Word: architecting
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...turned out, it was also a tune of deep embarrassment. Hours before her keynote speech on Friday, Thatcher accepted "with regret" the eye-catching resignation of Trade and Industry Secretary Cecil Parkinson, architect of the election landslide and one of her closest political advisers. Parkinson, 52, fell from grace two weeks ago when he announced that Sara Keays, his private secretary and longtime lover, would soon bear his child. He added that he would not divorce his wife of 26 years to marry Keays, although he admitted that he had promised to do so. The disclosure prompted a number...
...result is one of the most pleasant public gathering areas in a city that is full of them. What is new at the P.O., says the Pavilion's architect, Benjamin Thompson, who also designed Faneuil Hall's Festival Markets, is the freedom of choice. Says he: "We want you to have inexpensive food or expensive food; you can sit down or stand up, go upstairs or down. We want you to feel free...
...architect of Baldwin's growth was former President Morley Thompson, who began selling pianos door to door after graduating from the Harvard Business School in 1950. Thompson was a wizard at shifting corporate funds around to keep taxes low and raise cash for new purchases. In January 1978 Baldwin acquired United Corp., an investment firm, and in October 1981 the company shelled out $367 million for Sperry & Hutchinson, the Green Stamps business...
Such are the arresting components of Available Light, a 55-minute collaboration of three prominent minimalists that premiered last week in Los Angeles. Created by Choreographer Lucinda Childs, Composer John Adams and Architect Frank O. Gehry, Available Light is less a milestone than a signpost. Today's avant-garde has had to circle back on its forebears: the same impulse that gave rise earlier in this century to atonal music and flamboyant attitudes in dance now deals in the certainties of plotless movement and assertive major triads...
Both Gehry and Adams have a surer sense of drama. The architect's installation, in a converted downtown warehouse, is strongly articulated by his fondness for raw wood surfaces and chain-link fencing. The precariousness of the dancers' position-the lower and larger of the two stages reaches second-story height-emphasizes the fragility and remoteness of Childs' work. The audience is perched even higher, on bleachers, and peers down at the action onstage...