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____________________________________________________________________________________________________________
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
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http://mfah.org/bayoubend/collection.asp?par1=2&par2=1&par3=6&par4=1&par5=1&par6=1&par7=¤tPage =
ROCOCOREVIVALSTYLECHARACTERISTICS(OriginalpiecebyJ.H.Belter1860) FeaturesNATURALISTICMOTIFSsuchasleaves,vines,fruits,andfloralpatternsconsistentwiththe
RococoStyle.
HasS andCshapedcurves(asseenonarms). AcombinationofmotifsfromdifferentculturessuchastheFrenchandEnglishRococostyles.
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http://special.lib.gla.ac.uk/teach/gothic/furniture.html
GOTHICREVIVALSTYLECHARACTERISTICS(OriginalpiecebyJ.H.Belter1860) Backsofchairsusuallylooklikerosettewindows.
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ACKNOWLEDGEMENTIMAGES:
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:
Gothic
Revival.
Architecture
and
Interior
Design
from
the
19
th
Century:
An
Integrated
History.
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.
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WORKSCITED:
Aronson, Joseph. The Encyclopedia of Furniture. 3rd. Ed. New York: Clarkson Potter, 2002 Identifying Eastlake Furniture. Masterpiece Technologies. 22 May 2009.
The Shakers. Architecture and Interior Design from the 19 th Century: An Integrated History.Harwood, Buie et al. Vol. 2. New Jersey: Pearson Prentice Hall, 2009.
The Three phases of the Movement. The Art Institute of Pittsburgh OnlineDivision:ID210 Class. 22 May 2009.
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IdentificationStyle: Art Nouveau c. 1900
Type:CabinetCountryofOrigin: FranceIdentifyingCharacteristics:French Art Nouveau focuses
more on aesthetics rather than
the construction of furniture
pieces. WHIPLASH, Butterflymotifs, intricate wood veneers
and marquetry, sensuous lines,
ORGANIC GROWTH, and use of
luxurious materials are among
the few identifying
characteristics of the movement
that this cabinet contains.
Style: Art Nouveau 19021903
Type:Side ChairCountryofOrigin: GermanyIdentifyingCharacteristics:Although the Art Nouveau style
varied from country to country, they
all share a common trait. They eachfeatured STRONG LINES. As seen in
this side chair by Peter Behrens, the
thick and thin lines convey a strong
statement According to the
USEOFNEGATIVE
SPACE
UseofStrongLines
CarvedWater LilyStem
SailingScene
Marquetry
ExoticWoodVeneers
ButterflyMotif
Whiplash
http://www.myeclassonline.com/ec/crs/default.learn?CourseID=34457
35&CPURL=www.myeclassonline.com&Survey=1&47
Focuson
Sturdy
Construction
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Style: Art Deco Early 1920s1940sType:Metal PanelsCountry
of
Origin:
AmericaIdentifyingCharacteristics:
American Art Deco is mostly
characterized by LESS
EXTRAVAGANT ornamentation,
RECTILINEAR forms, and motifs
that honor industrialization. Made
of metal with a shiny finish, themetallic panel on the left features
characteristics congruent to the
style of the movement. The result
is a futuristic look with emphasis
on vertical height.
Style: Art Deco Early 1920s1940sType:Dining SetCountryofOrigin:FranceIdentifyingCharacteristics:As mentioned above, Art Deco features rectilinear characteristics. The set on
the right contiains strong angular forms and sturdy construction. Other traits
such as less ornamentation, shiny finish (i.e black lacquer), and streamlined
look are also present.
Rectilinear
Characteristics
Motifsdepicting
IndustrialThemes
Shinymetalfinish
Shiny finish
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Style: Art Deco Early
1920s1940sType:ScreenCountryofOrigin:EuropeIdentifyingCharacteristics:This piece, made of metal,
contains curvilinear,
rectilinear, and natural
patterns, altogethercreating an abstract scene.
The evidence of angular
motifs and forms
categorize this piece under
the Art Deco Style.
Style: Art Nouveau
c. 19041907Type:
Side TableCountryofOrigin:France
IdentifyingCharacteristics:This creation by French
designer HECTOR GUIMARD
features many French Art
Nouveau traits including
sensous lines, organicgrowth, and is made from
PEAR WOOD. Its lines are so
fluid that it seems like a piece
of branch from a tree! The
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
PearWood
SensuousLines
OrganicGrowth
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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.
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Forthecommercialsetting,theArtDecoscreenwillbeusedbothasa
decorativeelementandasmovablewall.Twoscreenswillbeusedand
will formanLshaperight in frontoftheentry.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
( )
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WORKSCITED:
ArtDeco,ArtModerne.ArchitectureandInteriorDesignfromthe19thCentury:AnIntegratedHistory.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.30May2009.
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
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MARCEL BREUERI D2 10 XA ANGELO MANZANO SP0 9 W4 A1
http://stores.advancedinteriordesigns.com/catalog/wassily%20chair.jpg
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MarcelBreuerisknownforhismostreplicatedpiece,theWassilychair.Breuersbeliefin
the
utilization
of
modern
technology
as
a
means
to
create
modern
items
is
exemplified
in
this
chair.Bauhausprinciplessuchasfocusonform,function,structure,andmaterialsareevident
in hisworks. Theyre also physicalmanifestations of the popular term, Less isMore. 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
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WORKSCITED:
TheBauhaus.ArchitectureandInteriorDesignfromthe19
thCentury:AnIntegratedHistory.Harwood,
Buieetal.Vol.2.NewJersey:PearsonPrenticeHall,
2009.
IMAGEURL:
MarcelBreuerWassilyChair.AdvancedInteriorDesigns.5June2009.
http://stores.advancedinteriordesigns.com/strse
141/MarcelBreuerWassilyChair,Breuer/Detail.bok.
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DE STIJL vs. BAUHAUS
19171931 19191933
Bothstylesrejectedconventionalfurnituremakingtechniques
and focusedon finding freshand innovativemethodsusingnew
materials. Both styles also emphasize simplicity and honesty inconstruction, 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
Bauhausstylealso focusesongeometry, form,and themarriage
of design and the machine which also leads quicker mass
production.DeStijlstresses thepurityofstraight lines, the right
angle,primarycolors,black,white,andshadesofgray.Theonlynotable difference between these two styles is their geographic
origin;DeStijlcomesfromHolland,whiletheBauhaushailsfrom
Germany(Harwoodetal.).
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RED BLUE CHAIR vs. SLATTED BACK ARM CHAIR
SIMILARITIES: DIFFERENCES: Both chairs are made from wood and lack the presence of new
materials used in their construction.
They are both rectilinear in form and reveal an openconstruction method; not much focus on ergonomics.
No ornamentation is noted; form, function, and materials aremain concerns.
Downward force (weight) is distributed from the seat to thejoints until finally to the legs.
Simplicity and honesty of construction mean absence ofunnecessary parts.
No cushioning present on both chairs and both arentadjustable.
Rietveld used heavy lacquer on the piece, totally hiding thewoods natural texture and color. Breuer stained his chair in
order to still add the woods natural qualities to its beauty,hence creating a vernacular look.
Rietveld appears to have used domino joinery in hisconstruction, while Breuer used mortise and tenon.
Rietveld used wood planks for the seat, while Breuer used H. Although both chairs emphasize construction honesty,
Rietvelds looks busy and crowded with wooden support
beams, while Breuers has a more minimalistic approach.
Rietvelds chair back is solid wood, while Breuers is slatted.
