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Furnishings Spring 2014 > Quiz 3 > Flashcards

Quiz 3 Flashcards

1
Q

FLW’s principle

A

Principle of oneness

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

The Meyer May house
MI, 1908
Frank Lloyd Wright

Horizontal line is an extension of the flat midwest landscape.

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

Frank Lloyd Wright’s teacher:

A

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

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4
Q

FLW built-ins

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

The Hollyhock house
Frank Lloyd Wright

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

The Storer house
California

Frank Lloyd Wright

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

Imperial Hotel
Tokyo, Japan

Frank Lloyd Wright
- Embodies historic Japanese style

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8
Q
A

Peacock chair
From the Imperial Hotel
Frank Lloyd Wright

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

Taliesin West
Arizona
Frank Lloyd Wright

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10
Q
A

Taliesin West Plan
Frank Lloyd Wright

  • Angularity
  • Integrated gardens and pools
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11
Q
A

Taliesin West
Frank Lloyd Wright

  • Angularity integrated through ceiling, furniture
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12
Q
A

Taliesin East
Spring Green, WI
Frank Lloyd Wright

  • Lighting differentiates spaces
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13
Q
A

Fallingwater
PA 1935
Frank Lloyd Wright

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14
Q
A

Fallingwater
Frank Lloyd Wright

Windows that open - Corner dissolves

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15
Q
A

Chair from Fallingwater
Frank Lloyd Wright

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16
Q

Art Deco
French Moderne
Streamlining

DATES

A

1920s - 1930s

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17
Q

Qualities of Art Deco

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

Art Deco influences

A

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

Characteristics found in Art Deco furniture

A

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

Emile-Jacques Ruhlmann desk

  • smooth

ART DECO

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21
Q
A

Emile-Jacques Ruhlmann

  • veneer
  • ivory inlay

ART DECO

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22
Q
A

Emile-Jacques Ruhlmann

interior rendering

ART DECO

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23
Q

Stepped ziggurat

A

ART DECO

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24
Q
A

Smoking table
Eileen Gray

FRENCH MODERNE

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25
Q
A

Serpent chair

Eileen Gray

ART DECO

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26
Q

Characteristics of French Moderne

A

  • No exoticism / No sumptuous materials
  • Modern materials like aluminum Smoking table (1929) and glass!
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27
Q
A

Lacquered screen
Eileen Gray

FRENCH MODERNE

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28
Q
A

Transat chair
Eileen Gray

  • adjustable headrest
  • lacquered wood
  • chrome-steel fasteners

FRENCH MODERNE

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29
Q
A

Bibendum Chair
Eileen Gray

FRENCH MODERNE

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30
Q

noteworty Art Deco Ocean Liner

A

Normandie

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31
Q
A

Rene Lalique vase

ART DECO

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32
Q

Forces influencing Art Deco in America

A

  • America was in a state of isolation (Anti-foreign feelings led to conservatism in furniture)
  • America was anxious to establish a distinctive design identity to match her economic and industrial presence (Art Deco’s style expressed America’s aspirations)
  • Immigrant designers brought Art Deco ideas to America. They argued for the need of a new style that reflects their time rather than earlier eras: Before and after (rural/urban, farming/factory), Inspiration from the industrial era rather than nature (straight lines of railroad and telephone lines, geometry), Factory-made products rather than natural materials and handmade.
  • Women worked outside the home: Need for simpler and easier to care for pieces
  • Suitable for skyscrapers, factories, cinemas, apartments, etc: Denotes progressiveness and success
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33
Q
A

Chrysler building

ART DECO

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34
Q
A

Chrysler building entrance

ART DECO

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35
Q
A

Chrysler building elevator lobby

ART DECO

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36
Q
A

Seagram’s lounge

ART DECO

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37
Q

motifs employed in Art Deco

A
  • Sun motif
  • Stepped ziggurat
  • Gargoyles
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38
Q
A

Pantages Theater
Hollywood CA

  • sumptuous columns

ART DECO

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39
Q
A

Blue Chair by Eliel Saarinen

  • abstracted lotus motif
  • blocks of color
  • tapered leg
  • geometric (influenced by Picasso/cubism)
  • smooth materials
  • rhythm of shapes on back

ART DECO

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40
Q
A

Eliel Saarinen’s chair

  • Color blocking
  • Rhythm/repitition in scalloped back
  • tapered leg
  • Expensive construction (scallops and inlays)

ART DECO

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41
Q
A

Eliel Saarinen interior perspective

ART DECO

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42
Q

Streamlining or American Moderne

A
  • Emphasis on the horizontal versus Art Deco’s vertical
  • Total effect of smoothness
  • Designers now become almost like film-stars
  • Inspiration comes from aerodynamics in cars and trains (machines)
  • Expresses the new dynamism of American life and an optimism in the future

A combination of Art Deco, the International style, and French Moderne

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43
Q
A

Miami Beach, Ocean Drive

STREAMLINING

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44
Q
A

Miami Beach, Michigan Ave.

