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...thinking was big, and budgets were gigantic. But then Meier, 57, is rather gloriously anachronistic -- and high-minded and portentous -- himself. While most of his peers have spent the past two decades feverishly inventing (or capitulating to) a sometimes gimcrack neo-neoclassicism, Meier has remained an unrepentant circa-1927 Corbusian -- modernism's last best heir. "I don't think you change your values every day or every time you do a new building," he says. "If you are worried about style or what is the trend of the moment, you are in trouble...

Author: /time Magazine | Title: A Grand New Getty | 10/21/1991 | See Source »

...years ago. Bunshaft is the Miesian. As the chief design partner at New York City's Skidmore, Owings & Merrill, he was the creator in the 1950s and early '60s of humane, impeccable steel-frame-and-glass-skin office towers, among the best built anywhere. Niemeyer is the prolific Corbusian, a quirkier and more perilously romantic builder of singular, often bombastic objects -- most notably the major public buildings of Brasilia, the utopistic Brazilian capital built all at once between...

Author: /time Magazine | Title: Design: A Boost for Good Old Modernism | 5/30/1988 | See Source »

...years before he built his first building, but he remained in thrall to Corbusier and concrete and public architecture. Tange was well- suited by temperament and history to be a Corbusian. The French master's stark, sweeping forms have the purity of Zen monoliths, and concrete was a practical material for rebuilding bombed-out, impoverished Japan. Tange's first realized design was archetypally postwar: the Hiroshima Peace Center. * Finished in stages during the early 1950s, the complex is a complete preview, in miniature,of Tange's architectural career. Nearly all of his low-rise, high-modern ideas are on display...

Author: /time Magazine | Title: Design: An Elegant Sweep Toward Heaven | 3/30/1987 | See Source »

...Kenzo Tange, now 69, who broke the ice in the 1950s and became the first Japanese architect to win a wide institutional clientele by combining a Corbusian idiom with traditional Japanese quotations, done in reinforced concrete. Since then a generation of architects-some of them Tange's former students at Tokyo University-has proved less interested in formal revivalism than in a more conceptual relationship to their heritage. Outstanding among these (but still, one among several) is Arata Isozaki, 52, whose as yet unbuilt design for the Museum of Contemporary Art in Los Angeles may turn...

Author: /time Magazine | Title: The Art of All They Do | 8/1/1983 | See Source »

...that asceticism may also be quoted. The work of Richard Meier in particular, and to a lesser extent that of Charles Gwathmey and Michael Graves, is permeated by the Corbusian dream of the "white world," the building as a metaphor of clarity, order and singularity set against the enveloping otherness of nature. (If Mies and the grid-internationalists have ceased to be quotable, Le Corbusier has not; and the difference is due to the richness of Corbu's ideas, his use of volume and surface rather than abstract space.) Meier's architecture is highly abstract, but it is not inhospitable...

Author: /time Magazine | Title: Doing Their Own Thing | 1/8/1979 | See Source »

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