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...fact, of the Japanese Arata Isozaki's work. Isozaki's first major commission in the U.S., the Museum of Contemporary Art in downtown Los Angeles, evokes a dreamy pre-Columbian (or extraterrestrial) temple. The exterior is rich and singular: roughly cut red sandstone blocks, green aluminum panels, a barrel vault floating above the ; sidewalk. Inside, only the library, with its extraordinary white onyx window, is architecturally aggressive. The seven scrupulously conceived galleries are restrained, plain, deferential...

Author: /time Magazine | Title: Design: Exploring The New Materialism | 1/5/1987 | See Source »

Inside, the elephant seemed perfect, down to the last coat of beige paint on the last iron rosette in its immense barrel vault, arching a hundred feet above the floor. The minute hand of its floriated and gilded clock, one of the largest in France, which since 1900 had declared the time to generations of anxious travelers, now moved in sedate jerks toward apotheosis. The Manets were in place. From the bay of Courbets, dense and dark, impacted with reality, one could look across the nave to their diametric opposite, Thomas Couture's pedantic warning to the Third Empire...

Author: /time Magazine | Title: Art: Out of a Grand Ruin, a Great Museum | 12/8/1986 | See Source »

...like Charles Garnier, who created the Paris Opera, and Alexandre Gustave Eiffel, France's supreme engineer. But he gave the Gare d'Orsay all he had, and that, backed by the decorative and engineering resources of fin de siecle Paris, was quite a lot: a vast semicircular barrel vault of iron and glass, stretching 150 yards from end to end, with elliptical-domed side vaults along the Quai Anatole France facing the Seine, all encased in a wrapping of richly carved limestone facades whose swags, cartouches, urns, allegorical figures and pediments bring to mind the words of Antoinin Careme, Talleyrand...

Author: /time Magazine | Title: Art: Out of a Grand Ruin, a Great Museum | 12/8/1986 | See Source »

...clear from the start that whatever form the collection took, Laloux's vast and grimy barrel vault made demands of its own. It had 30,000 square meters of floor and no walls. The group led by Lachenaud figured that the collections would need 47,000 square meters enclosed by walls on which to hang the paintings. This meant putting a new building inside the old, and there was no question of designing it in the manner of Laloux. "It could not be a pastiche," says Lachenaud. "The station itself was pastiche, a 19th century parody of what the 18th...

Author: /time Magazine | Title: Art: Out of a Grand Ruin, a Great Museum | 12/8/1986 | See Source »

...that the mallalready has an image as offering expensive,upscale merchandise. The mall boasts an "uppercrust selection of shops" says Tim Giarrosso, whoworks in Christmas Secrets, a seasonal shop. Themall seems to attract customers who shop the upperend of posh Brattle St. in stores like Ann Taylorand Crate and Barrel, says Venti, of thePapermint...

Author: By Karen W. Levy, | Title: Charles Square: Catering to the Elite | 12/5/1986 | See Source »

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