Architecture
in sentence
867 examples of Architecture in a sentence
We can do this by recommitting
architecture
to the health, safety and welfare of the public.
Although certain countries started to implement performance-based reimbursement, anchored on a quality and efficacy matrix, overall, there's very little in today's health care systems
' architecture
to incentivize practitioners broadly to actively prevent the appearance of a disease in the first place and to limit the procedures applied to a patient to the most effective options.
This may work for solar farms, but when you think of buildings, of streets, of architecture, aesthetics does matter.
The bendability is important if you want to combine the solar cell with membrane
architecture.
Many Israeli songs (as well as architecture, foods, and slang) are influenced by Arabic culture, and there is no reason an Israeli Jew would be offended or angered by a nearby car playing that song.
Furthermore, the cinematography does absolutely nothing to convey the whimsical beauty of Gaudi's
architecture
or the infectious charm of Barcelona.
It is truly beautiful and hearkens back to 20's and 30's
architecture
like the Hotel Del Coronado.
Louis Kahn's son, who saw his father only minimally during his childhood because he was a member of just one of the three separate families his father had created, takes on the task of trying to learn more about his father through an exploration of his
architecture
and his life.
There were only two redeeming features about this movie; the beauty of Bucharest and its architecture, and the way they depicted the transformation from human form to wolf form.
From the beginning he feels foreign in this proper, impersonal world of superficial kindness, surrounded by pleasant but lifeless interior
architecture
and likewise colleagues.
In an early scene, Luca (David Pasquesi) and James (Jeff Garlin) are walking down a neighborhood street in Chicago, admiring the bucolic architecture, when a woman, angrily arguing in French on a cell phone, passes by them, prompting James to remark, "There's nothing hotter than an angry French woman."
My DVD sleeve mentions David Cronenberg and whilst this is perhaps not quite as good as his best films, there is some similarity here, particularly with the great use of seemingly menacing
architecture
and the effective and creepy use of inside space.
The wood is beautiful and the
architecture
is astounding.
Yet while the Easter Empire is not a topic much discussed in American intellectual circles, the US did not merely mimic Golden Byzantiums public architecture, the US is much absorbed in the fated Byzantine historical cycle and now has faced many of the crises involving certain people of a middle eastern extraction about whom it is said that there is a slight tendency for excessive exuberance on religious matters which humbled Great Byzantium.
Overrated because the supposed "realism" he introduces (milling crowds, crumbling architecture, etc.) are mooted by the absurd and downright goofy way that the characters behave.
Someone, some day, should do a study of
architecture
as it figures in horror films; of all those explorations of weirdly laid out mansions, searches for secret passageways and crypts, trackings of monsters through air ducts, and so forth.
Offhand I can recall only a few films in which
architecture
played a major role throughout--"Demon Seed," "Cube," the remake of "Thirteen Ghosts"--but it's at the heart of every story about a spooky house or church or crypt; it's all about the character and the affect of spaces, passages, and walls.
To pick up on the previous reviewer's remarks, the claustrophobic feel and off colors of the film is I sense quite intentional and conveys the sense of limited space, drab architecture, overall drabness that constitutes the urban environment of most people in Eastern and Central Europe.
The futuristic
architecture
is very attractive (lots of glass walls/ceilings/screens, lovely smoke/mirage/special effects) and nice-looking cars, but again - it's more an exercise in graphic design, having no real impact on the story.
to try to talk plot or performance or technical details about this film would be in the words of frank zappa "like dancing about
architecture"
. it absolutely hits the nail right on the head in the way it captures those fleeting moments in life that move us and then run away from us never to be experienced again.
This is a classic black and white film that reflects the grand style of the 40's....clothing,
architecture
and family life.
What can I say about it?It's another Hollywood's horror flick with very high budget(80 million dollars).Not scary at all,it offers us only a few thrills and one really creepy sequence with skeleton in the fireplace.A lot of computer generated special effects and nothing more.Catherine Zeta-Jones is beautiful as always,Lili Taylor is also a good actress.The
architecture
of the Hill House is amazing,all these monuments,statues,furniture...Delicious!However I don't like the ending because it was so luscious.Check this one out and form your own opinion on it.I give this picture 7 out of 10.
The gravity in this fantasy world is different, so blocks of
architecture
and spheres of land float around amidst cathedrals and castles and villages alike, and there are forests of floating lily pads.
the
architecture
of the homes and waterfront cabin speak of a time when things were built with detail, style, and authentic woods.
The architecture, the plant life, the community, the underage drinking.
The directing is terribly boring with endless very useless slow camera moves on cold architecture, useless moving cars, actors walking in or out for 20 secs or elevators elevating for a good 20 or 30 secs.
In other ways, the film is so vastly different from writer/director Giuseppi Tornatore's lovely work, which is quintessentially Italian: big with emotions, architecture, color, performance, length and budget.
Set in the outskirts and center of King's Cross, with modern
architecture
and two 'families' with contrasting backgrounds seem to intrigue me.
Village and the villagers are so real that you get the impression as if you are watching a documentary about Turkish villages at the same time, showing the lifestyle, language, costumes, architecture, traditions, taboos and everything in a very lean way.
Plot has to do with another house, this one with Aztec-influenced architecture, also with other-dimensional passages now and then.
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