Entity Dossier
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Noel Lane

Strategic Concepts & Mechanics

Identity & CultureFree Market Conviction from Regulation Experience
Strategic PatternDiscontinuity Hunting as Core Strategy
Competitive AdvantageStructural Value Recognition Over Market Timing
Cornerstone MovePrivatization Partnership Arbitrage
Capital StrategyIntellectual Freedom Through Financial Independence
Signature MoveWalk Away as Negotiation Weapon
Signature MoveCash Preservation as Freedom Doctrine
Cornerstone MoveZero-Money Leveraged Takeovers
Signature MoveHands-Off Management Through Trusted Operators
Relationship LeverageRelationship Leverage in Government Asset Sales
Operating PrincipleManagement Avoidance as Operational Principle
Signature MoveSingle A4 Sheet Analysis
Risk DoctrineRisk Elimination Over Risk Taking
Decision FrameworkPsychology Over Numbers in Deals
Signature MovePartner Selection Over Capital

Primary Evidence

"Serra is a rare artist who appears to enjoy and welcome input from others. Gibbs and Noel Lane chipped in with ideas. Of Gibbs, Serra said, ‘You know as kids there are some people you like to play with because you can make a quantum leap and some with whom you can’t; Alan is a great guy to play with.’ They built a wooden framed mock-up of the wall to gain a sense of how it sat in the landscape and a feel for how high it needed to be. Soon Serra and Gibbs fell into a debate about the material to be used. Serra wanted it to be steel, the material used in most of his works. But with the lean, he thought 4.8 metres high was the limit of what could practically be manufactured. Gibbs was insistent that 4.8 metres didn’t generate sufficient drama. He wanted six metres, and since at that height using steel would be a massive undertaking, they should build it in concrete. Serra stuck to his guns: *Why does it have to be in steel, why couldn’t you build it in plastic, why couldn’t it be in any other material? I came to a conclusion if you’re interested in inventing form, interested in matter, one of the things you understand immediately is that matter imposes form on form. I thought to win this game I had to humour him along enough and just outlast him. And I’m going to walk if he doesn’t want to do it. And I did. I really wanted to build it in steel or not at all.*[7](private://read/01jrsfvkjy84rkprtbz9amfvj8/#rw-num-note-477365-869846975-7)"

Source:Serious Fun

"*Te Tuhirangi Contour* was part of a much wider project: the transformation of a once scruffy property in a neglected corner of the Auckland region into ‘Gibbs Farm’, a private folly of magnificent proportions that was fast becoming a sculpture park of international significance. Together with his remaining family in Auckland, notably Amanda, Noel Lane and their children, The Farm continued to bind Gibbs to New Zealand. It drew him home each summer and, alongside the amphibians, travel and reading, provided a steady stream of fresh stimulus and challenge that sustained him."

Source:Serious Fun

Appears In Volumes