Word: sayed
(lookup in dictionary)
(lookup stats)
Dates: during 1970-1979
Sort By: most recent first
(reverse)
...might say that the essential subject matter of the International Style was the end of history. Its "functionalism," which correctly saw that mass production was destroying handcraft and, with it, ornament, was always colored by this millenarian fantasy. Johnson, whose relationship to Mies van der Rohe is complicated and Oedipal, argues that "Mies believed in the ultimate truth of architecture, especially of his architecture: that it was closer to the truth than anyone else's because it was simpler and could be learned. He felt it could be adapted on and on into the centuries, until architecture bloomed into...
...cost. "Every cheap architect could copy Mies," says Johnson. "He could go to the client and say, I can do a building cheaper than I did it for you last year, because now I have a religion. We have a flat roof and simple factory-made curtain walls. It was a justification for cheapness that took over our cityscapes, and that is what you see in New York today." The universal glass box, cut-rate Mies (for real Mies was real architecture, and too expensively finished for most developers to tolerate), would cover any function: airport, bank, office block, church...
...need to attend. He was guided in part by his interest in human rights and in part by the fact that some 300 million of the world's 700 million Catholics live in the region. As he observed in his Christmas address to the College of Cardinals: "Some say that the future of the church will be decided in Latin America, and there is some truth in that...
What can you say about a two-hour movie that died? That from its first frame it seemed to lack spunk? That within minutes it be came clear that the people who conceived it lacked even the false creative energy that healthy cynicism can sometimes engender? That it finally succumbed not just to its failure to evoke the spirit of romance, but to a misbegotten sense of its own importance...
...word about nice Marcie, and since Oliver remains the same sourpuss he was at the beginning, why have we been asked to attend this stupifying tale? Is it that Erich Segal is attempting to atone for the indecent commercial success of his first story with the sober-not to say pompous-tone of this sequel? Or is it simply that his property somehow fell into the hands of Director Korty, who is one of the least spirited operatives around? Feckless questions about a feckless project, no doubt...