Word: delight
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Dates: during 1960-1969
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...caused such a world of comment or brought into action so many cameras. Professional critics found dreadful flaws, but to almost everyone else the U.S. Science Pavilion, that pleasure dome of the Space Age at Seattle's Century "21" Exposition, was a modern Xanadu, built for their delight, a declaration of independence from the machine-made monotony of so much of modern architecture...
...architect Auguste Perret declared, "Decoration always hides an error in construction"; later, the great Mies van der Rohe summed up the approach to purity and discipline in the phrase "Less is more." These tenets have to a large degree held sway ever since. But to Yamasaki, this architecture lacks "delight, serenity and surprise," and if he must have decoration to achieve these things, he will have it. Until the Seattle Pavilion opened, the unserene battle over architectural philosophy that Yamasaki stirred up was kept mostly within the profession, but the public reaction to the building brought it into the open...
...dogma of rectangles" and the module system of building - "as monotonous as the Arabian desert." He deplored the "plastering of whole blocks of midtown New York with regimented patterns of glass and porcelain-enamel rectangles." Function, economy and order, said Yamasaki, were no longer enough. "My premise is that delight and reflection are ingredients which must be added. Unquestionably there is delight in our best new buildings, but this delight is in structural clarity, in proportion, and in elegant details and materials, and these characteristics offer but a portion of the delight which we have experienced in the buildings...
...Fagin is not very Jewish (he has been viewed without alarm by representatives of the Anti-Defamation League of B'nai B'rith), but he is a strangely epicene miser whose furtive batlike swoopings on his treasure box and triple-tempo fingering of his baubles provide comic delight...
...comes rather to appeal to him ("I enjoyed it, I enjoyed it," he mumbles brokenly), and he takes to strutting around the roof-tops of dynamited Turkish trains in billowing native garb. His new-found joy, alas, is rudely shattered: he is mistreated by Jose Ferrer, playing a Turkish delight, and cozened by Jack Hawkins--that is, the Turks outrage his body, and the English his ideals. This double misfortune turns our Good Shepherd into an apocalyptic beast, who incites ("No prisoners!") a gratuitous massacre of fleeing Turks...