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Hist Chapter 21 > Chapter 21 > Flashcards

Chapter 21 Flashcards

1
Q

Determinants of Twentieth-Century Design

A
  • The time between the wars was a time of great innovation in design in which modernism blossomed and matured.
  • Second World War brought shortage of materials, energy, and funds for design
  • Industrial Efficiency combined with sleek beauty was challenged by occasional forays into roughness and irrationality
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2
Q

Communications of Twentieth-Century Design

A
  • Skill to communicate design ideas spread to many locations and mediums
  • The growth of design Media
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3
Q

Technology of Twentieth-Century Design

A

-Technological improvements in lighting, heating and acoustics culminated at the end of the century with yet another innovation, the computer, which affected not only many activities accomodated by Interior Design, but also the process of design itself

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4
Q

Elsie de Wolfe (Forerunners)

A
  • First professional designer
  • “Simplicity, Suitability, and Proportion”
  • She was an eclectic
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5
Q

Eclectic

A

choose freely among elements of different styles

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6
Q

Edwin Lutyens (Forerunners)

A
  • Dominant English architecture and designer for the first four decades of the twentieth century
  • Worked first with Arts and Crafts manner
  • Later moved to classicism and formal symmetry
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7
Q

Frank Lloyd Wright (Pioneers)

A
  • Prairie Style
  • Long and low like the Midwestern prairies
  • Open plan - spaces flow continuously un impended by doorway, from entry to living room to dining room, modulated only by asymmetrical placed semitransparent wood screens
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8
Q

Peter Behrens (Pioneers)

A

-Simplification, moving from a classical vocabulary to a modern vocabulary that yet retained a classical basis

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9
Q

Josef Hoffmann (Pioneers)

A
  • Geometric development of the lyrical Art Nouveau movement

- Inspired by Roman design

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10
Q

Walter Gropius (Bauhaus)

A
  • Creation of complete enviroment “by all and for all”
  • Designed two early monuments of modern design
  • Although bauhaus was the machine aesthetic
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11
Q

Marcel Breuer (Bauhaus)

A
  • Furniture designer

- Tubular steel

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12
Q

Ludwig Mies van der Rohe (Bauhaus)

A
  • German Pavilion 1929 landmark of modern architecture
  • Barcelona Pavillion
  • Used Wrights open space plan
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13
Q

Purism and De Stijl

A
  • Purists called for geometry, simplicity, and purity of form in both painting and architecture, and advocated the use of mathematical proportioning system
  • Golden Section - rato 1 to 1.618
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14
Q

De Stijl

A

a movement in both art and architecture working with elementary forms, straight lines, and primary colors

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15
Q

Le Corbusier

A

-Flat-roofed, cubistic, and startlingly white
-Five-points of New Architecture
• Columns for raising a building
• Roof garden
• Free plan
• Horizontal band of windows
• Free facade

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16
Q

Gerrit Rietveld

A
  • White and gray planes with touches of primary colors and black
  • Elementary vocabulary of forms and colors serves an equally striking functional program
  • Single floor can become as much as six different room s through the use of sliding and folding walls
  • ” it can be open, partly opened or completely compartmentalized
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17
Q

Art Deco

A

avoided the sinuous curves; Plant forms were basis for decoration but interpreted more geometrically and with strong colors
- Exotic materials and techniques

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18
Q

Jacques-Emile Ruhlmann

A

Finest furniture designer of his time

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19
Q

Jean-Michael Frank

A
  • Rarefied and subtle take on Art Deco
  • Used pale colors
  • Walls lined with parchment or rare woods
  • Details emphasized in alabaster, rock crystal, or ivory
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20
Q

Italian Rationalism

A
  • Development of contemporary with Art Deco
  • Manifesto proclaiming a need for rational building types, denounced individualism, and sympathized with new political era of fascism
  • Proposed a sensible, simple, direct expression of function and construction
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21
Q

Scandinavian Modern ( Warm Modernism)

A
  • Transitional between traditional and modern styles

* Experimented with fibre art including materials not commonly associated with textiles , such as film, wire, and paper

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22
Q

Alvar Alto

A
  • Completely designed everything in a project building hardware, furniture etc.
  • Potent symbol of healthy world through technology
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23
Q

Richard Neutra (Modernism in America)

A

“Health House”

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24
Q

Louis Kahn (Modernism in America)