MARCELBREUER,
1924
htt p:/ / www.designmuseum.org/ design/marce
lbreuer
GERRITRIETVELD,1918http:/ / moma.org/collection/browse_results.php?
object_id=4044
MADEOFWOOD
DOMINOJOINERY
SOLIDANDVOID
RELATIONSHIP
HEAVYLACQUER
FINISH
SOLIDBACKREST
HORSEHAIR
CLOTH
SLATTEDBACK
STAINEDWOOD
FINISH
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ORGANIC AND SCULPTURAL MODERN vs. SCANDINAVIAN MODERN
1930SEarly1970s 1900s1960s
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 theuseofsharpangularelements.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
countriessuchasDenmark,Sweden,Finland,andNorway in the
beginning of the 20th
century. The slow industrialization processaidedinthepreservationofScandinaviantraditionsasevidenced
by the designs produced. Both styles emphasize simplicity,
elegance, excellent craftsmanship, and consideration of human
factors Harwoodetal. .
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DAR SHELL CHAIR vs. SWAN CHAIR
SIMILARITIES: DIFFERENCES: Both have curvilinear forms and edges. Both are ergonomically comfortable and nicely hug the
human body. Chair backs are both solid and does not exhibit void and solid
relationships.
Metal support bases present. Both do not recline while their heights do not adjust. The seat, back, and arm rests are fused together into one piece. Both are inspired by natural subjects (shell and swan). Both chairs direct the users weight from the arms and seat
down to the legs/base.
Eames is made of fiberglass material, while Jacobsen usedStyropore to create the chairs soft and smooth contours.
Eames fourlegged base makes the chair stationary, whileJacobsens allows it to swivel around (360 degrees).
Eames base shows exposed construction, while Jacobsens hastubular steel construction with a fourpoint star base.
The DAR Shell chair shows a thin, somewhat 2dimensionalform when viewed from different angles, while the Swan chair
packs more volume, has a rounded form that enhances its 3
dimensionality.
The DAR Shell Chair uses screws to join the seat to its base,while the Swan Chairs base is made of welded steel.
ARNEJACOBSEN,
1956
htt p:/ / www.designmuseum.org/ design/marce
lbreuer
CHARLESANDRAY EAMES,1950htt p:/ / www.bluesuntree.co.uk/ image.php?size=9
&image=eames_chair%20resized.jpg
http://www.desm.jp/e
m/emch61274.jpg
SCREWJOINERY
NATUREINSPIREDCURVILINEARFORM
ERGONOMICSEATS
FIBERGLASS
MATERIAL
STYROPORE
MATERIAL
METALBASE
EXPOSED
CONSTRUCTION
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RUSSIAN CONSTRUCTIVISM vs. INTERNATIONAL19131940s 1920s1930s
RussianConstructivism featuresaunifiedandorderlyappeal.
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
InternationalStylehadgreat influences fromEuropeancountries
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.
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TAITLIN CHAIR vs. THE LC-7 CHAIR
SIMILARITIES: DIFFERENCES: Both have curvilinear forms. Both are ergonomically comfortable and nicely hug the
human body. Chair backs are made with exposed construction. Tubular steel frame is used on both chairs. Both have molded foam and upholstered leather seats. Metal parts on both chairs appear to be welded together. Metal parts have chrome finishes. Both chairs have fused arm rests and back support. Weight is distributed from the seats, arm and back rests down
to the legs/base.
The Taitlin chairs frame appears to be made of one continuoustubular metal, while the LC7 looks as if made from various
sized steel bars welded together. Taitlins seat follows the curvature of the human buttocks; Le
Corbusiers is simply cylindrical.
Taitlins back rest is bare metal, while Le Corbusiers has softfoam padding similar to the seat for added comfort and an
additional metal support rod for stability.
The Taitlin chair has a stationary circular metal base, while theLC7 has four legs and enable the chair to swivel.
The Taitlin chair looks appealing when viewed from the front,while the LC7 looks elegant and more 3D from any angle.
LECORBUSIER,1928htt p:/ / www.cassinausa.com/masters/ lc7.html
VLADIMIRTAITLIN,1927http:/ / designmatcher.com/nl/ gallery_detail.php?
galleryID=87
FOAMEDBACKSUPPORT
TUBULARSTEELFRAME
MOLDEDFOAMWITH
LEATHERUPHOLSTERY
ROUNDEDMETALBASE
FOURLEGGED
METALBASE
EXPOSED
CONSTRUCTION
WORKS CITED
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WORKS CITED:
Arts and Crafts. Architecture and Interior Design from the 19 th Century: An Integrated History. Harwood, Buie et al.Vol. 2. New Jersey: Pearson Prentice Hall, 2009.
Domino Joints. Sawdust Making 101. 12 June 2009.http://www.sawdustmaking.com/About%20Joints/about_joints.htm
Geometric Modern. Architecture and Interior Design from the 19th Century: An Integrated History. Harwood, Buie et al.Vol. 2. New Jersey: Pearson Prentice Hall, 2009.
International Style. Architecture and Interior Design from the 19th Century: An Integrated History. Harwood, Buie et al.Vol. 2. New Jersey: Pearson Prentice Hall, 2009.
Organic and Sculptural Modern. Architecture and Interior Design from the 19th Century: An Integrated History.Harwood, Buie et al. Vol. 2. New Jersey: Pearson Prentice Hall, 2009.
Postwar Modernism and Styles. The Art Institute of Pittsburgh Online Division: ID210. 12 June 2009.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
Russian Constructivism. Art History Archive. 17 June 2009.http://www.arthistoryarchive.com/arthistory/constructivism/
Scandinavian Modern. Architecture and Interior Design from the 19th Century: An Integrated History. Harwood, Buie etal. Vol. 2. New Jersey: Pearson Prentice Hall, 2009.
The Bauhaus. Architecture and Interior Design from the 19th Century: An Integrated History. Harwood, Buie et al. Vol.2. New Jersey: Pearson Prentice Hall, 2009.
IMAGES:
Museum of Modern Art. Red Blue Chair. 12 June 2009.http://moma.org/collection/browse_results.php?object_id=4044
Design Museum. Marcel Breuer Slatted Chair. Kelley Kellerhoff. 12 June 2009.http://www.designmuseum.org/design/marcelbreuer
Blue Sun Tree. DAR fiberglass Eiffel chair with arms. 12 June 2009.http://www.bluesuntree.co.uk/image.php?size=9&image=eames_chair%20resized.jpg
DesignMuseum.Org. Arne Jacobsen Swan Chair. 12 June 2009.http://www.designmuseum.org/__entry/4148?style=design_image_popup ; http://www.desm.jp/em/emch6127
4.jpg
DesignMatcher.com. Taitlin Chair. 12 June 2009. http://designmatcher.com/nl/gallery_detail.php?galleryID=87 CassinaUSA.com. LC7 Chair. 12 June 2009. http://www.cassinausa.com/masters/lc7.html
EVOLUTIONOFARCHITECTUREANDFURNITUREDESIGN
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FROMTHE19THTOTHE20THCENTURY
VICTORIANSTYLE(18371901)
HOUSESOFPARLIAMENT(18351868)Victorian/GothicRevivalStylePuginandBarryhttp://www.flickr.com/photos/hogan3774/
530588993/
VICTORIANSTYLE(18371901)
AMERICAN
VICTORIAN
OAK
CHAIR
(c.1850)Victorian/GothicRevivalStyleHenrySiebrechthttp://cache.tias.com/stores/bohml/pic
tures/10737ba.jpg
ENGLISHARTSANDCRAFTSSTYLE(1860s1910s)
REDHOUSE(18591860)EnglishArtsandCraftsStyleMorrisandWebbhttp://www.queensofvintage.com/wp
content/uploads/2009/04/redhouse.jpg
AMERICANARTSANDCRAFTSSTYLE(1880s1930s)
MORRIS/STICKLEY
CHAIR
(1905)
AmericanArtsandCraftsStyleGustavStickleyhttp://www.seecny.com/files/images/
Morris%20Chair.Illustration.jpg
HORTAHOUSE(1898)ArtNouveauStyleVictorHortahttp://www.flickr.com/photos/hotcommod
ity/3036238152/
ARTNOUVEAUSTYLE(1860s1910s)
ARTNOUVEAUSTYLE(1860s1910s)
CABINET(c.1899)
ArtNouveauStyleHectorGuimardhttp://www.dijkema.tweakdsl.nl/stijlboek/
asets1/HectorGuimard/kabinet
circa%201899.jpg
MODERNSTYLE:DESTIJL(19171931)
MODERNSTYLE:BAUHAUS(19171931)
SCHRDERHOUSE(1924)
DeStijlStyleGerritRietveldhttp://www.flickr.com/photos/26849514@
N06/3409142478/
BARCELONACHAIR(1929)
BauhausStyleMiesvanderRohehttp://www.amenity
world.com/img/knoll/knoll250.jpg
LOUNGECHOrganicandCharlesandhttp://www.
