____________________________________________________________________________________________________________

2010 CIDA Online Student Work Collection Coversheet

Student Name:

Angelo Manzano

Course Number and Name: ID 210 History of Furniture 1830 - Present Course Quarter/Session/Section: Spring 2009 XA Date: June 2009

Assignment Name or Description: W6A1 Furniture Sketchbook

 http://mfah.org/bayoubend/collection.asp?par1=2&par2=1&par3=6&par4=1&par5=1&par6=1&par7=&currentPage= ROCOCOREVIVALSTYLECHARACTERISTICS(OriginalpiecebyJ.H.Belter1860) FeaturesNATURALISTICMOTIFSsuchasleaves,vines,fruits,andfloralpatternsconsistentwiththe RococoStyle. HasSandCshapedcurves(asseenonarms). AcombinationofmotifsfromdifferentculturessuchastheFrenchandEnglishRococostyles.

http://special.lib.gla.ac.uk/teach/gothic/furniture.html

GOTHICREVIVALSTYLECHARACTERISTICS(OriginalpiecebyJ.H.Belter1860) Backsofchairsusuallylooklikerosettewindows. Ornamentationincludesflamboyanttracery,quatrefoils,trefoils,finials,pointedarches,LOWRELIEF CARVEDDECORATION,andHERALDICMOTIFS,allconsistentwiththeGothicstyle. Noveneeringormarquetryused(considereddishonest).

ACKNOWLEDGEMENT
IMAGES: TheMuseumofFineArts:BayouBend.TheBelterParlor.16May2009. http://mfah.org/bayoubend/collection.asp?par1=2&par2=1&par3=6&par4=1&par5=1&par6=1&par7=& currentPage=. UniversityofGlasgow:SpecialCollections.TheGothicRevivalandDesign.16May2009. http://special.lib.gla.ac.uk/teach/gothic/furniture.html. WORKSCITED: GothicRevival.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood, Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. RococoRevival.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood, Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. TheNineteenthCentury.TheArtInstituteofPittsburghOnlineDivision:ID210class.16May2009. http://www.myeclassonline.com/ec/crs/default.learn?CourseID=3445735&CPURL=www.myeclassonline .com&Survey=1&47=3292950&ClientNodeID=404513&coursenav=0&bhcp=1.

FU URNIT TURE E ELEMEN NTS

MORTISE AND TE M E ENON CO ONSTRUC CTION

Consists of a joint made b a tong or C by gue protrudin part of wood in p ng f nserted in an nto correspon c nding hol or mor le rtise. Thi type is of o constru uction is usually found on chair n stretchers and ba rails (Aronson The s s ack n: Encyclope E edia of Furniture 3rd. Ed 312, F e d. 439). 4

MARQUE M ETRY AND INLAY D

Designs f D formed in wood the cont trast of grains, colors, a c and text tures of wood, metal, ivory, f tortoisesh t hell, motherofpe earl, etc. (Aronson: The rd Encyclope E ediaofFurniture3r .Ed.262 2).

DOVETAI JOINT D IL T

Amethod A dofjoinin ngboardsattheen nds,asina a draweror d racase,m madeofin nterlockingtenons s suggestin the form of a d s ng dovetail ( (Aronson n: TheEncyc T clopediao ofFurniture3rd.Ed d.174).

HONEST OF CON H TY NSTRUCTION

Theuseofsimplec T construct tionmeth hods,usua allyusingrectangu ularjoiner ry,and theemplo t oymentof fnaturalw woodsan ndfinishe esinstead dofmaski inglowquality materialswithvarnishes,st m tains,and dotherun nnaturalfi finishes (http://w ( www.drlor riv.com/le ectures/ea astlake.asp p).

ABSENCE OF UNA E -NECESS SARY ORN RNAMENT TATION

The pres T sence of minimal orname l entation, simplici ity of fo orm, and strict adherence to utilitarian purpos a u n ses. In Shaker Design, this means , Unembel llished forms, refined portions, and y in prop beauty materialsFurnitu m urerelies onmater rials,form m,andfun nctionfor rbeautyi instead of o fashion nable types of app plied orna ament, ca arving, in nlay, flutin and r ng, reeding th t Century (Architect ( tureandI InteriorD DesignFro omthe19 y380,382) ).

UTILITA ARIAN CH HAIR

WORKS CITED:
Aronson,Joseph.TheEncyclopediaofFurniture.3rd.Ed.NewYork:ClarksonPotter,2002 IdentifyingEastlakeFurniture.MasterpieceTechnologies.22May2009. <http://www.drloriv.com/lectures/eastlake.asp> TheShakers.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory. Harwood,Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. TheThreephasesoftheMovement.TheArtInstituteofPittsburghOnlineDivision: ID210Class.22May2009. <http://www.myeclassonline.com/ec/crs/default.learn?CourseID=3445735&CPURL=ww w.myeclassonline.com&Survey=1&47=3292950&ClientNodeID=404513&coursenav=0&bh cp=1>

Identification

Style:ArtNouveauc.1900 Type:Cabinet CountryofOrigin:France IdentifyingCharacteristics: French Art Nouveau focuses more on aesthetics rather than the construction of furniture pieces. WHIPLASH, Butterfly motifs, intricate wood veneers and marquetry, sensuous lines, ORGANIC GROWTH, and use of luxurious materials are among the few identifying characteristics of the movement thatthiscabinetcontains.

SailingScene Marquetry CarvedWater LilyStem

ExoticWoodVeneers ButterflyMotif

Whiplash

Style:ArtNouveau19021903 Type:SideChair CountryofOrigin:Germany IdentifyingCharacteristics: Although the Art Nouveau style variedfromcountrytocountry,they allshare acommontrait.Theyeach featured STRONG LINES. As seen in thissidechairbyPeterBehrens,the thick and thin lines convey a strong statement. According to the Minneapolis Institute of Arts, the chair embodies JUGENDSTIL, the GermanequivalentoftheFrenchArt Nouveaustyle (http://www.artsmia.org/modernis m/Dintro.html).
http://www.myeclassonline.com/ec/crs/default.learn?CourseID=34457 35&CPURL=www.myeclassonline.com&Survey=1&47

UseofStrongLines

USEOFNEGATIVE SPACE Focuson Sturdy Construction

http://www.myeclassonline.com/ec/crs/default.learn?CourseID=34457 35&CPURL=www.myeclassonline.com&Survey=1&47

 Style:ArtDecoEarly1920s1940s Type:MetalPanels CountryofOrigin:America IdentifyingCharacteristics: American Art Deco is mostly characterized by LESS EXTRAVAGANT ornamentation, RECTILINEAR forms, and motifs thathonorindustrialization.Made of metal with a shiny finish, the metallic panel on the left features characteristics congruent to the style of the movement. The result is a futuristic look with emphasis onverticalheight.

Rectilinear Characteristics Motifsdepicting IndustrialThemes

Shinymetalfinish

Style:ArtDecoEarly1920s1940s Type:DiningSet CountryofOrigin:France IdentifyingCharacteristics: Asmentionedabove,ArtDecofeaturesrectilinearcharacteristics.Theseton therightcontiainsstrongangularformsandsturdyconstruction.Othertraits such as less ornamentation, shiny finish (i.e black lacquer), and streamlined lookarealsopresent. Shinyfinish BlackLacquer Rectilinear construction Useofexotic woods

http://www.myeclassonline.com/ec/crs/default.learn?CourseID=34457 35&CPURL=www.myeclassonline.com&Survey=1&47


Rectilinear Form

Natural/ Abstract Patterns

Angular Patterns

Madeofiron
http://www.myeclassonline.com/ec/crs/default.learn?CourseID=34457 35&CPURL=www.myeclassonline.com&Survey=1&47

Style:ArtDecoEarly 1920s1940s Type:Screen CountryofOrigin:Europe Identifying Characteristics: Thispiece,madeofmetal, containscurvilinear, rectilinear,andnatural patterns,altogether creatinganabstractscene. Theevidenceofangular motifsandforms categorizethispieceunder theArtDecoStyle.

Style:ArtNouveau c.19041907 Type:SideTable CountryofOrigin:France IdentifyingCharacteristics: This creation by French designer HECTOR GUIMARD features many French Art Nouveau traits including sensous lines, organic growth, and is made from PEAR WOOD. Its lines are so fluidthatitseemslikeapiece of branch from a tree! The lack of rectilinear forms and patterns are also consistent withtheArtNouveauStyle.

PearWood

SensuousLines

OrganicGrowth

http://www.myeclassonline.com/ec/crs/default.learn?CourseID=34457 35&CPURL=www.myeclassonline.com&Survey=1&47

 For this scenario, the dining set will be placed in the middle of the roomasusual.TheArtNouveaucabinetwillbesituatedatthecenter ofthebackwall.ThecabinetwillbeflankedbytwoArtNouveauside tables,eachcarryingabiomorphicvase.Thebackwallwillbepainted with various superimposed patterns featuring WHIPLASH AND ORGANICGROWTHMOTIFSinordertoensureasmooththematicflow. The back wall, along with the cabinet, will be the rooms focal point. The rectilinear and deep, dark tones of the dining set will help complementthefluid,naturalisticArtNouveauelements.

 Forthecommercialsetting,theArtDecoscreenwillbeusedbothasa decorativeelementandasmovablewall.Twoscreenswillbeusedand willform anLshaperightinfrontoftheentry.Thiswillhelpdirect traffic flow (guests will go straight to the cash register area). The screens will also provide semiprivacy to other diners eating nearby, especiallythoseacrossfromtheentry.TheblackGermanArtNouveau chairs will be used on black lacquered tables (for visual unity). The entrancedoorswillbetreatedwithmetaldoorpaneling.Thiswillgive the restaurant a modern appeal and will help the eyes transition smoothlyintotheArtDecoscreens.


