Ambassador Hotel: the grandeur of what used to be…
For more on this year’s sad teardown:
Ambassador Hotel: The Last Stand
Home: The Gaylord Apartments
The Gaylord is the tall building in upper right corner of this 1924 photo of the then-new Ambassador Hotel on Wilshire Boulevard. The Brown Derby restaurant is to the Gaylord’s left.
Jean Nouvel’s big week I: Musee du Quai Branly, Paris
Photos: New York Times | June 21, 2006
Paris receives a grand gift
By Edwin Heathcote
Published: June 25 2006 19:17 | Last updated: June 25 2006 19:17
The Musée du Quai Branly may be Paris’s final grand projet. French presidents have taken to building their own legacies: from Giscard d’Estaing’s patronage of the Centre Pompidou to François Mitterand’s obsessive monument building. In the Quai Branly, the city’s biggest new museum since the Pompidou, Jacques Chirac has his epitaph.
While Mitterand’s projects tended towards megalomania (the Grande Arche, the Louvre Pyramid), the city’s new landmark is far more equivocal. The museum, designed by Jean Nouvel, houses the city’s rich collection of 300,000 objects and artefacts from Africa, the Americas, Asia and Oceania. Chirac intended the museum as a symbol of France as the international cultural arbiter and last bastion against US cultural imperialism.
It is, though, a touchy subject. The idea of display of ritual and sacred fetishes can be problematic and their separation from western art implies an “otherness”. The counter-argument, however, is powerful. From Picasso to Breton and beyond, Parisian art was fundamentally influenced by these very collections. Nouvel has chosen not to create a single monumental building.
“This is not one architecture,” he says, “But a series of territories which create a transition between our world and this world of the other.”
The museum is built around a large public garden at the heart of the site embraced by the sweeping curve of the main building that sits on the banks of the Seine. A series of variegated, brightly coloured boxes project from the walls and each acts as a kind of side chapel, a reliquary holding sacred objects, each generating a unique, theatrical atmosphere.
These jewel boxes form diversions off a staggered, contrived route through the building.
The galleries are defined by a complex series of layerings in which objects appear to float in the galleries and superimpose themselves on others through reflection and transparency. It forms an animated, occasionally jarring dreamscape, the same filmic overlaying Nouvel uses at the Guthrie. An organic leather wall wends its way around, providing seating ledges and physical guidance. Orientation is assisted by huge glass silos, which are neither exhibition nor storage. These transparent volumes bring the museum’s awesome reserves into public view. A temporary exhibition space has been left more open, its white ramp winding, Guggenheim-like, up through the volume.
For a building of this scale and cost (€232.5m), the museum connects with the Haussmann and Deco-era apartment blocks of the Rue de Université with a modest workshop block.
The extensive gardens are real public spaces, vibrant and attractive. The museum is raised on bright red piers to allow the undulating landscaping to run uninterrupted across the site (and at one point over the site as greenery encompasses the walls of one Seine-side block). It remains incomplete but its potential is obvious.
This building represents a historic undertaking, a gamble and a display of confidence by both president and architect. London, with its closed Museum of Mankind and its probably-to-be-demolished Commonwealth Institute, has failed to address these same issues. For Nouvel this is another in a line of fascinating and occasionally brilliant buildings, for Chirac it may be his one substantial achievement, and for Paris it is a real gift.
Copyright The Financial Times Limited 2006
Jean Nouvel’s big week II: Guthrie Theater, Minneapolis
Los Angeles Times | June 21, 2006
Top: ‘Endless Bridge’: The 175-foot-long extension juts out toward the Mississippi and offers remarkable views. Photo: Gallop Studios
Bottom: ‘Twilight’: The architect wanted the dark blue of the theater’s facade to recall the magic of that time between day and night. Photo: Amanda Ortland
Wilkerson vs Perle: “Why We Fight”
 |
Margaret Carlson , who was a columnist and deputy Washington bureau chief for Time magazine, is a columnist for Bloomberg News. The opinions expressed are her own. |
Ike’s Warning May Just Tell Us `Why We Fight’: Margaret Carlson
June 27 (Bloomberg) — More than a million Americans spent two hours of their discretionary entertainment time last week watching Anderson Cooper interview Angelina Jolie about how wonderful she is, how wonderful she thinks Anderson is, and their respective celebrity clout in saving African and Katrina victims.
