assignment 8 History of design VI
Art Nouveau
Art DecĂł
Modernism
Fig. 1 Antoni Rigalt, (1908), Stained glass ceiling of Palau de la
MĂşsica Catalana by Antoni Rigalt (1905- 1908) [stained glass]. 1
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index •
Art Nouveau………………………………………………3
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Art Decó…………………………………………………13
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Hollywood Regency…………………………………….18
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Modernism ….…………………………………..………19
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References……………………………………………….35
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art nouveau
Fig. 4 Alexander
Schรถnauer, (1902), Fish knife and fork,[Photograph]
Fig. 3 IpBri (flickr user), (2011), 29 Avenue Rapp, Paris [Photograph].
Fig. 2 Vogue Magazine, (1914), Vogue cover April 1914 [Photograph].
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Fig. 5 unknown exposition universelle 1900, (2012), [Photograph].
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Belle Époque is called the long time of peace in Europe since the end of the French Prussian War, 1871 and the beginning of the First World War, 1914. In the midst of the Second Industrial Revolution, France begins its Third Republic and Great Britain is the dominant empire. In Spain, Elizabeth II, since her exile, abdicated in her son Alfonso XII. Since 1886, her beloved son Alfonso XIII, is king, under the regency of her mother Maria Cristina. Forty years of peace favoured unprecedented economic and technological progress. Progress that each country strives to show in the successive Universal Exhibitions. Throughout Europe, imperialism is considered an acceptable state policy. Its colonies are the supplier of the raw material and the new market for the growing industry. In the big capitals and fashionable seaside resorts, spaces of leisure and hospitality multiply. The style chosen for facades and interiors is eclecticism. Factories are built in the vicinity and working-class neighbourhoods grow around them. The poor living conditions of the workers will lead to multiple revolts, including some revolution in the European capitals. The new houses are equipped with porcelain toilets, bathrooms with stoneware walls and floors. Economic stoves and coal boilers provide hot water and heating. Artificial lighting installations, first by gas and then by electricity, will turn the lives of citizens around by encouraging literacy and study for those who, after a day's work, can read at night. The architecture and design of the 19th century moved within the contradiction: everyone felt the need to find their own specific architectural language according to their time. Advances in construction engineering were observed with suspicion, it was not regarded as a true architecture, and architects resorted to the different styles of the past, and neorenaissance and, above all, neo-gothic buildings were constructed everywhere, without anyone seeming to be able to find a way out of this situation of exhaustion. Thus, while historical styles continue to be repeated throughout Europe, a controversial iron construction is going to become one of the symbols of modernity. Built by AlexandreGustav Eiffel for the 1889 Universal Exhibition, it became the spearhead for the strong avant-garde currents that would transform the world. (Belle Epoque, Wikipedia Contributors, 2019) Maria del Carmen Corral Lodeiro, 72546664
A MODERN ART FOR A MODERN WORLD.
Guy de Maupassant wrote this on “The wandering life” in 1899:
“But I wonder what will be concluded of our generation if some future riot does not topple this tall, skinny pyramid of iron ladders, this ungainly, giant skeleton whose base appears designed to carry a formidable monument of the Cyclops and which aborts in a ridiculous, thin profile of a factory chimney.” After vilifying the tower in his writings and bitter statements and to the astonishment of his friends, de Maupassant began to go every day to lunch at the restaurant Eiffel Tower. "Why do you do it, Guy? - asked his friends. You, who hate the tower with all your heart. And he replied sharply: "Well... this is the only place in Paris where you can't see the Eiffel Tower. (Toluna, 2013)
Fig. 5 Hans-Jürgen Sommer, (2012), Eiffel Tower [Photograph]. 4
In this context, the emergence of
Art Nouveau must be placed as an
attempt to find a modern style, suitable at a time that was waiting for the new century with enthusiasm, that was completely detached from the past and based on the use of new materials. A style that was not only international (throughout Europe movements with a very similar name arose: Modernism in Spain, Art Nouveau in France, Modern Style in Great Britain, Jugendstil in Germany, Sezessionsstil in Austria ...), but it caught on strongly in all areas of art and design to create an authentic decorative environment, controlled by the architect, capable of applying to all aspects of urban life: from houses to subway stations, from furniture to interior decoration, including the dresses of their owners. Art was influenced by this new air of optimism, which will provoke the reaction of artists to nineteenth-century conventions, a rejection of academicism and a desire to break with established canons. In this way, new movements and the first artistic avant-garde were born, such as expressionism, Fauvism, modernism and futurism. (Art Nouveau, Wikipedia Contributors, 2019)
Fig. 10 Marcellin Auzolle, (1895), The world's first movie poster, for the comedy L'Arroseur ArrosĂŠ, 1895 [Photograph].
Fig. 9 Koloman Moser, (1902), Watercolour and ink painting of Loie Fuller Dancing, [Photograph].
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Fig. 7 Elisabeth Sonrel, (1900), Illustration de Elisabeth Sonrel [Photograph].
