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Furnishings Spring 2014 > Quiz 3 > Flashcards

Quiz 3 Flashcards

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1
Q

FLW’s principle

A

Principle of oneness

  • The building is an extension of the environment
  • Interior is extension of the building
  • Furnishings, finishes, and items inside house are one
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2
Q
A

The Meyer May house
MI, 1908
Frank Lloyd Wright

Horizontal line is an extension of the flat midwest landscape.

  • Attempts to dissolve the ceiling in order to connect earth and sky
  • House planned around core / fireplace (symbolic heart)
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3
Q

Frank Lloyd Wright’s teacher:

A

Louis Sullivan, architect of the National Farmer’s Bank in Owatonna

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4
Q

FLW built-ins

A
  1. Connect interior to building (oneness).
  2. Make it difficult for people to change FLW’s designs (he liked to be in control).
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5
Q
A

The Hollyhock house
Frank Lloyd Wright

  • Designed like a Mayan temple
  • Features precast concrete
  • Open spaces
  • Connect earth to sky (skylights)
  • Fireplace as heart
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6
Q
A

The Storer house
California

Frank Lloyd Wright

  • Concrete blocks
  • Pierced blocks
  • ## Same material used on exterior and interior (oneness)
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7
Q
A

Imperial Hotel
Tokyo, Japan

Frank Lloyd Wright
- Embodies historic Japanese style

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8
Q
A

Peacock chair
From the Imperial Hotel
Frank Lloyd Wright

  • Hexagons/triangles in the back and on the sides of the chair’s base were also found in the building’s ceilings and walls
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9
Q
A

Taliesin West
Arizona
Frank Lloyd Wright

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10
Q
A

Taliesin West Plan
Frank Lloyd Wright

  • Angularity
  • Integrated gardens and pools
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11
Q
A

Taliesin West
Frank Lloyd Wright

  • Angularity integrated through ceiling, furniture
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12
Q
A

Taliesin East
Spring Green, WI
Frank Lloyd Wright

  • Lighting differentiates spaces
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13
Q
A

Fallingwater
PA 1935
Frank Lloyd Wright

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14
Q
A

Fallingwater
Frank Lloyd Wright

Windows that open - Corner dissolves

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15
Q
A

Chair from Fallingwater
Frank Lloyd Wright

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16
Q

Art Deco
French Moderne
Streamlining

DATES

A

1920s - 1930s

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17
Q

Qualities of Art Deco

A
  • Boldly patterened wall coverings
  • Rhythm and repetition
  • Cubism
  • Color blocking
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18
Q

Art Deco influences

A

  • Neoclassicism
  • Non-western cultures: Egypt, Africa, and the Orient
  • Artists – like Picasso and Matisse
  • Combination of French and German aesthetics (traditional materials and craftsmanship along with machine and machine-age materials)
  • Rhythm (oriental) versus harmony (western)
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19
Q

Characteristics found in Art Deco furniture

A

  • Classical details, like tapered legs
  • Smooth surfaces
  • Exotic motifs and murals
  • Sumptuous
  • materials Ivory Exotic hardwoods
  • Veneers
  • Geometric motifs – sun, stepped ziggurat
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20
Q
A

