Word: gaudi
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Dates: during 1950-1959
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...flat glass. Now they have begun to find their world pretty stark. Seeking inspiration for more richness, variety and delight, designers and architects have developed a new, absorbing interest in the fanciful work of men they once scorned and reviled, including a relatively obscure Spanish architect named Antoni Gaudi. For a report on this forward-through-backward trend, see ART, New Art Nouveau...
Architecture Is Sculpture. Most dramatic example is the revival of interest in the buildings of Barcelona Architect Antoni Gaudi (TIME, Jan. 28, 1952), whose work in the early decades of the century would have rated him a place on the couch in midcentury. Precisely because Gaudi's work stands opposed to the main line of development taken by contemporary architecture, Manhattan's Museum of Modern Art this winter staged a two-month-long exhibit of his work (see color page), discovered that it had a popular, stimulating and controversial show. Said the museum's director of architecture...
Even in his native Catalonia, Antoni Gaudi, who died at 73 in 1926, was considered unique and eccentric. His weird and wonderful gatehouses, animal or vegetable apartment-house façades and phantasmal parks that out-Disney Disneyland delighted Barcelonians, even when they were surfaced for economy's sake in broken tiles, old pots and broken glass. Gaudi's greatest problem was that his designs demanded a craftsman's skill to execute and his on-the-spot presence to construct...
Manhattan architects, who swarmed to the museum's exhibit, came away impressed but perplexed. What lesson did Gaudi's flowering masonry buildings teach in the age of steel beams and plate glass? Guggenheim Museum Director James Johnson Sweeney thought he knew part of the answer. Said he at the museum's standing-room-only symposium: "Gaudi points the way not through a restatement of Gaudi, but by restatement of his method of approach. He has brought home the value of architecture as sculpture." Critic Henry-Russell Hitchcock, who with Architect Philip Johnson kicked...
Swept out of fashion by streamlined functional modern, Tiffany's work is now having its first major Manhattan exhibition since his death, at 84, in 1933. Behind the current Tiffany exhibit at the Museum of Contemporary Crafts is the same unease that has sent architects back to Gaudi for inspiration. In an age when man's vision seems increasingly hemmed in by a machine-made environment, there is an urge to draw new strength from adventuresome craftsmen who knew how to combine richness with beauty...