Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Angelo Manzano
Course Number and Name: ID 210 History of Furniture 1830 - Present Course Quarter/Session/Section: Spring 2009 XA Date: June 2009
http://special.lib.gla.ac.uk/teach/gothic/furniture.html
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.
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
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).
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).
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) ).
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.
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
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.
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
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:
IMAGEURL:
MarcelBreuerWassilyChair.AdvancedInterior Designs.5June2009. http://stores.advancedinteriordesigns.com/strse 141/MarcelBreuerWassilyChair,Breuer/Detail.bok.
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.).
Rietveldusedheavylacqueronthepiece,totallyhidingthe woodsnaturaltextureandcolor.Breuerstainedhischairin ordertostilladdthewoodsnaturalqualitiestoitsbeauty, hencecreatingavernacularlook. Rietveldappearstohaveuseddominojoineryinhis construction,whileBreuerusedmortiseandtenon. Rietveldusedwoodplanksfortheseat,whileBreuerusedH. Althoughbothchairsemphasizeconstructionhonesty, Rietveldslooksbusyandcrowdedwithwoodensupport beams,whileBreuershasamoreminimalisticapproach. Rietveldschairbackissolidwood,whileBreuersisslatted.
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.).
Eamesismadeoffiberglassmaterial,whileJacobsenused Styroporetocreatethechairssoftandsmoothcontours. Eamesfourleggedbasemakesthechairstationary,while Jacobsensallowsittoswivelaround(360degrees). Eamesbaseshowsexposedconstruction,whileJacobsenshas tubularsteelconstructionwithafourpointstarbase. TheDARShellchairshowsathin,somewhat2dimensional formwhenviewedfromdifferentangles,whiletheSwanchair packsmorevolume,hasaroundedformthatenhancesits3 dimensionality. TheDARShellChairusesscrewstojointheseattoitsbase, whiletheSwanChairsbaseismadeofweldedsteel.
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.
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)
AMERICANARTSANDCRAFTSSTYLE(1880s1930s)
VICTORIANSTYLE(18371901)
MODERNSTYLE:BAUHAUS(19171931)
POSTWARMODERNSTYLE:ORGANIC ANDSCULPTURAL(1930sEarly1970s)
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.
____________________________________________________________________________________________________________
Maria Lundberg
Course Number and Name: ID 210 History of Furniture 1830 - Present Course Quarter/Session/Section: Summer 2009 UA Date: August 2009
Week 1
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
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
http://www.efi-costarica.com/Recognize.html
This is done to demonstrate a designers craftsmanship. Also, there isnt any ornamentation.
http://www.crestwooddesign.com/M ission%20Furniture.htm
Dovetail joint
http://www.crestwooddesign.co m/Mission%20Furniture.htm
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
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
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.
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
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
Chair Design
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
http://www.architonic.com/cat/ gal/1003398
Week 6
http://www.headleywhitney.org/past_exhibitions. html
http://www.curbly.com/b adbadivy/posts/989-inthe-arts-and-crafts-style
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.
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.
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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
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.
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
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
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
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
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
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 Nouveau
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.
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
http://www.lilly-reich.com/images/artist/501410.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.
Research Wing
19th & 20th Century Furniture & Architecture Timeline
http://erasofelegance.com/arts/architecture/rosehill.jpg
http://erasofelegance.com/arts/architecture/shadowlawn.jpg
http://erasofelegance.com/arts/architecture/dunleith.jpg
http://antiquariantraders. com/articles/greek1.jpg
1840
1850-1875
http://www.greatbuildings.com/cgibin/gbi.cgi/First_Church_of_Christ.ht ml/cid_2522887.html
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
1931 Shrive, Lamb & Harmon Empire State Building New York, NY
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
1927 Lily Reich & Ludwig Mies van der Rohe. Side chair
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
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
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.
http://architecture.myninjaplease.com/wp content/uploads/2008/02/alvar_aalto.jpg
WorksofAlvarAalto
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.>
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
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
http://www.bijzondermooi.nl/shop/im ages/M/richard-hutten_D.jpg
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.