Fig. 6 Henri de Toulouse Lautrec, (1893), Jane Avril, Jardin de Paris [Photograph].
Fig. 8 Alfons Mucha, (1897), F.
Champenois Imprimeur-Éditeur [Photograph]. 5
“The term art nouveau first appeared in the 1880s in the Belgian journal L’Art Moderne to describe the work of Les Vingt”, (Lingelheim, 2014) twenty painters and sculptors seeking reform through art. Les Vingt, like much of the artistic community throughout Europe and America, responded to leading nineteenthcentury theoreticians such as French Gothic Revival architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900), who advocated the unity of all the arts, arguing against segregation between the fine arts of painting and sculpture and the so-called lesser decorative arts. (Art Nouveau in Brussels, Wikipedia contributors, 2019) Deeply influenced by the socially aware teachings of William Morris and the Arts and Crafts movement, Art Nouveau designers endeavored to achieve the synthesis of art and craft, and further, the creation of the spiritually uplifting Gesamtkunstwerk (“total work of art”) encompassing a variety of media. (Gesamkunstwerk, Wikipedia contributors, 2019
Fig. 13 Victor Horta, (1894), Hotel Tassel, front view. [Photograph].
Painting styles such as Post-Impressionism and Symbolism shared close ties with Art Nouveau, and each was practiced by designers who adapted them for the applied arts, architecture, interior designs, furnishings, and patterns. They contributed to an overall expressiveness and the formation of a cohesive style. Fig. 12 Fig. 13 Victor Horta, (1894), Hotel Tassel, staircase drawings. [Photograph]. Victor Horta, (1894), Hotel Tassel, front view. [Photograph].
Tassel hotel
Fig. 11 Victor Horta, (1894), Hotel Tassel [plan]. Maria del Carmen Corral Lodeiro, 72546664
The ,, built The built inin Brussels Brussels inin 1893, 1893, isis considered considered the the Art Art Nouveau Nouveau manifesto. manifesto. ItIt isis the the work work ofof Víctor Víctor Horta, Horta, an an architect architect with with an an interior interior designer's designer's soul soul that that seeks seeks harmony harmony between between inside inside and and outside. outside. The The use use ofof iron iron as as aa structural structural and and decorative decorative element element allows allows the the creation creation ofof aa functional functional and and free free distribution. distribution. The The glass glass cover cover illuminates illuminates aa selected selected range range ofof colors. colors. He He isis also also the the author author ofof the the House House ofof the the 6 People People inin 1895, 1895, home home ofof the the first first labor labor union. union.
ART NOUVEAU CHARACTERISTICS “A rejection of Victorian styles and of historical imitation in revivals or through eclectic combinations of precedents. A willingness to take advantage of modern materials (iron and glass) and modern techniques (industrial production), and such innovations as electric lighting. A close relationship with the fine arts, incorporating painting, basrelief, and sculpture into architecture and interior design. The use of decorative ornamentation based on natural forms – flowers, vines, shells, bird feathers, insect wings – and abstract forms derived from these sources. Curvilinear forms as dominant themes … S-curves or ‘whiplash’ curves usually regarded as the most visible Art Nouveau motif.”
(Pile & Gura, 2013, p287)
Fig. 14 Louis Majorelle, (1897), Wall Cabinet - [Photograph].
Fig. 17 William Morris, (1883), Printed
Fig. 18 Jacques Gruber, (1904), Stained glass window Veranda de la
textile design [Photograph].
Salle [Photograph].
The stylized features of Japanese prints appeared in Art Nouveau graphics, porcelain, jewellery, and furniture.
Fig. 16 Kunisada Yoshiwara, (1819), The Hours of the Yoshiwara, c.?1818 [illustration].
Fig. 15 René Biné(1900), The main entrance of the Exposition Universal in 1900 in Paris,[Illustration]].
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The Paris 1900 Exposition universelle marked the high point of Art Nouveau. Between April and November 1900, it attracted nearly fifty million visitors from around the world, and showcased the architecture, design, glassware, furniture and decorative objects of the style.
Fig. 19 Lalique, (1897), Dragonfly Lady brooch by René Lalique, made of gold, enamel, chrysoprase, moonstone, and diamonds [Photograph]. 7
Fig. 20 Musée de l ́ École de Nancy, (2019), Manufacture Daum, coupe l’hiver [Photograph].
Fig. 21 Musée de l ́ École de Nancy, (2019), Eugène Vallin, Victor Prouvé et Manufacture Daum, salle à manger Masson [Photograph].
Fig. 22 Hector Guimard, (1896), Paris Metro [Photograph]. Fig. 23 Pinterest/ Sigfried Samuel Bing, (1895), L ́Art Nouveau [Photograph].
Fig. 24 Sotheby ́s /Hector Guimard, (2018), Side chair [Photograph]. A Fig. 25 Emile Gallé/TasArt, (2016), Emile Gallé crystal piece [Photograph].
Fig. 26 Gustave Serrurier-Bovy, (1899), Bed and mirror by Gustave Serrurier-Bovy (1898–99), now in the Musée d'Orsay, Paris [Photograph].