By contrast, inside the Beltway, hundreds of wonks were drawn to a Council on Foreign Relations screening of “Why We Fight,” a film starring the antithesis of puffed-lip Hollywood celebrity, former President Dwight Eisenhower.
The film opens with the most experienced commander-in-chief in the last century giving a speech warning of the growing military-industrial complex. “The potential for the disastrous rise of misplaced power exists,” he said. “We must never let the weight of this . . . endanger our liberties or democratic processes.”
With more subtlety and less overreaching than Michael Moore’s “Fahrenheit 9/11,” the film shows how we went ahead and did just that. The film quotes Senator John McCain, neo-con Bill Kristol and a former female lieutenant in the Pentagon who worked with the Office of Special Plans (special to Defense Secretary Donald Rumsfeld and Vice President Dick Cheney). The result is the tale of how the country was steamrolled into the Iraqi war by an administration bent on promoting supportive intelligence, however sketchy, and burying unfavorable intelligence, however solid.
Ike’s Fears
How Ike’s fears came true is shown through the stories of everyday people: two pilots who launched the first attack of the Iraq war, a Vietnamese woman who escaped U.S. bombs in 1973 and now labors in the factory that makes them, and a fresh recruit you wish could have a few more years of his youth.
The most poignant tale is that of a New York policeman who lost his son on Sept. 11 and finds solace in President George W. Bush’s revenge on Saddam Hussein. He gets his son’s name imprinted on a bomb to exact his own.
After the president announced there were no weapons of mass destruction in Iraq after all, he asks, “What the hell did we go in there for.” Unlike the Bush administration, he had an excuse. “I was so insane with wanting to get even, I was willing to believe anything.”
The draw for many in the audience was the post-screening panel featuring two Republicans who have come down on opposite sides of the war: Richard Perle, appointed by the president to the powerful Defense Policy Board Advisory Committee, and retired Army Colonel Lawrence Wilkerson, former Secretary of State Colin Powell’s former chief of staff. Keeping them at a safe distance was Susan Eisenhower, granddaughter of the movie’s star.
Ardent Hawk
Perle is one of the most ardent hawks to serve in government, although he didn’t serve in the military. As assistant secretary of defense in the Reagan Administration, he so opposed arms control that he was called the Prince of Darkness.
Leading up to the invasion, Perle recommended “total war” in Iraq and predicted Saddam and his supporters would disappear “at the first whiff of gunpowder,” and that there would be a “grand square in Baghdad that is named after President Bush.” Our children, he believed, “will sing great songs about us years from now.”
He’s done well in the private sector, with a multimillion- dollar house in Chevy Chase, Maryland, and a villa in Provence, France, although not without controversy.
Last year, the Securities and Exchange Commission told him he was under investigation after a report to Hollinger International Inc. shareholders said that Perle had “flagrantly abdicated his duty” as his friend, former Hollinger Chairman Conrad Black, looted the company like a “corporate kleptocracy.” The investigating committee asked Perle to return $5.4 million.
Wilkerson, a 31-year Army veteran who fought in Vietnam, spent the last 16 years working for Powell, a former general, and reveres him. Perle, by contrast views Powell as a “wuss,” according to the Associated Press, because of Powell’s skepticism about the Iraq war. Since speaking out against the administration, Wilkerson’s relationship with Powell, who has chosen to stay silent, is strained.
Wilkerson has done good, but not well. He lives in a townhouse in a Virginia suburb with his wife, who works in a gift and card shop. His son serves in Iraq. Although offered large sums to write a book and give speeches, he has chosen to teach.
Perle came out swinging, calling the film “monstrously unfair” to Cheney. The film showed how the government outsouces almost everything from peeling potatoes to supplying toilet paper, and if Halliburton Co., which Cheney headed before being elected vice president, demands no-bid contracts, it gets them, and then gets some more even after audits showed it bilked the government out of $100 million.
Perle said that Cheney doesn’t favor his old buddies at Halliburton because he went to extraordinary lengths to divorce his fortunes from the company’s by purchasing “an annuity that pays him even if Halliburton goes under.”
A former officer with an Army pension, Wilkerson changed the subject back to the war, how on Sept. 12 the whole world was on our side, how bad it is that 1 percent is bleeding for the rest of us for trumped up reasons.
