Word: breuers
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Dates: during 1980-1989
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...living in London and in their mid-40s when the decade of the 1980s dawns, provide a focus for Drabble's tumultuous plot: Liz Headleand, twice married and a successful psychotherapist; Alix Bowen, ditto and a believer in socially useful work like teaching English literature to female criminals; Esther Breuer, unmarried and a dilettantish specialist in the early Italian Renaissance. Although they have taken different paths, Liz, Alix and Esther share a long friendship and common bonds dating back to their student days at Cambridge in the 1950s. "These three women," Drabble notes, "it will readily and perhaps with some...
...became hot, even chic. Bianca Jagger and Diane Keaton joined the Next Wave Producers Council, young urban professionals who had never gone near Lincoln Center flocked across the Brooklyn Bridge, and a BAM ticket became the scarcest in town. The first Next Wave Festival in 1983 featured Director Lee Breuer and Composer Bob Telson's dazzling wedding of Sophocles and soul, The Gospel at Colonus, which was later televised on PBS. The next year saw a triumphant reprise of Einstein, while last season brought Wilson's incandescent play The Golden Windows. It also brought forth a full-fledged disaster...
Technique intrigued him deeply. To many, plywood seems a contemptible crossbreed, neither natural nor synthetic, but to Aalto it was a perfect hybrid of ancient material and industrial technology. Breuer eventually returned to plywood; after the war, Charles Eames pressed it into subtle topographies that had been beyond Aalto's means. But no one ever paid the material more respect than Aalto. He built up plywood layers one by one, twisted and glued them meticulously, experimented. He coaxed plywood first into a simple L-leg (1932) to make his wonderful three-legged stacking stool, then split the L into...
...their forested countryside, and timber is the country's economic mainstay. The hard, featureless blond birch that Aalto favored had been standard material for Finnish domestic objects. But in the polemical years around 1930, his abandonment of modern, mass-produced tubular steel was a retograde act. Marcel Breuer, Ludwig Mies van der Rohe and Le Corbusier had based their famous chairs and couches on state-of-the-art tubing. Aalto became convinced that tubular steel was "not satisfactory from the human point of view." Indeed, an extreme, sometimes quixotic regard for the human factor was what separated Aalto from...
Aalto's furniture was never again so dashing and hard-edged. He spent the '30s making cantilevered chairs, each a reworking of an idea that the Bauhaus stars Breuer and Mart Stam had established using tubular steel in the '20s. The cantilever is springy, like an athlete's crouch. Indeed, Aalto's cantilevered chairs have a cheerfully anthropomorphic profile. His most splendid variations on the theme also seem the most characteristically Scandinavian: after he had tried seats and backs of plain plywood and boxy upholstery, Aalto designed birch frames crisscrossed with black linen webbing...