A
  • Space, Structure, and Form
  • Serve and Servant Spaces
  • “What a material want to be”
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25
Q

Minimalism

A

” less is more” take on minimalism

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26
Q

Brutalism (Reactions Against Modernism)

A
  • ” raw concrete”
  • Curve , tilted and uneven forms seemed casually assembled
  • Dratize the building equipment as well as electrical conduit
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27
Q

Robert Venturi and Denise Scott Brown (Reactions Against Modernism)

A

Messy vitality

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28
Q

Postmodernism

A

blend of modern and classical fragments

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29
Q

Pop (Supermanism)

A

free of historical allusions

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30
Q

Frank Gehry

A

Frank Gehry was: anti-Mies, anti Modern and antine

•Unconventional treatment of conventional materials

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31
Q

Tadao Ando

A
  • Modernist and minimalist

* Combination of gravity and polish of concrete in minimalist ways

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32
Q

Norman Foster

A
  • Modernist of the modern

* Introduced new levels of variety and lyricis

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33
Q

Eclectism

A

design approach that selects and combines desired elements from a variety of sources; combinations without postmodernism sardonic and disrespectful attitude toward the past

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34
Q

Frances Elkins

A

Mixed of classical elements and time period furniture

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35
Q

Dorothy Draper

A

Bold and overscaled design

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36
Q

Chintz

A

design detail ; cotton fabric with floral pattern

  • Baroque with a touch of surrealism
  • Chintz
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37
Q

William Pahlman

A

•Highly modern with Peruvian imports, such as handcrafted fabrics and Inca artifacts

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38
Q

John Dickinson

A
  • Idiosyncratic

* Achieved coherence through limited color(typically neutrals)

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39
Q

Albert Hadley

A

Unexpected combinations, bold colors, modern art and Neoclassical French chairs

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40
Q

Andree Putman

A
  • Mixed new and old elements

* “boutique style”

41
Q

Charles Pfister

A

•Simplified modern vocabulary , but eclectic in willingness to introduce elements from many different times and places

42
Q

Books (Design Media)

A
  • Primary way to distribute designs

* Examples: The decoration of House, The House in Good Taste

43
Q

Magazines and Other Media

A
  • Dominating source to distribute new ideas in design
  • Examples : Interiors, Interior Design, Architectural Digest, Dwell
  • Interior Design is chiefly a visual art, and made its strongest impression on the screen , at first on the movie screen , then television and finely computer screen
44
Q

Stores

A

generally very successful

45
Q

Museums and Exhibition

A

•Key in showing off the latest inventions and styles to crowds of visitors

46
Q

Lighting

A

One of the most important improvements in Interiors

47
Q

Incandescent Lamp

A

most popular. Lighting for residential uses. Electric through filament

48
Q

Fluorescent

A

electric current through gas or vapor

49
Q

Halogen

A

electric through halogen gas

50
Q

PAR Floodlight

A

even washes of light on walls

51
Q

Fiber Optics

A

for which to transmit light through strands of fiberglass, lasers, produce light amplification by simulated emission of radiation

52
Q

Bulb

A

refers to the glass container for other components

53
Q

Lamp

A

entire light source( i.e. Bulb, filament, and electrical connections)

54
Q

Luminaire

A

refers to a total lighting instrument ( lamps, reflectors, lenses, wiring, the structure housing such equipment)

55
Q

HVAC

A
  • Many advances in heat and cooling
  • Coal and wood replced with natural gas, propane gas, and electricity
  • Covection and radiant heating
  • Ventilation issues became prominent to rid interiors of harmful airborne substances, including carcinogens, toxins, positive ions, ozone, and particulates
56
Q

Acoustics

A
  • Apart from professional acoustic locations, designer might consider reducing sound by utilizing dead air space or unventilated air within a hollow wall
  • replacing unwanted sounds with less objectionable ones by using white noise machines that emit barely audible noise
  • In design itself designers aim to create spaces and shapes that affect the reverberation time of sound
57
Q

Steel and Glass

A
  • Became dominant type of building construction
  • Created a new lightness and transparency in building, enormous impact on the lights, views and privacy of Interiors
  • Stainless steel came about
  • Chrominum came to used as plating over steel and other materials and mixed with other materials to make chrome
58
Q

Glass

A
  • Consists mainly of silica

* Be curved or prismatic

59
Q

Double-Glazing

A

enclosing a thin layer of dehydrated air or inert gas in the space between the glass panes to reduce heat transmission