loungechair
POSTWARMANDSCULPT
POSTWAR
ANDSCUL
DULLESINOrganicaEeroSaarhttp://images.sea
hoo.com%2Fsearc
%3D81%26ni%3D2
msgr%26fr2%3Dta
web&w=500&h=37
&rurl=http%3A%2F
e=94k&name=Dul
c3750&fr2=tab
web&fusr=ears737
igb=14220eugf
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____________________________________________________________________________________________________________
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
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FURNITURE SKETCHBOOK FINAL
COMPOSITION
ID210UA Maria Lundberg SU09 W6A1
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FURNITURE SKETCHBOOK: VICTORIAN
GOTHIC AND EGYPTIAN REVIVAL
Week 1
Victorian Gothic Revival
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Victorian-Gothic Revival
Trefoil CutOut
Oak LeafFinial
FlamboyantTracery
PointedArch
University of Glasgow: Special Collections. The revival and Design. 15 July2009. http://special.lib.gla.ac.uk/teach/gothic/furniture.html
The furniture of the Gothicera was similar to that of
Gothic Architecture. Skilled
craftsmen and architects
developed furniture styles
based largely on the
developments of structuresduring 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.
Victorian Egyptian Revival
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Victorian-Egyptian Revival
The Egyptian RevivalStyle 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/images/image/45120-popup.html
SilkUpholstery
Egyptian
Motif
Bronze andGildedBeech
Brass
Mounts
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FURNITURE SKETCHBOOK: DEFINING
TERMS
Week 2
Defining Terms
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Defining Terms
Mortise-and-tenonconstruction- the mortise is basicallya slot or hole cut into a material such aswood. The tenon part is milled ontoanother piece of material that fits into the
mortise. By inserting the tenon into themortise a connection is formed.http://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htm
Marquetry and inlay- marquetry isthe art and design process of inlaying
woods and other natural materials tocreate a design motif or picture. All of thenatural grains, knots, and defects areintegrated into the overall design.Typically wood is used as the inlaymaterial, but some other materials usedare shells, straw, bark, gems, metal,
stone, and ivory.http://www.efi-costarica.com/Recognize.html
http://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htmhttp://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htmhttp://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htmhttp://www.efi-costarica.com/Recognize.htmlhttp://www.efi-costarica.com/Recognize.htmlhttp://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htmhttp://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htmhttp://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htm8/4/2019 ID210 W6A1 Students
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Dovetail Joint- the two pieces are joinedtogether at right angles, most commonly seen inthe construction of drawers.
http://www.crestwooddesign.com/Mission%20Furniture.htm
Honesty of construction- leaving materialsin their natural state and joinery is exposed.
This is done to demonstrate a designers
craftsmanship. Also, there isnt anyornamentation.
Absence of un-necessaryornamentation- construction became less
ornate and the focus was placed on being able tosee the construction of furniture pieces. designsbecame less over the top and were more aboutform and function.http://blog.diyshutters.com/Blog/bid/4646/Defining-the-Mortise-and-Tenon-Old-and-Newhttp://www.inlay.com/marquetry/marquetry/what%20is%20marquetry.html
Incorporating Design Elements in a Furniture Design
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Incorporating Design Elements in a Furniture Design
Copper metal marquetry and inlay
Mortise and tenon construction
Dovetail joint
http://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htm
http://www.crestwooddesign.com/Mission%20Furniture.htm
http://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htmhttp://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htmhttp://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htmhttp://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htmhttp://mojowoodworks.com/Second%20level%20-%20techniques%20and%20features.htm8/4/2019 ID210 W6A1 Students
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FURNITURE SKETCHBOOK: ART NOUVEAU
AND ART DECO- IDENTIFYING STYLES
AND UTILIZING PIECES
Week 3
Furniture Pieces
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Furniture Pieces
http://www.imamuseum.org/explore/artwork/360?highlight=187
http://www.artsmia.org/viewer/detail.php?v=12&id=4554
Louis Majorelle Cabinet19th Century Art NouveauCreation Date- about 1900Origin of Creation: FranceMaterials: mahogany, kingwood, amaranth, metal, silkMotifs and elements: organic, undulating forms, curves,ingenious design, solid construction, floral design, brass
fixtures, and is also long with swirling scrolls.
19th Century Art NouveauPeter Behrens Side Chair
Creation Date- 1902Origin of Creation: Europe, GermanyMaterials: Oak and woven rushMotifs and elements: bold, simple, curvilinear lines thechair has similar qualities to that of Jugendstil, a German
equivalent of the French Art Nouveau.http://www.davidrumsey.com/amico/amico1104349-102121.html
Furniture Pieces
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http://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN%2COCS%2CAMICOID&search=Search
http://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=FASF.137713%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN%2COCS%2CAMICOID&search=Search
Oscar Bach Metal Doors with theme of workArt DecoCreation Date- 1925Origin of Creation: North AmericaMaterials: steel with aluminum, copper and bronze over awood core.
Motifs and elements: motifs of heavy industrialization, highlystylized 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
Armand-Albert Rateau Dining Table
Art DecoCreation Date- circa 1925Origin of Creation: FranceMaterials: oak, ebony veneer, silk and straw.Motifs and elements: center of the table has an organicflowing motif, there is an inlay of straw and silk, with clean
lines.
Furniture Pieces
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http://www.roseironworks.com/collections/collections_muse_with_violin_discussion.php
http://www.moma.org/collection/object.
php?object_id=3270
Muse with Violin Screen by Paul FeherArt DecoCreation Date- 1930Origin of Creation: FranceMaterials: silver plated steel and the female central figure isgold plated carved and tooled brass
Motifs and elements: classical leaf and concentric circularelements. The table has fluid wave forms, scrolls, delicatefloral motifs, and lotus and leaf details.
Hector Guimard Side Table
Art Nouveau20th CenturyOrigin of Creation: FranceMaterials: pear woodMotifs and elements: This side table has curvilinearelements and an overall organic shape associated with the Art
Nouveau Style.
Commercial Plan
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Art Deco Table Moreformal 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
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Art Deco Cabinet-
Used in a private
living space for acouple. This gives
a feeling of
richness with the
brass, mahogany,
and silk.
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 Nouveau Side
Table- softens the
feeling of the
space with organic
fluidity and is a
simple place to
rest personal
items.
