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...restrain ourselves. We have to design to price and to process. People are going to want things that do the job well and last and look good all at the same time." In a way, it would all sound a bit familiar to the late Mies van der Rohe. Less, with the increasing awareness of good design, will become more...

Author: /time Magazine | Title: Modern Living: Those Designing Europeans | 2/17/1975 | See Source »

...almost as remote as William Morris' workshop or Verrocchio's studio. It has become part of the "golden legend" of modernism. Except for Josef Albers and Marcel Breuer, the chief Bauhaus teachers of art, design and architecture are dead: Kandinsky, Klee, Moholy-Nagy, Gropius, Mies van der Rohe. Even the ideal that hovered above Bauhaus practice -that social conduct could be purified and made better by all-embracing design systems-now seems to have been a heroic illusion, an ignis fatuus of avant-garde thought: no one really becomes less wicked or more rational by living...

Author: /time Magazine | Title: Art: Superb Puritan | 11/18/1974 | See Source »

Ludwig Mies van der Rohe, who died four years ago at the age of 83, was by general consent one of the three grand masters of early modern architecture, along with Frank Lloyd Wright and Le Corbusier. Mies' pure, honed elegance, as seen everywhere in his works, from his famous Barcelona chair (1929) to his glass-curtain walls, has transformed the appearance of every major city on earth. No modern architect has been more widely (or in most cases more clumsily) imitated...

Author: /time Magazine | Title: Architecture: Museum Without Walls | 10/29/1973 | See Source »

...snailly windings of the Guggenheim Museum, felt a lofty unconcern verging on arrogance toward the needs of arts other than his own. Every grand old man has a prescriptive right to his clichés. But few have exercised it with more ruthlessness than Mies van der Rohe in this, his last building...

Author: /time Magazine | Title: Architecture: Museum Without Walls | 10/29/1973 | See Source »

...scattered, as if--like the baroque boulevards, the bombed-out imperial facades in the East, the shape of the divided city as a whole--the great spaces had been split-up and re-scaled. The most romantic of the architecture--Hans Scharoun's philharmonic hall and Mies van der Rohe's New National Gallery (if only the romanticism of plain marble and great steel beams)--is set apart in the developing Tiergarten Cultural Center...

Author: By Phil Patton, | Title: Letter from Berlin | 8/17/1973 | See Source »

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