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<title>Modern Architecture for the "American Century" : Responses</title>
<description>Design Observer ::Â Join the Discussion</description>
<link>http://places.designobserver.com/feature/modern-architecture-for-the-american-century/13968/</link>
<dc:language>en-us</dc:language>
<dc:creator>Design Observer Group</dc:creator>
<dc:date>2010-06-24T13:36:20-05:00</dc:date>
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<item>
	<title><![CDATA[Responding to "Modern Architecture for the "American Century""]]></title>
	<description><![CDATA[One figure missing from the discussion here (though likely in Alice Friedman's book) is Marcel Breuer, who bridges the generation and nationality gap between the "classic" modernists, of the Bauhaus and elsewhere, and American students like Johnson, Rudolph, Noyes--all of whom he taught at Harvard, and all of whom worked happily for corporations like IBM alongside Saarinen. <br />
<br />
Breuer was one of the first architects to embark on a multi-building corporate architecture project after the war, for Torrington (later Toren) Manufacturing, based in CT, which also used Lester Beall for their extensive identity work. He built Pirelli's iconic, and possibly gimmicky, tower in New Haven.<br />
<br />
A propos of Beall, it also seems important to note how often Saarinen worked alongside graphic designers in creating a new image for some old American companies. Most of his clients were remaking all parts of their visual identities at once, with the architecture at the leading edge of the free publicity.]]></description>
	<author>Alexandra Lange</author>
	<link>http://places.designobserver.com/feature/modern-architecture-for-the-american-century/13968/#comments</link>
	<dc:date>2010-06-24T13:36:20-05:00</dc:date>
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<item>
	<title><![CDATA[Responding to "Modern Architecture for the "American Century""]]></title>
	<description><![CDATA[Great writing on a complex subject.  What seems amazing is that none of the critics at the time recognized that Saarinen utilized much of that corporate money to produce art; while it served their purposes it also luckily allowed dazzling and intriguing assemblages that would not have happened any other way.  It occurs to me that a similar alignment is happening in Japan now, where it seems normal to commission a house design from architects who would be considered radical in the United States. Perhaps a reflection of a loss of an American vision of the future that the dominant commissioned style in the US seems to be a modified twenties long island shingle style house. ]]></description>
	<author>Doug C.</author>
	<link>http://places.designobserver.com/feature/modern-architecture-for-the-american-century/13968/#comments</link>
	<dc:date>2010-06-24T11:13:28-05:00</dc:date>
</item>
<item>
	<title><![CDATA[Responding to "Modern Architecture for the "American Century""]]></title>
	<description><![CDATA[great article. a revelation that such petty criticism existed then as it does now.]]></description>
	<author>jonathan</author>
	<link>http://places.designobserver.com/feature/modern-architecture-for-the-american-century/13968/#comments</link>
	<dc:date>2010-06-23T02:22:04-05:00</dc:date>
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