WORKSCITED: ArtDeco,ArtModerne.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegrated History.Harwood,Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. ArtNouveau.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory. Harwood,Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. LouisMajorelle.IndianapolisMuseumofArt.30May2009. http://www.imamuseum.org/explore/artwork/360?highlight=187 IMAGES: TheArtInstituteofPittsburghOnlineDivision:ID210.Week3Assignment1Images.30 May2009. http://www.myeclassonline.com/ec/crs/default.learn?CourseID=3445735&CPURL=ww w.myeclassonline.com&Survey=1&47=3292950&ClientNodeID=404513&coursenav=0& bhcp=1

MARCEL BREUER
ID210 XA ANGELO MANZANO SP09 W4A1
http://stores.advancedinteriordesigns.com/catalog/wassily%20chair.jpg

MarcelBreuerisknownforhismostreplicatedpiece,theWassilychair.Breuersbelief intheutilizationofmoderntechnologyasameanstocreatemodernitemsisexemplifiedinthis chair.Bauhausprinciplessuchasfocusonform,function,structure,andmaterialsareevident in his works. Theyre also physical manifestations of the popular term, Less is More. The Wassilychairisasuccessfulattempttocreatefurniturethatseasilymassproduced,hasform, andatthesametimewellbuiltandstandardizationflexible.ThesearethesameelementsthatI pickedwhenIcreatedmyrenditionofhispopularchair:

Inthisillustration,Breuersmaterialofchoicefortheframework(Nickelplatedtubular steel) is bent and pass around each other. The overlapping metal tubes create excellent positive/negativespacerelationshipswhichisagainanotherfeaturetypicalofBauhauschairs.I chosethecolorred,acoloralsofoundonotherBauhausfurniture,toaddmoreappealtothe piece. Theres also less ornamentation and only parts necessary for the chairs stability and simple,moderneleganceareincorporated.

WORKSCITED:

TheBauhaus.ArchitectureandInteriorDesignfrom the19thCentury:AnIntegratedHistory.Harwood, Buieetal.Vol.2.NewJersey:PearsonPrenticeHall, 2009.

IMAGEURL:
MarcelBreuerWassilyChair.AdvancedInterior Designs.5June2009. http://stores.advancedinteriordesigns.com/strse 141/MarcelBreuerWassilyChair,Breuer/Detail.bok.

DE STIJL vs. BAUHAUS 1917193119191933

Bothstylesrejectedconventionalfurnituremakingtechniques and focused on finding fresh and innovative methods using new materials. Both styles also emphasize simplicity and honesty in construction, removing any unnecessary ornamentation and any affiliation with nature. Theres also a clear relationship between solid and void, as well as the evidence of rectilinear forms. The Bauhaus style also focuses on geometry, form,andthemarriage of design and the machine which also leads quicker mass production. De Stijl stresses the purity of straight lines, the right angle, primary colors, black, white, and shades of gray. The only notable difference between these two styles is their geographic origin;DeStijlcomesfromHolland,whiletheBauhaushailsfrom Germany(Harwoodetal.).

RED BLUE CHAIR vs. SLATTED BACK ARM CHAIR

SOLIDBACKREST SLATTEDBACK SOLIDANDVOID RELATIONSHIP HEAVYLACQUER HORSEHAIR FINISH CLOTH STAINEDWOOD DOMINOJOINERY FINISH MADEOFWOOD GERRITRIETVELD,1918 http://moma.org/collection/browse_results.php? object_id=4044 SIMILARITIES:DIFFERENCES:
Bothchairsaremadefromwoodandlackthepresenceofnew materialsusedintheirconstruction. Theyarebothrectilinearinformandrevealanopen constructionmethod;notmuchfocusonergonomics. Noornamentationisnoted;form,function,andmaterialsare mainconcerns. Downwardforce(weight)isdistributedfromtheseattothe jointsuntilfinallytothelegs. Simplicityandhonestyofconstructionmeanabsenceof unnecessaryparts. Nocushioningpresentonbothchairsandbotharent adjustable.

MARCELBREUER,1924 http://www.designmuseum.org/design/marce lbreuer

Rietveldusedheavylacqueronthepiece,totallyhidingthe woodsnaturaltextureandcolor.Breuerstainedhischairin ordertostilladdthewoodsnaturalqualitiestoitsbeauty, hencecreatingavernacularlook. Rietveldappearstohaveuseddominojoineryinhis construction,whileBreuerusedmortiseandtenon. Rietveldusedwoodplanksfortheseat,whileBreuerusedH. Althoughbothchairsemphasizeconstructionhonesty, Rietveldslooksbusyandcrowdedwithwoodensupport beams,whileBreuershasamoreminimalisticapproach. Rietveldschairbackissolidwood,whileBreuersisslatted.

ORGANIC AND SCULPTURAL MODERN vs. SCANDINAVIAN MODERN 1930SEarly1970s1900s1960s

These two styles in this example again vary in geographic location but both feature the beginnings of ergonomics and the fall of the International Styles influence. Furnishings are more biomorphic in form, avoiding the use of sharp angular elements. Organic and Sculptural Modern design focuses on functionalism, mass production, and asymmetry (Harwood et al.). Designers of this style believed in utilizing technology, instead of craft, in driving design concepts and aesthetics. Scandinavian Modern stems from nationalist, vernacular, and folk values and craft of countries such as Denmark, Sweden, Finland, and Norway in the beginning of the 20th century. The slow industrialization process aidedinthepreservationofScandinaviantraditionsasevidenced by the designs produced. Both styles emphasize simplicity, elegance, excellent craftsmanship, and consideration of human factors(Harwoodetal.).

DAR SHELL CHAIR vs. SWAN CHAIR

SCREWJOINERY NATUREINSPIRED CURVILINEARFORM http://www.desm.jp/e m/emch61274.jpg FIBERGLASS MATERIAL ERGONOMIC SEATS EXPOSED STYROPORE CONSTRUCTION MATERIAL METALBASE CHARLESANDRAYEAMES,1950 http://www.bluesuntree.co.uk/image.php?size=9 &image=eames_chair%20resized.jpg SIMILARITIES:DIFFERENCES:
Bothhavecurvilinearformsandedges. Bothareergonomicallycomfortableandnicelyhugthe humanbody. Chairbacksarebothsolidanddoesnotexhibitvoidandsolid relationships. Metalsupportbasespresent. Bothdonotreclinewhiletheirheightsdonotadjust. Theseat,back,andarmrestsarefusedtogetherintoonepiece. Bothareinspiredbynaturalsubjects(shellandswan). Bothchairsdirecttheusersweightfromthearmsandseat downtothelegs/base.

ARNEJACOBSEN,1956 http://www.designmuseum.org/design/marce lbreuer

Eamesismadeoffiberglassmaterial,whileJacobsenused Styroporetocreatethechairssoftandsmoothcontours. Eamesfourleggedbasemakesthechairstationary,while Jacobsensallowsittoswivelaround(360degrees). Eamesbaseshowsexposedconstruction,whileJacobsenshas tubularsteelconstructionwithafourpointstarbase. TheDARShellchairshowsathin,somewhat2dimensional formwhenviewedfromdifferentangles,whiletheSwanchair packsmorevolume,hasaroundedformthatenhancesits3 dimensionality. TheDARShellChairusesscrewstojointheseattoitsbase, whiletheSwanChairsbaseismadeofweldedsteel.

RUSSIAN CONSTRUCTIVISM vs. INTERNATIONAL 19131940s1920s1930s

Russian Constructivism features a unifiedandorderlyappeal. Since it was birthed shortly after WWII, designs mainly strive to suggest, unity, organization, and understanding. It is devoted to complete abstraction and modernity (Art History Archive). The InternationalStylehadgreatinfluencesfromEuropeancountries and Holland, emphasizing volume over mass, materials over applied ornamentation. Both styles strive for modernity and contain simplicity of form, clean lines, and the use of new materials,constructionmethods,andtechnology.Geographically, Russian Constructivism was limited within the Russian region, whiletheInternationalStyleismorewidespread,henceitsname.

TAITLIN CHAIR vs. THE LC-7 CHAIR

FOAMEDBACKSUPPORT EXPOSED CONSTRUCTION TUBULARSTEELFRAME MOLDEDFOAMWITH LEATHERUPHOLSTERY FOURLEGGED ROUNDED METALBASE METALBASE VLADIMIRTAITLIN,1927 http://designmatcher.com/nl/gallery_detail.php? galleryID=87 SIMILARITIES:DIFFERENCES:
Bothhavecurvilinearforms. Bothareergonomicallycomfortableandnicelyhugthe humanbody. Chairbacksaremadewithexposedconstruction. Tubularsteelframeisusedonbothchairs. Bothhavemoldedfoamandupholsteredleatherseats. Metalpartsonbothchairsappeartobeweldedtogether. Metalpartshavechromefinishes. Bothchairshavefusedarmrestsandbacksupport. Weightisdistributedfromtheseats,armandbackrestsdown tothelegs/base.