He revealed that just before they left the State Department, Powell had Wilkerson prepare a “dossier, every memo, every call, on what happened,” which Wilkerson is keeping in various undisclosed locations for safekeeping. After Perle denied Cheney had approved of torture, Wilkerson referenced a memo to prove he did. If only he would write that book.
If Perle is so enamored of annuities, he should buy one that insures compensation and consolation to Americans when the war goes under. Among other things, Eisenhower said “God help this country when a president sits at this desk who doesn’t know as much about the military as I do.”
A heartbeat away sits someone who does know as much, only the military-industrial complex has gained, not lost, power as a result. God help this country.
(Margaret Carlson, author of “Anyone Can Grow Up: How George Bush and I Made It to the White House” and former White House correspondent for Time magazine, is a Bloomberg News columnist. The opinions expressed are her own.)
Omigod department: Dick Cheney ‘last throes’ comment redux
Photo: Associated Press
Vice President Dick Cheney said that while the administration underestimated the strength of anti- American violence in Iraq, he still believes the insurgency is in its “last throes,” as he asserted last year.
“I don’t think anybody anticipated the level of violence we encountered,” Cheney said in a question-and-answer session following a speech today at the National Press Club in Washington.
Vincent Schiavelli: a tribute
Vincent | Locarno Film Festival 2003
Five of Vincent’s closest male friends–me included, although I didn’t contribute much except my presence–sponsored a tribute to him at the Italian Cultural Institute in Westwood on Saturday, June 17th. Phil Goldfarb was the driving force–and Dan Olderman assembled clips from movies and TV that hit the high spots of a memorably diverse career. The element of the video that touched me the most, that I had not seen before, was a pickup from the documentary that Camilla, Danish film-maker, former co-inhabitant of the El Royale, daughter of a friend, and friend, made about Vincent’s return to live in his ancestral village in Sicily, Polizzi Generoso. Both his thoughtful words and the cuts to his extraordinarily expressive hands stay in memory.
Someday, if it feels meaningful to set down what lives so intensely in memory, I will write about him at greater length. Twelve of his friends who are based in Los Angeles had a dinner in his memory at Celestino Drago’s restaurant in Santa Monica in January 2006, just a few weeks after his death on December 26th. I talked about him at some length at that time. My experience of him was a little different than others, who focused more as a jumping-off point on the wonderful dinners at his various apartments and houses in LA over the last 30 years. I knew him a little less communally, all the way back to his 20s in Manhattan. I think I was his closest gay male friend, not that made any real difference in the connection, which had more to do with cooking together and his being Italian and my living in Italy as a child–and being in group therapy together. Whenever he wanted to confide something in me, he would preface it by saying that there wasn’t much reason not to tell me anything personal, because, after all, “we were in group together.” A man of many parts, loved by many, missed (deeply) by me.
Klimt’s ‘Adele Bloch-Bauer’: now on view at LACMA!
Museum Associates/Agence France-Presse – Getty Images
Gustav Klimt's 1907 portrait "Adele Bloch-Bauer I."
Lauder Pays $135 Million, a Record, for a Klimt Portrait
A dazzling, gold-flecked 1907 portrait by Gustav Klimt has been purchased for the Neue Galerie in Manhattan by the cosmetics magnate Ronald S. Lauder for $135 million, the highest sum ever paid for a painting.
The portrait, of Adele Bloch-Bauer, the wife of a Jewish sugar industrialist and the hostess of a prominent Vienna salon, is considered one of the artist's masterpieces. For years, it was the focus of a restitution battle between the Austrian government and a niece of Mrs. Bloch-Bauer who argued that it was seized along with four other Klimt paintings by the Nazis during World War II. In January all five paintings were awarded to the niece, Maria Altmann, now 90, who lives in Los Angeles, and other family members.
Rufus Wainwright @ Carnegie Hall
Photo by Timothy Greenfield-Sanders…All rights reserved.
Singer/songwriter Rufus Wainwright re-created, song for song, (26 in all) Judy Garland's legendary April 1961 Carnegie Hall concert tonight at Carnegie Hall. Special guests onstage included Wainwright's mother Kate McGarrigle, his sister Martha Wainwright and Garland's daughter Lorna Luft who performed a stunning duet of "After You've Gone" with him.The audience was packed with celebrities and artists… in the rows surrounding me sat Antony, David Bryne, Laurie Anderson, Robert Wilson, Michael Kors, and Jane Adams.This sold-out concert was the hottest ticket in town and deservingly so. Wainwright's performance was brilliant and his singing tonight masterfully showcased this extraordinarily gifted man's talent.
