Word: ades
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Dates: during 1950-1959
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...Saarinen's contemporaries long ago discovered, there is a dynamo of relentless energy behind his easygoing façade. A round-the-clock worker, he sets such high standards of perfection that on occasion he holds his draftsmen and designers at their drafting tables straight through the night, is so prodigal with money for research that he recently spent $12,000 to win a competition that guaranteed only $4,000 in expenses. But judged by the results, Saarinen's total approach pays off. His work has won the applause of the glass and steel purists, yet pleased clients...
...every building in the area. Saarinen's answer was to show what he meant in his plan for the new design of the U.S. embassy on London's Grosvenor Square by keeping the structure modern but keying the floor levels and spacings of the front façade to the surrounding Georgian buildings. He also got off his mind another pet peeve: that too much modern ages poorly. He designed the embassy in Portland stone, London's traditional building trim which ages to a contrasting rain-washed white and deep, sooty black...
...allowed to play ring-around-a-rosy with the tax collectors. As private capital disappears from the stock market, industrialists fear that they will have to borrow from government-controlled banks instead. The stock market, a major pillar of free enterprise, would thus become an ornamental façade for a socialist economy that is already 40% government-owned. Italian financial leaders have tried to convince the government that a dividend tax levied directly on corporations would be cheaper to collect and harder to dodge. But last week, after a long series of conferences with fellow Ministers, Finance Minister Giulio...
...labor camps) were released a fortnight later in fulfillment of a Soviet promise to the new Austrian government. In Vienna last week one of the Austrians, telling the story of the Mirnoye revolt, gave the West a useful reminder of the unchanging reality behind the redecorated Soviet façade...
...London struck me as a city of black and white," Saarinen says. To emphasize the play of light and shadow across the broad, 330-ft. façade, he worked out a structural grill that takes its rhythm from the window spacing of surrounding Georgian structures. For his major material Saarinen chose white Portland stone, traditional both in London's official buildings and as ornament on private brick dwellings. To sharpen the black and white contrast, he used black oxidized bronze for a decorative frieze of state seals between the first and second floors and for a great seal...