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Focuses on the progress of an architectural competition for rebuilding the World Trade Center in New York City. The live television and radio coverage of the December press conference, which was held in the recently restored Winter Garden of the World Financial Center, across the street from Ground Zero, allowed the general public a rare opportunity to witness how architects make their pitch.Daniel Libeskind's intense, theatrical proffer quickly cut to the emotional heart of the matter, beginning with his tale of arriving by ship in New York harbor as the son of Holocaust survivors, awed by the Statue of Liberty and the Manhattan skyline like generations of grateful immigrants before him. Though all the new Ground Zero proposals in one way or another demarcate the footprints of the Twin Towers, Libeskind's design is by far the most dramatic evocation of the disaster. As could have been foreseen, Norman Foster's scheme was technologically proficient, environmentally sensitive, sleekly finished, structurally logical, and more than a bit cold, a deficiency that he effectively countered with his persuasive presentation. If one predominant theme emerged from the presentations, it was not gardens in the sky or footprints on the ground, but immense--not to say insane--height. Five of the schemes would be taller than the World Trade Center, and four of them, including Libeskind's and Foster's, would become the tallest buildings in the world. The alternative to a gargantuan approach was laid out in the concept advanced by Skidmore, Owings & Merrill (SOM). Other designs.

Focuses on the opening of the American Folk Art Museum in New York City. Comments on architect Thomas Krens' scheme for a Frank Gehry building in lower Manhattan; Discussion of architects Tod Williams and Billie Tsien's architecture business; Details of the design of the Museum by Williams and Tsien; Description of the work of exhibition designer Ralph Appelbaum.

Discusses architect Robert Venturi's proposal to return architecture to its ancient roots as the "Mother of the Arts." Changes in architectural styles; Similarities between Venturi and Frank Gehry, another architect; Buildings designed by Venturi and his wife, Denise Scott Brown; .

Profiles nineteenth century English architect John Soane. Statement that his unusual handling of interior space and his disregard for classical platitudes characterize his work; Popularity of Soane among mid-twentieth century architects after falling into obscurity; Preference of Soane for minimally ornamented surfaces whose decoration was incised rather than applied; Structures of modern orthodoxy constructed by Soane; Views of young architects on Soane; Expertise of Soane in museum design; Destruction of almost all his work including his masterpiece, the Bank of England; Information on Soane's acclaimed use of light.

Presents information on some modern trends in architecture. Information on the "Deconstructivist Architecture," which is the Museum of Modern Art's inadvertent tribute; Description of seven contemporary architects' work; Comment on a show devoted to examples of Russian Constructivist architecture; Information on the thesis propounded by Mark Wigley, the show's associate curator.

The article presents the author's comments about an article written by Paul Byard, published in a previous issue of the newspaper "The New York Times." Byard's article focuses on the decline in social idealism in the architectural profession in New York City. The author says that architects in the city are struggling with a serious image problem. He says that Byard's views are based on a questionable historical premise.

The article presents information related to the Cranbrook Academy of Art located at Bloomfield Hills, Michigan. Last August Roy Slade, a British-born painter, was appointed as president of the academy. After his appointment Slade undertook the responsibility to restore the house of Finnish architect Eliel Saarinen. The academy is a part of the Cranbrook Foundation.

Presents the leading artists of the twentieth century. Emphasis on the excellence of the execution of a work of art; Utilization of native materials among architects; Expression of respect for organic forms in architecture and pottery.

Reports on the architecture of the Lucille Halsell Conservatory in San Antonio, Texas. Appreciation of contemporary architecture by Emilio Ambasz; Structure of the building; Design of the conservatory; Significance of the design; Use of earth walls by Ambasz that signifies the "elimination of architecture."

Focuses on architect Arthur Cotton Moore and his architectural works. Information on the interest of Moore on the recycling of old buildings; Details of the architectural collages built by Moore; Approach of Moore towards urban designing.

Focuses on the architectural design of the building of Pan Am Corp. in New York City. Information about the actual working population at the building; Reasons for the criticism of the building by several planners and architects; Description of structure of the building; Information about surrounding areas of the building; Information about consultants and architects of the building; Comment on the people who make investments in real estate.

Describes the persons met by the author in Italy. Characteristics of the Boston architect; Disapproval of the architect about the trends in the country; Objection of the architect to industrialization; Personality of the rich person met by the author on the boat; Letters of introduction in Italian society received by the rich person; Description of the lady waiting for the car; Flourishes in the country.

Presents information about an architect who does not have any sound idea about architectural designs. Criticism of the U.S. embassy's architecture in Paris, France by the architect; Exploitation of art critics by the journalistic system under which they work; Criticism of the American Government Office Building located in Avenue Gabriel; Glimpses of romantic architecture that can be found on the third floor of the building.

Describes the design and construction of the Shelton, a hotel, by architect Arthur Loomis Harmon in New York City. Architectural skill of Harmon; View that organizers of Shelton have taken a step forward in this new residence for men; Comments on the architectural developments in the City; Argument pertaining to the plan problems of the New York architect; Opinion that Harmon has skillfully adapted himself to the modern mandates, disposing the masses of his building with a fine sense of symmetry and simplicity.

Focuses on the development of Stalingrad, Soviet Union, after the city was ravaged in the Second World War. Information that the All Russian Academy of Architecture is in charge of plans for war-ruined cities, and has a commission for Stalingrad; Statement that utilitarian buildings will be constructed to commemorate the heroism of Stalingrad; Ambijan is the only foreign organization taking an interest in Stalingrad orphans by sponsoring the relief to them.

Focuses on architect Frank Lloyd Wright. Description of early days of Wright in Chicago, Illinois; Information about the family of Wright; Description of his work at the construction firm Adler and Sullivan; Launch of the prairie architecture style by Wright; Information about innovations that he brought in the building construction; Information about several projects which he worked on.

The article focuses on the growing opportunities for builders, architects and surprisingly artists. Huge stores with spacious parking facilities are taking shape, usually that of low, blank-walled boxes, on what used to be pasture land in the peripheral areas. With this growth has arisen the question of freedom of expression in art. The civic beautification consisted of three disproportioned pinheaded figures in bronze, one apparently an adult male, one an adult female, the third an adolescent. A taxpayer's suit was recently filed declaring the statue was a "public nuisance."

Reviews the exhibition of the work of architect Frank Lloyd Wright at the Museum of Modern Art in New York City. Information on the theme of Wright's models which are being exhibited at the exhibition; Information on the model "Broadacre City"; Description of his home in Wisconsin called Taliesin; Information on Wright's tenure at the Johnson Wax Co.