LECORBUSIER,1928 http://www.cassinausa.com/masters/lc7.html

TheTaitlinchairsframeappearstobemadeofonecontinuous tubularmetal,whiletheLC7looksasifmadefromvarious sizedsteelbarsweldedtogether. Taitlinsseatfollowsthecurvatureofthehumanbuttocks;Le Corbusiersissimplycylindrical. Taitlinsbackrestisbaremetal,whileLeCorbusiershassoft foampaddingsimilartotheseatforaddedcomfortandan additionalmetalsupportrodforstability. TheTaitlinchairhasastationarycircularmetalbase,whilethe LC7hasfourlegsandenablethechairtoswivel. TheTaitlinchairlooksappealingwhenviewedfromthefront, whiletheLC7lookselegantandmore3Dfromanyangle.

WORKSCITED: ArtsandCrafts.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieetal. Vol.2.NewJersey:PearsonPrenticeHall,2009. DominoJoints.SawdustMaking101.12June2009. http://www.sawdustmaking.com/About%20Joints/about_joints.htm GeometricModern.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieetal. Vol.2.NewJersey:PearsonPrenticeHall,2009. InternationalStyle.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieetal. Vol.2.NewJersey:PearsonPrenticeHall,2009. OrganicandSculpturalModern.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory. Harwood,Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. PostwarModernismandStyles.TheArtInstituteofPittsburghOnlineDivision:ID210.12June2009. http://www.myeclassonline.com/ec/crs/default.learn?CourseID=3445735&CPURL=www.myeclassonline.com&Surve y=1&47=3292950&ClientNodeID=404513&coursenav=0&bhcp=1 RussianConstructivism.ArtHistoryArchive.17June2009. http://www.arthistoryarchive.com/arthistory/constructivism/ ScandinavianModern.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieet al.Vol.2.NewJersey:PearsonPrenticeHall,2009. TheBauhaus.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieetal.Vol. 2.NewJersey:PearsonPrenticeHall,2009. IMAGES: MuseumofModernArt.RedBlueChair.12June2009. http://moma.org/collection/browse_results.php?object_id=4044 DesignMuseum.MarcelBreuerSlattedChair.KelleyKellerhoff.12June2009. http://www.designmuseum.org/design/marcelbreuer BlueSunTree.DARfiberglassEiffelchairwitharms.12June2009. http://www.bluesuntree.co.uk/image.php?size=9&image=eames_chair%20resized.jpg DesignMuseum.Org.ArneJacobsenSwanChair.12June2009. http://www.designmuseum.org/__entry/4148?style=design_image_popup;http://www.desm.jp/em/emch6127 4.jpg DesignMatcher.com.TaitlinChair.12June2009.http://designmatcher.com/nl/gallery_detail.php?galleryID=87 CassinaUSA.com.LC7Chair.12June2009.http://www.cassinausa.com/masters/lc7.html

EVOLUTIONOFARCHITECTUREANDFURNITUREDESIGN FROMTHE19THTOTHE20THCENTURY

VICTORIANSTYLE(18371901) ENGLISHARTSANDCRAFTSSTYLE(1860s1910s)

ARTNOUVEAUSTYLE(1860s1910s) HORTAHOUSE(1898) ArtNouveauStyle VictorHorta http://www.flickr.com/photos/hotcommod ity/3036238152/ ARTNOUVEAUSTYLE(1860s1910s) CABINET(c.1899) ArtNouveauStyle HectorGuimard http://www.dijkema.tweakdsl.nl/stijlboek/
asets1/HectorGuimard/kabinet circa%201899.jpg

MODERNSTYLE:DESTIJL(19171931)

POSTWARMODERNSTYLE:ORGANIC ANDSCULPTURAL(1930sEarly1970s)

SCHRDERHOUSE(1924) DeStijlStyle GerritRietveld

http://www.flickr.com/photos/26849514@ N06/3409142478/

HOUSESOFPARLIAMENT(18351868) Victorian/GothicRevivalStyle PuginandBarry

http://www.flickr.com/photos/hogan3774/ 530588993/

DULLESINTERNATIONALAIRPORT(19581962) OrganicandSculpturalModernStyle EeroSaarinenandAssociates

http://images.search.yahoo.com/images/view?back=http%3A%2F%2Fimages.search.ya hoo.com%2Fsearch%2Fimages%3Fp%3DDULLES%2BINTERNATIONAL%2BAIRPORT%26b %3D81%26ni%3D20%26ei%3DUTF8%26pstart%3D1%26fr%3Dytff1 msgr%26fr2%3Dtab web&w=500&h=375&imgurl=static.flickr.com%2F1149%2F3164058735_114efdef50.jpg &rurl=http%3A%2F%2Fwww.flickr.com%2Fphotos%2Fears737%2F3164058735%2F&siz e=94k&name=Dulles+Airport&p=DULLES+INTERNATIONAL+AIRPORT&oid=8e769305917 c3750&fr2=tab web&fusr=ears737&no=81&tt=15721&b=81&ni=20&sigr=11g49miq4&sigi=11g0lsp1i&s igb=14220eugf

REDHOUSE(18591860) EnglishArtsandCraftsStyle MorrisandWebb

http://www.queensofvintage.com/wp content/uploads/2009/04/redhouse.jpg

AMERICANARTSANDCRAFTSSTYLE(1880s1930s)

VICTORIANSTYLE(18371901)

MODERNSTYLE:BAUHAUS(19171931)

POSTWARMODERNSTYLE:ORGANIC ANDSCULPTURAL(1930sEarly1970s)

BARCELONACHAIR(1929) BauhausStyle MiesvanderRohe

http://www.amenity world.com/img/knoll/knoll250.jpg

LOUNGECHAIRANDOTTOMAN(1956) OrganicandSculpturalModernStyle CharlesandRayEames

http://www.classicdesign.it/images/eames loungechair.jpg

AMERICANVICTORIANOAKCHAIR (c.1850) Victorian/GothicRevivalStyle HenrySiebrecht

http://cache.tias.com/stores/bohml/pic tures/10737ba.jpg

MORRIS/STICKLEYCHAIR(1905) AmericanArtsandCraftsStyle GustavStickley

http://www.seecny.com/files/images/ Morris%20Chair.Illustration.jpg

CONCLUSION
Afterfiveandahalfweeksofstudyingtheprogressionofarchitectureandfurnituredesignoverthe19thand20thcenturies,Ihavenoticedthedirectrelationshipthatexistsbetween them. Since the task of designing an infrastructure was mostly left in the hands of the architect, the physical appearance of both the exterior and interior typically resembled one another.Forexample,theflamboyanttracery,spires,trefoils,quatrefoils,andfinialsfoundonGothicfacadesarealsofoundonchairs,andaltarpiecesfoundinsidethebuilding.Also,I havenoticedatrendamongarchitectsashavingthedesiretocreateaunifiedlook.ThistrendalsoappearedinearlierstylessuchastheRococoandtheaforementionedGothicstyles. Thisdesirejumpstartedthecreativityandcraftsmanshipoffurnituredesignersofeachtimeperiodtocreatepiecesthatwillmatchandkeeppacewiththeeverexpandingarchitectural shell.Manszealtoachieveharmonywiththesurroundingsmaybethedrivingforcebehindthismatchingfrenzy.Butarchitectureandfurnituredesignalsohadlagtimesbetweenthem. Duringmypreviousclass,Ilearnedthatfurniturepiecesfrompriorstyleswerestillinusealthoughtheresanewdesigntrendinplace.Duetothehighcostofowningfurniture,most pieceswererecycledandreused.Eventoday,peoplestillhaveoldfurnishingsthattheytakewiththemwherevertheygo.AnotherfactorIhavenoticedwhysomefurnishingsvisually differfromtheircorrespondingarchitecturalstylesismainlyduetothedesignersvaryinginterpretations.LikewithPostwarModernism,theeffectsofRockandRollandPopCulture ignitedpublicinterestintherealmofindividuality,innovation,andoutoftheboxideas.Theresultisasuddeninfluxofnewdesignseachwiththeirownidentitywhichoftendont correspondwiththearchitecturalinnovationsofthetime.Thepoliticalsituationofthe20thcenturyfurtherdistancedthedesignleadersfromoneanother.Thewarmadeithardfor designideastofreelyflowamongneighboringcountries,henceimpedingprogress.Accordingtothetext,thedesignworldwasingreatchaosduringthe30sandmid40sduetotherise of German and Italian Fascism and Japans military advancements throughout East Asia (Harwood et al, 701). For the most part, however, the aesthetics of both architectural and furnituredesignsarenttoodistantfromoneanother.Presently,Ithinktheunifiedlookismakingacomeback.Althoughmaybenotintermsofvisualmatching,todaysarchitecture andfurnituredesigndoagreeonafewthings,likethefundamentalaspectsofergonomics,anthropometrics,andlifesafety.Withnewerbuildingcodesandstandardsneedingtobemet, designersandarchitectsstrivetofurtherproduceanddevelopbetterdesigns.Together,architectureandfurnituredesignareonceagainevolvingsimultaneouslyandwillcontinuetodo soaslongashumancreativityandingenuityremains.