New York Times | Music Review
Rufus Wainwright Pays Tribute to Judy Garland at Carnegie Hall
A version of this review appeared in some late editions yesterday.
Richard Termine for The New York Times
Rufus Wainwright, the 32-year-old singer-songwriter and opera maven, last night at Carnegie Hall re-creating song by song Judy Garland's 1961 concert, which became the most beloved of all pre-rock concert albums.
They came to commune with a legend and to pay their respects to the singer channeling her. "They" would be the heavily gay, mostly male, mostly over-30 audience that sold out Carnegie Hall on Wednesday and Thursday evenings; the legend would be Judy Garland; and the gawky, flouncing pop shaman conjuring her would be Rufus Wainwright, the 32-year-old singer-songwriter and opera maven descended from folk-music royalty.
It doesn't matter that Mr. Wainwright sounds nothing like Garland or that his voice, an astringent drone with a quavering edge, uncertain intonation and slightly garbled diction, isn't half as good an instrument as Garland's. The spirit was there. At the very least, his loving song-by-song re-creation of Garland's brilliant concert of April 23, 1961, which became "Judy at Carnegie Hall," the most beloved of all prerock concert albums, was a fabulous stunt. Not even Madonna, pop music's ultimate provocateur, has attempted anything so ambitious.
What unfolded onstage Wednesday was a tour de force of politically empowering performance art in which a proudly gay male performer paid homage to the original and most durable gay icon in the crowded pantheon of pop divas. Accompanying him was a 36-piece orchestra conducted by Stephen Oremus playing the original 1961 arrangements, transposed several notes lower to suit Mr. Wainwright's voice.
The concert was a two-family affair, with Garland's clan represented by her daughter Lorna Luft, who arrived onstage late in the two-and-a-half-hour marathon to put her seal of approval on the project by joining Mr. Wainwright in a duet of "After You've Gone." (Garland's other daughter, Liza Minnelli, was conspicuously absent.)
Besides Rufus, the Wainwrights were represented by his sister, Martha, who brought down the house with a whooping and swooping "Stormy Weather"; and by his mother, Kate McGarrigle, who accompanied him on piano on "Over the Rainbow" and an encore of "Ev'ry Time We Say Goodbye" that is not on the Garland album.
Because Garland's stamina onstage was legendary, Mr. Wainwright's biggest challenge was to build and sustain the kind of electrical connection between performer and audience that, in Garland's case, approached a vampirish emotional symbiosis. In contrast to the go-for-broke emotional immediacy Garland churned up like a great actress, Mr. Wainwright is an arch bohemian dandy who is far too self-conscious to give himself heart and soul to standards he obviously admires, but finds technically daunting, and in many cases doesn't know that well.
But there are also deep similarities. Like Garland, Mr. Wainwright is a natural clown and showman who deftly turned his many little flubs into endearing comic bits of business. Like Garland, he is a witty storyteller with a keen sense of the absurd who is not afraid to make fun of himself. In one of many amusing anecdotes on Wednesday, he remembered his childhood identification with "The Wizard of Oz." On good days, he said, he imagined he was Dorothy, and on bad ones the Wicked Witch of the West.
Scattered through a concert, some of whose two-dozen-plus songs he hadn't fully memorized, were some memorable performances. Mr. Wainwright rode the famous bongo-propelled arrangement of "Come Rain or Come Shine" to glory. His tender, reflective "Over the Rainbow" evoked the vocal sound of Harry Nilsson's nearly forgotten 1973 album, "A Little Touch of Schmilsson in the Night," one of the first records in which a rock singer broke ranks to gaze wistfully into the past. An eerie falsetto version of "Do It Again," in Garland's key, almost worked, except for some tonal slips. "The Trolley Song" elicited cheers. He also talked about the album that inspired the concert, citing "If Love Were All" as his favorite song in the set.
For those who came to worship, Mr. Wainwright could do no wrong. If there were no boos, an audience clearly primed to go crazy never exploded into cathartic pandemonium. Still, Mr. Wainwright's courage to stand as a surrogate for every Garland fan who ever gazed into the mirror and fantasized about stepping into her ruby slippers spoke for itself. Simply for doing it, he was a hero.
