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...close vote in the House reflected a significant shift in sentiment. In May, 91 Democrats voted to restore research and development money for the MX. But last week, only 73 Democrats voted to authorize production money. The defectors, including Majority Leader Jim Wright, were under intense pressure from the Democratic caucus and nuclear-freeze groups. Many Democrats question whether the Administration is sincere about bargaining for arms reductions. "The President himself has shown some flexibility, but it hasn't trickled down to his advisers," said Democratic Congressman Dan Glickman of Kansas...

Author: /time Magazine | Title: Hard Choices on the Hill | 8/1/1983 | See Source »

...that an extraordinary loop of adaptation had taken place. What Gropius liked in Japan was its traditional architecture, epitomized by the Katsura Imperial Villa in Kyoto. The kind of modernism he stood for was heavily indebted to Japanese sources, transmitted to Germany nearly 50 years before by Frank Lloyd Wright, not just in details or quotations of carpentry, but in fundamentals, such as the open plan and the design of furniture. Thus a German brought Japan back to the Japanese, and the prestige of traditional vernacular among Japanese architects zoomed: a fact that might give pause to those who think...

Author: /time Magazine | Title: The Art of All They Do | 8/1/1983 | See Source »

With few exceptions, Wright's pieces still look good-not elegant or sophisticated like a Barcelona chair, but pleasing and "user friendly." They remain contemporary, a word often used in Wright's heyday partly to overcome the prevailing resistance to "modern" and partly because, like Danish furniture, Russel Wright designs were different in spirit from the work introduced by New York City's Museum of Modern...

Author: /time Magazine | Title: Design: Reflections on the Wright Look | 7/25/1983 | See Source »

...Contemporary implied that new functions and technologies required new forms, but that there was no need to get bizarre or belligerent about them. Exhibit Organizer William J. Hennessey points out in his excellent catalogue (published by the Gallery Association of New York State, which is sponsoring the show) that Wright's aim was to avoid both "forced adherence to past periods" and "the abrupt introduction of unprecedented ideas." He wanted to overcome what he saw as America's cultural inferiority complex by demonstrating that U.S. designers could combine comfort, efficiency and aesthetic pleasure...

Author: /time Magazine | Title: Design: Reflections on the Wright Look | 7/25/1983 | See Source »

...creator of this populist style was born in 1904 in Lebanon, Ohio. He was a set designer and stage manager before he took his theatrical flair into industrial design. One of Wright's earliest and handsomest pieces, designed in the mid-'30s, was a "corn set" made of chromium-plated brass and consisting of a 5¼-in.-high melted-butter pitcher and salt and pepper shakers on a tray. His first popular hit was an assortment of spun aluminum accessories: vases, teapots, spaghetti sets and "sandwich humidors," all buffed to a pewter sheen. In a burst...

Author: /time Magazine | Title: Design: Reflections on the Wright Look | 7/25/1983 | See Source »

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