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FURNITURE SKETCHBOOK: RECREATING
DESIGN STYLE
Week 4
Chair DesignInspired by the designer and architect Walter Gropius
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http://www.treadwaygallery.com/ONLINECATALOGS/MAY2006/catalog5-06/1001-1100.html
Sources
Sketchhttp://www.greatbuildings.com/architects/Walter_Gropius.html
Walter Gropius style was heavily influenced by technology andmechanical systems. His designs relied on standardization and
prefabrication. Gropius designed buildings using mathematicalcalculations. He designed and built a new screen wall system that had astructural steel frame that supported the floors. This allowed for glasswalls to extend without having to stop. While teaching at the Bauhausschool of design, Gropiuss theory was that design should be functionalwhile maintaining its aesthetic appeal. His designs were free of excessornamentation, usually made of tubular and flat steel, plastics, metal,and glass. Primary colors with black and white and geometric shapeswere common elements within Gropiuss designs.
http://www.archiplanet.org/wiki/Walter_Gropiushttp://architecture.about.com/od/greatarchitects/p/waltergropius.htm
http://www.modernfurnitureclassics.com/index.php/main_page/editorial/title/Ti
tle%203
Red plastic
Black stainedwood
Yellow
plastic Blue Plastic
Overall design isvoid ofornamentationand is formedwith wood andplastic in a veryvertical andhorizontalmanner
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FURNITURE SKETCHBOOK: COMPARING
FURNITURE STYLES
Week 5
Comparison and Contrast of Set #1
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Gerrit Rietveld
Red and Blue Chair-1918
http://pegasogalleryinternational.1stdibs.com/itemdetails.php?id=140405
PrimaryColors
CantileveringArms
Intersecting ofVertical &HorizontalPlanes
Marcel Breuer
Slatted Armchair-1924
http://www.designmuseum.org/design/marcel-breuer
Lacquered Wood CantileverinArms
Straight BackRest
Maple Woodthat hasbeen stained
Seating madefrom horsehair
Comparison and Contrast of Set #4
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http://www.designmuseum.org/__en
try/4148?style=design_image_popup
Arne Jacobsen
Swan Chair-1956
Eames
Postwar DAR Shell Chair-1950
http://www.thelighthouse.co.uk/assets/imgs/vitra/19.jpg
No Straight Linesthroughout thedesign
Shell is made of aPolyurethanefoam, which isreinforced with aglass fibre.
No Straight Linesthroughout thedesign
Steel Tubing
Welding is usedto attachindividual parts
AluminumBase
Seat is madeup of moldedfiber glass
Rubber ShockMounts
Comparison and Contrast of Set #5
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Mies van de Rohe
Mr. Lounges Chair- 1931
Kjaerholm
Postwar Chair 20-1968
http://www.designaddict.com/design_index/index.cfm/fuseaction/showjumbo/PICTURE_ID/3010/
http://www.architonic.com/cat/gal/1003398
CantileverDesign
SteelFrame
Curvilinear
form
HeadrestLeatherupholstery
Leather
upholsteryContinuousArm rests
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FURNITURE SKETCHBOOK: TIMELINES
Week 6
Furniture Sketchbook: Timelines
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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.lilacblueweddings.com/default.php?cPath=97_51
http://www.designophy.com/uploadedimages/tmn/2009/01/09/148_3.jpg
http://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN%2COCS%2CAMICOID&search=Search
http://www.headley-whitney.org/past_exhibitions.html
Furniture Sketchbook: Timelines
http://www.antiquehelper.com/catalog.php?id=127&page=11http://www.antiquehelper.com/catalog.php?id=127&page=11http://www.antiquehelper.com/catalog.php?id=127&page=11http://www.lilacblueweddings.com/default.php?cPath=97_51http://www.lilacblueweddings.com/default.php?cPath=97_51http://www.lilacblueweddings.com/default.php?cPath=97_51http://www.designophy.com/uploadedimages/tmn/2009/01/09/148_3.jpghttp://www.designophy.com/uploadedimages/tmn/2009/01/09/148_3.jpghttp://www.designophy.com/uploadedimages/tmn/2009/01/09/148_3.jpghttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://www.headley-whitney.org/past_exhibitions.htmlhttp://www.headley-whitney.org/past_exhibitions.htmlhttp://www.headley-whitney.org/past_exhibitions.htmlhttp://www.headley-whitney.org/past_exhibitions.htmlhttp://www.headley-whitney.org/past_exhibitions.htmlhttp://www.headley-whitney.org/past_exhibitions.htmlhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://amica.davidrumsey.com/luna/servlet/view/search?q=AMICOID=MIA_.71.51.1,2%20LIMIT:AMICO~1~1&sort=INITIALSORT_CRN,OCS,AMICOID&search=Searchhttp://www.designophy.com/uploadedimages/tmn/2009/01/09/148_3.jpghttp://www.designophy.com/uploadedimages/tmn/2009/01/09/148_3.jpghttp://www.designophy.com/uploadedimages/tmn/2009/01/09/148_3.jpghttp://www.lilacblueweddings.com/default.php?cPath=97_51http://www.lilacblueweddings.com/default.php?cPath=97_51http://www.lilacblueweddings.com/default.php?cPath=97_51http://www.antiquehelper.com/catalog.php?id=127&page=11http://www.antiquehelper.com/catalog.php?id=127&page=11http://www.antiquehelper.com/catalog.php?id=127&page=118/4/2019 ID210 W6A1 Students
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Gothic Revival
1830-1880
Arts and Crafts
1905-1930
Art Nouveau
1880-1910
Art Deco
1920-1930
Modernism
1930-1945
http://blogs.warw
ick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.
jpg
http://darkmoonnightmagick.blogspot.com/2008/02/gothic-revival-architecture.html
http://www.alphaville.com.au/artdeco/?p=74
http://www.curbly.com/badbadivy/posts/989-in-the-arts-and-crafts-style
http://www.architecturesdesign.com/search/Mariana+Sabbagh
Timeline Questions
http://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpghttp://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpghttp://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpghttp://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpghttp://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpghttp://darkmoonnightmagick.blogspot.com/2008/02/gothic-revival-architecture.htmlhttp://darkmoonnightmagick.blogspot.com/2008/02/gothic-revival-architecture.htmlhttp://darkmoonnightmagick.blogspot.com/2008/02/gothic-revival-architecture.htmlhttp://darkmoonnightmagick.blogspot.com/2008/02/gothic-revival-architecture.htmlhttp://www.alphaville.com.au/artdeco/?p=74http://www.alphaville.com.au/artdeco/?p=74http://www.curbly.com/badbadivy/posts/989-in-the-arts-and-crafts-stylehttp://www.curbly.com/badbadivy/posts/989-in-the-arts-and-crafts-stylehttp://www.curbly.com/badbadivy/posts/989-in-the-arts-and-crafts-stylehttp://www.architecturesdesign.com/search/Mariana+Sabbaghhttp://www.architecturesdesign.com/search/Mariana+Sabbaghhttp://www.architecturesdesign.com/search/Mariana+Sabbaghhttp://www.architecturesdesign.com/search/Mariana+Sabbaghhttp://www.architecturesdesign.com/search/Mariana+Sabbaghhttp://www.architecturesdesign.com/search/Mariana+Sabbaghhttp://www.architecturesdesign.com/search/Mariana+Sabbaghhttp://www.architecturesdesign.com/search/Mariana+Sabbaghhttp://www.curbly.com/badbadivy/posts/989-in-the-arts-and-crafts-stylehttp://www.curbly.com/badbadivy/posts/989-in-the-arts-and-crafts-stylehttp://www.curbly.com/badbadivy/posts/989-in-the-arts-and-crafts-stylehttp://www.alphaville.com.au/artdeco/?p=74http://www.alphaville.com.au/artdeco/?p=74http://darkmoonnightmagick.blogspot.com/2008/02/gothic-revival-architecture.htmlhttp://darkmoonnightmagick.blogspot.com/2008/02/gothic-revival-architecture.htmlhttp://darkmoonnightmagick.blogspot.com/2008/02/gothic-revival-architecture.htmlhttp://darkmoonnightmagick.blogspot.com/2008/02/gothic-revival-architecture.htmlhttp://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpghttp://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpghttp://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpghttp://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpghttp://blogs.warwick.ac.uk/images/zoebrigley/2005/03/05/gaudi_battlo.jpg8/4/2019 ID210 W6A1 Students
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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 architectduring a certain time period. There were many furniture designers thatwere all also architects. Many of these architects would design furniturepieces for a specific building or structure. I think of Frank Lloyd Wrightand 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 exactlywhere items would be placed in the home. Another designer andarchitect 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 toconverge design ideas, especially during the industrial revolution.Furniture could be mass produced more quickly then an entire structurecould be built. This could explain some of the differences in the stylesbetween architecture and furniture styles being slightly different.