  • horizontal emphasized
  • smoothness

STREAMLINING

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45
Q
A

Pan Pacific Auditorium

STREAMLINING

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46
Q
A

Radio City Music Hall
Donald Deskey

  • Uses clean smooth lines, mirrors, chromium-plated steel, tubular aluminum, veneers, bakelite plastic, glass, and lacquer

STREAMLINING

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47
Q

(DESK)

A

Donald Deskey

  • horizontal
  • aerodynamic
  • smooth

STREAMLINING

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48
Q
A

Skyscraper bookcase
Paul Frankl

  • Due to urbanisation, people living in apartments needed storage and Frankl created storage that emphasized verticality
  • Inspired by building

STREAMLINING

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49
Q
A

Speed chair
Paul Frankl

  • Aerodynamic

STREAMLINING

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50
Q
A

Bamboo chair
Paul Frankyl

  • aerodynamic

STREAMLINING

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51
Q
A

Art Deco lamp

  • innovative materials (metal + glass)
  • motifs that reflect man’s advancements (person holding globe, aviation)
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52
Q
A

Eugene Schoen

  • Repition of scallop form
  • tapered leg

ART DECO

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53
Q
A

Villa Muller

Prague

Adolf Loos

  • purity in form

De Stijl

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54
Q
A

Villa Muller

Prague

Adolf Loos

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55
Q

Adolf Loos’ book

A

Ornament and Crime

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56
Q
A

Dining Room

Villa Muller

Adolf Loos

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57
Q
A

Lady’s Boudoir

Villa Muller

Adolf Loos

Prauge

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58
Q

Principles of the Bauhaus school

A
  • Good design for the masses
  • Absence of ornament
  • Form follows function
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59
Q

the bauhaus school was founded by ______ in ____

A

Walter Gropius in 1919

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60
Q

Bauhaus started in this country:

A

Germany

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61
Q
A

Gropius’ armchair

  • carved out of cube / subtractive form

Bauhaus

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62
Q
A

Piet Mondrian
Composition W R4B
Dutch De Stijl
- primary colors
- horizontal and vertical lines only

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63
Q
A

Mies van der Rohe
Brno chair

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64
Q
A

Cantilever chair

Gropius

Bauhaus

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65
Q
A

Wassily Chair

Marcel Bruer

  • made to honor Russian dude

Bauhaus

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66
Q

Characteristics of modern movement

A
  • no ornamentation
  • juxtaposition of geometries
  • rationalization, standardization
  • new materials (glass, tubular aluminum)
  • mass production
  • spacious, functional
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67
Q
A

Adolf Loos

Chaise lounge

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68
Q

Goal of modernism

A

Changing society for the better with the creation of a healthier and more democratic type of design for all

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69
Q
A

Mies van der Rohe

Barcelona Pavilion

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70
Q
A

Barcelona Pavilion

Intersection walls allow for free circulation

Mies Van der Rohe

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71
Q
A

Barcelona Pavilion

Mies van der Rohe

  • vibrancy comes from materials
  • exposed columns
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72
Q

Who said “Less is More”

A

Mies van der Rohe

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73
Q
A

Barcelona chair
Mies can der Rohe

Bauhaus

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74
Q

Le Corbusier
Five points of architecture:

A

1) The building should be supported above ground level by pilotis (free-standing structural piers or reinforced concrete)
2) The interior should use a free plan, unrestricted by the need for supporting walls.
3) There should be a roof terrace.
4) The windows should be large, and form a continuous element of the exterior wall; and
5) The façade should consists of one smooth surface.