Emile-Jacques Ruhlmann desk

  • smooth

ART DECO

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21
Q
A

Emile-Jacques Ruhlmann

  • veneer
  • ivory inlay

ART DECO

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22
Q
A

Emile-Jacques Ruhlmann

interior rendering

ART DECO

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23
Q

Stepped ziggurat

A

ART DECO

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24
Q
A

Smoking table
Eileen Gray

FRENCH MODERNE

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25
Serpent chair Eileen Gray ART DECO
26
Characteristics of French Moderne
## Footnote - No exoticism / No sumptuous materials - Modern materials like aluminum Smoking table (1929) and glass!
27
Lacquered screen Eileen Gray FRENCH MODERNE
28
Transat chair Eileen Gray - adjustable headrest - lacquered wood - chrome-steel fasteners FRENCH MODERNE
29
Bibendum Chair Eileen Gray FRENCH MODERNE
30
noteworty Art Deco Ocean Liner
Normandie
31
Rene Lalique vase ART DECO
32
Forces influencing Art Deco in America
## Footnote - America was in a state of isolation (Anti-foreign feelings led to conservatism in furniture) - America was anxious to establish a distinctive design identity to match her economic and industrial presence (Art Deco’s style expressed America’s aspirations) - Immigrant designers brought Art Deco ideas to America. They argued for the need of a new style that reflects their time rather than earlier eras: Before and after (rural/urban, farming/factory), Inspiration from the industrial era rather than nature (straight lines of railroad and telephone lines, geometry), Factory-made products rather than natural materials and handmade. - Women worked outside the home: Need for simpler and easier to care for pieces - Suitable for skyscrapers, factories, cinemas, apartments, etc: Denotes progressiveness and success
33
Chrysler building ART DECO
34
Chrysler building entrance ART DECO
35
Chrysler building elevator lobby ART DECO
36
Seagram's lounge ART DECO
37
motifs employed in Art Deco
- Sun motif - Stepped ziggurat - Gargoyles
38
Pantages Theater Hollywood CA - sumptuous columns ART DECO
39
Blue Chair by Eliel Saarinen - abstracted lotus motif - blocks of color - tapered leg - geometric (influenced by Picasso/cubism) - smooth materials - rhythm of shapes on back ART DECO
40
Eliel Saarinen’s chair - Color blocking - Rhythm/repitition in scalloped back - tapered leg - Expensive construction (scallops and inlays) ART DECO
41
Eliel Saarinen interior perspective ART DECO
42
Streamlining or American Moderne
- Emphasis on the **horizontal** versus Art Deco’s vertical - Total effect of **smoothness** - Designers now become almost like film-stars - Inspiration comes from **aerodynamics** in cars and trains (machines) - Expresses the new **dynamism** of American life and an **optimism** in the future A combination of Art Deco, the International style, and French Moderne
43
Miami Beach, Ocean Drive STREAMLINING
44
Miami Beach, Michigan Ave. - horizontal emphasized - smoothness STREAMLINING
45
Pan Pacific Auditorium STREAMLINING
46
Radio City Music Hall Donald Deskey - Uses clean smooth lines, mirrors, chromium-plated steel, tubular aluminum, veneers, bakelite plastic, glass, and lacquer STREAMLINING
47
(DESK)
Donald Deskey - horizontal - aerodynamic - smooth STREAMLINING
48
Skyscraper bookcase Paul Frankl - Due to urbanisation, people living in apartments needed storage and Frankl created storage that emphasized verticality - Inspired by building STREAMLINING
49
Speed chair Paul Frankl - Aerodynamic STREAMLINING
50
Bamboo chair Paul Frankyl - aerodynamic STREAMLINING
51
Art Deco lamp - innovative materials (metal + glass) - motifs that reflect man's advancements (person holding globe, aviation)
52
Eugene Schoen - Repition of scallop form - tapered leg ART DECO
53
Villa Muller Prague Adolf Loos - purity in form De Stijl
54
Villa Muller Prague Adolf Loos
55
Adolf Loos’ book
Ornament and Crime
56
Dining Room Villa Muller Adolf Loos
57
Lady's Boudoir Villa Muller Adolf Loos Prauge
