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side_sponsors.php
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The AIA gratefully
acknowledges the
following sponsors
of our 150th Anniversary
celebration:
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Founders Circle:
$1,000,000:
McGraw-Hill
Construction,
Official Media
Sponsor
Autodesk,
Official Software
Sponsor |
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Year Awarded: 1968
Born: May 21, 1902;
Pécs, Hungary
Died: 1981;
New York City
Quote
Space is not plastic, static, positive, projecting. It is hollow, negative, retiring. It is never complete and finite. It is in motion, connected to the next space and to the next—and to the infinite space. It is materially defined by slabs of masonry or wood or what have you, by structural frames, by a dome or by a sheet of glass. But defined only, not isolated.
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• 1977: IBM Complex, Boca Raton, Fla.
• 1975: Gagarin House II, Litchfield, Conn.
• 1970: Saint John’s Abbey and University, Collegeville,
Minn.
• 1968: Parish Church, Olgiata, Rome
• 1967: Flushing Meadow Sports Park, New York City
• 1966: Whitney Museum of American Art, New York City
• 1966: Franklin D. Roosevelt Memorial, Washington, D.C.
• 1960: Flaine Ski Resort, Haute Savoie, France
• 1958: UNESCO Building, Paris
• 1942: South Boston Redevelopment, Boston
• 1939: Breuer House, Lincoln, Mass.
• 1936: Gane’s Stone Exhibition Pavilion, Bristol,
England
Biography
In 1920 Marcel Breuer went to the Vienna Academy of Fine Arts on
a scholarship to study painting and sculpture, but quickly left
there dissatisfied and went to work at a Viennese architecture
firm. He applied to study at the relatively new Bauhaus in Weimar
Germany, where he studied from 1920 to 1924. After graduation, he
moved to Paris for a year, working for an architect there. In 1925
Walter Gropius invited him to return to teach at the Bauhaus; he
taught there until 1928, becoming head of the school’s
furniture workshop and focusing on the merger of art with
technology.
When Gropius left the Bauhaus in 1928, Breuer also resigned. He
practiced architecture for three years in Berlin, designing houses
and commercial spaces. Because he had trouble finding work , he
turned to on renovations and furniture design. As the Nazi party
began to rise to power in the 1930s, Breuer moved to London. During
this time, he continued to struggle in his search for work, so he
traveled in southern Europe and worked for a time in
Budapest.
In 1937 Breuer followed Gropius to the United States and took a
professorship at Harvard’s School of Design. He and Gropius
opened an architecture firm there, collaborating on several house
designs in Boston and the surrounding area, including Gropius’
home. Together they designed the Pennsylvania Pavilion at the 1939
New York's World Fair.
Breuer and Gropius dissolved their partnership in 1941 and Breuer
established his own practice, moving it to New York in 1946. He
partnered with designer Eliot Noyes in New York, and their firm
designed about 70 houses, including Breuer’s home.
In 1953 Breuer collaborated with Pier Luigi Nervi and Bernard
Zehrfuss in the design of UNESCO's headquarters in Paris. It was at
this point in his career that he began to use concrete as his
primary medium. In 1963 he began work on the Whitney Museum of
American Art in New York, which was a three-year project. In 1970
he designed the Armstrong Rubber Company headquarters in West
Haven, Conn., and began consulting work on Harry Seidler’s
design for the Australian Embassy in Paris.
Considered a father of Modernism, Breuer’s work reflected his
early interest in sculptural forms, with an emphasis on attention
to detail and functional design. |
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