History of Furniture Sketchbook and Designers Portfolio

History of Furniture Sketchbook and Designers Portfolio

Nicole StebnitzINTA207 P01

Faculty Sheri ConnerOctober 18th, 2016

Nicole Stebnitz

INTA207 Faculty Conner

September 15, 2016

W1A2

Regency Furniture/ Greek Revival: 1790’s to 1840’s

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Regency Furniture Style: Description

• Graceful, moveable, and light in scale

• Rectangular, symmetrical, and with restrained ornament

• Metal parts, coasters for movement

• Saber legs, reeding, paw feet

• Pediments, Columns, Arabesques, Urns

• Egyptian motifs: Sphinxes, Egyptian Heads, Hieroglyphics, crocodiles, sun disc, vulture, and star

• Trellisses, Fretwork, Bamboo, Foliage, Pagodas, Painted arches, Fan Vaulting, and Rose Windows

• Rosewood, Zebrawood, Mahogony, and Tulipwood.

• Often covered with woven and printed fabrics with a glazed finish: Chintz

All of the above are examples of what would be found on Regency style furniture

American Empire Furniture 1820’s – 1860’s

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American Empire Style: Description

• Motifs: Egg and Dart, Bead, Dentil Moldings, Triglyphs and metopes, Honeysuckles, Anthemions, Acanthus leaves, Fret or Key.

• Interiors, furniture and decorative arts show a greater range of motifs from more sources: Egyptian, Greek, Roman, and Renaissance: Sphinxes, battered or pylon forms, paw feet, Egyptian or Classical figures, lyres, harps, swans, dolphins, eagles, caryatids, serpants, arabesques, and columns.

• Greater Simplicity than Europe

• Later Variation was called Pillar and Scroll or Late Classical.

• Exotic and Medievel styles were rare in America

• Rectangular Case pieces

• Curvilinear chairs and sofas

• Dark wood, carving, and brass mounts.

Gothic Revival: 1840 –1880

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Gothic Revival Style: Description

• Revives Gothic and other Aspects of Middle Ages

• Applies ecclesiastical architectural motifs to contemporary forms

• Motifs: Derive from Medievil precedents

Pointed Arches, Battlements, Crockets, Stained Glass, Tracery, Rose Windows, Pinnacles, Tresfoils, Quatrefoils, Cinquefoils, Cluster Columns, Oak Leaves, Heraldic Devices

• Early: Tudor/Ogre Arches

• Late: Round Arches

WORKS CITED• Image 1: Furniture Styles. 1800. Beech Wood, Painted in White and Grey in Imitation of Marble. Copied from a Marble Seat in

Rome. Digital image. Regency Furniture. Copyright © 2004-12 International Styles, n.d. Web. 14 Sept. 2016.

• Image 2: Furniture Styles. Egyption Style Klismos Chair, 1805. Digital image. Regency Furniture. Copyright © 2004-12 International Styles, n.d. Web. 14 Sept. 2016.

• Image 3: Architecture, Buffalo. Rosette. Digital image. Rosette. Buffalo Architecture, n.d. Web. 14 Sept. 2016.

• Image 4: Architecture, Buffalo. Paw Feet. Digital image. Paw Feet. Buffalo Architecture, n.d. Web. 14 Sept. 2016.

• Image 5: Architecture, Buffalo. Lyre. Digital image. Lyre. Buffalo Architecture, n.d. Web. 14 Sept. 2016.

• Image 6: ETC, Art. Gothic Revival Chair. Digital image. The Age of Revivals: Gothic Revival Furniture. Art Ect, n.d. Web. 14 Sept. 2016.

GILDED AGE: LATE 19TH CENTURYFURNITURE STYLES:NEO-GREC: 1855 - 1890RENAISSANCE REVIVAL: 1850 - 1880AESTHETIC MOVEMENT: 1860 - 1890

DESIGNERS PORTFOLIO

HERTER BROTHERS

Nicole StebnitzINTA207 Faculty ConnerSeptember 15, 2016W1A3Image 7: Herter Brothers (1864–1906), Cabinet from the Japanese parlor of the William H. Vanderbilt House, New York City,

1879–1882. Cherry, brass, and later textile. 76-7/8 x 60 x 12 in. The Metropolitan Museum of Art; Gift of Barrie A. and Deedee Wigmore, 2014 (2014.530.2).

DESIGNER INFORMATION

Herter Brothers

Gustave Herter: 1830 – 1898

Christian Herter: 1839 – 1883

Both Brothers were born in Germany.

They learned their craft as cabinetmakers from their father who was also a cabinetmaker.

DESIGNERS THEORIES AND PHILOSOPHIES

Gustave Herter was the designer who enjoyed ornamented Baroque and LouixXIV styles. Christian Herter was more interested in a marriage of European styles, French style, Greek Revival, and Anglo Japenese They were born in Germany in the early 18oo’s when Revival styles and mixing of different elements of the past eras was starting to come into play. The fact that their father was a cabinetmaker led to the taste they had in the different styles. When they came to the United States it was the perfect time for them. The Guilded Age brought about a wealthy class that wanted to showcase their wealth in the design of their interiors and furniture. (The met, web). The turn of the 19th century also brought about the finding of Pompeii. Europeans wanted to replicate the furniture from those excavations. This is where the Neo-Grec style came into play and was brought to the U.S. The William H. Vanderbilt house was the largest job they would do. The rooms were each styled in a different theme. The brothers supplied furniture and designed interiors for some of the wealthiest people in America.