IMAGES: AmenityWorld.BarcelonaChair.18Jun.2009.http://www.amenityworld.com/img/knoll/knoll250.jpg AntiquesbyLiseBohm.AmericanVictorianGothicChair.18Jun.2009.http://cache.tias.com/stores/bohml/pictures/10737ba.jpg ClassicDesign.LoungeChairandOttoman.18Jun.2009.http://www.classicdesign.it/images/eamesloungechair.jpg Ears737.DullesAirport.18Jun.2009.http://images.search.yahoo.com/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3DDULLES%2BINTERNATIONAL%2BAIRPORT%26b%3D81%26ni%3D20%26ei%3DUTF 8%26pstart%3D1%26fr%3Dytff1msgr%26fr2%3Dtab web&w=500&h=375&imgurl=static.flickr.com%2F1149%2F3164058735_114efdef50.jpg&rurl=http%3A%2F%2Fwww.flickr.com%2Fphotos%2Fears737%2F3164058735%2F&size=94k&name=Dulles+Airport&p=DULLES+INTERNATIONAL+AIRPORT&oid=8e769305917c3750&fr2 =tabweb&fusr=ears737&no=81&tt=15721&b=81&ni=20&sigr=11g49miq4&sigi=11g0lsp1i&sigb=14220eugf Frans.Sellies.RietveldSchrderHouse.18Jun.2009.http://www.flickr.com/photos/26849514@N06/3409142478/ Hogan3774.HousesofParliament.18Jun.2009.http://www.flickr.com/photos/hogan3774/530588993/ Hotcommodity.VictorHorta2.18Jun.2009.http://www.flickr.com/photos/hotcommodity/3036238152/ MeubelRestaurantie.HectorGuimard.18Jun.2009.http://www.dijkema.tweakdsl.nl/stijlboek/asets1/HectorGuimard/kabinetcirca%201899.jpg QueensofVintage.RedHouse.18Jun.2009.http://www.queensofvintage.com/wpcontent/uploads/2009/04/redhouse.jpg SeeCentralNY.MorrisChair,Gustav.18Jun.2009.http://www.seecny.com/files/images/Morris%20Chair.Illustration.jpg WORKSCITED: Bauhaus.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. DeStijl.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. GeometricModern.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. GothicRevival.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009. OrganicandSculpturalModern.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.Harwood,Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,2009.

____________________________________________________________________________________________________________

2010 CIDA Online Student Work Collection Coversheet

Student Name:

Maria Lundberg

Course Number and Name: ID 210 History of Furniture 1830 - Present Course Quarter/Session/Section: Summer 2009 UA Date: August 2009

Assignment Name or Description: W6A1 Furniture Sketchbook

ID210UA Maria Lundberg SU09 W6A1

FURNITURE SKETCHBOOK FINAL COMPOSITION

Week 1

FURNITURE SKETCHBOOK: VICTORIAN GOTHIC AND EGYPTIAN REVIVAL

Victorian-Gothic Revival
The furniture of the Gothic era was similar to that of Gothic Architecture. Skilled craftsmen and architects developed furniture styles based largely on the developments of structures during this time period. Gothic furniture was described as being decorative and Utilitarian. Pointed arches, elaborate tracery, columns, linen fold, and simple flower cut outs were prominent features within gothic furniture pieces.
University of Glasgow: Special Collections. The revival and Design. 15 July 2009. http://special.lib.gla.ac.uk/teach/gothic/furniture.html

Trefoil Cut Out Oak Leaf Finial Flamboyant Tracery Pointed Arch

Victorian-Egyptian Revival
Silk Upholstery Egyptian Motif Bronze and Gilded Beech Brass Mounts

The Egyptian Revival Style Sette is an example of the Egyptian influence during the Victorian era. High gilding, animal motifs, upholstery, Beech wood, Bronze and Gilt Brass mounts, and inset panels were all common characteristics that reflected Egyptian furniture.
http://www.vam.ac.uk/image s/image/45120-popup.html

Week 2

FURNITURE SKETCHBOOK: DEFINING TERMS

Defining Terms
Mortise-and-tenon construction- the mortise is basically
a slot or hole cut into a material such as wood. The tenon part is milled onto another piece of material that fits into the mortise. By inserting the tenon into the mortise a connection is formed.

http://mojowoodworks.com/Second%20l evel%20%20techniques%20and%20features.htm

Marquetry and inlay- marquetry is

the art and design process of inlaying woods and other natural materials to create a design motif or picture. All of the natural grains, knots, and defects are integrated into the overall design. Typically wood is used as the inlay material, but some other materials used are shells, straw, bark, gems, metal, stone, and ivory.

http://www.efi-costarica.com/Recognize.html

Dovetail Joint- the two pieces are joined

together at right angles, most commonly seen in the construction of drawers.

Honesty of construction- leaving materials

in their natural state and joinery is exposed.

This is done to demonstrate a designers craftsmanship. Also, there isnt any ornamentation.

http://www.crestwooddesign.com/M ission%20Furniture.htm

Absence of un-necessary ornamentation- construction became less

ornate and the focus was placed on being able to see the construction of furniture pieces. designs became less over the top and were more about form and function.
http://blog.diyshutters.com/Blog/bid/4646/Defining-the-Mortise-and-Tenon-Old-and-New http://www.inlay.com/marquetry/marquetry/what%20is%20marquetry.html

Incorporating Design Elements in a Furniture Design

Copper metal marquetry and inlay

Dovetail joint

http://www.crestwooddesign.co m/Mission%20Furniture.htm

Mortise and tenon construction

http://mojowoodworks.com/Second%20level%20 -%20techniques%20and%20features.htm

Week 3

FURNITURE SKETCHBOOK: ART NOUVEAU AND ART DECO- IDENTIFYING STYLES AND UTILIZING PIECES

Furniture Pieces
Louis Majorelle Cabinet
19th Century Art Nouveau

http://www.imamuseum.o rg/explore/artwork/360?hi ghlight=187

Motifs and elements: organic, undulating forms, curves, ingenious design, solid construction, floral design, brass fixtures, and is also long with swirling scrolls.

Creation Date- about 1900 Origin of Creation: France Materials: mahogany, kingwood, amaranth, metal, silk

Peter Behrens Side Chair

19th Century Art Nouveau Creation Date- 1902 Origin of Creation: Europe, Germany Materials: Oak and woven rush Motifs and elements: bold, simple, curvilinear lines the
http://www.davidrumsey.com/amico/amico1104349-102121.html

http://www.artsmia.org/viewer/deta il.php?v=12&id=4554

chair has similar qualities to that of Jugendstil, a German equivalent of the French Art Nouveau.

Furniture Pieces
Oscar Bach Metal Doors with theme of work
Art Deco Creation Date- 1925 Origin of Creation: North America Materials: steel with aluminum, copper and bronze over a
wood core.

http://amica.davidrumsey.com/luna/servlet/ view/search?q=AMICOID=MIA_.71.51.1,2%2 0LIMIT:AMICO~1~1&sort=INITIALSORT_CR N%2COCS%2CAMICOID&search=Search

stylized silver-plated figures on bronze roundels set into steel, which are all elements of the machine age.
http://www.artsmia.org/viewer/detail.php?v=12&id=99010

Motifs and elements: motifs of heavy industrialization, highly

http://amica.davidrumsey.com/luna/servlet/view/search? q=AMICOID=FASF.137713%20LIMIT:AMICO~1~1&sort=I NITIALSORT_CRN%2COCS%2CAMICOID&search=Searc h

flowing motif, there is an inlay of straw and silk, with clean lines.

Armand-Albert Rateau Dining Table Art Deco Creation Date- circa 1925 Origin of Creation: France Materials: oak, ebony veneer, silk and straw. Motifs and elements: center of the table has an organic

Furniture Pieces
Muse with Violin Screen by Paul Feher Art Deco Creation Date- 1930 Origin of Creation: France Materials: silver plated steel and the female central figure is

http://www.roseironworks.com/collections/co llections_muse_with_violin_discussion.php

gold plated carved and tooled brass Motifs and elements: classical leaf and concentric circular elements. The table has fluid wave forms, scrolls, delicate floral motifs, and lotus and leaf details.

Hector Guimard Side Table Art Nouveau 20th Century Origin of Creation: France Materials: pear wood Motifs and elements: This side table has curvilinear
http://www.moma.org/collection/object. php?object_id=3270

elements and an overall organic shape associated with the Art Nouveau Style.

Commercial Plan
Art Deco Table More formal conference table with an organic element to soften the hard lines of the space. Art Nouveau Chair- Adds an element of formality to the reception/seating area. This isnt a place to sit for long periods of time. Art Nouveau Side Table- a more organic element to the space which accentuates the curvilinear lines of the chair.

Residential Plan
Art Nouveau Side Table- softens the feeling of the space with organic fluidity and is a simple place to rest personal items. Art deco metal screen adds a sense of privacy in the bedroom while allowing daylight into the space. The organic shapes and scrolls add a sense of calm.

Art Deco CabinetUsed in a private living space for a couple. This gives a feeling of richness with the brass, mahogany, and silk.