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75
Q
A

Villa Savoye
Le Corbusier

  • piers
  • open plan
  • roof terrace
  • band of windows
  • smooth facade
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76
Q
A

Chaise Lounge
Le Corbusier

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77
Q

Post-war forces

A

  • Suburbia
  • Simplicity
  • Informality
  • Women’s lack of help in the home
  • Mobility
  • Easy to move furniture, i.e. light and portable
  • Adaptable
  • Comfortable
  • Stackable
  • Durable, etc!
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78
Q
A

Mies van der Rohe

Farnsworth house

POST-WAR

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79
Q
A

Glass House

Philip Johnson

POST-WAR

80
Q

Important school in post-war Michigan:

A

Cranbrook Academy of Arts

81
Q

Some important designers that went to Cranbrook

A

Eero Saarinen
Charles Eames
Florence Knoll

82
Q
A

Recumbent figure
Henry Moore

  • Organic human forms start to inspire design

POST-WAR

83
Q
A

Saarinen and Eames’ organic armchair

  • amorphous form

POST-WAR

84
Q

amorphous

A

without a clearly defined shape or form

85
Q

Meanings of organic

A
  • complete/integrated whole
  • blending with the site and nature
  • curvy, amorphous forms
86
Q
A

Eames’ La Chaise

  • emulated Henry Moore’s sculpture
87
Q
A

Isamu Noguchi table

  • amorphous

POST-WAR

88
Q
A

Eames’ molded plywood chair

  • designed to make life better for ordinary people
  • biomorphic chair
  • machine appearance

POST-WAR

89
Q
A

Isamu Noguchi sofa

POST-WAR

90
Q
A

Eames’ lounge chair

POST-WAR

91
Q
A

Eames’ shell chair

  • fiberglass reinforced polyester resin
  • amorphous form

POST-WAR

92
Q
A

Eames’ rubber shock mounts

POST-WAR

93
Q
A

Eames’ bikini chair

POST-WAR

94
Q
A

Eames’ storage system

POST-WAR

95
Q
A

Eames’ house

  • made out of pre-fabricated materials

POST-WAR

96
Q
A

TWA terminal
Eero Saarine

  • a bird in flight

POST-WAR

97
Q
A

TWA terminal
Eero Saarinen

  • organic
  • pre-cast concrete

POST-WAR

98
Q
A

Pedestal chair
Eero Saarinen

  • get rid of legs

POST-WAR

99
Q
A

Womb chair
Eero Saarinen

  • fetus-like comfort
  • inspired by Florence Knoll

POST-WAR

100
Q
A

Rapson rocker
Ralph Rapson

POST-WAR

101
Q
A

Rapson’s cedar-riverside

  • attempt for compact population by river

POST-WAR

102
Q
A

Diamond chair
Henry Bertoia

  • diamond shape in silhouette and patten made by stainless steel

POST WAR

103
Q
A

Warren Platner’s wire collection

POST WAR

104
Q
A

Tulip chair
Laverne

  • innovation in shape

POST-WAR

105
Q
A

Coconut chair
George Nelson

  • three legs

POST-WAR

106
Q
A

Pretzel chair
John Pile

POST-WAR

107
Q
A

Marshmallow sofa
George Nelson

POST-WAR

108
Q
A

Ball clock
George Nelson

  • fascination in atomic energy

POST-WAR

109
Q
A

Tongue chair
Verner Panton

POST-WAR

110
Q
A

Ball Chair
Eero Aarnio

  • pop-art color

POST-WAR

111
Q
A

Pastil chair
Eero Aarnio

  • floats

POST-WAR

112
Q
A

Bubble chair
Eero Aarnio

POST-WAR

113
Q

Three styles that appeared at the 1925 Paris exposition:

A
  • Art Deco
  • Modern – Le Corbusier’s pavilion
  • Scandinavian
114
Q

Why did people prefer scandinavian over modern?

A

Scandinavian wood and warmth was less harsh than the metal and plastic used in modern.

115
Q
A

Finn Juhl’s easy chair

  • Use of wood and traditional materials, like fabric
  • Simple lines
  • Limited ornamentation
  • Typically, ergonomically correct!

SCANDINAVIAN

116
Q

Finnish architect

A

Alvar Aalto

117
Q
A

Villa Mairea
Alvar Aalto
Finland

118
Q
A

Villa Mairea
Alvar Aalto
​Finland

119
Q
A

Alvar Aalto
Säynätsalo Town Hall
Finland

120
Q
A

“Perhoset“ – butterflies

Alvar Aalto’s Säynätsalo Town Hall

Finland

121
Q
A
  • Passageways as places
  • Use of light to guide the way

Alvar Aalto’s Säynätsalo Town Hall – Finland

122
Q
A

Baker House Dormitory
Alvar Aalto
MIT

The wave-shaped building:

  • Reflects the river
  • Maximizes the number of rooms with southern exposure
  • Orients rooms away from Memorial Drive’s noise
  • Optimizes views of the river
123
Q
A

Baker House Dormitory

Alvar Aalto
MIT

The dining pavilion with its ‘moon garden lights’ affords stunning views of the Charles River

124
Q
A

Pension armchair
Alvar Aalto

SCANDINAVIAN

125
Q
A

Mt. Saint Angel Library
Alvar Aalto

  • strategic use of light to enliven surfaces

SCANDINAVIAN

126
Q
A

Paimio chair
Alvar Aalto

Designed for the tuberculosis sanatorium, the angle of the back was intended to help patients breathe more easily.

