IN: Baudelaire was born in Paris, France, on April 9, 1821, and baptized two months later at Saint-Sulpice Roman Catholic Church. His father, Francois Baudelaire, a senior civil servant and amateur artist, was 34 years older than Baudelaire's mother, Caroline. Francois died during Baudelaire's childhood, in 1827. The following year, Caroline married Lieutenant Colonel Jacques Aupick, who later became a French ambassador to various noble courts.

Who among us has not dreamt, in moments of ambition, of the miracle of a poetic prose, musical without rhythm and rhyme, supple and staccato enough to adapt to the lyrical stirrings of the soul, the undulations of dreams, and sudden leaps of consciousness. This obsessive idea is above all a child of giant cities, of the intersecting of their myriad relations.  Baudelaire is one of the major innovators in French literature. His poetry is influenced by the French romantic poets of the earlier 19th century, although its attention to the formal features of verse connects it more closely to the work of the contemporary "Parnassians". As for theme and tone, in his works we see the rejection of the belief in the supremacy of nature and the fundamental goodness of man as typically espoused by the romantics and expressed by them in rhetorical, effusive and public voice in favor of a new urban sensibility, an awareness of individual moral complexity, an interest in vice (linked with decadence) and refined sensual and aesthetic pleasures, and the use of urban subject matter, such as the city, the crowd, individual passers-by, all expressed in highly ordered verse, sometimes through a cynical and ironic voice. Formally, the use of sound to create atmosphere, and of "symbols" (images that take on an expanded function within the poem), betray a move towards considering the poem as a self-referential object, an idea further developed by the Symbolists Verlaine and Mallarme, who acknowledge Baudelaire as a pioneer in this regard.  Beyond his innovations in versification and the theories of symbolism and "correspondences", an awareness of which is essential to any appreciation of the literary value of his work, aspects of his work that regularly receive much critical discussion include the role of women, the theological direction of his work and his alleged advocacy of "satanism", his experience of drug-induced states of mind, the figure of the dandy, his stance regarding democracy and its implications for the individual, his response to the spiritual uncertainties of the time, his criticisms of the bourgeois, and his advocacy of modern music and painting (e.g., Wagner, Delacroix). He made Paris the subject of modern poetry. He would bring the city's details to life in the eyes and hearts of his readers.

What was his next challenge

OUT: This obsessive idea is above all a child of giant cities, of the intersecting of their myriad relations.


IN: Richard George Rogers, Baron Rogers of Riverside  (born 23 July 1933) is a British architect noted for his modernist and functionalist designs in high-tech architecture. Rogers is perhaps best known for his work on the Pompidou Centre in Paris, the Lloyd's building and Millennium Dome both in London, the Senedd in Cardiff, and the European Court of Human Rights building in Strasbourg. He is a winner of the RIBA Gold Medal, the Thomas Jefferson Medal, the RIBA Stirling Prize, the Minerva Medal and Pritzker Prize. He is a Senior Partner at Rogers Stirk Harbour + Partners, previously known as the Richard Rogers Partnership.

Richard Rogers was born in Florence (Tuscany) in 1933 into an Anglo-Italian family. His father, William Nino Rogers (1906-1993), was the cousin of Italian architect Ernesto Nathan Rogers. His ancestors moved from Sunderland to Venice in about 1800, then settling in Trieste, Milan and Florence. In 1939 William Nino Rogers decided to come back to England. Upon moving to England, Richard Rogers went to St Johns School, Leatherhead. Rogers did not excel academically, which made him believe that he were "stupid because he could not read or memorize his school work" and as a consequence he stated that he became "very depressed". He wasn't able to read until the age of 11, and it was not until after he had his first child that he realised that he was dyslexic. After leaving St Johns School, he undertook a foundation course at Epsom School of Art (now University for the Creative Arts) before going into National Service between 1951 and 1953. He then attended the Architectural Association School of Architecture in London, where he gained the Architectural Association's Diploma (AA Dipl) from 1954 until 1959, subsequently graduating with a master's degree (M Arch) from the Yale School of Architecture in 1962 on a Fulbright Scholarship. While studying at Yale, Rogers met fellow architecture student Norman Foster and planning student Su Brumwell.  After leaving Yale he joined Skidmore, Owings & Merrill in New York. On returning to England in 1963, he, Norman Foster and Brumwell set up architectural practice as Team 4 with Wendy Cheeseman (Brumwell later married Rogers, Cheeseman married Foster). Rogers and Foster earned a reputation for what was later termed by the media high-tech architecture.  By 1967, Team 4 had split up, but Rogers continued to collaborate with Su Rogers, along with John Young and Laurie Abbott. In early 1968 he was commissioned to design a house and studio for Humphrey Spender near Maldon, Essex, a glass cube framed with I-beams. He continued to develop his ideas of prefabrication and structural simplicity to design a Wimbledon house for his parents. This was based on ideas from his conceptual Zip-Up House, such as the use of standardized components based on refrigerator panels to make energy-efficient buildings.  Rogers subsequently joined forces with Italian architect Renzo Piano, a partnership that was to prove fruitful. His career leapt forward when he, Piano and Gianfranco Franchini won the design competition for the Pompidou Centre in July 1971, alongside a team from Ove Arup that included Irish engineer Peter Rice.  This building established Rogers's trademark of exposing most of the building's services (water, heating and ventilation ducts, and stairs) on the exterior, leaving the internal spaces uncluttered and open for visitors to the centre's art exhibitions. This style, dubbed "Bowellism" by some critics, was not universally popular at the time the centre opened in 1977, but today the Pompidou Centre is a widely admired Parisian landmark. Rogers revisited this inside-out style with his design for London's Lloyd's building, completed in 1986 - another controversial design which has since become a famous and distinctive landmark in its own right.

What year was Richard Roger was born ?

OUT:
in 1933