Word: formful
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Dates: during 1950-1959
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This decidedly unpeaceful form of coexistence began two months ago, after Iran signed a defense agreement with the U.S. and broke off negotiations with Russia (TIME, March 9). In a land where millions are illiterate and hard pressed, where autocratic rule suppresses opposition and corruption is widespread, and where the long-term benefits of invested oil royalties are insufficiently visible, Communist lies and half truths so powerfully spread were bound to have an unsettling effect. After holding a special closed session to discuss the Soviet offensive, 48 of Iran's 60 Senators trooped to the Shah's marble...
U.S.C. Coach Jess Mortensen is still polishing Long's form. "We're hoping to get him a little lower over his right leg so he can be pushing on the shot a longer period of time. He also has a tendency to let the shot drop a little too low just before the throw." But he speaks of Long's ultimate capabilities with awe: "If I say 70 feet, people will think I'm crazy. But if I don't say it, this boy will probably...
...well has this revolution succeeded? And where does it go from here? In an ambitious effort to answer these questions, the American Federation of Arts this week opens a major exhibit in Washington's Corcoran Gallery. Titled "Form Givers at Mid-Century," the show, sponsored and organized by TIME, will move on to Manhattan's Metropolitan Museum in June, then tour the nation. Gallerygoers at the Corcoran will see models and photographs of 66 pivotal buildings, set off by panel-sized color transparencies, which provide a sampling of the best in 20th century architecture...
...show selects five as master form givers-the late Frank Lloyd Wright, Walter Gropius, Mies van der Rohe, Le Corbusier, and Alvar Aalto. Of the second generation, eight are singled out as leaders: Architects Marcel Breuer, Wallace K. Harrison, Philip C. Johnson, Richard J. Neutra, Eero Saarinen, Edward D. Stone, Engineer R. Buckminster Fuller, and the firm of Skidmore, Owings & Merrill. Reviewing the past, assessing the present, and eying the future, the show leads to two major conclusions: 1) modern architecture has now clearly swept its early Beaux Arts enemies from the battlefield; 2) its architects, secure in their conquest...
Significantly, nearly every future project in the Form Givers exhibition is conceived in prestressed concrete. What attracts architects is the possibility of once again giving buildings a sculptured rather than a thinned-down look. As they move into a new world of tapered columns, arches and warped shells, engineers are once again welcomed back into drafting rooms, bringing with them new and daring structural solutions...