Word: center
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Dates: during 1970-1979
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...weird minimal beauty in New York's great slabs that is best seen from afar," he says. "One of the finest scenes in the world is Lower Manhattan beheld from the Staten Island ferry in early morning, when even ghastly buildings like those of the World Trade Center look good." Hughes lives happily in a 2,300-sq.-ft. loft-his "plywood palazzo"-but, when pressed, he picks the man to design his dream house: New York's Richard Meier, whose work he analyzes in this week's story. And Hughes would have Cover Subject Philip Johnson...
...Sunni-Alevi split has been worsened by the left-right division of Turkish politics. In order to maintain his parliamentary majority, Ecevit has had to deal cautiously with extremist sentiment while carrying out a left-of-center program. Although the Premier was successful in ending the 3½-year-long U.S. arms embargo against Turkey, lifted last August, he also made some friendly overtures to the U.S.S.R. The gestures toward the Soviets have exacerbated feelings among extremist Ecevit opponents. One slogan shouted by Sunnis last week: COMMUNISTS TO MOSCOW...
...certainly a shift from Modernism, but to where? Apparently, to "Manhattanism"-that fantasy-laden, Promethean language of shaped towers that produced the great monuments of the '20s and '30s: Rockefeller Center, Empire State, the Chrysler Building. As the architect Rem Koolhass has argued in his brilliantly suggestive book, Delirious New York (Oxford, 1978), these were the definitive fantasy-structures of American capital, the cathedrals of a "culture of congestion" that finds its apogee in the 1,244 blocks of Manhattan Island. No glass slab could hope to be as rich in imagery as the work of an architect like Raymond...
...Modern, and suggests that the term should be restricted to hybrid, "impure" buildings that are designed around historical memory, local context, metaphor, spatial ambiguity and an intense concern with architectural linguistics. That, obviously, excludes the glass-cliff builders like Skidmore, Owings & Merrill, and Minoru Yamasaki of the World Trade Center, or spokesmen of cultural grandeur like I.M. Pei. Indeed, given the architecture Americans have had for 40 years, such a description virtually deprives Post-Modernism of living father figures. There are, of course, dead grandfathers, from the Catalan master of Art Nouveau, Antoni Gaudi (1852-1926), to the English imperial...
...historicism,"-the rich, beautiful prose of corporate style, achieved with acres of white marble that somehow always ended up looking like plastic laminate. The Los Angeles County Museum of Art by William Pereira is an early Western example of the genre; its equivalent on the East Coast was Lincoln Center in Manhattan, a large, poor parody of Michelangelo's Campidoglio in Rome, designed by Wallace Harrison, Max Abramovitz and by Philip Johnson, whose building was the New York State Theater. All the historical allusions in this corporate style (and there were plenty of them) were seriously trotted forth...