SCANDINAVIAN

127
Q
A

laminated birchwood chair
Alvar Aalto

  • seat extends past arms

SCANDINAVIAN

128
Q
A

Alvar Aalto’s stools

  • pretty when stacked / not in use

SCANDINAVIAN

129
Q
A

Alvar Aalto’s tea trolley

SCANDINAVIAN

130
Q
A

Alvar Aalto’s Savoy vases

SCANDINAVIAN

131
Q
A

Lounge Chair and Ottoman
Bruno Mathsson
Sweden

He studied the business of sitting and said: “Comfortable sitting is an ‘art’– it ought not to be. Instead, the making of chairs has to be done with such an ‘art’ that the sitting will not be any ‘art’.”

SCANDINAVIAN

132
Q
A

Mathsson’s grasshopper chair

SCANDINAVIAN

133
Q
A

Mathsson’s EVA (1934)

Many of his designs had female names as part of his attempts at making the chair an even more comfortable tool for the home

SCANDINAVIAN

134
Q
A

THE lamp

Poul Henningsen

Denmark

SCANDINAVIAN

135
Q
A

THE chair
Hans Wegner

Denmark

SCANDINAVIAN

136
Q
A

THE wheel

Jørgen Rasmussen

Denmark

SCANDINAVIAN

137
Q

Qualities of Danish Design

A

  • Aesthetic value
  • Simplicity
  • User friendly
  • Cost and environmentally conscious
138
Q

Difference between Danish Design and Bauhaus

A

Danish design has:

  • A more organic concept of form
  • A deep respect for function, and
  • A genuine interest in the user
  • Things had to be simple
  • The experience should not only be visual, but also appeal to our mind and all our senses
  • Ergonomics
139
Q
A

Faaborg chair
Kaare Klint
Denmark

  • He had faith in the historical evolution of furniture forms and a commitment to the neo- classical designs
  • One of his goals was to take these pieces and try to rethink them and update them with the modern requirements
  • Strong interest in anthropometrics

SCANDINAVIAN

140
Q
A

Kaare Klint’s Safari chair

Danish

SCANDINAVIAN

141
Q
A

Kaare Klint’s folding stool

Danish

SCANDINAVIAN

142
Q
A

Kaare Klint’s deck chair with retractable foot rest

Danish

SCANDINAVIAN

143
Q
A

Finn Juhl chair

  • Notice the floating seat
  • juxtaposition of geometries

Danish

SCANDINAVIAN

144
Q
A

Pelikan
Finn Juhl

Denmark

SCANDINAVIAN

145
Q
A

Wishbone Chair
Hans Wegner

Danish

SCANDINAVIAN

146
Q
A

Hans Wegner’s
Peacock chair

Danish

SCANDINAVIAN

147
Q
A

Hans Wegner’s folding chair

Danish

SCANDINAVIAN

148
Q
A

Hans Wegner’s Papa Bear chair

Danish

SCANDINAVIAN

149
Q
A

The Royal Danish Embassy
Arne Jacobsen

Stacks of glazed boxes are cantilevered out from concrete walls

SCANDINAVIAN

150
Q
A

Arne Jacobsen’s Swan chair

Denmark

SCANDINAVIAN

151
Q
A

The Egg Chair
Arne Jacobsen

Denmark

SCANDINAVIAN

152
Q
A

Ant Chair
Arne Jacobsen

Danish

SCANDINAVIAN

153
Q
A

Arne Jacobsen’s SEVEN chair

  • Molded plywood

Danish

SCANDINAVIAN

154
Q
A

Verner Panton’s Heart Chair
Denmark

SCANDINAVIAN

155
Q
A

Vanna Venturi House

  • return to necessity of door/gable/chimney

Post Modern

156
Q

Social forces during post modern

A
  • Inflation
  • Unemployment
  • Collapse of post-war building boom
  • Exit of US forces from Vietnam
  • Political scandals, etc, etc…
157
Q

Response to social forces during post modern // Pluralism in Design

A

Revival of historical styles

&

Softening of Modern design

=

Pieces of past styles, particularly classicism, combined with modern pop icons create a new departure in design –

