Word: masters
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Dates: during 1960-1969
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...generations will know Mies' name, and perhaps even apply it to the epoch. Mies laid down a fundamental creed of honest structure. Skin-and-bones architecture, he called it. Born in 1886 in Aachen, Germany, he received no formal architectural education. But he learned from his father, a master stonemason, to value the particular heft and quality of pure materials. One of his first jobs consisted of designing stucco ornaments for a local architect-"full-size details of Louis XIV in the morning, Renaissance in the afternoon." The experience left him with a lasting disdain for the falseness...
...Barcelona pavilion, a low-slung one-story jewel brilliantly combining such elegant materials as travertine, Tinian marble, gray glass, onyx and steel, was Mies' first major public building to demonstrate many of these concepts. It immediately established its designer as a master. The following year he replaced Walter Gropius as the director of the Dessau Bauhaus, only to close up the experimental workshop three years later in protest against Nazi restrictions. In 1938, an invitation to head the school of architecture at the Armour Institute (since renamed the Illinois Institute of Technology) led Mies to Chicago and the full...
...popular theory, sponsored by Senator Kennedy himself, that he "lost his cool" is not supported by fact. Events on that tragic night show that the Kennedy machine swung coolly and efficiently into action under the Senator's personal direction and in a scant few hours devised a master strategy. We can but marvel at the Senator's determination and the ruthless power of his political apparatus. Or should we be just a bit frightened...
...public life." In an essay that no one else could have written, Greene claims James as a literary brother because, as Greene sees it, James also believed in the victory of evil in this world. Greene, in fact, almost succeeds in a posthumous conversion of the Old Master to Rome...
...said that "belief in nonsense depends only on suggestive repetition." Perhaps just a half dozen years ago most of us had never heard a note of Mahler's music; I remember my music teacher telling me at age fifteen that Mahler was "dark, tough to understand, an indisputable master," If we were fortunate we came to the First or Fourth Symphony first, and gradually realized tat, uniquely in this composer, all his works are mutually informing and illuminating, but none the easier for unprecedented unity...