Works Cited
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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/PICTURE_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 fromthe 19th Century. An Integrated History. Volume 2. Pearson Education, INC. 2009.
____________________________________________________________________________________________________________
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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
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VIRTUAL MUSEUMJasmyne Goodman-Leamer
ID210 UD
FA08-1
Michael Thonet 1796 1871
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Michael Thonet 1796-1871
Michael Thonet was born in 1796, the earlyera of the Victorian era. He had anideawarping wood like clay to createaffordable and unique furniture. Born in
Boppard, it is only fit to name his first successafter his home town, called the BOPPARDLAMINATE WOOD chair.
After his new innovation, he was invited toparticipate in an exhibition of the Koblenz ArtAssociation, where in turn he was asked to cometo Vienna by a Chancellor.
Thonet and his sons not only created flooring, w c s con nua y popu ar ca e parque ,they invented the still demanding furniture style,BENTWOOD. This is created by using multiplelayers of veneer wood glued together andmolded to desired shape.
and popular stylewhich has been mass
produced.
Thonets Furniture
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Thonet s Furniture
This chair symbolizes thefuture of furniture in theVictorian Period as we stillsee it to ay. T onets CAFCHAIR, to me, represents thatthe saying an oldie but aoodie remains steadfast.
Designers Guide to Furniture
This style of furniture exists inall of our daily lives.
Styles. Treena Crochet. Copyright2004. Pg. 236.
Bruce James Talbert 1838 1881
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Bruce James Talbert 1838-1881
eventually became an architect. His furniture,architecture and textiles made him a staple inhistory, much less the Victorian Period. Talbert alsowrote two books, Gothic Forms (1867) &Fashionable Furniture (1881).
*I was unable to find a picture without searching Wikipedia..
Talberts Furniture
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Talbert s Furniture
comfort and design workingin correlation with one lovefor rich textiles and
EGYPTIAN style using themore mo ern SALTIERSTRETCHER above the legsof the chair mixes manydifferent styles, which is
VICTORIAN period.
Works Cited
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Works Cited
htt : www.michael-thonet.com
http://www.dundee.ac.uk/museum/design/welcome.htm
Designers Guide to Furniture Styles. TreenaCrochet. Copyright 2004. Pg. 235.
http://www.puritanvalues.co.uk/exhib3.htm
http://www.victorianweb.org/art/design/textiles/ta ert. tm
https://reader009.{domain}/reader009/html5/0513/5af
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Virtual Museum ContinuedJasmyne Goodman-Leamer
ID 210 UD
ee ss gnmen
FA08-1
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William Morris 1834-1896
William Morris was born inLondon, England in 1834.
He died in 1896. Morris was not only an avid
poet, but also created some ofthe most beautiful wallpaperand well-made furniture of the
ARTS & CRAFTSMOVEMENT.
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Works of Morris
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William Morris: Master of Trades
William Morris was probably one of the most infuentialpeople in the ARTS & CRAFTS MOVEMENT. Not only was he, , ,
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 tooun WILLIAM MORRIS WORSHOPS n 1861. H sfurniture style was a blend of traditional and new ideas withan emphasis on individualism and simplicity.*
Morris creations were handmade and usually for the elite, buthe had a soft spot for the working class. He truly inspired theHANDICRAFT that was sure to follow his work.
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Renderings of Morris Furniture
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Frank Lloyd Wright 1867-1959
Frank Lloyd Wright was bornin Richland Center, Wisconsinon June 8, 1867.
He died on April 29, 1959 inPhoenix, Arizona.
Wright first started hiseducation at University of
Wisconsin in the departmento eng neer ng, t en trave e
to Chicago. In 1893, he startedhis own practice creating
- .
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Works of Wright
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Renderings of Wrights Furniture
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Frank Lloyd Wright; Life, Theory 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 andJAPANESE ARCHITECTURE, he was a pioneer in showing that clean lines and HONESTY
.created organic architecture. His style was so innovative because he was able to use cleanlines and simplicity in perfect conjunction with natural materials. I think of organic andnatural as rustic, but Wright was anything but rustic.
- - ,creating seamless movement within pieces of the furniture without ornamentation what-so-ever. While creating curved furniture he maintained the seamless joints. I find itfascinating that Wrights furniture was created so closely to Victorian Period because somepieces 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 thisbecause Wrights furniture could fit into a 21st century home without seeming dated.
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Research Wing
William Morris famous quote and his standard of creation is:Have nothing in your house that you do not know to be*.
Morris wrote socialist pamphlets and actually sold them on
street corners. Frank Lloyd Wright built the Tokyo Imperial Hotel Projectthat withheld the earthquake of 1923.
Wrights cube chair was described as the first piece ofmo ern urn ure crea e n e n e a es y s own son
John.* Wrights family moved often while he was growing up which
explain his frequent movement in life.
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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/
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/williammorris-
thistle.JPG http://www.spartacus.schoolnet.co.uk/Jmorris.htm
https://reader009.{domain}/reader009/html5/0513/5af7e42a10d60/5af7e46fba482.jpg http://desertcraftsmen.com/MorrisChairsHome.shtml http://static.wallpaper.com/images/98_lloyd_am041007_f.jpg
. - . - - - - . http://www.metmuseum.org/toah/images/h2/h2_1972.60.3.jpg
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Art Deco
Eileen Gray & Paul Frankl
Jasmyne Goodman-LeamerID210 UD
-
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Eileen Gray was a prominent architect anddesigner in the early 20th century, especiallycreating some of the most unique furniture in the
.attended the Slade School of Fine Arts in London.Eileen learned how to lacquer, and she became
fascinated with the technique. After the interest ofJacques Douchet, Gray was able to climb the
1922. She retired in 1937 with a small portfoliocompared to others.
I ersonall see Gra as a role model. M theorin life has always been quality, not quantity. Myfamily will attest to that. Although she had asmaller body of work, what she did create wasfunctional, different and truly unique. Looking atthe Art Deco ieces, I can honestl sa that herdesigns are my favorite and that I would have
them in my home. Gray was able to createminimalistic furniture while maximizing thevisual interest, as well as comfort and function.
