ARTS


The Michigan Daily

Wednesday, February 15, 1984

Page 7


Architecture of

the future

By David Grayson
HE DRAWINGS, like their creator,
instantly demand respect. Selected,
works of University architecture
professor Reginald Malcolmson are
now on display in an exhibit entitled
"Visionary Architecture" at the
University Museum of Art. Mostly
black lines on white backgrounds, these
exquisite renderings are products of a
man not only of vision but of discipline,
with a lifelong love for and dedication to
drawing and architecture.
Malcolmson was born in Ireland in
1912, and spent several years designing
a variety of community buildings
there; he then came to Chicago and the
Illinois Institute of Technology (IIT) in
1947 to study under the auspices of the
renowned Ludwig Mies van der Rohe.
After receiving his masters in 1949.
Malcolmson joined the faulty at IIT
where he stayed until coming to the
University's Architecture and Design
School in 1964. Malcolmson recalls the
years in Chicago as being extremely
lively architecturally with the majority
of the structures on the Mies van der
Rohe designed campus being com-
pleted.
At IIT, Malcolmson became exposed
to the school's enthusiastic but ptrict
emphasis on drawing excellence, a
feature that now distinguishes him
within the architecture faculty and
among his students.
Malcolmson came to the University
as the new dean of the Architecture and
Design School with three specific goals
in mind: to unify the schools of Art and
Architecture, see that a new facility be

built, and establish a department of ur-
ban, planning. All three had been suc-
cessfully completed by the time
Malcolmson stepped down from the
dean's position in 1974 and assumed a
teaching position on the faculty.
Notorious among the architecture
students for his difficult course deman-
ds, Malcolmson simply replies, "I
never ask students to do something that
I could not do much better myself."
Malcolmson says that although his
classes may be challenging, the studen-
ts enjoy the additional expectations.
Malcolmson's demand for quality is
equally obvious in his own work.
The twenty-four works that make up
the exhibit were chosen from over three
hundred completed drawings. Each
drawing in itself is a finely crafted work
of form (and occasionally color), but it
is the exhibit in its entirety that reveals
the ingenuity of this artist in regard to
form and function. Repeated variations
on the theme of flexible space are found
throughout. Buildings that expand, con-
tract, and internally adapt to provide
for a multitude of uses give hint to the
encompassing label of visionary ar-
chitecture. As the depicted structures
become larger, Malcolmson turns to a
variety of external support systems in
an effort to maximize the amount of
usable space.
"School of Art and Architecture"
(1971), originally a proposed design for
the University Art and Architecture
School, shows an assortment of connec-
ted modules suspended from a high
horizontal grid. The result is striking
and one feels a certain dissapointment

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STARTS FRI. 2/17/84
Woody Allen's
"BROADWAY
DANNY ROSE"
ON OPENING DAY, FRI. 2/17/
84, WEAR YOUR WOODY ALLEN
GLASSES AND GET EVENING
TICKETS FOR $2.00,,

View of the "linear city" as conceived by Reginald Malcolmson, whose drawings are on display at

the University Museum of Art.
that this futuristic display of form is not
on North Campus.
For the record, no buildings in the
exhibit have ever been constructed,

though several were intended for that
purpose. Asked if that was ever a sour-
ce of dissapointment, Malcolmson
quickly responds with a quote by Daniel

Burnam, "Make big plans. Aim high in
hope and work, remembering that a
noble and logical diagram can never
die." The exhibit runs until March 11.

sm-


Dudley remains true to fun

By Dan Desmond

JEALOUSY IS back again and as
!J green as possible in Unfaithfully
Yours. Shakespeare's Othello was one
of the first to portray the emotion that is
present in everyone's heart. Now it is
here, just for fun, in Dudley Moore's
latest film.
The crass side of jealousy was ex-
posed in Raging Bull when Jake LaMot-
ta took his boxing skills home to his
allegedly untrue wife, and the star-
tlingly fatal side was recently released
in Star 80 the tragedy of Dorothy Strat-
ten. So, I am pleased to report that it is
time to laugh at jealousy. There is no
room for such bellicose behavior in Un-

faithfully Yours. Sure, Dudley Moore
takes a diabolical turn when ignited,
but the film remains a sophisticated
and playful bit of entertainment.
The one flaw, a trite plotline, is not
ruinous enough to keep the movie from
being completely likeable. I was still
very happy with the result.
A vast assortment of middle-aged
men dream of catching a nubile young
nymphet to add some scintillation to
their later years. Claude Eastman
(Dudley Moore), a veteran composer,
indeed acquires such sparkle in his life
in the form of a young actress named
Daniella (Nastassja Kinski). However,
he finds that having a wife that could
pass for a daughter may not renew a
youthful vigor. A young wife brings a

suspicion of younger men, and Claude
ends up aging about a year just
worrying about an affair he thinks
Daniella is having.
Claude has reason to believe she is
involved in some extra-marital ac-
tivity, and even thinks he has proof. His
dilemma is deciding what to do about it.
He initially adheres to the advice, "just
be grateful for what she does give you."
But when he asks his cook, Giuseppe
'(Richard -Libertini '-for, advice, the
chef respondsby-rarnting 'obscenities in
Italian and fiercely chopping an
eggplant into pieces with a large kit-
chen knife. "Any man that would do
less," preaches Giuseppe, "is less than
a man." Consequently, Claude for-
mulates a sinister plan and the fun
begins.
Unfaithfully Yours is always quite
enjoyable despite the plotline. The
misunderstanding that has Claude so
obsessively jealous develops like a trite
television sitcom. If you have seen a
few episodes of "Three's Company"
you know the pattern. Characters say
equivocal lines that could be taken the
wrong way until someone is lead to
believe something that is not true. If
people communicated with each other
as normal adults, the false impression
would be rectified immediately.
But, Claude is falsely convinced that
Daniella is being a bad girl - we know
that she is innocent. The whole thing
could have gotten a bit outlandish, but
with a humorous script and wonderful
performances, Unfaithfully Yours
prevails.
After performing in a few pale films
since the wonderful Arthur, Dudley
Moore is back to his charming,
charismatic self. He displays both
musical and comedic talent to a
delightful end.
Nastassja Kinski, as his wife, is sim-

ply exhilerating. She can't seem to
make it through an entire movie with
her shirt on all of the time, but I shan't
complain about that. Her pertness is
seen in her acting, too, she adds color
and electricity to the role.
Finally, Albert Brooks is priceless as
Claude's best friend, Norman Robbins,
who provokes many a smile with his
sardonic sense of humor. For instance,
he is in a women's store with Claude
and comments, "My wife lives at this
store, she gets mail here. She has her
family stay here over Thanksgiving."
Brooks adds a witty touch to all his
scenes.
I laud the players, but the material,
too deserves applause. Unfaithfully
Yours contains an appealing number of
funny lines and situations. At one point,
Claude gets one (or two) too many
tranquilizers into his system. His dazed
condition is a throwback to the drunken
antics of Arthur. He even makes the
familiar gag of leaving a room by way
of a closet into an amusing piece of
work.
There aren't a great deal of stomach
laughs in this-one, but there are many
grins and giggles, and this parody of
jealousy is definitely a pleasant way toa
spend an hour and a half.
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University Players presents
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Hilarious Comedy'f


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Far from a menage a trois, these three create hilarious tension in Unfaith-
fully Yours.

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