Word: architect
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...houses built in all Manhattan since the end of World War II. Today Manhattan is in the midst of the biggest apartment-building boom in its history. But high prices since the war have tempted most builders into cutting corners, cramping spaces, and scanting on wall thicknesses. Says Architect Bernard Guenther: "Nowadays, when the fellow upstairs rolls a pair of dice, you can tell when they come up seven." Ceilings are now a standard and skimpy eight feet, and it is a rare apartment that has a working fireplace. Complains Decorator Elizabeth Draper: "The rooms are so neutral: they have...
...Fantasia. Movie Producer Sam Spiegel hired Architect Edward Stone (TIME cover, March 31, 1958) to build a glossy Park Avenue duplex penthouse. With the help of his wife Maria, Stone turned the place into a never-never land of white marble, pink silk, Turkish lamps and other assorted fixtures of Cinemascopic proportions. The sunken marble tub is merely outsize; the master's bed looks roughly like a polo field covered in cardinal red velvet. Like all dedicated cinemagnates, Spiegel has his own home-projection facilities. The wide screen is hidden behind curtains. When he wants...
...Matter of Esthetics. On a more modest scale, Architect Gordon Bunshaft, chief designer for Skidmore, Owings & Merrill, also had a problem with paintings. His were Picasso, Miro, Modigliani, Dubuffet, and they all had to be fitted into his five-room rental apartment on East 66th Street. He chose "neutral" furnishings "to let the paintings do the coloring." To create more space, Bunshaft removed a wall separating the entranceway from the dining area. His TV set is placed behind a sliding Dubuffet, and from behind a Miro comes the sound of his hi-fi speaker. By using stainless steel, Formica...
...second project, the Municipal Stadium of Florence (built in the early thirties), demonstrated to an international audience a thesis which Nervi has since maintaind: that the correct engineering solution to a difficult structural problem is a precondition not an obstacle to beauty of form, and that the architect, aiming at correct construction alone, can produce...
...builder. I am no artist. People tell me some of my designs are beautiful, and I am glad. But I don't aim at beauty." Nervi maintains that the different stresses which different situations place on the physical properties of reinforced concrete determine its basic form, leaving the architect a "margin of freedom" to decorate but preventing the aesthetic from ever being a fundamental architectural aim. Although structure in its immediate situation has always been his primary concern, in many of his constructions he himself demonstrates the beauty which a man of artistic genius can create within the "margin...