58
Principles of the Bauhaus school
- Good design for the masses - Absence of ornament - Form follows function
59
the bauhaus school was founded by ______ in \_\_\_\_
Walter Gropius in 1919
60
Bauhaus started in this country:
Germany
61
Gropius' armchair - carved out of cube / subtractive form Bauhaus
62
Piet Mondrian Composition W R4B Dutch De Stijl - primary colors - horizontal and vertical lines only
63
Mies van der Rohe Brno chair
64
Cantilever chair Gropius Bauhaus
65
Wassily Chair Marcel Bruer - made to honor Russian dude Bauhaus
66
Characteristics of modern movement
- no ornamentation - juxtaposition of geometries - rationalization, standardization - new materials (glass, tubular aluminum) - mass production - spacious, functional
67
Adolf Loos Chaise lounge
68
Goal of modernism
Changing society for the better with the creation of a healthier and more democratic type of design for all
69
Mies van der Rohe Barcelona Pavilion
70
Barcelona Pavilion Intersection walls allow for free circulation Mies Van der Rohe
71
Barcelona Pavilion Mies van der Rohe - vibrancy comes from materials - exposed columns
72
Who said "Less is More"
Mies van der Rohe
73
Barcelona chair Mies can der Rohe Bauhaus
74
Le Corbusier Five points of architecture:
## Footnote 1) The building should be supported above ground level by pilotis (free-standing structural piers or reinforced concrete) 2) The interior should use a free plan, unrestricted by the need for supporting walls. 3) There should be a roof terrace. 4) The windows should be large, and form a continuous element of the exterior wall; and 5) The façade should consists of one smooth surface.
75
Villa Savoye Le Corbusier - piers - open plan - roof terrace - band of windows - smooth facade
76
Chaise Lounge Le Corbusier
77
Post-war forces
## Footnote - Suburbia - Simplicity - Informality - Women’s lack of help in the home - Mobility - Easy to move furniture, i.e. light and portable - Adaptable - Comfortable - Stackable - Durable, etc!
78
Mies van der Rohe Farnsworth house POST-WAR
79
Glass House Philip Johnson POST-WAR
80
Important school in post-war Michigan:
Cranbrook Academy of Arts
81
Some important designers that went to Cranbrook
Eero Saarinen Charles Eames Florence Knoll
82
Recumbent figure Henry Moore - Organic human forms start to inspire design POST-WAR
83
Saarinen and Eames' organic armchair - amorphous form POST-WAR
84
amorphous
without a clearly defined shape or form
85
Meanings of organic
- complete/integrated whole - blending with the site and nature - curvy, amorphous forms
86
Eames' La Chaise - emulated Henry Moore's sculpture
87
Isamu Noguchi table - amorphous POST-WAR
88
Eames' molded plywood chair - designed to make life better for ordinary people - biomorphic chair - machine appearance POST-WAR
89
Isamu Noguchi sofa POST-WAR
90
Eames' lounge chair POST-WAR
91
Eames’ shell chair - fiberglass reinforced polyester resin - amorphous form POST-WAR
92
Eames' rubber shock mounts POST-WAR
93
Eames' bikini chair POST-WAR
94
Eames' storage system POST-WAR
95
Eames' house - made out of pre-fabricated materials POST-WAR
96
TWA terminal Eero Saarine - a bird in flight POST-WAR
97
TWA terminal Eero Saarinen - organic - pre-cast concrete POST-WAR
98
Pedestal chair Eero Saarinen - get rid of legs POST-WAR
99
Womb chair Eero Saarinen - fetus-like comfort - inspired by Florence Knoll POST-WAR
100
Rapson rocker Ralph Rapson POST-WAR
101
Rapson's cedar-riverside - attempt for compact population by river POST-WAR
102
Diamond chair Henry Bertoia - diamond shape in silhouette and patten made by stainless steel POST WAR
103
Warren Platner's wire collection POST WAR
104
Tulip chair Laverne - innovation in shape POST-WAR
105
Coconut chair George Nelson - three legs POST-WAR
106
Pretzel chair John Pile POST-WAR
107
Marshmallow sofa George Nelson POST-WAR
108
Ball clock George Nelson - fascination in atomic energy POST-WAR
109
Tongue chair Verner Panton POST-WAR
110
Ball Chair Eero Aarnio - pop-art color POST-WAR
111
Pastil chair Eero Aarnio - floats POST-WAR