Fig. 27 1stdibs/ Adolf Loos, (2018), Chair [Photograph]. Fig. 28 Otto Eckmann, (1897), Tapestry The Five Swans by Otto Eckmann (1896–97) [Photograph].
Fig. 29 Lois Comfort Tiffany, (1900), Lamp with Wisteria design by Louis Comfort Tiffany (1899-1900) [Photograph].
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Art Nouveau
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Fig. 32 Maurice Devignée, (1910), Hôtel Verlaine, 12 Rue Grandgagnage, Liège. [Photograph].
In Art Nouveau you can create all the elements of the environment, both interior and exterior. The organic contours of the exterior of the buildings were combined with equally beautiful interiors. Architects and designers created a work where each element shared the same visual grammar. Fig. 31 Julius Hoffmann Verlag, Tafel 67 1903 [Photograph].
Fig. 30 Julius Hoffmann Verlag, Tafel 19 1903 [Photograph]. 9
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Fig. 33 Sacavém factory (1910) Tile Art Nouveau ,[photograph] 1 Fig. 34 Sacavém factory (1910) Tile Art Nouveau ,[photograph] Fig. 35 Silver Studio and Leborgne, (1897), Textile design[ photograph] Fig. 36 Silver Studio and Leborgne, (1897), Textile design[ photograph] Fig. 37 Litografiska Museet, (1899), Mönsterblad Fig. 38 Minton Hollins et Co, (1910) Tile Art Nouveau [photograph] Fig. 39 Librairie Centrale des Beaux-Arts, (1896),Snow-Balls, La Plante et ses applications ornementales[ illustration]
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fig 43 gucci (2018) gucci bloom campaign [photograph] Gucci bloom campaign photo Fig. 41
Alfons Mucha (1898), Dance [Illustration].
design searches again in its origins and is inspired by the visual language of art nouveau.
Fig. 40 Antoana Petkova (2015), Florence & The Machine US tour 2015 [Photograph].
Fig. 42
Hayne Palmour IV/San Diego Union-Tribune(2015), Florence & The Machine US tour 2015 [Photograph]. 11
WAR Fig. 43 Mela Corral,2019 WAR[collage]
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ART
Fig. 44 La Casa de Pinturas, (2019), Estilo Art Deco [Photograph].
Fig. 45 La Casa de Pinturas, (2019), Estilo Art Deco [Photograph]. Maria del Carmen Corral Lodeiro, 72546664
DE CO Fig. 46 La Casa de Pinturas, (2019), Estilo Art Deco [Photograph]. 13
Fig. 47 Pinterest/William Van Allen, (1930), Chrysler Building [Photograph].
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Art Deco, also known as Deco, is a style of visual arts, architecture and design that first appeared in France just before the First World War. Art Deco influenced the design of buildings, furniture, jewellery, fashion, cars, cinemas, trains, ocean liners and everyday objects such as radios and vacuum cleaners. Its name, short for Arts Décoratifs, comes from the International Exhibition of Modern Decorative and Industrial Arts held in Paris in 1925. Modern styles with fine craftsmanship and rich materials were combinated. During its heyday, Art Deco represented luxury, glamour, exuberance and faith in social and technological progress, Often was described as a “pastiche of styles and an eclectic combination of influences, materials, and shapes,”(Martinique, 2016) In architecture, Art Deco was the successor, and in response to Art Nouveau, the American skyscrapers are still at the top of the Art Deco style, becoming the highest and most famous contemporary houses in the globe. They were designed to show the prestige of their owners by their height, form, hue and spectacular night lighting. The architectural style of art deco produced its debut in Paris in 1903-04, with the building of two apartment houses in Paris, one by Auguste Perret on rue Trétaigne and the other by rue Benjamin Franklin on avenue Henri Sauvage.For the first time, reinforced concrete was used in residential buildings in Paris; the new buildings had clean lines, rectangular shapes and no decoration on the facades; they marked a clear break with the Art Nouveau style. (Martinique, 2016)
Fig. 49
Fig. 48 Heinz Schulz-Neudamm, (1927), Metropolis Poster [Photograph].
Tamara de Lempicka, (1925), The Model [Painting]
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The grand showcases of Art deco interior design were the lobbies of government buildings, theaters, and particularly office buildings, both in Europe and America. Interiors were extremely colorful and dynamic, combining sculpture, murals, and ornate geometric design in marble, glass, ceramics and stainless steel. The Guardian Building (originally the Union Trust Building) in Detroit, by Wirt Rowland (1929), (See Fig 50. Wirt Rowland, 1929) “There are large, simulated skylights made of small glass tiles, prisms, and crinkled glass. Stained glass and mosaics decorate the walls surrounding the elevators. An expensive Monel nickel alloy metal screen features a Tiffany-designed clock in its center. The giant columns are formed of Italian travertine atop bases of black marble imported from Belgium. Blood-red Numidian marble from Africa was also used in the Guardian as well as limestone and terra cotta.�(Williams Electrical & Communications , 2019)
Fig. 54
Mark Peacock, (2010), Saban Theatre [Photograph].
