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FROM THE GROUND UP

THE BUSINESS OF BUILDING IN THE AGE OF MONEY

Lively exposÇ of the construction of Rincon Center, a mixed- use complex (apartments, offices, shops, restaurants) in San Francisco. In 1984, the city made available a single square block for building, which Ron Verrue, a developer, thought might be the last chance in some years to erect a large tower in the city. He formed a partnership with a large contracting company and a structural engineer and submitted the winning bid for the site. Los Angeles Times correspondent Frantz (Selling Out, 1989, etc.) writes vividly of the multilayered, byzantine financing assembled by the developer, the bottom line of which is never to risk your own money. The most important instrument of the initial financing was raising cash by selling—to investors looking for tax write- offs—huge paper-losses on the early years of the construction loan. The greater part of Frantz's lively account concerns Scott Johnson—Harvard whiz-kid and protÇgÇ of architect Philip Johnson (no relation)—who became the chief architect of the project. Johnson considered himself primarily a visual artist, an ``aesthete'' in his words, although he also said that ``Architecture today must be responsive...to the community, to the clients.'' When Allan Temko, Pulitzer-winning architecture critic for the San Francisco Chronicle, called Johnson's twin towers design ``purloined'' from Philip Johnson and Cesar Pelli, Johnson turned all his interest to the atrium—where he could show off his stuff—and spent a year squabbling with the city over the color of its glass and searching for an artist who could design a dramatic ``water event'' (fountain). Johnson was unable to make the building livable from the walls in; another architect had to be hired to follow him around cleaning up the messes. After Johnson left the project, several million dollars were spent redesigning and rebuilding the apartments. There is so much money in big construction that the project survived the Tax Reform Act of 1986—which cut out its main financial base, a $25 million cost overrun—and still turned a profit. An absorbing and lucid account of this business. (Eight pages of b&w photographs—not seen.)

Pub Date: Sept. 10, 1991

ISBN: 0-8050-0996-5

Page Count: 320

Publisher: Henry Holt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 1991

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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