Word: tranquillizers
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...internationally renowned innovator of reinforced-concrete building techniques spent his first Charles Eliot Norton lecture discussing the "rapport between technique and aesthetics" in construction. To demonstrate the inseparability of these "material and spiritual" components of architecture, Nervi noted that "no one could feel a comfortable sense of tranquil aesthetic enjoyment in a room whose walls or ceiling visually gave the sensation of being on the verge of collapsing...
...giant cranes swing slabs of gleaming marble onto the façade of a new, $70 million House Office Building. On Independence Avenue, Government girls are still learning their way around the corridors of "FOB 6,"* an ultramodern Federal Office Building housing the National Aeronautics and Space Administration. Near tranquil Thomas Circle, huge holes in the ground mark the sites for two multimillion-dollar hotels. In the nation's capital, these and scores of other scenes bear testimony to a dramatic fact: Washington, D.C., is getting the greatest face lifting in its history...
...Fanny. When Fanny discovers that he has left behind an embryonic heir as well, she turns to the childless widower, Panisse, whose previous proposals have been refused because of his age. The marriage goes through, over Cesar's protests, and seven months later the baby is born. All is tranquil until the sudden return of Marius, the climax of the film...
...told a friend, "I was homesick for America." As a boy in Germany, he devoured James Fenimore Cooper, was not yet 20 when he anglicized his first name. But when in 1932 he finally settled down in the U.S. at the age of 39, his violent, anguished art turned tranquil. Grosz was so entranced by his adopted country that everything he drew or painted-landscapes, cityscapes, nudes-was happy and uncritical. He later recovered some of his bite, but his early German work remains the most arresting. Last week Chicago's Richard Feigen Gallery opened a memorial exhibit...
...Sonata Opus 110 began auspiciously. Mr. Fischer's playing fulfilled two of Beethoven's three descriptions; it was cantabile (the melody line was beautifully brought out), it was con amabilita, yet it fell short of the molto expressive playing called for. Later the lyric and tranquil sections of the piece were handled with more feeling and fidelity to the manuscript. But the more declamatory passages suffered from excessive percussiveness, which often resulted in the submerging of the melody. Indeed, the entire first part of Mr. Fischer's recital displayed his lack of the tremendous ability required to meet the frequent...