Week 4

FURNITURE SKETCHBOOK: RECREATING DESIGN STYLE

Inspired by the designer and architect Walter Gropius

Walter Gropius style was heavily influenced by technology and mechanical systems. His designs relied on standardization and prefabrication. Gropius designed buildings using mathematical calculations. He designed and built a new screen wall system that had a structural steel frame that supported the floors. This allowed for glass walls to extend without having to stop. While teaching at the Bauhaus school of design, Gropiuss theory was that design should be functional while maintaining its aesthetic appeal. His designs were free of excess ornamentation, usually made of tubular and flat steel, plastics, metal, and glass. Primary colors with black and white and geometric shapes were common elements within Gropiuss designs. Overall design is void of ornamentation and is formed with wood and plastic in a very vertical and horizontal manner

Chair Design

http://www.treadwaygalle ry.com/ONLINECATALOG S/MAY2006/catalog506/1001-1100.html

Sources
http://www.greatbuildi ngs.com/architects/Wal ter_Gropius.html http://www.archiplanet .org/wiki/Walter_Gropi us http://architecture. about.com/od/great architects/p/walterg ropius.htm http://www.modernfurnitu reclassics.com/index.php/ main_page/editorial/title/Ti tle%203

Sketch
Yellow plastic Red plastic Black stained wood Blue Plastic

Week 5

FURNITURE SKETCHBOOK: COMPARING FURNITURE STYLES

Comparison and Contrast of Set #1

Gerrit Rietveld Red and Blue Chair-1918
Cantilevering Arms Primary Colors Intersecting of Vertical & Horizontal Planes Lacquered Wood

Marcel Breuer Slatted Armchair-1924

Cantilevering Arms Straight Back Rest

Seating made from horsehair

http://pegasogalleryinternational.1stdib s.com/itemdetails.php?id=140405 http://www.designmuseum.org/d esign/marcel-breuer

Maple Wood that has been stained

Comparison and Contrast of Set #4

Arne Jacobsen Swan Chair-1956
No Straight Lines throughout the design Shell is made of a Polyurethane foam, which is reinforced with a glass fibre. Steel Tubing
http://www.designmuseum.org/__en try/4148?style=design_image_popup

Eames Postwar DAR Shell Chair-1950

No Straight Lines throughout the design Seat is made up of molded fiber glass

Welding is used to attach individual parts Aluminum Base

http://www.thelighthouse.co.uk/assets/ imgs/vitra/19.jpg

Rubber Shock Mounts

Comparison and Contrast of Set #5

Mies van de Rohe Mr. Lounges Chair- 1931
Steel Frame Curvilinear form

Kjaerholm Postwar Chair 20-1968

Headrest

Leather upholstery Continuous Arm rests

Leather upholstery Cantilever Design

http://www.designaddict.com/design _index/index.cfm/fuseaction/showju mbo/PICTURE_ID/3010/

http://www.architonic.com/cat/ gal/1003398

Week 6

FURNITURE SKETCHBOOK: TIMELINES

Furniture Sketchbook: Timelines

Gothic Revival 1840-1876 Arts and Crafts 1880-1900 Art Nouveau 1880-1920 Art Deco 1925-1940 Modernism 1930-1960

http://www.antiquehelper. com/catalog.php?id=127& page=11

http://www.headleywhitney.org/past_exhibitions. html

http://www.lilacblueweddi ngs.com/default.php?cPat h=97_51

http://amica.davidrumsey.com/ luna/servlet/view/search?q=AM ICOID=MIA_.71.51.1,2%20LIMI T:AMICO~1~1&sort=INITIALSO RT_CRN%2COCS%2CAMICOI D&search=Search

http://www.designophy.c om/uploadedimages/tmn /2009/01/09/148_3.jpg

Furniture Sketchbook: Timelines

Gothic Revival 1830-1880 Arts and Crafts 1905-1930 Art Nouveau 1880-1910 Art Deco 1920-1930 Modernism 1930-1945

http://darkmoonnightmagi ck.blogspot.com/2008/02/ gothic-revivalarchitecture.html

http://www.curbly.com/b adbadivy/posts/989-inthe-arts-and-crafts-style

http://blogs.warw ick.ac.uk/images/ zoebrigley/2005/0 3/05/gaudi_battlo. jpg

http://www.archite cturesdesign.com/s earch/Mariana+Sab bagh http://www.alphaville.com.au /artdeco/?p=74

Timeline Questions
Did the evolution of furniture design happen at the same time as the corresponding change in architectural style?
I think that this varied due depending on the designer and the architect during a certain time period. There were many furniture designers that were all also architects. Many of these architects would design furniture pieces for a specific building or structure. I think of Frank Lloyd Wright and how he would design a home and all of the furnishings and fixtures that would be in the home. I believe he went as far as specifying exactly where items would be placed in the home. Another designer and architect I think of is Mies van der Rohe. He also designed furniture for the Barcelona Pavilion , such as the Barcelona chair.

What factors could have made this possible?

I think that the resources available allowed designers and architects to converge design ideas, especially during the industrial revolution. Furniture could be mass produced more quickly then an entire structure could be built. This could explain some of the differences in the styles between architecture and furniture styles being slightly different.

Works Cited
http://pegasogalleryinternational.1stdibs.com/itemdetails.php?id=140405 http://www.designmuseum.org/design/marcel-breuer http://www.designmuseum.org/__entry/4148?style=design_image_popup http://www.thelighthouse.co.uk/assets/imgs/vitra/19.jpg http://www.designaddict.com/design_index/index.cfm/fuseaction/showjumbo/PICT URE_ID/3010/ http://www.architonic.com/cat/gal/1003398 http://www.bonluxat.com/a/Arne_Jacobsen_Swan_Chair.html http://www.modernfurnituredesigners.interiordezine.com/items/itemcharlesea mesdarchair.html Harwood, Buie. May, Bridget. Sherman, Curt. Architecture and Interior Design from the 19th Century. An Integrated History. Volume 2. Pearson Education, INC. 2009.

____________________________________________________________________________________________________________

2010 CIDA Online Student Work Collection Coversheet

Student Name:

Jasmyne Goodman

Course Number and Name: ID 210 History of Furniture 1830 - Present Course Quarter/Session/Section: Fall 2008 UD Date: November 2008 Assignment Name or Description: W6A2: Virtual Museum

VIRTUAL MUSEUM
Jasmyne Goodman-Leamer ID210 UD FA08-1

Michael Thonet, 1796-1871 ,

Michael Thonet was born in 1796, the early era of the Victorian era. He had an ideawarping wood like clay to create affordable and unique furniture. Born in Boppard, it is only fit to name his first success after his home town, called the BOPPARD LAMINATE WOOD chair. After h Af his new innovation, he was invited to h d participate in an exhibition of the Koblenz Art Association, where in turn he was asked to come to Vienna by a Chancellor. Thonet and his sons not only created flooring, which is continually popular called parquet, contin all pop lar parq et they invented the still demanding furniture style, BENTWOOD. This is created by using multiple layers of veneer wood glued together and molded to desired shape. Thonet s Thonets design continues to be an economical and popular stylewhich has been mass produced.

Thonets Furniture
My Rendition of the CAF CHIAR

This chair symbolizes the future of furniture in the Victorian Period as we still see it today. Thonets CAF d Th CHAIR, to me, represents that the saying an oldie but a g goodie remains steadfast. This style of furniture exists in all of our daily lives. Designers Guide to Furniture Styles. Treena Crochet. Copyright 2004. Pg. 236.

Bruce James Talbert, 1838-1881 ,

Talbert was originally a craftsman/carver who eventually became an architect. His furniture, p architecture and textiles made him a staple in history, much less the Victorian Period. Talbert also wrote two books, Gothic Forms (1867) & Fashionable Furniture (1881).

*I was unable to find a picture without searching Wikipedia..

Talberts Furniture

Talbert s Talberts chair shows comfort and design working in correlation with one love for rich textiles and EGYPTIAN style using the more modern SALTIER d STRETCHER above the legs of the chair mixes many different styles, which is very reminiscent of the VICTORIAN period.

Works Cited
http://www.michael-thonet.com/ p // / http://www.dundee.ac.uk/museum/design/welcome .htm Designers Guide to Furniture Styles. Treena Crochet. Copyright 2004. Pg. 235. http://www.puritanvalues.co.uk/exhib3.htm http://www.victorianweb.org/art/design/textiles/t albert.html lb h l http://www.puritanvalues.co.uk/images/15272.jpg

Virtual Museum Continued

Jasmyne Goodman-Leamer ID 210 UD Week Assignment 3 W k2A i t FA08-1

William Morris

1834-1896
William Morris was born in London, England in 1834. He died in 1896. 9 Morris was not only an avid poet, but also created some of the most beautiful wallpaper and well-made furniture of the ARTS & CRAFTS MOVEMENT.

Works of Morris

William Morris: Master of Trades

William Morris was probably one of the most infuential people in the ARTS & CRAFTS MOVEMENT. Not only was he an avid writer poet and artist he also created some of the writer, poet, artist, most memorable furniture and wallpaper on our history. Morris was an active socialist coming from a gentlemens lifestyle. In 1853, Morris studied at Oxford and continued to found WILLIAM MORRIS WORSHOPS in 1861. His f d i 86 Hi furniture style was a blend of traditional and new ideas with an emphasis on individualism and simplicity.* Morris creations were handmade and usually for the elite, but he had a soft spot for the working class. He truly inspired the HANDICRAFT that was sure to follow his work.

Renderings of Morris Furniture g

Frank Lloyd Wright y g

1867-1959
Frank Lloyd Wright was born in Richland Center, Wisconsin on June 8, 1867. He died on April 29, 1959 in Phoenix, Arizona. Wright first started his education at University of Wisconsin in the department of engineering, then traveled f i i h l d to Chicago. In 1893, he started his own practice creating mainly single dwelling homes single-dwelling homes.

Works of Wright g

Renderings of Wrights Furniture g g

Frank Lloyd Wright; Life, Theory y g y

Frank Lloyd Wright, was one of the most the most influential and innovative architect and designer of our time. Influenced by the ENGLISH ARTS & CRAFTS MOVEMENT and JAPANESE ARCHITECTURE, he was a pioneer in showing that clean lines and HONESTY OF CONSTRUCTION can truly create beautiful and different spaces and furniture Wright furniture. created organic architecture. His style was so innovative because he was able to use clean lines and simplicity in perfect conjunction with natural materials. I think of organic and natural as rustic, but Wright was anything but rustic. Much of his furniture reflected the 90 degree angles joined by TENON-AND-MORITSE TENON-AND-MORITSE, creating seamless movement within pieces of the furniture without ornamentation whatso-ever. While creating curved furniture he maintained the seamless joints. I find it fascinating that Wrights furniture was created so closely to Victorian Period because some pieces seem like night and day. To me, he is the American equivalent of Michael Angelo in Rome. Wrights modernist style was not widely accepted in his time, yet in history he will remain timeless. I say this because Wrights furniture could fit into a 21st century home without seeming dated.

