Word: chrome
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Dates: during 2000-2009
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...anyone who thinks architecture took a wrong turn after the Empire State Building, it was Mies who pointed the way. In the U.S., where he arrived in 1937, he was chief evangel of the new right-angled religion. Before Mies, the Chrysler Building, with its scalloped pinnacle and chrome gargoyles. After Mies, lots of no-nonsense boxes. If "God is in the details," as he liked to say, his details could still be few and far between...
Ready? Let's go. In the beginning, writing is difficult. Maybe it's just me; my handwriting was the bane of my schoolteachers and has gotten progressively more illegible ever since. The thickness of the chrome-colored Chatpen doesn't help. Worse, my normal writing grip - I use my middle finger to hold up the pen - obstructs the camera. As I try out a new grip, my first scribbles are ugly scratches. Wiebe encourages me to write large, looping letters. This helps considerably. Soon, I can write comfortably at normal speed...
Nasser's quarters are spartan, cool and movie-set corporate, his desk a black African-wengewood-and-brushed-chrome counter on a raised dais in front of a bank of computers and flat-screen televisions (all on, 24/7). He keeps his Blackberry communicator and a Nokia 8100 Worldphone at his fingertips, a slim purple Sony Vaio laptop at arm's reach...
...Arbor, Mich., where he is building a modest (by billionaire standards) house to give his family a more normal existence than the legacy-ridden conclave of mansions in Grosse Pointe. His current vehicle of choice (he has a garageful, including a couple of juiced-up Mustangs): a chrome yellow Ford Escape, the company's new compact...
...there. One Night at McCool's is, finally, quite a brilliant exercise in style. First-time director Harald Zwart, a Norwegian music-video guy, has a marvelously cool eye for the slightly surreal aspects of American bad taste. Lamps that light when you clap your hands, the chrome and leather modernism of an arriviste's pad--they are the objective correlatives of his characters' endless seducibility, their inability to imagine the stupid consequences of ill-considered passion...