Rufus Wainwright: taking chances!
Just to be clear: like him a lot; never learned to like her style of crescendo-per-minute singing. Think he is brave to tackle such an iconic singer’s repertory, nonetheless.
Rufus Wainwright on crystal meth | UK Observer Music Monthly
Hollywood Hillary
New York Times
Hillary: navigating the minefield
Wounds Salved, Clinton Returns to Health Care
Photo: New York Times | Stephen Crowley
Hillary Clinton visited Capitol Hill in 1994 in an effort to lobby support for a universal health care plan for which she was sharply criticized.
By ROBIN TONER and ANNE E. KORNBLUT
WASHINGTON, June 9 — No policy issue has bedeviled Senator Hillary Rodham Clinton more than health care. Ever since the collapse of her proposal for universal coverage in 1994, critics have used the issue as prime evidence in their case that she is, at heart, a big-government liberal with a zeal for social engineering.
Video: Back to Health Care
But now, as Mrs. Clinton heads into her re-election campaign and a possible bid for the presidency, she is trying to recast the political disaster of 1994 as something else: as a badge of honor, as a symbol of lessons learned and, perhaps most significant, as invaluable preparation for dealing with the problems in the health care system today.
“A lot of people know that I was involved in health care back in ‘93 and ‘94, and I still have the scars to show for it,” Mrs. Clinton says in a new biographical film that she is showing on the campaign trail. After raising the topic in a recent speech, she added, “But it’s worth wading into again — and we’re going to have to.”
Mrs. Clinton’s approach to health care is strikingly different this time around, a measure of her evolution from an impatient agent of change to a cautious senator — and potential presidential contender — keenly attuned to the political center.
In 1994, she and President Bill Clinton insisted that anything short of universal coverage was unacceptable and proposed a vast overhaul of the health care system to provide it: a 1,342-page plan that drew withering fire from an array of interest groups and died in a Democratic Congress.
Today, her plans to expand coverage are tempered and incremental. Her first major goal appears to be universal health coverage for children, which she hopes to advance by expanding the State Children’s Health Insurance Program, or Schip, an existing federal program up for review in 2007.
“I have to do what the political reality permits me to do,” Mrs. Clinton said in a recent interview. She said that covering everyone remained her ultimate goal, but that Democrats would be fighting “a lot of rear-guard actions” as long as Republicans controlled Congress.
Mrs. Clinton has not pushed a comprehensive coverage plan in her first term in the Senate. As part of the Democratic minority, she says she has primarily focused on defending existing programs from cuts by conservatives.
She also continues to shy from the ultimate challenge: describing what a comprehensive Democratic health care plan would look like. When pressed, for example, on how to control costs, usually the thorniest issue, she replied: “It depends on what kind of system you’re devising. And that’s still not at all clear to me, what the body politic will bear.”
Mrs. Clinton’s supporters say voters have forgotten the gory details of the last Clinton health plan, which proposed huge new bureaucracies and new mandates on employers, and assumed that one-seventh of the American economy could be reinvented over the objections of powerful groups like the insurance and pharmaceutical industries.
Rather, her allies say, voters remember her for having tried to change the system.
Mrs. Clinton is quick to admit errors and thereby distance herself from the old plan. “I think that both the process and the plan were flawed,” she said in the interview. “We were trying to do something that was very hard to do, and we made a lot of mistakes.”
But some analysts say the old vulnerability — the memory of what conservatives scornfully called “Hillarycare” — remains, and could be revived in the heat of a presidential campaign. Moreover, the history puts Mrs. Clinton in a peculiar box.
“On the Democratic side, people will hunger for a major proposal,” said Robert J. Blendon, a Harvard professor and expert on public opinion and health. “But she’s extremely vulnerable to Republicans saying, the minute she articulates something, ‘Here we go again, a major expansion of government plans and plans that hurt business.’ “
The woman who was sharply criticized a decade ago for a lack of political realism is now steeped in it. If her cardinal sin in 1993-94 was overestimating the public’s appetite for change, as many analysts contend, she seems intent on not repeating the error. When employers complain to her about the need for federal action on health care, she said, “I say back to them, ‘Fine, what are you going to do to help us create the consensus that has to develop in order to move the political system?’ “
In her own search for consensus, Mrs. Clinton hired as her domestic policy adviser Laurie Rubiner, a health policy expert who for many years worked for Senator John H. Chafee, the moderate Rhode Island Republican, until his death in 1999. That has fueled suspicions on the left that Mrs. Clinton is growing too cautious and moving to the center on health care.