112
Bubble chair Eero Aarnio POST-WAR
113
Three styles that appeared at the 1925 Paris exposition:
- Art Deco - Modern – Le Corbusier’s pavilion - Scandinavian
114
Why did people prefer scandinavian over modern?
Scandinavian wood and warmth was less harsh than the metal and plastic used in modern.
115
Finn Juhl’s easy chair - Use of wood and traditional materials, like fabric - Simple lines - Limited ornamentation - Typically, ergonomically correct! SCANDINAVIAN
116
Finnish architect
Alvar Aalto
117
Villa Mairea Alvar Aalto Finland
118
Villa Mairea Alvar Aalto ​Finland
119
Alvar Aalto Säynätsalo Town Hall Finland
120
"Perhoset“ – butterflies Alvar Aalto’s Säynätsalo Town Hall Finland
121
- Passageways as places - Use of light to guide the way Alvar Aalto’s Säynätsalo Town Hall – Finland
122
Baker House Dormitory Alvar Aalto MIT The wave-shaped building: - Reflects the river - Maximizes the number of rooms with southern exposure - Orients rooms away from Memorial Drive’s noise - Optimizes views of the river
123
Baker House Dormitory Alvar Aalto MIT The dining pavilion with its ‘moon garden lights’ affords stunning views of the Charles River
124
Pension armchair Alvar Aalto SCANDINAVIAN
125
Mt. Saint Angel Library Alvar Aalto - strategic use of light to enliven surfaces SCANDINAVIAN
126
Paimio chair Alvar Aalto Designed for the tuberculosis sanatorium, the angle of the back was intended to help patients breathe more easily. SCANDINAVIAN
127
laminated birchwood chair Alvar Aalto - seat extends past arms SCANDINAVIAN
128
Alvar Aalto’s stools - pretty when stacked / not in use SCANDINAVIAN
129
Alvar Aalto’s tea trolley SCANDINAVIAN
130
Alvar Aalto’s Savoy vases SCANDINAVIAN
131
Lounge Chair and Ottoman Bruno Mathsson Sweden He studied the business of sitting and said: “Comfortable sitting is an 'art'-- it ought not to be. Instead, the making of chairs has to be done with such an 'art' that the sitting will not be any 'art’.” SCANDINAVIAN
132
Mathsson’s grasshopper chair SCANDINAVIAN
133
## Footnote Mathsson’s EVA (1934) Many of his designs had female names as part of his attempts at making the chair an even more comfortable tool for the home SCANDINAVIAN
134
THE lamp Poul Henningsen Denmark SCANDINAVIAN
135
THE chair Hans Wegner Denmark SCANDINAVIAN
136
THE wheel Jørgen Rasmussen Denmark SCANDINAVIAN
137
Qualities of Danish Design
## Footnote - Aesthetic value - Simplicity - User friendly - Cost and environmentally conscious
138
Difference between Danish Design and Bauhaus
## Footnote Danish design has: - A more organic concept of form - A deep respect for function, and - A genuine interest in the user - Things had to be simple - The experience should not only be visual, but also appeal to our mind and all our senses - Ergonomics
139
Faaborg chair Kaare Klint Denmark - He had faith in the historical evolution of furniture forms and a commitment to the neo- classical designs - One of his goals was to take these pieces and try to rethink them and update them with the modern requirements - Strong interest in anthropometrics SCANDINAVIAN
140
Kaare Klint’s Safari chair Danish SCANDINAVIAN
141
Kaare Klint’s folding stool Danish SCANDINAVIAN
142
Kaare Klint’s deck chair with retractable foot rest Danish SCANDINAVIAN
143
Finn Juhl chair - Notice the floating seat - juxtaposition of geometries Danish SCANDINAVIAN
144
Pelikan Finn Juhl Denmark SCANDINAVIAN
145
Wishbone Chair Hans Wegner Danish SCANDINAVIAN
146
Hans Wegner’s Peacock chair Danish SCANDINAVIAN
147
Hans Wegner’s folding chair Danish SCANDINAVIAN
148
Hans Wegner’s Papa Bear chair Danish SCANDINAVIAN
149
The Royal Danish Embassy Arne Jacobsen Stacks of glazed boxes are cantilevered out from concrete walls SCANDINAVIAN
150
Arne Jacobsen’s Swan chair Denmark SCANDINAVIAN
151
The Egg Chair Arne Jacobsen Denmark SCANDINAVIAN
152
Ant Chair Arne Jacobsen Danish SCANDINAVIAN
153
Arne Jacobsen’s SEVEN chair - Molded plywood Danish SCANDINAVIAN
154
Verner Panton's Heart Chair Denmark SCANDINAVIAN
155