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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
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-
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Paul Frankl was a very innovativedesigner taking his inspirations fromthe architecture surrounding him. He
Deco designer. He was born inVienna and studied architecture and
engineering in Vienna, Berlin andParis. He also opened up his own, .
furniture style was tagged asskyscraper furniture for imitatingthe architecture that was beingcreated around him, such as the
Center. Frankl was also an avid writer,publishing five books. Frankl was alsointerested in textiles and wallcoverings.
a m re ran s nnova ve an eradesign with furniture. I am not usuallya fan of asymmetrical furniture, but thedesigns of Frankl is truly intriguingand unlike anything I have seenin
s ory up o mo ern ay.
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http://www.cincinnatiartmuseum.org/absolutenm/articlefiles/366-Paul%20Frankl%20-%20Skyscraper%20Bookcases%20Images.jpg
https://reader009.{domain}/reader009/html5/0513/5af7e42a10d60/5af7e4753
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A
C
Art Deco
DB
Art Deco
Art Nouveau Art Deco
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I think that Figure A is Art Deco because of the
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
.
America.
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Images:
(Some Directly Cited)
Eileen Gra Photo. _. 24 October 2008.
Eileen Gray Table.
24October 2008.
Paul Frankl Table.. 24October 2008.
Research Wing.
. 24 October 2008.
Text:
Eileen Gray Biography.www.r20thcentury.com< ttp:www.r t century.com os es nger.c m art c e_ = >
Pina, Leslie. Furniture in History: 3000 B.C.-2000 A.D. New Jersey: Prentice Hall 2004.
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Virtua l Museum Part IV
Jasmyne Goodman-Leamer
ID210 UD
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e or user - Cha rles Edouard Jeneret, otherwise known
as Le Co rbusier, was born in Switzerland in1887. When he wa s 29, he too k thepseu onym o e or user w c was smo thers fathers name . He eventua llybecam e a legenda ry a rc hitec t, designer,writer and a rtist.
A buddin architect Le Corbusier thou httha t a ll of the styles tha t surrounded himwere burning out, so he sta tes, We muststa rt a ga in from zero. With this newattitud e, Inte rna tiona l Style wa s born.
ma teria l, tubular stee l and ma ss p rod uc tion.Bec ause o f this mass prod uc tion,International style bec am e very po pularand mem orab le b ec ause the d esignsrea ched the m asses, not just the e lite. LeCorbusier, a long with fellow architec ts
erre ennere a n a r o e er a nbe ga n c rea ting som e of the m ost unique
furniture in our histo ry. I truly admire his workand his forwa rd -thinking d esigns and style.Without th is mindset , we w ould never seechang e in anything a round us, which wo uldma ke histor muc h less interestin .
http://www.time.com/time/time100/artists/profile/lecorbusier.html
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Tubular steel c hrome-p latedframe furniture with lea therupholstery. (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%20Co rbusier%20Cha ise%20Loung e.jpg
Le Corbusiers LC4 Chaise LoungeWith tubular steel, lea ther hea d rest
http://www.eurofurniture.com/filebin/template/watermark.php?fid=4365
Glass tab le top with hidden hardwa re.
n pony s n up o s ery. . 1928
Chap el of Notre Dam e du Haut atRonchamp-Haute-Sane, France(right), b uilt in 1950 with reinforcedconc rete. Le Corbusier shows hislove for sculpture a nd form.
Artwork by Le Corbusier. (Left) Itsimpressionistic style with the use ofgeometric forms along with free flowing
http://www.eurofurniture.com/filebin/template/watermark.php?fid=4365
http://blog.miragestudio7.com/wp-
content/uploads/2007/07/le_corbusier_bull_3.jpg
lines mimic s Le Corbusier's ove rall designvibe.
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- Lily Reich wa s born in Berlin. As a youngwo ma n, she trave led to Vienna in 1908where she w orked for Wiener Werkst tte .
en s e re urne o er n n an n1912, joined the Deutscher Werkbund whereshe w as eventua lly elec ted the first wo ma nto the governing board . Eventua lly me eting
the g rea t d esigner and architec t Ludw ingMies de va n der Rohe , with whom she livedwith for ea rs. The two crea ted som e of themost bea utiful furniture during theInterna tiona l Style period .
Som e of her wo rks included Wohnraum inSpieg elglas, or "Living Room in Mirror Glass,
- ",and e ventua lly head ing the interior designworkshop a t Bauhaus. This was short livedbe cause o f the its c lose d ue to the w ar.Afte r World War II, Reich ta ught a tHochschule fr bildende Kn. http :/ / ww w.lilly-reich .c om / imag es/ a rtist/ 501410.jpg
Along with Eileen Gray, another influentialwo ma n designer, I admire he r style a nd thefac t that her design voice wa s heard andseen. She and her c ontemporaries sta rtedwha t a ll of us are striving to do here w ithinterior desi n.
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The Barc elona c hair (right) wa s
This ga rden table (right) with tubula rsteel frame and beec h wood veneeredtop was c rea ted by Reich in 1931. I
Mies van d er Rohe, but in history it hadma inly been c redited to Mies van d erRohe . Its sleek tubula r stee l frame andaniline lea ther upholstery makes this ama sterpiec e o f the International style.
ove e na ura an so ene s y e n suc h an ind ustrial time .
http:// www.portfoliofurniture.com / images/ co mpa ny/resea rch/ ba rce lonac hair.jpg
1925-1938.. .
o llec tion/ FullSizes/ 12033003.jpg
htt :/ / ww w.matrixinternational.it/ Prod ucts/ Images/Immaginistrilli/New15/LR30.jpg/image
The a bo ve m irror uses a c antileveredtubular steel fram e with an e longa tedmirror. With its asymm etrica l po sitioning,
http://www.designmuseum.org/media/ item/ 72008/869/57_5.jpg
The ab ove c antilever c hairwas c reated by Mies van deRohe and Lily Reic h in 1927.
http://www.architonic.com/imgObj/wright_052003_2/ 117_sq_70.jpg
The a bo ve c hair also usestubular steel with ca ne fabric .
aga inst a wall. 1930s
The use o f ca ne a nd tubularsteel ma de this Mode l MR10c hair very pop ular.
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Researc h Wing
19th & 20th Century Furniture &
Vic torian Period Arc hitec ture
ree ev va n mer c a
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ree ev va n mer c a
http:// erasofelega nc e.com / arts/ architecture/ shad ow law n.jpg
Shad owlawn, Columb us,
https://reader009.{domain}/reader009/html5/0513/5af7e42a10d60/5af7e47f97fbd.jpg
Rosehill. Geneva, NewYork. 1850.
. . .
https://reader009.{domain}/reader009/html5/0513/5af7e42a10d60/5af7e47fbacbb.jpg
Dunleith PlantationNatchez, MissouriEarly 1900s
Vic torian Period Furiture
ree ev va n mer c a
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ree ev va n mer c a
http://antiquariantraders.com/articles/greek1.jpg
1840
p: www. c .c o.u r s o c onent/images/2008/04/28/470cabinet_350x470.jpg
1850-1875
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http://www.greatbuildings.com/cg i-bin/gbi.cgi/Bloemenwerf_House.html/c id_1178879404_img 100.html
http://www.greatbuildings.com/cgi-b in/ gb i.c g i/First_Churc h_of_Christ.htm l/c id 2522887.html
1895-1896Henry Van de Velde
Uccle, Belgium
http://www.greatbuildings.com/cgi-bin/ gb i.cg i/Glasgo w_Sc hoo l_of_Art.html/ c id_1801690.htm l
1897-1909
_
1910Bernard Ma ybec k.Berkley, CA
Cha rles Renee
MackintoshGlasgow Sc hoo l
Glasgow,Sc otland
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http://www.greatbuildings.com/cgi-b in/ gb i.c g i/First_Churc h_of_Christ.html/ c id_2522887.htm l
http:// ww w.grea tbuildings.c om/ cg i-b in/ gb i.c g i/First_Churc h_of_Christ.htm l/c id_2522887.html
`p: www. un ng on.org r
tDiv/images/Ashbee.jpg
1895
Charles AshbeeChair
1898-1899
Charles AshbeeCabinet
1904
Charles AshbeePiano
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http://www.greatbuildings.com/buildings/Casa_Mila.html
p: www.grea u ngs.c omcgi-bin/gbi.cgi/Behrens_House.html/cid_3157165.html
1901
1905-1910
p: www.grea u ngs.c om c g -bin/gbi.cgi/Hotel_Guimard.html/cid_1153953180_F1000036a.html
1912e er e rens.