Fig. 52
Don Saban, (2019), Warner Grand Thetre [Photograph].
Many of the best surviving examples of Art Deco are movie theaters built in the 1920s and 1930s.
Fig. 50 Wirt Rowland, (1929), The Guardian Building Lobby [Photograph].
Fig. 51 Mike Weaver, (2006), The Daily Express Lobby [Photograph]. Maria del Carmen Corral Lodeiro, 72546664
Fig. 53 Eve Bo, (2012), Saban Theatre (carpet) [Photograph]. 15
“One of the key sources of Art Deco was its precursor, Art Nouveau, the end-of-century style that went out of fashion in the years before the First World War (1914-18). Key elements of Art Nouveau's visual language, such as plant and floral forms, were borrowed and adapted to create an updated vision, The more linear and geometric variant of Art Nouveau directly fed Art Deco's search for "modern" forms and decorative motifs. Hofmann's two-handle bowl, a golden brass food bowl with elegant curved handles, inspired many silver designers of the 1920s. Meanwhile, the arts of Africa and East Asia provided rich sources of shapes and materials. Archaeological discoveries in the early 1920s fueled a romantic fascination with the beginnings of Africa and Mesoamerica. The excavation of Tutenkhamun's tomb in 1922 triggered a proliferation of Egyptian images such as lotus flowers, beetles, hieroglyphics, towers, and pyramids. Fig. 55 Gérard Sandoz/VAM, (1929),
Cigarette case,[ photograph]
Fig. 60 Lalique Glassworks /VAM, Spirit of the Wind [photograph]
As the 1920s progressed, many designers turned to the new visual language, color, and iconography of the avant-garde. Movements such as Fauvism, Cubism, Futurism, Stijl's, suprematism and Constructivism - often grouped under the label of "Cubism" - were enthusiastically absorbed by designers seeking to capture the dynamism of the modern world. British and American critics often used the terms `Moderne', `Jazz Moderne' or `Zigzag Moderne' to characterize this type of work. Geometric shapes made their way into all aspects of life, including small everyday objects such as vanity boxes, cigarette cases and crockery.
[illustration]
Fig. 57 josef Hoffmann(1925), Two Fig. 56 Harry George Murphy/VAM, (1933),
handled bowl,[photograph]
Tea service, Harry George Murphy, [photograph]
One of the most important moments for Art Deco (then known as "Modern Style") was the International Exhibition of Modern Decorative and Industrial Arts held in Paris in 1925 as mentioned in Wikipedia´s article about the event (Wikipedia Contributors 2019), which brought together thousands of designers from all over Europe and beyond, including Emile Jacques Ruhlmann and René Lalique. Both designers were known for their exquisite details and sense of quality. They became prominent promoters of the Art Deco movement, giving a modern twist to traditional craftsmanship. (An introduction to Art Deco, V&A Museum, 2019) Fig. 59 Gregory Brown (1922), Furnishing
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Fig. 58 Robert Bonfils/VAM, (1925), Woodblock poster, Robert Bonfils,
fabric, [fabric]
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Fig. 61 Wallpapercave, (2019), Art Deco Wallpapeer [Photograph]. Fig. 62 20decoarts.com, (2010), Nanna Ditzel- Trinidad Chair [Photograph]. Fig. 63 Sotheby ́s, (2019), ART DECO STYLE ARCHITECTURAL GRILLE [Photograph]. Fig. 64 Sotheby ́s, (2019), French Art Deco Screen [Photograph]. Fig. 65 1stdibs, (2019), French Art Deco Wall Sconces [Photograph]. Fig. 66 WallpapersForBeginners, (2019), 1930s Art Decò Wallpaper, [Photograph]. Fig. 67 1stdibs, (2019), 1930s Art Decò Wall tiles [Photograph]. Fig. 68 1stdibs, (2019), Léon Jallot, Early Art Deco side chair, France, c. 1922 [Photograph]. Fig. 69 Edgar Brandt, (1925), Edgar Brandt French Art Deco iron console [Photograph]. Fig. 70 1stdibs, (1930), 1930s French Art Deco Figural Clock [Photograph]. Fig. 71 1stdibs, (1930), Japanese Lacquered Art Deco Screen of Herons [Photograph].
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Fig. 72 1stdibs, (1930), exit sign
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Fig. 76
Fig. 75 Pinterest, (2019), Dorothy Draper/ The Greenbrier Hotel [Photograph].
Pinterest, (2019), Dorothy Draper/ Arrowhead Springs Hotel [Photograph].
Fig. 73
Fig. 75
Pinterest, (1933), Dorothy Draper [Photograph].
Pinterest, (2019), Dorothy Draper/ The Greenbrier Hotel [Photograph].
