Word: gropius
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Dates: during 1960-1969
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...towns, inter-city corridors, peripheral growth, and rationalized sprawl will be discussed at the sixth Urban Design Conference this weekend. As part of the program, Jose Luis Sert, dean of the Graduate School of Design, will deliver the second Gropius Lecture ("Architecture Without Frontiers") at 8:30 p.m. Friday in the Loeb Theatre...
Amidst the brocade and crystal furnishings of Manhattan's St. Regis Hotel, Pioneer Modern Architect Walter Gropius, 78, stood up to receive the second Kaufmann International Design Award, a tax-free $20,000, for his "achievement in design education" while founder and director of Germany's austerely functional Bauhaus. Gropius cast a wry glance at most modern buildings, said, "It seems completely futile to inject quality into buildings and goods which are created only for their short entertainment value." What was needed in the U.S., said Gropius, was a movement like Britain's "Anti-Uglies," irate architecture...
...result, there is a rare freshness about the book, a personal as well as professional intimacy. In between the more technical passages, it is good to get a glimpse of Frank Lloyd Wright swatting flies and crying, "Mies," "Breuer" or "Gropius" at every swat, or to hear France's Auguste Ferret acidly say of his onetime associate Le Corbusier, "He is a clerk. He will pass," while Wright gleefully agreed...
...Wright and Le Corbusier are not the pivotal figures of the book; instead, they are Mies van der Rohe and to a lesser degree Walter Gropius. Mies, declaring the doctrine of "less is more," gave modern architecture its greatest discipline and refinement-the spareness visible in glass and metal in any American city. And German-born Walter Gropius, with the artists, architects and craftsmen of his famed Bauhaus at Dessau in the '205, established the grammar of design suited to modern mass production. They made simplicity and austerity and a faithfulness to function the liberating marks of the International...
...second trend--frequently embraced by the same artists--proceeds from another Bauhaus principle expressed by Gropius in 1923. "We perceive every form," he wrote, "as the embodiment of an idea, every piece of work as a manifestation of our innermost selves. Only work which is the product of inner compulsion can have spiritual meaning." The most familiar examples of this concept are Paul Klee's fantasies but, Feininger and, especially, Wassily Kandinsky submit to the same influence...