Behrens House.Germany
asa a.
Antoni Ga udi.Barc elona , Spa in
o e u mar .
Hec tor Guima rd .Paris, France
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http://www.kansaiscene.com/2007_06/images/art_suntory.jpg
http://accel10.mettre-put-idata.over-blog.com/0/09/10/39/art/arts-deco/gueridon-nenuphar.JPG
http://www.metmuseum.org/toah/images/h2/h2_26.228.5.jpg
1902
Louis Ma jorelle ta b le
1899
Edward Colonna
1900
Louis Ma jorelle
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http://www.greatbuildings.com/cgi-bin/gbi.cgi/Golden_Gate_Bridge.html/cid_golden_gate_002.html
http://www.greatbuildings.com/cgi-bin/gbi.cgi/Chrysler_Building.html/cid_2159832.html
p: www.grea u ngs.c om c g -b in/g b i.c g i/Emp ire_Sta te_Build ing.html/ c id_2163539.htm l
1928-1930
William Van Alen.Chrysler Build ing .
1931
Shrive , Lamb &Harmon
1933-1937
Joseph B. SraussSan Franc isc o, CA
,Build ingNew York, NY
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http://www.moma.org/images/collec tion/ FullSizes/ 07343007.jpg
http://www.roomboxes.com/images/frankl_tower_complete.jpg
http://www.tribu-design.com/collections/photos/deskey2.jpg
1922.
Eileen Gray.Black
1926
Skysc raper bookc ase.Paul Frankl
1932
Tab le en b ois etmtal chrom.
screen
Dona ld Deskey
Modern/ Interna tiona l Style
rc ec ure
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rc ec ure
http://www.greatbuildings.com/cgi-bin/gbi.cgi/Centre_Le_Corbusier.html/cid
_2438613.html
p : www.sync son c s.c om og wp -content/uploads/2007/01/philips260.jpg
-Le Corbusier.Zurich, Switzerland
Le Corbusier.Brussels
Le Corbusier.France
o ern n us r a y e urn ure
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o ern n us r a y e urn ure
1927
Lily Reic h & Lud wig
1928
Le Corbusier.
1931
Lily Reich.Mies van der Rohe.
Side c ha ir
Cha ise Lounge Garden Tab le
Question 1 Did the evo lution in furniture styles ha ppen at the
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Question 1. Did the evo lution in furniture styles ha ppen a t thesame time as the correspond ing c hange in a rc hitec tura l style? Ifyes, w a ac ors c ou ave ma e s poss e no, g verea sons for the time lag between the d evelop ment o fa rc hitec ture a nd furniture.
From the researc h tha t I d id this week, it a c tua lly seems tha t thefurniture c omes before the a rc hitec ture o f a p eriod . I think thereare a coup le of reasons tha t this ha ppens. First, furniture is muc hea sier to prod uce and much more cost effec tive. If an a rc hitec t
, ,b it of cost was involved and wasted . If an a rchitec t build a c ha irtha t was not right, it c an be rec yc led by using its pa rts or simp lysc rapped . Another rea son that I think furniture c ame before thearc hitec ture b ec ause it is much more mob ilized . With trad inand traveling, furniture c an be sp rea d quic kly to many peop le,
espec ia lly when ma ss p rod uc tion c ame along. Then architec tsget the ir insp ira tion from this new furniture style.
Question 2 Does this ana lysis lead you to a
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Question 2. Does this ana lysis lead you to as or c a eory ease supp or your answers
with a c lea r exposition of your point of view,c iting p roperly a ll sourc es and referenc ematerial.
I think tha t histo ry does evolve as new
c reate furniture. I see tha t eac h periodseems to build from a p revious period while
.
pa rt, I think tha t a ll the styles flow from oneto the next.
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Works Cited
Le Corbusier:
http://www.time.com/time/time100/artists/profile/lecorbusier.html
Pina , Leslie. Histo ry of Furniture, 3000 B.C- 2000 A.D. New Jersey. Prentic e Hall. 2003
Lily Reich:www.lily-reich.com
http://www.barcelonachair.com/Lily.php
Research Wing:
. .
http://www.shadowlawncolumbus.com/history.php
http :// ww w.ge neva historica lsoc iety.com / Rose_Hill.htmhttp://guide2antiques.wordpress.com/2008/06/28/the-american-victorian-period-
1820-1900/
www.grea u ngs.c om
http://www.tribu-design.co m/ c ollec tions/ a lpha.php?ac =f&p ic t=5&lg=fr&st=286&pc=c
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JasmyneGoodmanLeamerID210UB
VIRTUALMUSEUM
FA108
PARTV
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19071978
Born
in
St.
Louis,
Missouri
in
1907.
Hestudiedarchitectureat
19121988
Born
in
Sacramento,
California
in
1912.as ng on n vers y.
EamesfirstmarriedCatherineDeweyWoermanninthe1920s,butdivorcedherin1941tomarryRay
RayEamesattendedmanydifferentschools,betteringhereducationandcraft. SomeoftheseschoolsincludeMayFriendBennettSchooltheArt
. CharlesEameswasagreatarchitect
anddesignerinthe20th century,receivingtheKaufmann
School.
RayEameshaddesignsfeaturedonthecoverofArt&Architecture
,AmericanInstituteofArchitects
Awardin1977. Evenafterhedied,hereceivedtheQueensGoldMedalforArchitecturein1 .
.
RayandCharlesEamesopeneduptheOfficeofCharlesandRayEamesin1941andthecouplewasoneof
teaminhistory.
Eames
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http://www.loc.gov/exhibits/ehttp://www.designmuseum.org/__entry/4193?style=design_image_popup
http://www.moma.org/images/collection/FullSizes/07523002.jpg
LaChaise. 1948. Composedofrubberfoam,plastic,metallegsandwoodbase.
.
TheabovechairsweredesignedbyCharlesandRayEamesin194546. Composedofbentplywood.
WireChair(Right).CreatedbyAluminumChair.
RayEamesin1951. Black
nylonfeet.
CharlesandRayEamesin1958.Thealuminumoffersalightweightyet
http://www.iconicinteriors.co.uk/images/eamesloungechair.jpg
http://www.nova68.com/Mercha
nt2/graphics/00000001/eamesDKR2.jpg
http://www.bonluxat.com/cmsense/data/uploads/orig/Charles_&_Ray_Eames_Aluminium_Group
_EA_105__EA_108_jex.jpg
sturdydesign. Theaboveloungechairismadeofleather,woodandwasreleasedin1956. IthasactuallyappearedontelevisionintheshowFrasier.
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BorninKuortane Finlandin18 8.
Aalto,unlikemanyofhismoderncontemporaries,believedthatwoodwaspreferabletometalbecauseofitswarmth.Bentplywoodwashisdesignofchoice.
a togra uate rom e s n nst tuteo Technologyin1921afterservinginthemilitary.