Vanna Venturi House - return to necessity of door/gable/chimney Post Modern
156
Social forces during post modern
- Inflation - Unemployment - Collapse of post-war building boom - Exit of US forces from Vietnam - Political scandals, etc, etc...
157
Response to social forces during post modern // Pluralism in Design
## Footnote Revival of historical styles & Softening of Modern design = Pieces of past styles, particularly classicism, combined with modern pop icons create a new departure in design – Post Modernism
158
AT&T building Philip Johnson - return to classical influences: broken pediment Post modern
159
Saltzman House Richard Meier Post Modern
160
Douglas house Richard Meier POST MODERN
161
Richard Meier - Softening the lines of modernism by incorporating curves and rounded parts POST MODERN
162
Richard Meier - Softening the lines of modernism by incorporating curves and rounded parts POST MODERN
163
Centre Pompidou Paris - Celebrating the aesthetic of industrial production - Architecture used to improve an area HIGH TECH / POST MODERN
164
Lloyds of London Richard Rogers HIGH TECH / POST MODERN
165
Shanghai Bank Building Hong Kong Norman Foster - no lobby / open to street HIGH TECH / POST MODERN
166
Shanghai Bank Building Hong Kong Norman Foster - no lobby / open to street HIGH TECH / POST MODERN
167
Scott Burton’s Two Curve Chair HIGH TECH / POST MODERN
168
Robert Venturi
## Footnote - Command to simplify! Advocated for a return to ornament, to complexity! / “Less is a bore!” - Idea of unity between architecture and interiors - move over Frank Lloyd Wright! - The view that the past has nothing to offer – move over Mies
169
Robert Venturi's book
Complexity and Contradiction in Architecture ## Footnote - offered hope for a reconciliation between period revivals and modern design
170
Vanna Venturi House Robert Venturi - stairs appear inviting but are cut off by wall / signal privacy Neo-Modernism
171
Eclectic House Series Robert Venturi Neo-Modernism
172
Robert Venturi's chair line Neo-Modernism
173
Venturi’s Campidoglio Tray - radiating star pattern mirrors Michelangelo's design for the pavement in Rome's Piazza del Campidoglio NEO MODERNISM
174
Carlton room-divider Ettore Sottsass The Memphis group - Italy Social commentary: different colors = different people person balancing on top = society is unstable NEO MODERNISM
175
Mario Bellini The Memphis group - Italy NEO MODERNISM
176
American Memphis Michael Graves Plaza dressing table – evoking the glamour of NY's plaza hotel POST MODERN
177
Swan building Michael Graves Disney World POST MODERN
178
Dolphin Michael Graves Walk Disney World POST MODERN
179
Michael Graves Bench POST MODERN
180
From the Cosmic Yard Sale // Stock Exchange Clock clocks American Memphis Ed Zucca
181
The Mercer Collection American Memphis Lucia Mercer - granite w/ look of instability POST MODERN
182
Studio Furniture Garry Knox Bennett POST MODERN
183
Ladderack chair Studio Furniture Garry Knox Bennett POST MODERN
184
Furniture as art Wendell Castle POST MODERN
185
Frank Gehry's house Deconstructivism POST MODERN
186
Frank Gehry's house Deconstructivism POST MODERN
187
Cardboard furniture collection Frank Gehry POST MODERN
188
Power play club armchair and ottoman Frank Gehry POST MODERN
189
Mario Botta Italy POST MODERN
190
Philippe Starck France POST MODERN
191
YKK Guest House Fumihiko Maki Japan “The problem of modernity is not creating forms, but rather, creating an overall image of life... a question of space for human activity rather than a vision of a constructed facade.” POST MODERN
192
Piet Hein Eek - Re-used boards // sustainability POST MODERN / present
193
Crochet table – Marcel Wanders PRESENT
194
Afrodite of Milos - influenced FLW (movement / imbalance)
195
Winged victory of Samothrace - influenced FLW (movement/imbalance)
196
FLW sources of inspiration
- Japanese prints (asymmetry) - Mayan cosmology (the #3, connection to sky/underground) - Greek (movement/imbalance)

Furnishings Spring 2014 (3 decks)

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