ID210 W6A1 Students

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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=&currentPage =

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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____________________________________________________________________________________________________________


Student Name: Maria Lundberg


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.htm


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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.htm


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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



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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



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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=11


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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.jpg


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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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Student Name: Jasmyne Goodman


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.

Documents

ID210 W6A1 Students