Word: fostered
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Dates: during 2000-2009
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...them, the Dee and Charles Wyly Theatre, is the product of a collaboration between the Dutch architect-polemicist Rem Koolhaas and Joshua Prince-Ramus of REX Architects. The other, the Margot and Bill Winspear Opera House, is from the mighty office of the British architect Lord Norman Foster. The buildings are so unlike each other they're barely on speaking terms, but in their different ways, they both answer what the city has been looking for. (See pictures of Dallas' new performing-arts center...
...fair description of New York City's Lincoln Center for the Performing Arts, Dallas put together a diverse sampling of work by leading architects from across three decades. And with the Wyly and Winspear, very diverse. It would be hard to imagine two architects more unlike each other than Foster, the meticulous inheritor of the principles of High Modernism, and Koolhaas, who has spent a lifetime sorting through those principles to see which ones had to go. Foster's buildings tend toward the serene and Cartesian. Koolhaas is apt to arrive at the ruptured and irregular. Foster is given...
...cooked. The Wyly is a box full of ideas about ways to organize the theatergoing experience, but it has a deliberately rawboned feel, with few concessions to anybody's ideas of elegance, no grand limestone swoops like the one Pei provided for the lobby of his symphony hall nearby. Foster and his head of design, Spencer de Grey, weren't interested in rethinking the opera house from the ground up. What they did instead was briskly update it in Foster's gleaming but uncompromisingly modern glass-and-steel idiom...
Students became increasingly open up as the night unfolded. Panelist Kimberly N. Foster ’11 discussed the touchy situation of bringing her white boyfriend home for Thanksgiving. Teake ’12 recounted awkward conversations with his high school girlfriend’s family in which her father would talk about setting her up with Asian boys...
...there's a dilemma: policymakers want to foster cost-saving competition without killing the financial incentives that have put the U.S. biotechnology industry at the vanguard of medical science and without stifling the development of even more drugs that could save lives and eliminate suffering. Finding that equilibrium goes to the question of how long biotech firms should be guaranteed exclusivity, outside the protection of their patents, before copycats can begin using the data they have developed...