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...color spreads we have directed attention to the best works of such gifted contemporaries as Mies van der Rohe, Breuer, Gropius, Saarinen, Rudolph, Belluschi and Nervi. Architects themselves seem highly mindful of TIME'S role in bringing architecture to a wider public. Gordon Bunshaft, the man who gave a lift to Manhattan's Park Avenue with his famous postwar Lever House, says. "There are times when we don't know whether we're working for a client or for TIME...

Author: /time Magazine | Title: A Letter From The Publisher: Jan. 18, 1963 | 1/18/1963 | See Source »

...made stark glass-and-steel structures into the silhouette of U.S. business prestige; after a long illness; in Winter Haven, Fla. From the firm's start in 1936 until his retirement because of ill-health in 1955, dapper, Indiana-born "Skid" set his sights by Mies van der Rohe's hard-edged lines, attracted some of the nation's top architects into S.O.M.'s aggressive, 600-man team that since 1945 has designed $2.5 billion worth of buildings from the U.S. Air Force Academy to Chicago's Inland Steel headquarters...

Author: /time Magazine | Title: Milestones: Oct. 5, 1962 | 10/5/1962 | See Source »

...while it seemed as if modern architecture, led by Chicago's Mies van der Rohe, had found the solution for the modern city: glass skin on steel skeletons combined functionalism and efficiency with esthetic discipline. But at the annual meeting of the American Institute of Architects in Dallas, many members were in open revolt-and two buildings made headlines last week with an eloquence of their own to support the dissenters...

Author: /time Magazine | Title: Art: End of the Glass Box? | 5/25/1962 | See Source »

Street stores and Third Avenue backwaters. Probably only in Manhattan can a decorator find a Gobelin tapestry, an Early American sideboard or a Mies van der Rohe steel chair within a few blocks...

Author: /time Magazine | Title: The City: Living It Up | 4/13/1962 | See Source »

...building's clean design results in part from Saarinen's admiration of the lines of Mies van der Rohe's Seagram Building in Manhattan. Saarinen decided that the only way to best the master was to be even purer. He took as his clue the words of pioneer Skyscraper Designer Louis Sullivan, "a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line." The idea of purity so ruled his design that CBS had to buy two adjoining lots for a utility building, rather than...

Author: /time Magazine | Title: Art: Without a Dissenting Line | 3/2/1962 | See Source »

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