60
Q

Tempered

A

treated by heat, greater strength or if it does break, will shatter into numerous small, harmless pieces

61
Q

Laminated

A

bound to a layer of plastic for special visual effects, for safety, for reducing sound transmission for thermal insulation, or for the blocking infrared radiation

62
Q

Wire Glass

A

mandated by fire codes

63
Q

Glass Block

A

transparent to opaque and can decoratively treated

64
Q

Aluminum

A
  • Light I relationship to its strength

* Ductile, resistant to corrosion, capable of brilliant polish

65
Q

Anodized

A

the surface to prevent it from oxidizing and becoming cloudy , the coating can be given a multitude of colors

66
Q

Reinforced Concrete

A
  • Great strength under compression but little under tension
  • Tensile strength can be added with steel reinforcing bars
  • Shaped through wood forms typically
67
Q

Ferrocement

A

uses wire mesh in place of reinforcing rods and therefore ca be thinner and lighter

68
Q

Plastics

A
  • Wide spread use by twentieth Century
  • Substances formed under heated or pressure and are both organic and artificial
  • Multiple uses and finishes
69
Q

Plaster Substitutes - Drywall

A

plasterboard, wall board, gypsum board, gyp board, gypsum wallboard, sheetrock

70
Q

Forms

A

An extensive and apparently seamless sculptural element more quickly achieved and lighter in weight than would have been possible with wet plaster

71
Q

Homasote

A

good insulating and acoustical performance ( also called soundboard or building board)

72
Q

Oriented Strand Board (OSB)

A

(flake board or wafer board) typical for carpet underlayment and wall paneling

73
Q

Particleboard

A

base for flooring or laminate countertops

74
Q

MDF

A

used for cabinets trim, and wall paneling

75
Q

HDF

A

cabinets, drawers, countertops, wall panels, subflooring, or flooring

76
Q

Veneering

A

composition of veneer and plywood or particle wood is stronger than solid wood that wood be subject to warping

77
Q

Paint

A
  • Two components: pigments and binders ( water, varnish, oil, glue or synthetic resins)
  • Least to most lustrous : flat, eggshell, satin, semi gloss, and gloss
78
Q

Twentieth Century Ornament

A
  • Ornament became inherent in the design as opposed to applied
  • Alto was adept at such technique
79
Q

Pioneers Furniture

A
  • Bauhaus: Breur; Experimentation with tubular steel
  • Purism and De stijl: Purism, by Le Corbusier
  • De Stijil: Riveted
80
Q

Art Deco Furniture

A
  • Not wholly serious

- Exquisitely made

81
Q

Alvar Aalto (Scandinavian Modern Furniture)

A
  • Experimentation with slicing, laminating, bending techniques
  • Clear and lyrical
82
Q

Klint (Scandinavian Modern Furniture)

A

Respect for materials natural character

83
Q

Charles and Ray Eames (Scandinavian Modern Furniture)

A

Organic design in furniture

84
Q

Herman Miller (Scandinavian Modern Furniture)

A

Modern residential and office furniture

85
Q

Knoll (Scandinavian Modern Furniture)

A

Furniture and textile designs

86
Q

Knew Possibilities in Furniture: Systems and Built-ins

A
  • Modularity

* Built-ins came about to rid rooms of furniture and unclutter

87
Q

Pyrex

A

heat resistant glass

88
Q

Metalwork

A

Shortage of silver lead to use of steel

89
Q

Textiles

A

Modern fabrics expected to be stain resistant, mildew resistant, moth repellant, fungus repellant, anti bacterial, antistatic

90
Q

Window Treatments

A

Heavy multilayers draperies and shades a single hangings

91
Q

Venetian Blinds

A

slats strung together on tapes

92
Q

Roman Shades

A

when raised fabric folds horizontally

93
Q

Austrian Shade

A

gathered into swags

94
Q

Broadloom

A

carpet woven on a broad loom

95
Q

Modern Carpets are distinguished

A 
by their materials
•	Jute 
•	Sisal 
•	Rayon 
•	Nylon 
•	Acrylic
•	Olefin
•	Polyester
96
Q

Jute

A

glossy fiber made from Indian plants

97
Q

Sisal

A

tough, durable, made from leaves of the agave plant

98
Q

Rayon

A

“artificial silk “

Hist Chapter 21 (2 decks)

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