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Stately Manor. The Mellon collection, which opens to the public this week, is housed in the last building designed by Architect Louis Kahn. It is a triumph. At the heart of the stainless-steel and glass structure lie two inner courtyards, paneled in striking blond oak and covered by plexidome skylights. The galleries are built around the courts, with internal windows that open onto them. Sunlight streams in everywhere. The details are starkly modern: exposed heating ducts, a huge, free-standing circular stairway. Yet the effect, thanks to Kahn's classical symmetry, is of a stately, updated manor house...

Author: /time Magazine | Title: Education: Yale's Shrine to the Age of Reason | 4/25/1977 | See Source »

...decided five years ago to preside over an enviable rebirth on the Detroit River. The big "catalyst," as Ford put it, would be construction of the $337 million Renaissance Center, consisting of shops, offices and the world's tallest hotel, all designed by John Portman, the Atlanta architect-planner-financier...

Author: /time Magazine | Title: BUILDING: Motown Meets the Renaissance | 4/18/1977 | See Source »

Buffett's seagoing impulses were bred in Mobile, where his father was a naval architect at a local shipyard. His grandfather, to whom Buffett dedicated an album, was a retired ship captain who first sailed aboard a whaler at the age of 14. Buffett himself left home at 18, bounced through a series of Southern colleges and took guitar lessons. He began touring the Southern honky-tonk circuit and recorded his first album in Nashville. Says he: "It was a terrible record...

Author: /time Magazine | Title: Music: Caribbean Country Boy | 4/18/1977 | See Source »

Preston Pollock recognizes the paradox inherent in "New Boston." "The Christian Science Center is a combination of pompousass architecture and corporate necessity," snaps Pollack, an architect at Professional Designs Incorporated. The Christian Science Church and its world headquarters, Boston's answer to the Vatican, focus the contradiction between collective needs and private purpose: a corporate monument rising symbolically above the decaying tenements of the poor and turning its back on the human needs of urban working people unable to buy a decent human environment. Pollock is an architect who must deal with contradictions like that--his firm is employed...

Author: By Michael Barber, | Title: Boston's New Brutalism | 4/15/1977 | See Source »

...employees. He claims a third and often ignored purpose is to relate the building to street activity and other buildings at its base. In his work with E.F. Hutton, Pollock struggles, often fruitlessly, to design an environment beneficial for workers and feels that his responsibility as an architect is to urge corporations to break from the practice of caring only for the "big fellow" at the top. The struggle is ultimately with those who make the final decisions, for, as Pollock intimated, the president of E.F. Hutton wants to make money and impress clients, and seldom takes the employee...

Author: By Michael Barber, | Title: Boston's New Brutalism | 4/15/1977 | See Source »

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