Fig. 74
Pinterest, (1932), marlene dietrich [Photograph].
hollywood regency
Dorothy Draper (November 22, 1889 – March 11, 1969) was an American interior decorator. Stylistically very anti-minimalist, she would use bright, exuberant colors and large prints that would encompass whole walls. She incorporated black and white tiles, rococo scrollwork, and baroque plasterwork, design elements now considered definitive of the Hollywood Regency style of interior decoration (Dorothy Draper, Wikipedia, Contributors, 2019). 18 Maria del Carmen Corral Lodeiro, 72546664
Fig. 77
Eileen Gray/Revista AD(2019), Madame Levy ´s apartment in Paris [Photograph].
as art Nouveau has found a revival in graphic and advertising design, Art Deco has revealed itself as a new trend in interior design. Fig. 78 Chester Terace /Books Teneus (2019),New Art Deco [Photograph].
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bauhaus: bauhaus: aa new new philosophy philosophy
Fig. 88 Fritz Koch/VAM, (1925), Typography of the Weimar and Dessau Bauhaus [Photograph].
Fig. 80 Raymond McGrath (1922)Fisher's Long Bar & Restaurant, [Print].
bauatelier gropius
Fig. 81 Austin Cooper/VAM, (1933), Exhibition of British Industrial Design in the Home [poster]
Fig. 79 Marcel Breuer (1925), Club chair model B3, armchair, [Photograph].
Fig. 82 Ludwig Mies Van der Rohe/Thonet (1927),MR20, armchair, [photograph]
The Bauhaus was founded by Walter Gropius in Weimar. The German term Bauhaus—literally "building house"—was understood as meaning "School of Building", but in spite of its name and the fact that its founder was an architect, the Bauhaus did not initially have an architecture department. Nonetheless, it was founded upon the idea of creating a Gesamtkunstwerk or “total work of art” (Wikipedia Contributors, 2019) (Note this idea has been floating around designers minds since Baroque) in which all the arts, including architecture, would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design, and architectural education. The Bauhaus movement had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. In the inter-war period, from 1919 to 1933, the school pioneered the merging of art, crafts and engineering applied to the areas of painting, sculpture, design, architecture, film, photography, textiles, ceramics, theatre and art installations. The Movement with three successive sites in Weimar, Dessau and Berlin, in ad hoc Bauhaus-style buildings, was born of the national designers' group Deutscher Werkbund and the more general German architectural modernism movement called Neues Bauen. In summary, this school embodied the new apolitical objectivity in vogue that rejected the expressionism that preceded it in German culture. (Bauhaus, Wikipedia contributors, 2019) 20 Maria del Carmen Corral Lodeiro, 72546664
Modernism has been the great contribution of the 20th century to the history of architecture. Developed mainly in Europe during the 1920s and 1930s, the "modern" concept of architecture and city has provoked changes as far-reaching as those caused by the Italian Renaissance. It was a term that encompassed a series of movements in art, architecture, design and literature that largely rejected earlier styles. The methodology flourished in Germany and Holland, as well as in Moscow, Paris, Prague and New York, and was prominent in the years between the world wars. At the heart of Modernism was the idea that the world had to be fundamentally rethought.The carnage of World War I and the Russian Revolution led to a generalized utopian fervor, a belief that the human condition could be healed by new approaches to art and design. Focusing on the most fundamental components of everyday life-housing and furnishings, household commodities and clothingarchitects and developers have set out to reinvent these types for a fresh millennium. Europe was ravaged by repressive political structures and blatant social inequalities. Addressing economic inequality has always been a key component of the modernist agenda, and many builders have dedicated their energy to accommodation. Affordable housing was one of the most pressing requirements of the inter-war period. In an effort to address the housing crisis, designers and architects such as Ludwig Mies van der Rohe, Erich Mendelsohn and Walter Gropius have created model residential projects. (What was Modernism?, V&A Museum, 2019) Maria del Carmen Corral Lodeiro, 72546664
the reinvention: modernism Fig. 85 GermĂĄn CuĂŠllar,
(2016), Flatiron Building, Manhattan (NY) [Photograph].
Fig. 84 Pinterest/Bruno Taut, (1914), The Glass Pavilion in Cologne by German architect Bruno Taut (1914) [Photograph].
The five Houses with Balcony Access were built as a collective planning project in the Bauhaus building d e p a r t m e n t spearheaded by Walter Gropius in 1927 and led by Hannes Meyer. Fig. 83 Bauhaus Dessau, (2019),Dessau-TĂśrten Housing Estate: Houses with Balcony Access [photograph]
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“In their drive to transform society, Modernist architects set out to industrialise the building process. New construction techniques and the use of materials such as steel, concrete and glass would reduce costs and allow for mass-production. Many artists and architects were intoxicated by the endless possibilities offered by science and technology. They envisaged a world entirely recreated in terms of the machine: everything from clothing to architecture, music to theatre. The house could be a 'machine for living in' and the task of art was 'not to adorn life but to organise it’. Henry Ford's assembly lines had inspired the notion that mechanisation would eliminate wasted time and effort, provide high productivity, and help solve the ills of contemporary society. Industry became not only a means to an end, but also an aesthetic. Machines and machine parts were seen as models of functional, unselfconscious design, of beauty without ornament. Rejection of ornament So what did Modernism look like? As a design principle Modernism promoted sleek, clean lines and eliminated decorative additions that were purely for the sake of embellishment. Out were the frilly fripperies of pre-war styles. This new world would take its cue from technology, factories, practicality and usefulness. Form would most certainly follow function.”(What was Modernism? V&A Museum, 2019)
Fig. 87 Norman Bell Geddes - Magic Motorways, published 1940, [scale model]
Fig. 86 Wikipedia, (2011), Drag Coefficient [Photograph].