Heopenedhisownarchitecturalfirmin1923andthenmarriedAinoMariso,afellow
arc itect. AaltoanddesignerOttoKorhonen
patentedthedesignoflaminatedplywoodandeventuallymassproducedhisdesignsalon withcreatin stackablefurniture.
LikeCharlesandRayEames,AaltoandMarisosetupahusbandandwifeteamandwereverysuccessful.
http://architecture.myninjaplease.com/wpcontent/uploads/2008/02/alvar_aalto.jpg
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http://www.arcspace.com/books/Bent_Ply/8.BentPly.jpg
http://www.designtechnology.org/no31.jpg
Abovechairislaminatedplywoodwithaveneerfinish.Thecantileverarmsandbasearereflectiveofthemoderndesign. http://www.bonluxat.com/cmsense/
data/uploads/orig/Alvar_Aalto_Child
a m o
c a r.
1931.
omp ete y
orme
ofbentplywood. rens_Stool_NE60_pw9.jpgStoolbyAalto.19301933.Thisisa
greatexampleofAaltosstackablefurniture. Bentplywoodandcirculartop.
Aaltossofa. Usingbentplywoodwhileadding
oamasacushioncreates beautifuland
functionalseating.
Aaltoschaise(right)wascreatedbetween19361939.
Bentwoodwithlatticefabric.
http://cn1.kaboodle.com/hi/img/2/0/0/7/1/AAAAAjf
WawoAAAAAAAcWbA.jpg
http://images.artnet.com/artwork_images_424513210_309089_alvaraalto.jpg
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oyout n e ementso urn turesty eso t e
postwar
traditions
of
Scandinavia,
America,
and
sothatthisnewpieceappearstobearesultof
crossculturalin luences?"
Yes,IthinkthatallofthedesignsIhaveresearchedinthepostwardesignscarrycommon
themesanddesignstyles. Theuseofbright
color,steel,bentwoodandsimplisticdesigncaneseen nmosto t e es gns averev ewe .
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Pina,Leslie. FurnitureinHistory,3000A.D 2000B C New Jersey Prentice Hall 2003
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B.C. NewJersey. PrenticeHall. 2003.
http://www.bonluxat.com/cmsense/data/uploads/orig/Charles_&_Ray_Eames_Aluminium_Group_EA_10
5__EA_108_jex.jpg.http://www.designmuseum.org/__entry/4193?style=design_image_popup.
http://www.arcspace.com/books/Bent_Ply/bent_ply
_ oo . tm .< ovem er 200 .>http://www.designtechnology.org/alvar1.htm.
ttp://www. on uxat.com/a/A var_Aa to_C i rens_Stool_NE60.html.
http://www.artnet.com/artwork/425122840/424513210/alvaraaltoaaltoloungechairno43forartek.html.
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-
ID210 UD
FA08-1
VIRTUAL MUSEUM PART VI
-
Peter Eisenman was born in Newark, NJ in 1932.
Ei tt d d C ll U i it d i d
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Eisenman attended Cornell Universit and receivedhis BA of Architecture. There, he studied under ColinRowe who was a theorist and critic.
Eisenman rounded out his education in England atCambridge University where he received hisMasters degree in Architecture in 1962 and his
. . .
Moving back to the United States in 1963, Eisenmanwas an assistant professor at Princeton University.From there, he really began to make his mark onArchitecture and design as we know it today.
In 1967, he was a founding member of CASE
Environment).
By the 1970s, he was a strong figure in the world ofarchitecture and education. He then createdcardboard architecture. These homes were basedon form, which was an important factor to Eisenman.
http://funfarchitekten.files.wordpress.
com/2008/03/eisenman_popup.jpg
-like.
There is much information about Eisenman that I
was able to find, so I could write on and on. I thinkhe is a visionary in the fact that his mind is bothanalytical and creative It is not often that we seesuc use o o s es o e spec rum.
Chair #1 shows theessence ofdeconsrtuctivism, which
This proposed Moebius buildingwas designed by Eisenman. Ifind it intriguing the articulate
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Eisenman was know for ingeometric forms that are used in his theories, teachingsand designs. I am notquite sure what his chair iscomposed of, possiblyplywood or cardboard.
geometric forms that are used inconjunction with each othercreate a structure that seems tolack form altogether.
http://a2-2a.blogspot.com/2008/07/furniture-m-
furniture.html
http://www.cs.berkeley.edu
/~sequin/eis.gif
Th b l i fhe below is a scene ofEisenmans Holocaust memorialin Berlin. The different sizedconcrete cubes truly evoke asomber emotion. http://www.britannica.com/blogs/wp-
The below structure looks almostunfinished, as much of the work ofthe deconstructive period.
.
Once again, the truly uniqueness of thismakes it utterly fascinating. It almost lookslike the metal has blown in the wind andstayed that way.
http://z.about.com/d/architecture/1/7
/r/j/berlinmemorial.jpg http://www.christianhubert.com/writings/ruins_of_representation4.jpeg
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-
Richard Hutton was born in
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n wo er erspe ,Netherlands.
Hutten attended the Academy of,1991.
In 1993, Hutten started workingat Droog Design.
Hutten likes minimal designwith a bit of humor involved.
Besides furniture andouse o tems, utten as
worked on interior exhibits andcreated childrens furniture aswell.
http://www.bijzondermooi.nl/shop/im
ages/M/richard-hutten_D.jpg
It is easy to seeHuttons light-hearteddesign in this Bronto
This pendant is created of laser cutpowdered steel. It reminds me art deco.Thats the great thing about the 21st
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childrens chair. It is century designs is that it is a way to puthildren s chair. It ismade of multi-rotatedhard and soft PU.
century designs is that it is a way to putnew spins on previous designs, not onlywith 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 showHuttens like for minimalisticdesigns It reminds me of early
http://www.bonluxat.com/a/Richar
d_Hutten_Dandelion.html
designs. It reminds me of earlymodern design. Upholstered withfabric or leather with a chromeplated steel base. http://www.spoon-tamago.com/wp-
content/uploads/2007/12/richard-
hutten thin 3.
The below desk was design that wasexhibited at Galleria Facsimile. Veryinnovative use of material.
_ .
Hutten designed the abovepiece for children. It looks tobe a modern tete-a-tetes, likewe saw in the VictorianRevival.
http://www.bonluxat.com/a/richard-
hutten-boris-armchair-and-ottoman.html
Revival.
http://www.dezona.com/news_images/IMG-1788.jp
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Peter Eisenman
htt // /t i / t i 12 N b
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http://www.answers.com/topic/peter-eisenman. 12 November2008.
http://www.britannica.com/blogs/?s=eerily. 12 November 2008. p: www.c r s an u er .com wr n s ru ns_o _represen a on.
ml. 12 November 2008.
Richard Hutten
. . - . .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.
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RESEARCH WING
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My client Eric is fresh to the events industry and is a real up-and-comer. He is designing an area ofhis 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 andinteresting forms and edges. The chair, loveseat and side table all use tubular steel which ties theroom to ether. Finall I finished the room b addin a bold ru that combines the colors seen in thefurniture and adds a splash of Erics personality, which is bold yet fun.
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My second client, Edward is in the software industry and likes traditional stylefurniture in his meticulously clean home. I thought that an Arts & Crafts/ Missionstyle living room would suit him best. Edward has no children, so having a lightleather sofa will be no issue and brightens up the space with the dark mahoganywood. Since he is an avid reader, I included a Mission style lamp.
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