She encounters that perception on many issues these days; on health care it has been reinforced by her work alongside prominent Republicans like Newt Gingrich and Senator Bill Frist on goals like upgrading medical information technology.
Prairie Home Companion: rare opportunity to hear Meryl Streep sing!
…and if you don't think she can sing, play the last scene of Postcards From The Edge
Wilshire Boulevard: the downtown of a linear city
The New York Times – 26.04.2006
Los Angeles – Frank Gehry Partners.Los Angeles With a Downtown? Gehry’s Vision
Robin Pogrebin
It isn’t easy to create a real downtown district, vibrant and intense, in a city as sprawling and diffuse as Los Angeles, Frank Gehry admits. But that’s what he has set out to do with his design for Grand Avenue, unveiled in preliminary form yesterday.
The $750 million project, which includes the first high-rises he has ever designed for his hometown, is the first phase of a $1.8 billion development plan by the Related Companies that will remake Grand Avenue as a pedestrian-based gathering point.
‘When we talk about L.A. having a downtown, it’s a stretch, because L.A. is so spread out as a city,’ Mr. Gehry said in a telephone interview.
>>’Our downtown probably is a linear one – Wilshire Boulevard or Sunset Boulevard.’
My favorite Frank Gehry quote…
Mary’s nephew
Kimon Kirk (2nd from left), me, Kris Delmhorst (right): Canter’s Deli, after the Kris Delmhorst and band performance at Hotel Cafe on Cahuenga Boulevard, May 21, 2006
Recipe | Bloody Mary Salmon Loaf
>>Wonderful, spicy variation on an old-fashioned recipe!
Ingredients
>>Bloody Mary Mix
2 cups tomato juice
horseradish
Tabasco
Worcestershire sauce
celery seeds
1 fresh lime, juiced and zested
plus any other ingredients preferred in Bloody Mary mix
>>Salmon loaf mix
4 lg cans salmon
1/2 loaf whole wheat bread as toasted crumbs
1/2 lb rotini pasta cooked al dente
4 eggs
1/2 cup mayonnaise
8 oz goat cheese, plain or herbed
fresh dill
fresh tarragon
4-6 Anaheim and/or pasilla chiles
8 oz shitake mushrooms
6 celery stalks with leaves
1 lg red onion
8 cornichons sliced
4 oz butter
fresh-ground black pepper to taste
salt to taste
Instructions
Pre-heat oven to 350 degrees. Grease large Dutch oven or 4 loaf pans.
Assemble Bloody Mary mix. Combine with lightly-beaten eggs. Hold in refrigerator to pour over loaf just prior to baking.
Chop vegetables into small pieces. Combine with salmon, cooked pasta, mayo, lime juice and zest, chopped dill and tarragon. Stir lightly just to combine. Salt and pepper to taste.
Pack salmon loaf mixture lightly into Dutch oven or loaf pans approximately 2/3-full.
Top the casserole/loaf pans with crumbled goat cheese and bread crumbs. Dot with butter.
Pour Bloody Mary and beaten egg mix evenly over top.
Bake 30-40 minutes in 350 degree oven, checking after 30 minutes to ensure crumbed topping does not brown excessively. Allow to rest for 15 minutes and serve.
My favorite architect: Zaha Hadid at the Guggenheim
June 2, 2006
New York Times | Architecture Review
>>Zaha Hadid: A Diva for the Digital Age
By NICOLAI OUROUSSOFF
ZAHA HADID has never built anything in New York. But to her followers around the world, that hardly matters. You can admire Renzo Piano's exquisite detailing or Frank Gehry's turbulent forms, but Ms. Hadid is architecture's diva, the most precocious talent in her profession.
"Zaha Hadid: Thirty Years in Architecture," her first major retrospective in the United States, gives New Yorkers a chance to see what they've been missing. The show, which opens tomorrow in the Solomon R. Guggenheim Museum's rotunda, spirals through Ms. Hadid's career, from her early enchantment with Soviet Constructivism to the sensuous and fluid cityscapes of her more recent commissions.
(excerpted from longer article)
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| The Guggenheim Museum is presenting the Iraqi-born architect Zaha Hadid's first major retrospective in the United States. |
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