Post Modernism

158
Q
A

AT&T building

Philip Johnson

  • return to classical influences: broken pediment

Post modern

159
Q
A

Saltzman House

Richard Meier

Post Modern

160
Q
A

Douglas house

Richard Meier

POST MODERN

161
Q
A

Richard Meier

  • Softening the lines of modernism by incorporating curves and rounded parts

POST MODERN

162
Q
A

Richard Meier

  • Softening the lines of modernism by incorporating curves and rounded parts

POST MODERN

163
Q
A

Centre Pompidou
Paris

  • Celebrating the aesthetic of industrial production
  • Architecture used to improve an area

HIGH TECH / POST MODERN

164
Q
A

Lloyds of London
Richard Rogers

HIGH TECH / POST MODERN

165
Q
A

Shanghai Bank Building
Hong Kong
Norman Foster

  • no lobby / open to street

HIGH TECH / POST MODERN

166
Q
A

Shanghai Bank Building
Hong Kong
Norman Foster

  • no lobby / open to street

HIGH TECH / POST MODERN

167
Q
A

Scott Burton’s Two Curve Chair

HIGH TECH / POST MODERN

168
Q

Robert Venturi

A

  • Command to simplify! Advocated for a return to ornament, to complexity! / “Less is a bore!”
  • Idea of unity between architecture and interiors - move over Frank Lloyd Wright!
  • The view that the past has nothing to offer – move over Mies
169
Q

Robert Venturi’s book

A

Complexity and Contradiction in Architecture

  • offered hope for a reconciliation between period revivals and modern design
170
Q
A

Vanna Venturi House
Robert Venturi

  • stairs appear inviting but are cut off by wall / signal privacy

Neo-Modernism

171
Q
A

Eclectic House Series

Robert Venturi

Neo-Modernism

172
Q
A

Robert Venturi’s chair line

Neo-Modernism

173
Q
A

Venturi’s Campidoglio Tray

  • radiating star pattern mirrors Michelangelo’s design for the pavement in Rome’s Piazza del Campidoglio

NEO MODERNISM

174
Q
A

Carlton room-divider
Ettore Sottsass

The Memphis group - Italy

Social commentary:
different colors = different people
person balancing on top = society is unstable

NEO MODERNISM

175
Q
A

Mario Bellini

The Memphis group - Italy

NEO MODERNISM

176
Q
A

American Memphis
Michael Graves

Plaza dressing table – evoking the glamour of NY’s plaza hotel

POST MODERN

177
Q
A

Swan building
Michael Graves

Disney World

POST MODERN

178
Q
A

Dolphin
Michael Graves

Walk Disney World

POST MODERN

179
Q
A

Michael Graves Bench

POST MODERN

180
Q
A

From the Cosmic Yard Sale // Stock Exchange Clock

clocks

American Memphis

Ed Zucca

181
Q
A

The Mercer Collection

American Memphis
Lucia Mercer

  • granite w/ look of instability

POST MODERN

182
Q
A

Studio Furniture
Garry Knox Bennett

POST MODERN

183
Q
A

Ladderack chair

Studio Furniture
Garry Knox Bennett

POST MODERN

184
Q
A

Furniture as art
Wendell Castle

POST MODERN

185
Q
A

Frank Gehry’s house
Deconstructivism

POST MODERN

186
Q
A

Frank Gehry’s house
Deconstructivism

POST MODERN

187
Q
A

Cardboard furniture collection
Frank Gehry

POST MODERN

188
Q
A

Power play club armchair and ottoman
Frank Gehry

POST MODERN

189
Q
A

Mario Botta
Italy

POST MODERN

190
Q
A

Philippe Starck
France

POST MODERN

191
Q
A

YKK Guest House
Fumihiko Maki
Japan

“The problem of modernity is not creating forms, but rather, creating an overall image of life… a question of space for human activity rather than a vision of a constructed facade.”

POST MODERN

192
Q
A

Piet Hein Eek
- Re-used boards // sustainability

POST MODERN / present

193
Q
A

Crochet table – Marcel Wanders

PRESENT

194
Q
A

Afrodite of Milos

  • influenced FLW (movement / imbalance)
195
Q
A

Winged victory of Samothrace

  • influenced FLW (movement/imbalance)
196
Q

FLW sources of inspiration

A
  • Japanese prints (asymmetry)
  • Mayan cosmology (the #3, connection to sky/underground)
  • Greek (movement/imbalance)

Furnishings Spring 2014 (3 decks)

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