Fig. 89 Pinterest (2019),Typography [Photograph].
"No ornament can any longer be made today by anyone who lives on our cultural level ... Freedom from ornament is a sign of spiritual strength” Alfred Loos lecture of “Ornament snd crime” 1910 at the Akademischer Verband für Literatur und Musik in Vienna.
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The radically new Modernist architecture led designers to re-consider virtually every aspect of the interior, from the arrangement of walls and furniture to the choice of lighting and tableware.
Fig. 91 Gottscho-Schleisner, Inc., (1939),Living room of the House of Glass, showing what future homes would look like. [photograph]
Fig. 90 VAM, (2005), Frankfurt Kitchen (detail),Frankfurt Kitchen
(detail), Margarete Schütte-Lihotzky, 1926 – 27, [photograph]
“In some instances, entire rooms were re-imagined. The kitchen, for example, became a laboratory for rational, well-thought-out use of space, a domestic workspace in which the housewife could cook, wash, iron and clean efficiently. In 1927, Austrian architect Margarete Schütte-Lihotzky (known as Grete) was helping to build housing projects as part of the Municipal Building Department in Frankfurt, Germany. The aim of the vast project was to standardise building elements and mechanise all construction. This applied not only to the exterior construction but to the interiors as well. An effective kitchen, for instance, would reflect an organised and rational domestic interior. Lihotzky's Frankfurt Kitchen was not the first ever fitted kitchen but it was the first to be made in mass quantities. It became the most successful and influential kitchen of the period.
While kitchen design was being streamlined, other household goods were scrutinised in an effort to modernise the home. Architect Bruno Taut urged householders to 'get rid of everything that is not essential for living'. Although not all wanted (or could afford) to follow this injunction, a new product market did evolve, reflecting Modernism's 'rational' vision of the home. These Modernist products were described as 'household equipment’." (Domestic life in a modern world, V&A Museum, 2019) Fig. 92 Isokon Furniture Company, (1939), Penguin Donkey, bookcase [photograph]
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After the horrors of the First World War, furniture designers of the 1920s embraced notions of pleasure, glamour, luxury and escapism. They explored sumptuous surfaces and exotic materials, producing bespoke one-offs for the wealthy few. Emile Jaques Ruhlmann was regarded as a master of high-end, handcrafted interiors, best known for his elegant lines and exotic wood veneers.
Fig. 95 Christian Barman, (1934), Electric fan heater, designed by Christian Barman, [photograph]
Fig. 96 Denham Maclaren, (1930) Armchair, Denham Maclaren [photograph]
Fig. 93 Emile Jacques Ruhlmann/VAM, (1923), Table,[photograph] Fig. 94 Shelley Potteries/VAM, (1930)Vogue, tea service, designed by
Eric Slater, manufactured by Shelley Potteries [photograph]
After the Wall Street Crash, the luxury interior market was hard hit. The demand for inexpensive consumer goods increased, accelerating a move away from handcraft practice towards a modern aesthetic compatible with new materials and industrial production. Denham Maclaren's striking zebra armchair straddled the change. Maclaren made innovative use of industrial glass and metal fittings, but the zebra skin upholstery retains an exotic, sumptuous touch, with the overall effect being playful, almost Surrealist. As the Second World War broke out, Art Deco furnishings fell out of favour and were replaced by the functional, unadorned aesthetic of Modernism (Art Deco in the home, V&A Museum, 2019). 24 Maria del Carmen Corral Lodeiro, 72546664
“The Rietveld Schröder House constitutes both inside and outside a radical break with all architecture before it. The two-story house is situated in Utrecht, at the end of a terrace, but it makes no attempt to relate to its neighbouring buildings
Gerrit errit Rietveld Schröder House, 1924
Fig. 98 Gerrit Rietveld, (1924), Schröder House [Photograph].
Fig. 99 Gerrit Rietveld, (1924), Schröder House Elevation [Photograph].
The Rietveld Schröder house is a break in both interior and exterior with all the previous architecture. Although it shares the fence with the last house of the neighborhood, it does not have any architectural relation with this one.
