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ADA LOUISE HUXTABLE for WSJ
New York
The Guggenheim Museum has chosen to honor the 50th anniversary of its (you should pardon the word) iconic building by Frank Lloyd Wright with a monumental exhibition that pays tribute to the architect’s life work and fills the spiral ramp from top to bottom, or bottom to top, depending on how you choose to see it. Curiously, the only meaningful gesture the installation makes to its dramatic setting is the view of the gorgeous curtain Wright designed for the Hillside Theater at Taliesin in 1952, glowing colorfully across the spiral, and the presentation of the Guggenheim Museum itself as the climax of the show. The display neither challenges nor exploits the building’s unique spatial possibilities. It would fit just as well into any set of conventional galleries.
This is not from any lack of thoughtful consideration of the material and its presentation. But what “Frank Lloyd Wright: From Within Outward,” a collaborative effort of the Solomon R. Guggenheim Foundation and the Frank Lloyd Wright Foundation, really pays tribute to is the completeness, depth and beauty of the Frank Lloyd Wright archives—assiduously collected, protected and now meticulously maintained at Taliesin West, Wright’s home and studio in the Arizona desert—and, not least, to the long-term, dedicated stewardship of Bruce Brooks Pfeiffer, director of the archives.
Paradise does not exactly come to mind when strolling past the neat rows of unornamented concrete apartments that make up La Cité des États-Unis, or City of the United States — one of France’s first modernist social housing complexes, in Lyon’s unpretentious Eighth Arrondissement.
A few graffiti tags mark the six-story walls. Couscous and kebab restaurants are sleepy in the midafternoon lull. Groups of young men hang out on the sidewalk and flirt with women, as elderly French couples and young immigrant families go about their business.
But the 1,410-unit housing complex was considered a utopian model when it was built, largely in the 1920s and early ’30s, offering such enlightened amenities as private bathrooms, running water and garbage collection. Now, three-quarters of a century later, it is the first stop on a new tour — called Utopies Réalisées, or Achieved Utopias — of efforts by modern architecture to devise ideal places to live.
The winning submission in a competition to re-develop the Point Square as a new civic and public space for Dublin city was announced today.
LiD Architecture’s concept for the public space was chosen by the Royal Institute of Architects in Ireland (RIAI) on behalf of the competition promoters, Point Village Limited. The central idea of LiD Architecture’s winning submission is to use shipping containers as cheap and basic building blocks that can be configured creatively to suit whatever event is being housed in the docklands space, which is known as ‘The Parlour’.
archie campbell / hee haw
One of Campbell's 'signature' routines was to tell stories in "Spoonerism" form, with the first letters of words in some phrases intentionally switched for comic effect. The best-known of these stories was "RinderCella," his re-telling of the fairy tale "Cinderella," about the girl who "slopped her dripper" (dropped her slipper). Campbell once told the "RinderCella" story on an episode of the game show Juvenile Jury. At the conclusion of the story, host Jack Barry said "That's one of the funniest stories Carchie Ampbell tells." All of Campbell's spoonerism routines borrowed heavily from comedy routines performed by Colonel Stoopnagle on the radio show Stoopnagle and Budd in the 1930s.pee little tiggs.
Campbell also performed a routine with various partners generally known as "That's Bad/That's Good." Campbell would state a troublesome occurrence; when the partner would sympathize by saying, "Oh that's bad," Campbell would quickly counter, "No, that's good!", and then state a good result from the previous occurrence. When the partner would say, "Oh that's good!", Campbell would immediately counter with "No, that's bad!" and tell the new result . . . and so on.
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