Vertical

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Vertical

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References in periodicals archive ?
It begins with the principle of verticality, which is the basis for ballet.
There is a striking contrast between the light, transparent horizontal structure of the office floors and the solid verticality of the stones below.
The dramatic verticality of the building has been designed to project a clean line that will visually seal a gap between the two larger prewar buildings that surround it.
Challenging preconceived notions of verticality, the Georgia Tower combines hotel accommodation and parking at lower levels with apartments above, forming a pivotal pinnacle in the city skyline.
The verticality of the torsos and a repeated motif of small, close-to-the-body hops appeared to pay tribute to the medieval music and dances that inspired the piece.
If we are witnessing the complete repudiation of depth or verticality as modes of making or interpreting art, this marks an important shift in art history, one with enormous political implications.
Granite columns balanced by glass vision and spandrel panels accentuate the verticality of the design.
As part of the refurbishment of Sir Basil Spence's Southampton University Students Union Building, the MC Trame system was chosen for its verticality, with no visible horizontal mullions.
It is possible, when delighting in the ramrod verticality of pique turns performed by Margeaux Mundeyn (Yonny Manaure), the subtle shading of epaulement by Olga Supphozova (Robert Carter), or the perfectly arched foot of Ida Nevasayneva (Paul Ghiselin), to forget that the ballerinas of Les Ballets Trockadero de Monte Carlo are men.
Barthes continued:</p> <pre> The other reading skips nothing; it weighs, it sticks to the text, it reads, so to speak, with application and transport, grasps at every point in the text the asyndeton which cuts the various languages--and not the anecdote: it is not (logical) extension that captivates it, the winnowing out of truths, but the layering of significance; as in the children's game of topping hands, the excitement comes not from a progressive haste but from a kind of vertical din (the verticality of language and of its destruction); it is at the moment when each (different) hand skips over the next (and not after the other) that the hole, the gap, is created and carries off the subject of the game--the subject of the text.