Fig. 97 Gerrit Thomas Rietveld, (1914), The Red Blue Chair [photograph]
Inside there is no static accumulation of rooms, but an open and dynamic area. The ground floor is the most traditional, distributed around a central staircase is the kitchen and three bedrooms. The living room is upstairs, declared a penthouse to meet the fire regulations of the planning authorities, in fact it is a large open area with the exception of a toilet and a separate bathroom. Rietveld wanted to leave the top level as it was. Mrs. Schröder, however, felt that it should be usable in any form, open or subdivided. This has been achieved with a system of sliding and rotating panels. Schröder used these panels to open up the second floor space to allow more open space for her and her 3 children, leaving the option of still closing or separating the rooms when desired. When fully divided, the upper floor consists of three bedrooms, a bathroom and a living room. Between this and the open space there are a variety of possible combinations. On the outside the surfaces are black and gray and the frames of the windows black, to this is added a series of linear elements with the primary colors. Like the Rietveld Red and Blue Chair, each component has its own shape, position and color.” (Rietveld Schröder House, Wikipedia Contributors, 2019) Maria del Carmen Corral Lodeiro, 72546664
Fig. 100 Gerrit Rietveld, (1924), Schröder House interior stairs [Photograph]. 25
frank lloyd wright
The dimension of the evolution of modern architecture cannot be understood without Wright. Unesco has just confirmed it by praising eight of its works as World Heritage. Wright changed the face of modern living forever (we have him to thank for inspirations such as open floor plans, carports, and air conditioning). During the course of his 70-year career, Wright designed more than 1,000 homes, offices, schools, and other structures across the United States and abroad, seeing more than half of them to completion. During the Great Depression, Wright realized the need for affordable housing and developed his own Usonian house design with the Herbert Jacobs House in Madison. The design of this project was based on rationalization and simplicity, demonstrating that a beautifully minimalist architecture could be affordable. Wright believed in the creation of environments that were functional and human, focused not only on the appearance of a building but on how it would connect and enrich the lives of those who inhabited it. In addition, in its essence, its organic design philosophy affirms that architecture has a relationship with its time and place.
Fallingwater
Houses like Fallingwater merge perfectly into their natural environment, taking inspiration from the environment and contributing to it. Frank Lloyd Wright's works show materials such as wood and stone in their authentic state, instead of misrepresenting them to make them something new, a trend that continues today. (Frank 26 Lloyd Wright Foundation, 2019)
in rural Pennsylvania is one of the most emblematic works of Frank Lloyd Wright's architecture. Designed for the Kaufmann family in 1935, Fallingwater blends perfectly with the green Pennsylvania forest and protrudes over an imposing waterfall. It reflects the natural pattern of the surrounding rocks with their stacked shape, constructed of concrete, glass and stone.
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Simon Garcia/ArqFoto.com, (2015), Fallingwater, Frank Lloyd Wright, [Photograph].
Fig. 102 Simon Garcia/ArqFoto.com, (2015), Fallingwater, Frank Lloyd Wright, Interior 1 [Photograph].
Fig. 103 Simon Garcia/ArqFoto.com, (2015), Fallingwater, Frank Lloyd Wright, Interior 2 (lectura) [Photograph].
Fig. 105 KR, (2013), Guggenheim museum, Frank Lloyd Wright [Photograph].
Fig. 104 Thomas Hawk, (2015), V.C. Morris Gift Shop. Frank Lloyd Wright [Photograph].
Fig. 106 Eric, (2019), Taliesin Studio, Frank Lloyd Wright [Photograph]. Maria del Carmen Corral Lodeiro, 72546664
frank lloyd wright
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"The rise of nationalism in the 1930s was reflected in the Fascist architecture of Italy, and Nazi architecture of Germany, based on classical styles and designed to express power and grandeur. The Nazi architecture, much of it designed by Albert Speer, was intended to awe the spectators by its huge scale. Adolf Hitler intended to turn Berlin into the capital of Europe, more grand than Rome or Paris. The Nazis closed the Bauhaus, and the most prominent modern architects soon departed for Britain or the United States. In Italy, Benito Mussolini wished to present himself as the heir to the glory and empire of ancient Rome. Mussolini's government was not as hostile to modernism as The Nazis; the spirit of Italian Rationalism of the 1920s continued, with the work of architect Giuseppe Terragni His Casa dl Fascio in Como, headquarters of the local Fascist party, was a perfectly modernist building, with geometric proportions (33.2 meters long by 16.6 meters high); a clean facade of marble, and a Renaissance-inspired interior courtyard" (Modern Architecture, Wikipedia Contributors, 2019.) Fig. 110 Nikolai Ladovsky, (1935), Lubyanka station, 1935 (rebuilt) [Photograph].
Fig. 108 Giuseppe Terragni, (1936), Casa del Fascio (House of Fascism) in Como, Italy [Photograph].
