Word: rohe
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Dates: during 1950-1959
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...show selects five as master form givers-the late Frank Lloyd Wright, Walter Gropius, Mies van der Rohe, Le Corbusier, and Alvar Aalto. Of the second generation, eight are singled out as leaders: Architects Marcel Breuer, Wallace K. Harrison, Philip C. Johnson, Richard J. Neutra, Eero Saarinen, Edward D. Stone, Engineer R. Buckminster Fuller, and the firm of Skidmore, Owings & Merrill. Reviewing the past, assessing the present, and eying the future, the show leads to two major conclusions: 1) modern architecture has now clearly swept its early Beaux Arts enemies from the battlefield; 2) its architects, secure in their conquest...
...Much Glass. As building after building in the exhibition shows, the major debt of the U.S.'s younger architects is owed to Chicago's German-born Ludwig Mies van der Rohe. His bronze-sheathed Seagram Building, shown glowing against Manhattan's skyline, is a masterful exposition of how the steel cage can, by the very economy of its means and richness of its texture, become a masterpiece. But in the most advanced projects, it is equally clear that few architects now consider themselves blind Mies followers...
...leads in the move toward sculptural plasticity. Redoubtable Frank Lloyd Wright, who once made his houses hug the earth, built Manhattan's still unfinished Guggenheim Museum of reinforced concrete in the form of a giant snail shell resting on its smallest point. Even the austere Mies van der Rohe, in his proposal for the Bacardi office building in Santiago, Cuba, has designed a templelike reinforced-concrete building, with shadows playing around the frieze and fluted columns in the great classical tradition...
Tombstones & Coffins. Wright vociferously maintained his claim to originating modern architecture. But when it came back to him from Europe in the forceful form of works by Walter Gropius, Mies van der Rohe and Le Corbusier, he belabored these men as "glassic architects" and worse. He dramatically ranged himself against the sweeping tide of .the International Style. Manhattan's United Nations Secretariat was a "tombstone," Lever House "a waste of space," the Seagram Building "a whisky bottle on a card table." The steel-cage frame was "19th century carpenter architecture already suffering from arthritis of the joints." Boxy modern...
...early luminary of Walter Gropius' Bauhaus in Germany, which developed such formgivers as Mies van der Rohe, Marcel Breuer, Paul Klee, Wassily Kandinsky and Moholy-Nagy, Albers came to the U.S. when Hitler closed the Bauhaus, taught at Black Mountain College and later headed Yale's Department of Design. At 70, Albers has the granitic and yet sensitive face of a northern Dante; though recently retired, he still finds opportunities to teach. "To distribute spiritual possessions," he may say to one shy talent, "is to multiply them." To another, more flamboyant, he may murmur in passing, "Calm down...