In the United States, the Centers for Disease Control and Prevention (CDC) monitors top public health issues. The top area of focus is alcohol-related harms. Approximately 88,000 deaths per year in the United States are attributed to excessive alcohol consumption (CDC). The short-term health risks of excessive alcohol use include: injuries such as motor vehicle crashes, falls, drownings and burns; violence such as homicide, suicide and sexual assault; alcohol poisoning; risky sexual behaviors; and miscarriage and stillbirth among pregnant women. Long-term health risks can develop as well: high blood pressure, heart disease, stroke; cancer; social problems; and alcoholism. Health services are central to tackling harm at the individual level among those with alcohol-use disorders and other health conditions caused by harmful use of alcohol. An important role of health services and health professionals is to inform societies about the public health and social consequences of harmful use of alcohol, and to advocate effective societal responses.
interior off-white to fit with the nature and shell-like concept.
At the time of completion the design received mixed reviews15, with some strong criticism such as art critic John Canaday writing in the the New York Times that “A war between architecture and painting, in which both come out badly maimed,” contrasting with critic Emily Genauer describing it in the New York Herald Tribune, as “the most beautiful building in America,” or “Mr. Wright’s greatest building, New York’s greatest building”, according to architect Philip Johnson.
Wright claimed that he intended the curved walls to cause the art work to be lent backwards, as on an easel, showing he thought deeply about the function of a building in the design process. Others argued that this was poor design leading to difficulty when hanging art work. There was disagreement with Manhattan’s building-code administrators due to structural weaknesses in the design, including the glass dome which was deemed too large.
In July 1958, he wrote a letter that highlighted the connection between his design for the as yet unfinished Guggenheim and the artwork it would display. “Yes, it is hard…to understand a struggle for harmony and unity between the painting and the building. No, it is not to subjugate the paintings to the building that I conceived this plan. On the contrary, it was to make the building and the painting a beautiful symphony such as never existed in the world of Art before.”16 Although Wright had announced this, critics still argued that ‘the building competes with the art work’. James Johnson, Museum Director said “This is the most spectacular museum interior architecturally in this country. But my job is to show off a magnificent collection to its fullest.”17 Contrastingly, Tom Krens, a former Director stated “Great architecture has this capacity to adapt to changing functional uses without losing one bit of its dignity or one bit of its original intention. And I think that’s the great thing about the building at the end of the day.”18
The smooth, plain exterior of the Guggenheim Museum is free of augmentation with solely the name visible in a simple font running flush along the front of the building. This could be considered a design reference to the modernity of the Guggenheim Museum’s collection, in contrast to the more historical contents and the design of Richard Morris Hunt’s Beaux-Arts façade of the Metropolitan Museum of Art, only one quarter of mile south on 5th Avenue.
The influence of Frank Lloyd Wright can be widely seen in contemporary architecture, with an example being, award-winning American architect David Small who chose to draw upon the ‘Prairie style’19, similar to Wright’s Robie House, when designing his own home20. Small designed his home to integrate into a hillside and the natural environment, in line with Wright’s quote “no house should ever be on a hill or on anything. It should be o