Research Wing g
William Morris famous quote and his standard of creation is: Have nothing in your house that you do not know to be useful or believe to be beautiful * beautiful. Morris wrote socialist pamphlets and actually sold them on st eet corners. street co e s. Frank Lloyd Wright built the Tokyo Imperial Hotel Project that withheld the earthquake of 1923. Wrights cube chair was described as the first piece of modern furniture created i th U it d St t b hi own son d f it t d in the United States by his John.* Wrights family moved often while he was growing up which might have contributed to his dislike for schooling and explain his frequent movement in life.

Works Cited
TEXT: http://www.hrc.utexas.edu/exhibitions/web/morris/#morris_Introduction http://www.delmars.com/wright/flw1.htm http://www.metmuseum.org/toah/hd/flwt/ho_1972.60.3.htm *Furniture In History: 3000 B.C.-2000 A.D. Pina, Leslie. Ch. 8 & 9. 17 October 2008. http://www.pricetower.org/about-ptac/prairie-skyscraper/facts-about-fllw/ IMAGES: http://www.hrc.utexas.edu/exhibitions/web/morris/ http://www.usconsulate.org.hk/pas/kids/images/wright.jpg http://www.oldhousephotogallery.com/victoriana/images/wallpaper/williammorristhistle.JPG http://www.spartacus.schoolnet.co.uk/Jmorris.htm http://www.propascene.com/exhibithighlight/morris-chair.jpg http://desertcraftsmen.com/MorrisChairsHome.shtml http://static.wallpaper.com/images/98_lloyd_am041007_f.jpg http://www.wright-house.com/frank-lloyd-wright/fallingwater-pictures/fallingwater-2.jpg http://www wright-house com/frank-lloyd-wright/fallingwater-pictures/fallingwater-2 jpg http://www.metmuseum.org/toah/images/h2/h2_1972.60.3.jpg

Art Deco Eileen Gray & Paul Frankl

Jasmyne Goodman-Leamer ID210 UD

Eileen Gray

1878 1976 1878-1976

Eileen Gray was a prominent architect and designer in the early 20th century, especially creating some of the most unique furniture in the Art Deco period Gray was raised in Ireland then period. attended the Slade School of Fine Arts in London. Eileen learned how to lacquer, and she became fascinated with the technique. After the interest of Jacques Douchet, Gray was able to climb the design latter and opened up her own gallery in 1922. She retired in 1937 with a small portfolio compared to others. I personally see Gray as a role model. My theory p y y y y in life has always been quality, not quantity. My family will attest to that. Although she had a smaller body of work, what she did create was functional, different and truly unique. Looking at p , y y the Art Deco pieces, I can honestly say that her designs are my favorite and that I would have them in my home. Gray was able to create minimalistic furniture while maximizing the visual interest, as well as comfort and function.

Works of Eileen Gray

http://www.fanantique.com/Images/zoom/VB0198_1_eileen_gray_zoom.jpg

http://hodfurniture.com/store2/images/EILEEN%20GRAY.jpg http://www.moma.org/images/collection/FullSizes/07343007.jpg

Gray Furniture

Paul Frankl

1886 1962 1886-1962

Paul Frankl was a very innovative designer taking his inspirations from the architecture surrounding him. He was viewed as the first American Art Deco designer. He was born in Vienna and studied architecture and engineering in Vienna, Berlin and Paris. He also opened up his own gallery in 1922 but in New York His 1922, York. furniture style was tagged as skyscraper furniture for imitating the architecture that was being created around him, such as the Empire State Building and Rockefeller Center. Frankl was also an avid writer, publishing five books. Frankl was also interested in textiles and wall coverings. I admire F kl i d i Frankls innovative and lit l ti d literal design with furniture. I am not usually a fan of asymmetrical furniture, but the designs of Frankl is truly intriguing and unlike anything I have seenin history p histor up to modern da day.

Works of Paul Frankl

http://www.cincinnatiartmuseum.org/absolutenm/articlefiles/366-Paul%20Frankl%20-%20Skyscraper%20Bookcases%20Images.jpg

http://www.antique-marks.com/image-files/paul-frankl-stool.jpg+

Frankl Furniture

Research Wing
A C Art Deco

Art Deco Art Deco

Art Nouveau

Research Wing Continued

I think that Figure A is Art Deco because of the laminate surface. I would guess Austrian Figure B is Art Nouveau. The organic design and carving suggests Germany. Figure C looks like Art Deco from the U.S. because of the lacquered table top. Finally, Figure D also looks like Art Deco because of the simplistic design and the lack of organic ornamentation. ornamentation This piece is reminiscent of America.

Residential Floor Plan

Commercial Floor Plan

Works Cited
Images: (Some Directly Cited) Eileen Gray Photo. <http://www.espacio.co.uk/designers/images/eileen_g y g > y p p g g gray.gif . 24 October 2008. Eileen Gray Table. <http://stores.advancedinteriordesigns.com/catalog/Eileen%20Gray%20Side%20 table.jpg > 24October 2008. Paul Frankl Table. <http://www.fatchancemodern.com/archives/upload/7953/453/f1.jpg >. 24 October 2008. Research Wing. <http://myeclassonline.com/ec/Courses/21469/CRS-ID210-2587809/assignmentwk-3a.jpg >. 24 October 2008. Text: Eileen Gray Biography.www.r20thcentury.com <http:www.r20thcentury.com/bios/desinger.cfm?article_id=51> h 20 h /bi /d i f ? i l id 51 Pina, Leslie. Furniture in History: 3000 B.C.-2000 A.D. New Jersey: Prentice Hall 2004.

Virtual Museum Part IV

Jasmyne Goodman-Leamer Week 4 Assignment 4 ID210 UD

Le Corb sier Corbusier

Charles Edouard Jeneret, otherwise known as Le Corbusier, was born in Switzerland in 1887. When he was 29, he took the pseudonym of L Corbusier which was his d f Le C b i hi h hi mothers fathers name. He eventually became a legendary architect, designer, writer and artist. A budding architect, Le Corbusier thought g , g that all of the styles that surrounded him were burning out, so he states, We must start again from zero. With this new attitude, International Style was born. Le Corbusier was very interested in new material, tubular steel and mass production. Because of this mass production, International style became very popular and memorable because the designs reached the masses, not just the elite. Le Corbusier, along with fellow architects Pierre Jenneret and Charlotte Periand Pi J t d Ch l tt P i d began creating some of the most unique furniture in our history. I truly admire his work and his forward-thinking designs and style. Without this mindset, we would never see change in anything around us, which would make history much less interesting. y g

1887 1965 1887-1965

http://www.time.com/time/time100/artists/profile/lecorbusier.html

Works of Le Corbusier
Tubular steel chrome-plated frame furniture with leather upholstery. (Right) 1925/1928
http://www.amcsofa.com/members/896176/uploaded /Le_Corbusier_grande_11.jpg

http://www.instyleseating.com.au/images/relax/Relax_0059_ Le%20Corbusier%20Chaise%20Lounge.jpg

Le Corbusiers LC4 Chaise Lounge With tubular steel, leather head rest And pony skin upholstery. 1925/1928. upholstery 1925/1928

http://www.eurofurniture.com/filebin/template/w atermark.php?fid=4365

Glass table top with hidden hardware. 1928 Chapel of Notre Dame du Haut at Ronchamp-Haute-Sane, France (right), built in 1950 with reinforced concrete. Le Corbusier shows his love for sculpture and form.

Artwork by Le Corbusier. (Left) Its impressionistic style with the use of geometric forms along with free flowing lines mimics Le Corbusier's overall design vibe.
http://blog.miragestudio7.com/wpcontent/uploads/2007/07/le_corbusier_bull_3.jpg

http://www.eurofurniture.com/filebin/template/ watermark.php?fid=4365

Le Corbusier Sketches

Lily Reich
Lily Reich was born in Berlin. As a young woman, she traveled to Vienna in 1908 where she worked for Wiener Werksttte. When she returned to Berlin in 1911 and iin Wh h t d t B li i d 1912, joined the Deutscher Werkbund where she was eventually elected the first woman to the governing board. Eventually meeting the great designer and architect Ludwing Mies de van der Rohe, with whom she lived with for years. The two created some of the y most beautiful furniture during the International Style period. Some of her works included Wohnraum in Spiegelglas, or "Living Room in Mirror Glass, the trade fair Deutsche Bau-Ausstellung", Bau Ausstellung and eventually heading the interior design workshop at Bauhaus. This was short lived because of the its close due to the war. After World War II, Reich taught at Hochschule fr bildende Kn. Along with Eileen Gray, another influential woman designer, I admire her style and the fact that her design voice was heard and seen. She and her contemporaries started what all of us are striving to do here with interior design. g

1885 1947 1885-1947

http://www.lilly-reich.com/images/artist/501410.jpg

Works of Lily Reich

The Barcelona chair (right) was designed by Lily Reich and Ludwing Mies van der Rohe, but in history it had mainly been credited to Mies van der Rohe. Its sleek tubular steel frame and aniline leather upholstery makes this a masterpiece of the International style. 1925-1938. This garden table (right) with tubular steel frame and beech wood veneered top was created by Reich in 1931. I love lo e the natural and softened st le in nat ral style such an industrial time.

http://www.portfoliofurniture.com/ima ges/company/research/barcelonach air.jpg

http://www.moma.org/images/c http://www moma org/images/c ollection/FullSizes/12033003.jpg

The above mirror uses a cantilevered tubular steel frame with an elongated mirror. With its asymmetrical positioning, I think this might be unstable unless put against a wall. 1930s

http://www.matrixinternational.it/Products/I mages/Immaginistrilli/New15/LR30.jpg/imag e

http://www.architonic.com/imgO bj/wright_052003_2/117_sq_70.jpg

http://www.designmuseum.org/med ia/item/72008/869/57_5.jpg

The above chair also uses tubular steel with cane fabric.

