Word: rohe
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Dates: during 2000-2009
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...treatments in a minimalist setting A Starflyer Is Born In-flight comfort with an internet connection in every seat Take a Hike Destinations to restore your sense of wonder The 1940s, floral-inspired fabrics of Josef Frank are as much a home-design icon as Ludwig Mies van der Rohe's Barcelona Chair or an Arne Jacobsen dining table - but they don't come cheap. So here's a tip for those who want to enjoy some of the Austrian architect and designer's beautiful patterns without paying top dollar: head for the remnants chest at Stockholm's Svenkst Tenn...
...1940s, floral-inspired fabrics of Josef Frank are as much a home-design icon as Mies van der Rohe's Barcelona Chair, or an Arne Jacobsen dining table-but they don't come cheap. So here's a tip for those who want to enjoy some of the Austrian architect and designer's beautiful patterns without paying top dollar: head for the remnants chest at Stockholm's Svenkst Tenn (www.svenskttenn.se), the grand dame of Swedish home-furnishings stores. Frank was a co-founder of the store and concocted 160 patterns for it, of which 40 are still in production...
...defenders, the bad press was such that the show's curator, Marcia Tucker, eventually lost her job. Hilton Kramer, who was then the unappeasable critic of the New York Times, dismissed Tuttle with a few lines that followed the artist around for years. Playing off Ludwig Mies van der Rohe's famous directive that less is more, Kramer announced that "in Mr. Tuttle's work, less is unmistakably less ... One is tempted to say that, so far as art is concerned, less has never been as less as this...
Less is more? For much of the 20th century, Ludwig Mies van der Rohe's famous formulation was a guiding principle of design and not just for architects. But even when pared-down Modernism was at the height of its prestige, there was a countertradition of glorious excess. "Glamour: Fashion, Industrial Design, Architecture," an exhibition that runs from Oct. 9 through Jan. 16 at the San Francisco Museum of Modern Art, traces an aesthetic of surplus and superabundance that continually bursts forth in clothing, buildings, automobiles and objects--a taste for luxury, spectacle and even pure, shameless glitz that...
...Libeskind makes glass and steel thunderbolts. Zaha Hadid goes in for tilting thrusts. Lately Norman Foster is doing armored towers. Among the world's most prominent architects, no one's work looks much like anyone else's. No one presumes to be handing down, like Ludwig Mies van der Rohe once did, the chief forms from which all others are supposed to flow. But with the singular spectacle of his Guggenheim Museum in Bilbao, Spain--all that glistening titanium, those war-whooping arabesques--Frank Gehry in 1997 undid everyone's idea of what a building looks like. Ever since...