Word: porticoes
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Dates: during 1980-1989
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Topped by green, onion-domed cupolas, the St. Alexander Nevsky Cathedral overlooks the center of Tallinn, a reminder of Estonia's two centuries of domination by the Russian Czars. Last week a crowd of more than 1,000 gathered at the church portico to demonstrate support for the Estonian supreme soviet, or parliament, as it joined in a battle of wills with Moscow. Near the cathedral steps, an elderly woman clutched a pennant of blue, black and white, the colors of the long-banned Estonian flag. Students in blue and crimson visored caps unfurled banners. NO TO COLONIAL LAWS read...
...underglows, akin to the suppressed radiance in Rembrandt's midtones. And there is atmosphere too. One particularly senses it in Kossoff's view of Christ Church in Spitalfields. This tall, slender building, designed by the English baroque architect Nicholas Hawksmoor, acquires a comatose power; the columns of its portico look as thick and squat as those of Karnak, repeating the compression of Kossoff's nudes and heads. But it is the light that one most remembers, a pale, almost chalky emanation from the grainy whites and subtle grays that seems to bathe and lift the whole image. Substance is light...
Leonard's parents live in the other half of the one-story, pale blue home, which they bought when Leonard was eight. The house stands in a neat row of similar dwellings, each with a small square-columned portico and patch of front yard. After a 1960 federal order desegregated William Frantz Public School, which Bianca now attends, the neighborhood changed from all white to nearly all black. Today only 26 of New Orleans' 126 public schools are racially integrated. Bianca's school is virtually all black. When told about the bitter struggles to integrate Frantz, Bianca says, "That...
...improve the Republic's general taste, "introducing into the State an example of architecture, in the classic style of antiquity." He used it (working from drawings) as the basis of the new Virginia state capitol in Richmond (1785-92). He visited Nimes in 1787 and contemplated its walls and portico, "gazing whole hours . . . like a lover at his mistress...
Bulfinch set out to produce a building that declared "openness." The classical portico of the Massachusetts state house invites the citizen in, offering him rights of access to an assembly rather than treating him as a member of a colonized mob. It leads him to the chambers inside, where power operates by open consensus. Every line of this building is simple, masculine, direct -- the federal style in all its confidence. This exalted plainness of utterance would permeate crafts other than architecture; it was the general style of the early Republic. Cabinetmakers no less than builders now preferred explicit, abstract shapes...