The above cantilever chair was created by Mies van de Rohe and Lily Reich in 1927. The use of cane and tubular steel made this Model MR10 chair very popular.

Lily Reich Sketches

Research Wing
19th & 20th Century Furniture & Architecture Timeline

Victorian Period Architecture Greek Revival in America Re i al

http://erasofelegance.com/arts/architecture/rosehill.jpg

Rosehill. Geneva, New York. 1850.

http://erasofelegance.com/arts/architecture/shadowlawn.jpg

Shadowlawn, Columbus, Mississippi. 1939 Mississippi 1939. Benjamin Catley. Catley

http://erasofelegance.com/arts/architecture/dunleith.jpg

Dunleith Plantation l ih l i Natchez, Missouri Early 1900s

Victorian Period Furiture Greek Revival in America Re i al

http://antiquariantraders. com/articles/greek1.jpg

http://www.bbc.co.uk/bristol/cont http://www bbc co uk/bristol/cont ent/images/2008/04/28/470cabin et_350x470.jpg

1840

1850-1875

Arts & Crafts Architecture

http://www.greatbuildings.com/c gibin/gbi.cgi/Bloemenwerf_House.ht ml/cid_1178879404_img100.html

1895-1896 Henry Van de Velde Uccle, Belgium

http://www.greatbuildings.com/cgibin/gbi.cgi/First_Church_of_Christ.html/ cid_2522887.html cid 2522887.html http://www.greatbuildings.com/cgibin/gbi.cgi/Glasgow_School_of_Art.ht ml/cid_1801690.html

1897-1909 Charles Renee Mackintosh Glasgow School of Arts Glasgow, Scotland

1910 Bernard Maybeck. Berkley, CA y

Arts & Crafts Furniture

http://www.greatbuildings.com/cgibin/gbi.cgi/First_Church_of_Christ.ht ml/cid_2522887.html

http://www.greatbuildings.com/c gibin/gbi.cgi/First_Church_of_Christ. html/cid_2522887.html

http://www.huntington.org/Ar http://www huntington org/Ar tDiv/images/Ashbee.jpg

1895 Charles Ashbee Chair

1898-1899 Charles Ashbee Cabinet

1904 Charles Ashbee Piano

Art Nouveau Architecture

http://www.greatbuildings.co m/buildings/Casa_Mila.html http://www.greatbuildings.com/ http://www greatbuildings com/ cgibin/gbi.cgi/Behrens_House.html/ cid_3157165.html http://www.greatbuildings.com/cgihttp://www greatbuildings com/cgi bin/gbi.cgi/Hotel_Guimard.html/cid_115395 3180_F1000036a.html

1901 Peter Behrens. P t B h Behrens House. Germany

1905-1910 Casa Mila. C Mil Antoni Gaudi. Barcelona, Spain

1912 Hotel Guimard. H t lG i d Hector Guimard. Paris, France

Art Nouveau Furniture

http://www.kansaiscene.com/2007_ 06/images/art_suntory.jpg http://www.metmuseum.org/to ah/images/h2/h2_26.228.5.jpg http://accel10.mettre-put-idata.overblog.com/0/09/10/39/art/artsdeco/gueridon-nenuphar.JPG

1899 Edward Colonna

1900 Louis Majorelle

1902 Louis Majorelle table

Art Deco Architecture

http://www.greatbuildings.com/cgihttp://www greatbuildings com/cgi http://www.greatbuildings.com/cgi- bin/gbi.cgi/Empire_State_Building.ht bin/gbi.cgi/Chrysler_Building.html/ci ml/cid_2163539.html d_2159832.html

http://www.greatbuildings.com/ cgibin/gbi.cgi/Golden_Gate_Bridge. html/cid_golden_gate_002.html

1928-1930 William Van Alen. Chrysler Building. New York, NY York

1931 Shrive, Lamb & Harmon Empire State Building New York, NY

1933-1937 Joseph B. Srauss San Francisco, CA

Art Deco Furniture

http://www.moma.org/images/c ollection/FullSizes/07343007.jpg

http://www.roomboxes.com/image s/frankl_tower_complete.jpg

http://www.tribudesign.com/collections/ph otos/deskey2.jpg

1922. Eileen Gray. Black lacquered screen

1926 Skyscraper bookcase. Paul Frankl

1932 Table en bois et mtal chrom. Donald Deskey

Modern/International Style Architecture Architect re

http://www.greatbuildings.com/cgibin/gbi.cgi/Centre_Le_Corbusier.html/cid _2438613.html http://www.syncsonics.com/blog/wphttp://www syncsonics com/blog/wp content/uploads/2007/01/philips260.j pg

1950 Le Corbusier. France

1958 Le Corbusier. Brussels

1963-1967 1963 1967 Le Corbusier. Zurich, Switzerland

Modern/Industrial St le F rnit re Modern/Ind strial Style Furniture

1927 Lily Reich & Ludwig Mies van der Rohe. Side chair

1928 Le Corbusier. Chaise Lounge

1931 Lily Reich. Garden Table

Question 1:
Question 1. Did the evolution in furniture styles happen at the same time as the corresponding change in architectural style? If yes, what factors could h h tf t ld have made thi possible? If no, give d this ibl ? i reasons for the time lag between the development of architecture and furniture. From the research that I did this week, it actually seems that the furniture comes before the architecture of a period. I think there are a couple of reasons that this happens. First, furniture is much easier to produce and much more cost effective. If an architect just tries something new with a building, if it doesn t work quite a building doesnt work, bit of cost was involved and wasted. If an architect build a chair that was not right, it can be recycled by using its parts or simply scrapped. Another reason that I think furniture came before the architecture because it is much more mobilized. With trading g and traveling, furniture can be spread quickly to many people, especially when mass production came along. Then architects get their inspiration from this new furniture style.

Question 2. Does this analysis lead you to a historical theory? Please support your answers with a clear exposition of your point of view, citing properly all sources and reference material. I think that history does evolve as new materials are introduced and new thinkers create furniture. I see that each period seems to build from a previous period while adding a new layer of design For the most design. part, I think that all the styles flow from one to the next.

Works Cited
Le Corbusier: http://www.time.com/time/time100/artists/profile/lecorbusier.html Pina, Leslie. History of Furniture, 3000 B.C- 2000 A.D. New Jersey. Prentice Hall. 2003 Lily Reich: il i h www.lily-reich.com http://www.barcelonachair.com/Lily.php Research Wing: http://erasofelegance.com/arts/victarchitecture.html http://erasofelegance com/arts/victarchitecture html http://www.shadowlawncolumbus.com/history.php http://www.genevahistoricalsociety.com/Rose_Hill.htm http://guide2antiques.wordpress.com/2008/06/28/the-american-victorian-period1820-1900/ www.greatbuildings.com www greatbuildings com http://www.tribudesign.com/collections/alpha.php?ac=f&pict=5&lg=fr&st=286&pc=c

JasmyneGoodmanLeamer ID210UB FA108

VIRTUALMUSEUM PARTV

Charles&RayEames
CharlesOrmandEames 19071978 BorninSt.Louis,Missouriin1907. Hestudiedarchitectureat WashingtonUniversity. WashingtonUniversity EamesfirstmarriedCatherine DeweyWoermanninthe1920s,but divorcedherin1941tomarryRay Kaiser. Kaiser CharlesEameswasagreatarchitect anddesignerinthe20th century, receivingtheKaufmann InternationalDesignAwardin1961, InternationalDesignAwardin1961 AmericanInstituteofArchitects Awardin1977.Evenafterhedied, hereceivedtheQueensGoldMedal 979 forArchitecturein1979. RayKaiserEames 19121988 BorninSacramento,Californiain 1912. RayEamesattendedmanydifferent schools,betteringhereducationand craft.Someoftheseschoolsinclude MayFriendBennettSchooltheArt StudentsLeague&HansHoffman School. RayEameshaddesignsfeaturedon thecoverofArt&Architecture Magazine intheearly1940s intheearly1940 s. RayandCharlesEamesopenedup theOfficeofCharlesandRayEames in1941andthecouplewasoneof thegreatesthusbandandwife teaminhistory.