Fig. 107 Bundesarchiv, (1939), A model of Adolf Hitler's plan for Germania (Berlin) formulated under the direction of Albert Speer, looking north toward the Volkshalle at the top of the frame photograph]
Fig. 109 Paul Ludwig Troost, (1937), Führermuseum [Photograph].
führermuseum führermuseum
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WAR Fig. 111 mela corral (2019) war [digital collage]
Contrails from two B-17 Flying Fortress aircraft streak across the sky, A bombed out Le Havre in the winter of 1944 to 1945. 'No pasarån’. View Raising the flag on Iwo Jima. Adolf Hitler. Benito Mussolini.Japan Times. Frankfurt. Nuclear explosion. 29
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Between 1937 and 1941, following the rise Hitler and the Nazis in Germany, most of the leaders of the German Bauhaus movement found a new home in the United States, and played an important part in the development of American modern architecture. (Modern Architecture, Wikipedia Contributors, 2019)
Fig. 112 Ludwig Mies Van der Rohe/Victor Grigas, (2013), The Farnsworth House in Plano, Illinois (1945–51) [Photograph].
Fig. 113 Victor Grigas, (2013), The Farnsworth
House , interior(1945–51) [Photograph].
Fig. 114 Victor Grigas, (2013), The Farnsworth
House , interior(1945–51) [Photograph].
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Farnsworth House
ludwig mies van der rohe 30
Case Study Houses
The were experiments in American residential architecture sponsored by Arts & Architecture magazine, which commissioned the leading architects of the day, including Richard Neutra, Raphael Soriano, Craig Ellwood, Charles and Ray Eames, Pierre Koenig, Eero Saarinen, A. Quincy Jones, Edward Killingsworth and Ralph Rapson, to design and build low-cost and efficient model homes for the residential housing boom in the United States caused by the end of World War II and the return of millions of soldiers. (Case Study houses, Wikipedia Contributors, 2019)
Fig. 115 Ray & Charles Eames, (1950), Case Study houses No. 9 plan , elevation view and living room [Photograph].
Case Study House 9, Ray and charles eames 31
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“The years following World War II were characterized by enormous change on every level. The war ended, leaving a new worldwide generation of veterans with young families struggling to rebuild their lives. The pressing need for inexpensive housing and furnishings spurred a boom in design and production. A new optimism—filled with the promise of the future—prevailed. Commercial jet travel was introduced in 1957, and ease of travel in the jet age encouraged a growing fusion of cultural influences. In particular, a blurring of Eastern and Western aesthetics and technology represented an entirely new cultural fusion.” (Goss, J., 2000)
Fig. 117
Achille Castiglione, (1962), Arco. [Photograph].
“Part reaction against the conformism of the postwar era, part anticipation of the cultural excesses to come, the 1960s were a time for experimentation. Men took off their fedoras and ties, women trashed their bras. On television, Ward and June Cleaver's world of milk and cookies slowly morphed into that of The Brady Bunch— still wholesome, but with shorter skirts and more colorful furniture. In the real world, people enjoyed free(r) love, Pucci prints, lots of Canadian Club and cigarettes, and participating in the counterculture. The revolution had, indeed, begun”. (Treffinger, 2010) Fig. 119 Peter Ghyczy/VAM, (1968),Garden egg chair photograph]
Fig. 118 Verner Panton, (1970), Mira-Spectrum fabric [Photograph].
Fig. 121
Pinterest, (1954), Living room illustration [Photograph].
A typical example of wallpaper from the 1960s. The colours pea green and saffron stand out, as well as the psychedelic floral design, common at this time. Fig. 122 Pinterest, (2019), 60s wallpaper. [Photograph].
Fig. 120 Elle Magazine, (1963), French Elle 15th February 1963 [Photograph].
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Modern furniture designers were looking for new materials with which to build their pieces. Gone are the days of sculpted wood; a new era of steel, molded plywood and plastics had arrived. As a frame of reference, Charles and Ray Eames used molded wood in many of their famous designs. The theme of modern furniture was to find a balance between aesthetics and functionality, ultimately creating practical and accessible furniture that would appeal to our senses. Everything was new: shapes, textures, colours and ways of thinking about furniture. (Travis, n.d.)
Fig. 123
Frank Lloyd Wright/ Cassina, (2019), Allen Table 280cm, 1917 Frank Lloyd Wright [Photograph].
Fig. 126
Fig. 128
Alvar Aalto/Aram Design, (2019), A331 Beehive Pendant Lamp [Photograph]
Vitra, (1967), Vitra Panton classic chair [Photograph].
Fig. 125 Eero Saarinen/Knoll International, (2013), Saarinen Dining Table Oval 198cm [Photograph].
Fig. 124
Eileen Gray/ Aram, (2019), Lota, Eileen Gray 1927 [Photograph].
Fig. 127
Charles and Ray Eames, (1956), EAMESÂŽ LOUNGE AND OTTOMAN [Photograph].
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Fig. 129 National Trust/Patrick Gwynne, (1938), Dining Room at The Homewood, Surrey [Photograph].
Fig. 129 National Trust, Ernรถ Goldfinger, (1939) 2 willow road [Photograph].
Although people's taste for furniture changes and evolves over the years, modern furniture design concepts seem to stand the test of time. Many owners choose modern furniture for its practicality, durability, usefulness and portability. Today's furniture designers continue to develop the concepts and principles proposed by furniture designers of the last century.
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