Word: der
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Dates: during 1980-1989
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...election in the properperspective," said candidate Henry Van der Eb '42,who chairs the Harvard College Fund, the annualUniversity fundraising effort. "The Overseers donot set policy of this nature...
Ludwig Mies van der Rohe's life was well timed. He was born at the right moment (100 years ago next month) and in the right place (prosperous middle Europe) to lead the radical transformation of architecture during the 1920s and '30s. He left his native Germany just ahead of probable persecution by the Nazis, arrived in Chicago just as his austere vision was catching on among U.S. architects and developed his pragmatic skyscraper design just as the war ended and corporate America found itself instantly in need of such a prototype for acres of new high-rise office space...
...that was last year. Apparently the time has now come to rethink the last two decades of revisionism, to rehabilitate Mies posthumously. The definitive biography has just appeared, a wise, readable book by Franz Schulze titled simply Mies van der Rohe (University of Chicago; $39.95). Barcelona has nearly finished reconstructing his perfect building, the cool, absolutely confident German Pavilion built for the 1929 International Exposition. And now at Manhattan's Museum of Modern Art, always Mies' most important institutional propagandist, Architecture and Design Director Arthur Drexler has assembled the ultimate Mies exhibit: doodles, sketches, renderings, building models, photographs, furniture...
...also invented a new surname by appending Rohe, his mother's maiden name. (Less is more be damned: in German, mies means lousy, more or less.) Mies van der Rohe, invigorated by Weimar Berlin, spent most of the 1920s designing gorgeous industrial exhibits and handsome, blocky villas descended from Frank Lloyd Wright. Well into the decade, however, Mies the modernist was not scrupulously practicing what he preached: a neo-Georgian country house appeared as late...
Indeed they do. Whether she sports Despina's serving-girl mufti in Mozart's Cosi fan tutte, is decked out in the rococo raiment of Sophie in Strauss's Der Rosenkavalier, or sweeps glamorously onto a concert stage dressed in one of her custom-made Rouben Ter-Arutunian gowns, it is impossible to imagine Battle's ever taking a letter or raising a ruler again. She is an ethereal Nannetta in Verdi's Falstaff, a sparkling Zerbinetta in Strauss's Ariadne auf Naxos and a beguiling Susanna in Mozart's The Marriage of Figaro, which she will sing...