WorksofCharlesandRay Eames

http://www.moma.org/images/co llection/FullSizes/07523002.jpg http://www.designmuseum.org/__entr y/4193?style=design_image_popup TheabovechairsweredesignedbyCharles andRayEamesin194546.Composedof bentplywood. AluminumChair. Designedby CharlesandRay Eamesin1958. Thealuminum offersa g g y lightweightyet sturdydesign. http://www.loc.gov/exhibits/e ames/images/vc9616.jpg ames/images/vc9616 jpg LaChaise.1948.Composedofrubberfoam, plastic,metallegsandwoodbase. WireChair (Right). Createdby Charlesand RayEamesin 1951.Black nylonfeet.

http://www.iconicinteriors.co.uk/images/ eamesloungechair.jpg Theaboveloungechairismadeof h b l h i i d f leather,woodandwasreleasedin 1956.Ithasactuallyappearedon http://www.bonluxat.com/cmsense/data/uploads televisionintheshow Frasier. /orig/Charles_&_Ray_Eames_Aluminium_Group _EA_105__EA_108_jex.jpg

http://www.nova68.com/Mercha nt2/graphics/00000001/eamesDK R2.jpg

Eamesdrawings

AlvarAalto
BorninKuortane,Finlandin1898. , 9 Aalto,unlikemanyofhismodern contemporaries,believedthatwoodwas preferabletometalbecauseofitswarmth. Bentplywoodwashisdesignofchoice. AaltograduatedfromHelsinkiInstituteof A lt d t df H l i kiI tit t f Technologyin1921afterservinginthe military. Heopenedhisownarchitecturalfirmin 1923andthenmarriedAinoMariso,afellow architect. h AaltoanddesignerOttoKorhonen patentedthedesignoflaminatedplywood andeventuallymassproducedhisdesigns alongwithcreatingstackablefurniture. g g LikeCharlesandRayEames,Aaltoand Marisosetupahusbandandwifeteamand wereverysuccessful.

1898 1976 18981976

http://architecture.myninjaplease.com/wp content/uploads/2008/02/alvar_aalto.jpg

WorksofAlvarAalto

http://www.arcspace.com/boo ks/Bent_Ply/8.BentPly.jpg Paimiochair.1931.Completelyformed P i i h i C l t l f d ofbentplywood.

http://www.designtechnology.org/no31.jpg Abovechairislaminatedplywoodwithaveneer finish.Thecantileverarmsandbaseare reflectiveofthemoderndesign.

http://www.bonluxat.com/cmsense/ data/uploads/orig/Alvar_Aalto_Child rens_Stool_NE60_pw9.jpg

Aaltossofa.Usingbent plywoodwhileadding foamasacushion createsbeautifuland functionalseating.

StoolbyAalto.19301933.Thisisa greatexampleofAaltosstackable furniture.Bentplywoodandcircular top. Aaltoschaise(right)was createdbetween19361939. Bentwoodwithlattice fabric.

http://cn1.kaboodle.com/hi/img/2/0/0/7/1/AAAAAjf WawoAAAAAAAcWbA.jpg

http://images.artnet.com/artwork_images_ 424513210_309089_alvaraalto.jpg

Aaltodrawings

ResearchWing
Doyouthinkelementsoffurniturestylesofthe D thi k l t ff it t l fth postwartraditionsofScandinavia,America,and Italycanbeintegratedintoasinglefurniturepiece sothatthisnewpieceappearstobearesultof crossculturalinfluences?" f Yes,IthinkthatallofthedesignsIhave researchedinthepostwardesignscarrycommon g themesanddesignstyles.Theuseofbright color,steel,bentwoodandsimplisticdesigncan beseeninmostofthedesignsIhavereviewed. b i f h d i Ih i d

ModernDesignCombined

WorksCited
Pina,Leslie.FurnitureinHistory,3000A.D 2000 B.C.NewJersey.PrenticeHall.2003. http://www.bonluxat.com/cmsense/data/uploads/ori g/Charles_&_Ray_Eames_Aluminium_Group_EA_10 5__EA_108_jex.jpg.<November82008.> http://www.designmuseum.org/__entry/4193?style= design_image_popup.<November82008.> http://www.arcspace.com/books/Bent_Ply/bent_ply _book.html.<November82008.> b k ht l N b 8 8 http://www.designtechnology.org/alvar1.htm. <November82008.> http://www.bonluxat.com/a/Alvar_Aalto_Childrens_ h b l l l h ld Stool_NE60.html.<November82008.> http://www.artnet.com/artwork/425122840/4245132 10/alvaraaltoaaltoloungechairno43for artek.html.<November82008.>

Jasmyne Goodman Leamer Goodman-Leamer ID210 UD FA08-1

VIRTUAL MUSEUM PART VI

PETER EISENMAN
Peter Eisenman was born in Newark, NJ in 1932. Eisenman attended Cornell University and received his BA of Architecture. There, he studied under Colin Rowe who was a theorist and critic. Eisenman rounded out his education in England at Cambridge University where he received his Masters degree in Architecture in 1962 and his Ph.D. in 1963. Moving back to the United States in 1963, Eisenman was an assistant professor at Princeton University. From there, he really began to make his mark on Architecture and design as we know it today. In 1967, he was a founding member of CASE (Conference of Architects for the Study of the Environment). By the 1970s, he was a strong figure in the world of architecture and education. He then created cardboard architecture. These homes were based on form, which was an important factor to Eisenman. They had thin white walls which were very model modellike. There is much information about Eisenman that I was able to find, so I could write on and on. I think he is a visionary in the fact that his mind is both analytical and creative It is not often that we see such use of both sides of the spectrum. h f b th id f th t

1932 1932- PRESENT

http://funfarchitekten.files.wordpress. com/2008/03/eisenman_popup.jpg

WORKS OF EISENMAN
This proposed Moebius building was designed by Eisenman. I find it intriguing the articulate geometric forms that are used in conjunction with each other create a structure that seems to lack form altogether. Chair #1 shows the essence of deconsrtuctivism, which Eisenman was know for in his theories, teachings and designs. I am not quite sure what his chair is composed of, possibly plywood or cardboard. http://a2-2a.blogspot.com/2008/07/furniture-mfurniture.html

http://www.cs.berkeley.edu /~sequin/eis.gif

The below is Th b l i a scene of f Eisenmans Holocaust memorial in Berlin. The different sized concrete cubes truly evoke a somber emotion. http://www.britannica.com/blogs/wpcontent/uploads/2008/05/eisenman.jpg content/uploads/2008/05/eisenman jpg Once again, the truly uniqueness of this makes it utterly fascinating. It almost looks like the metal has blown in the wind and stayed that way.

The below structure looks almost unfinished, as much of the work of the deconstructive period.

http://z.about.com/d/architecture/1/7 /r/j/berlinmemorial.jpg

http://www.christianhubert.com/writings/ruins_of_representation4.jpeg

EISENMAN RENDERING

RICHARD HUTTEN

1967 1967- PRESENT

Richard Hutton was born in 1967 in Zwollerkerspel, i Z ll k l Netherlands. Hutten attended the Academy of Industrial Design Eindhoven in Design, 1991. In 1993, Hutten started working at Droog Design. Hutten likes minimal design with a bit of humor involved. Besides furniture and household items, Hutten has h h ld it H tt h worked on interior exhibits and created childrens furniture as well. e

http://www.bijzondermooi.nl/shop/im ages/M/richard-hutten_D.jpg

WORKS OF RICHARD HUTTEN

It is easy to see Huttons light-hearted design in this Bronto children s chair. It is childrens made of multi-rotated hard and soft PU. This pendant is created of laser cut powdered steel. It reminds me art deco. Thats the great thing about the 21st century designs is that it is a way to put new spins on previous designs, not only with the design but also technology, such as laser cut steel.

http://www.bonluxat.com/cmsense/data/uploads/o rig/Richard_Hutten_Bronto_Childrens_Chair_vpa.jpg This chair and ottoman show Huttens like for minimalistic designs. designs It reminds me of early modern design. Upholstered with fabric or leather with a chrome plated steel base.

http://www.bonluxat.com/a/Richar d_Hutten_Dandelion.html

http://www.spoon-tamago.com/wpcontent/uploads/2007/12/richardhutten_thing3.jpg hutten thing3.jpg Hutten designed the above piece for children. It looks to be a modern tete-a-tetes, like we saw in the Victorian Revival.

The below desk was design that was exhibited at Galleria Facsimile. Very innovative use of material.

http://www.bonluxat.com/a/richardhutten-boris-armchair-and-ottoman.html

http://www.dezona.com/news_images/IMG-1788.jpg

HUTTEN RENDERINGS

WORKS CITED
Peter Eisenman http://www.answers.com/topic/peter-eisenman. 12 November h // / i / i N b 2008. http://www.britannica.com/blogs/?s=eerily. 12 November 2008. http://www.christianhubert.com/writings/ruins_of_representation.ht http // christianh bert com/ ritings/r ins of representation ht ml. 12 November 2008. Richard Hutten http://www.picassomio.com/richard-hutten.html. http://www picassomio com/richard hutten html 12 November 2008. http://www.bonluxat.com/a/Richard_Hutten_Bronto_Childrens_Chair .html. 12 November 2008. http://www.dezona.com/index.php?start=40&j=4&xex=1&categoryi d=7&subcategoryid=16. 12 November 2008.

RESEARCH WING

CLIENT 1- ERIC 1

My client Eric is fresh to the events industry and is a real up-and-comer. He is designing an area of his villa to be his office. Since this is the first impression he potential clients will see, he asked me to make it vibrant, sleek and modern. I chose to do an early modern theme with bold colors and interesting forms and edges. The chair, loveseat and side table all use tubular steel which ties the g y y g g room together. Finally I finished the room by adding a bold rug that combines the colors seen in the furniture and adds a splash of Erics personality, which is bold yet fun.

CLIENT 2- EDWARD 2

My second client, Edward is in the software industry and likes traditional style furniture in his meticulously clean home. I thought that an Arts & Crafts/ Mission g g g style living room would suit him best. Edward has no children, so having a light leather sofa will be no issue and brightens up the space with the dark mahogany wood. Since he is an avid reader, I included a Mission style lamp.