth that looks like an exaggerated frown as drawn by a child.

For the biopic performer, there are several options when it comes to physical accuracy. There is the simple, almost effortless mimicry – a classic example being Ben Kingsley in Richard Attenborough’s Gandhi. (There have been occasions on which newspapers have printed pictures of Kingsley to accompany a story about the real Gandhi. Let’s blame that on the actor’s persuasive ability to inhabit the part, rather than any laziness in the media.)


Where there is no overwhelming natural similarity, this can be helped along by a recognisable accoutrement or physical characteristic. I wouldn’t swear that Robert Downey Jnr was the spit of Charlie Chaplin (in another Attenborough film, Chaplin).


Or that you couldn’t tell Salma Hayek from Frida Kahlo (in Frida) but it certainly helped that the former had that universally familiar toothbrush-moustache to trick our eyes, and the latter sported a convincing unibrow.


Even once the physical side is in the bag, there is the matter of poise and demeanour to consider. Did Helen Mirren look like Elizabeth II in The Queen (another Frears) or on stage in The Audience? Not especially. But then the bit that isn’t covered by hair, make-up, wardrobe and physiognomy is called “acting”. It should, if all goes according to plan, render cosmetic objections irrelevant. Look at Gary Oldman with the black porcupine spikes and milky-white pallor of Sid Vicious in Sid & Nancy. We can see that’s a fancy-dress Sid. But Oldman’s self-belief pushes him, and us, over the line. We buy it. His Joe Orton (Frears yet again: Prick Up Your Ears) is even better, perhaps because he shares with the playwright a natural knowingness that lights them both up from within.

My own favourite sorts of biopic actors are those that succeed through sheer force of will. They don’t look like the people they’re playing, and only the most cursory attempts have been made to convince us they do, but their own internal conviction overrides any complaint. Anthony Hopkins did a fine job of playing the lead in Surviving Picasso but I prefer him in two movies where he had to take more of a running jump: Nixon in Nixon and Hitchcock in Hitchcock. No one ever said about Richard Nixon and Anthony Hopkins: “Isn’t it funny how you never see them in the same room?” But there was something in the slightly delusional casting that made sense in a film about Nixon – never a man, after all, to face the truth when he thought a bald lie would do the job just as well. And by the end of Oliver Stone’s impressively controlled movie, Hopkins had done it. He had strong-armed the audience and bent the whole endeavour to his will. The same was true in Hitchcock: he expanded into a part as though it were an oversized suit he was convinced he could fill. It was a confidence trick. Doesn’t that go for most acting?

It doesn’t always work. Philip Seymour Hoffman as Capote? The physical disparity is so great (compare it to Toby Jones, far better-suited to the role, in Infamous, which opened around the same time) that it seems to make the effort visible. Sean Penn as Harvey Milk in Gus Van Sant’s Milk? Just about. The bubbly enthusiasm of the performance is very winning, just as Milk himself was; it’s a charm offensive, a campaign. Like Hopkins as Nixon, it suits the part. Denzel Washington as Malcolm X in the Spike Lee film of the same name? Yes: he has the looks and the charisma. Josh Brolin as George W Bush in (Stone again) W? Remarkably, yes, even though he’s too bulky. His physicality is reduced magically by the character’s small-mindedness and inexperience. Forest Whitaker as Idi Amin in The Last King of Scotland is good but he’s too actorly and not terrifying enough – unlike Yaphet Kotto in the same role in Raid on Entebbe.

Awards season is upon us, so there will be more games of compare-and-contrast: Johnny Depp as the criminal James “Whitey” Bulger in Black Mass, Michael Fassbender in Steve Jobs. Don’t talk to me about Joseph Gordon-Levitt as Phillipe Petit in The Walk. Good film but why have they tinkered digitally with the actor’s imploring eyes? He looks like a motion-capture version of himself at times. But no one can seize the Complete Lack of Physical Resemblance prize from Benedict Cumberbatch, who seems not to even believe in himself as Julian Assange in The Fifth Estate.

Though with his elfin eyes and silver mane, Cumberbatch is a shoo-in if they ever make Legolas: The Later Years.

“The Program” is released 16 October.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.