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Word: lippold (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...interior of Philharmonic Hall is divided into a lower and an upper lobby and the concert hall proper. The upper lobby will be dominated by the as yet incomplete "Orpheus and Apollo," a pair of huge, free-form sculptures of gold Munz metal. Designed by Richard Lippold, who also produced the "World Tree" of Harkness Commons, "Orpheus and Apollo" will be visible from the plaza outside and hopefully will establish a sense of immediate excitement both outside...

Author: By Russell B. Roberts, | Title: Lincoln Center | 10/6/1962 | See Source »

...past the surrounding rubble to last week's concerts entered a nine-story hall designed by Architect Max Abramovitz, its glass sides framed by 42 columns faced with travertine, its main foyer rising almost 50 ft. and dominated by a five-ton "space sculpture," still unfinished, by Richard Lippold. With 2,646 seats (with holes on the underside to absorb sound), Philharmonic Hall is 114 seats smaller than Manhattan's Carnegie Hall, and it provides no room for standees. But the opening gave New York two major concert halls for the first time in 35 years (since...

Author: /time Magazine | Title: Music: New Sound in Manhattan | 10/5/1962 | See Source »

Cage and Muzak met several months ago when the composer was presented with a thorny problem involving Manhattan's giant new Pan American Building. Sculptor Richard Lippold, renowned for his glittering geometric structures of stainless steel and gold, had been commissioned by the Pan Am Building directors to design a work for the main lobby. Lippold created The Globe, an immense, shining piece three stories high. The directors were delighted, but Lippold...

Author: /time Magazine | Title: Music: Fractured Muzak | 8/24/1962 | See Source »

...churches, Belluschi (a Roman Catholic who has worked as well for Lutherans, Episcopalians and Jews) is responsible for the inclusion of such traditional equipment as candlesticks and crucifixes, calls in such modernists as Sculptor Richard Lippold and Painter Gyorgy Kepes to help. He demands that artists use materials both as contemporary as stainless steel and as old as cathedral glass, to give the church traditional richness and warmth of color. In searching for the most modern solution, he has lately returned to the earliest Christian prototypes: Portsmouth Priory's Church of St. Gregory the Great repeats in its octagonal...

Author: /time Magazine | Title: Art: The New Churches | 12/26/1960 | See Source »

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