gwynn elias wrote the song footprints in the sand, released in 1961.
gwynn elias wrote the song footprints in the sand, released in 1961.
who wrote the song footprints in the sand, released in 1961?
gwynn elias
the song has no relation to a 1961 song "footprints in the sand" written by gwynn elias & irving reid which was recorded by garry mills, which begins "i was to meet my baby", and then by the marcels with the refrain "i saw those footprints in the sand, of a woman and a man.".
footprints in the sand (edgel groves song)
florestano di fausto was the most important italian colonial architect of the fascist regime. in the 1920s, a group of young architects, most of them rationalists, found inspiration for their works in mediterranean architecture. they reevaluated the traditional buildings ("architecture without architects") of southern italy, the greek islands and the north african coast, since they thought that right in those places nestled the sources of architectural rationality. this new concept, the "mediterraneità" ("mediterraneity"), was born in the rationalist movement, but later also other groupings, like the "neoclassicists", took possession of it. the "mediterraneità", which in a first phase was connected by the rationalists with hellenic architecture, with its purity of lines and design, was later used by fascist propaganda as ideological justification for its mediterranean expansion, and was coupled with the roman architecture. in this context di fausto, who was not born as rationalist, laid hands on this concept: in his only writing, published in 1937, he affirms: "architecture was born in the mediterranean and triumphed in rome in the eternal monuments created from the genius of our birth: it must, therefore, remain mediterranean and italian." because of his capacity and his political connections he got unique occasions to put this theorization into practice: thanks to his many works in albania, libya, the italian aegean islands and italy itself, it has been defined "architect of the mediterranean" per antonomasia. his adhesion to the concept of "mediterraneità" is also reflected by his steady necessity to come in contact with the genius loci of the places where he was going to operate: he wrote, in the same writing cited above: "not a single stone was placed by me without having filled myself in advance with the spirit of the place, so as to make it my own". his work resulted in a continuous balancing between traditional and modern architecture, eclecticism and rationalism. he was "an unsurpassed model of professional architect who, thanks to a remarkable preparation combined with consummate skills, was able to master, and to use indifferently, and in any geographical context, each possible style: from moorish to venetian gothic, from renaissance to novecento, reducing even the rationalist language to another "modern style"." due to his steadily swinging between traditional and modern styles, he was unremittingly attacked by the two opposite fronts of colonialist architects, the "neoclassicists" and rationalists. his work, long neglected after the war, has been rediscovered since the 1990s, and since then his legacy has more and more become the object of study, although a general catalog of his works is still missing.
florestano di fausto