RENAISSANCE REVIVAL

Figure 1: Library Table

Date Designed: 1879-82; Made in New York, New York

Made from Rosewood:Table top with a celestial field of stars over the Northern Hemisphere on the day William Vanderbilt was born. (8 May 1821)

Lions Head Paw Feet.

Stylized Palmettes

Relief Carving

AESTHETIC MOVEMENT

Figure 2: Cabinet; Date Built: CA. 1880

Rectilinear shape and Sturdy with Japanese influence

Brass pull and Key

Marquetry: Flowers

Guilt Highlights

Maple and Birds eye Maple

NEO GREC MOVEMENT

Figure 3: J.P Morgan Pompeiian Side Chairs; CA. 1880

Splay of chair leg.

Inversely arched backrest (Adaptation of Greek Klismos Chair)

Pompeiian design taken from the excavation at pompeii

Front legs with goat hoofed feet. This was not normal for this style, but it was said it was a tribute to the Pompeiian god PAN, who was found in many of the depictions at the excavation of Pompeii. (1stdibs, web)

AESTHETIC MOVEMENT

Figure 4: Aesthetic Maple Fall Front Secretaire; CA. 1880

Interior: Velvet lined

Marquetry Motifs

Fluted Columns

Legs volute capped discs: (Character of Ionic order which is said to be the most graceful of the orders.) (1stdibs, web)

RENAISSANCE REVIVAL

Figure 5: Lady’s Bergere (Armchair); 1881 82

Two opposing griffins that connect at the middle

Mother of pearl roundels framed by sinous rope like elements

Shield like motif

Tufted trellis over red silk fringe

Turned legs for of stylized lotus

WHOLE INTERIOR DESIGN: NEO-GREC

Figure 6: William H. Vanderbilt Drawing Room Interior; CA. 1821 -1885

Example of one of the rooms built in the William H. Vanderbilt house. Each room was designed with its own theme which was popular at that time.

FIGURE CITATIONS

FIGURES

Figure 1: Met, The. Library Table. Digital image. Herter Brothers | Library Table | American | The Met. The Met, n.d. Web. 15 Sept. 2016.

Figure 2: Museum of Fine Arts Boston. Cabinet. Digital image. Cabinet | Museum of Fine Arts Boston. Museum of Fine Arts Boston, n.d. Web. 14 Sept. 2016.

Figure 3: Artists, Associated. Pair of J.P. Morgan "Pompeiian" Side Chairs. Digital image. Pair of J.P Morgan Pompeiian Side Chairs for Sale at 1stdibs. 1stdibs, n.d.Web. 15 Sept. 2016.

Figure 4: Artists, Associated. Aesthetic Maple Fall-Front Secretaire. Digital image. Aesthetic Maple Fall-Front Secretaire for Sale at 1stdibs. 1stdibs, n.d.Web. 15 Sept. 2016.

Figure 5: Met, The. Lady’s Bergere (armchair). Digital image. Herter Brothers | Bergere | American | The Met. The Met, n.d. Web. 15 Sept. 2016.

Figure 6: Frelinghuysen, Alice Cooney. Artistic Furniture of the Guilded Age: Herter Brothers and the William H. Vanderbilt House by Alice Cooney Frelinghuysen | Articlesn. Digital image. Artistic Furniture Of The Gilded Age: Herter Brothers And The William H. Vanderbilt House. Incollect, 18 Jan. 2016. Web. 15 Sept. 2016.

WORKS CITED

FIGURES

1stdibs. "Pair of J.P. Morgan Side Chairs." Pair of J.P. Morgan Side Chairs for Sale at 1stdibs. 1stdibs, n.d. Web. 15 Sept. 2016.

Ross, Nancy L. "FURNISHINGS : Herter Brothers Crafted Pieces for a Gilded Age." Los Angeles Times 27 Aug. 1994, Collections sec.: 1. Print.

The Met. "Lady’s Bergere (Armchair)." Herter Brothers | Bergere | American | The Met. The Met, n.d. Web. 15 Sept. 2016.

The Met. "Library Table." Herter Brothers | Library Table | American | The Met. The Met, n.d. Web. 15 Sept. 2016.

ASSIGNMENT 1: FURNITURE SKETCHBOOK (ILLUSTRATING TERMS)

Nicole Stebnitz

INTA207: Faculty Conner

September 20th, 2016

W2A1

MORTISE AND TENON

A very simple yet strong joint that has been used for a very long time.

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MARQUETRY AND INLAYS

This is a technique that is an art. Decorative designs or pictures are creating by using the grain, figure and colors of thin veneers and some other materials like wood, stone, metal, ivory and other exotic materials.

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DOVETAIL JOINT

As seen on the left this is also a very strong way to hold together pieces of wood. It consists of one or more tapered tenons that interlock with the mortises.

Image 1

CABINET SKETCH AND EXPLANATION

The cabinet is built with quarter-sawn oak that has a dark stain applied. The joints are all dovetail and on each side panel they are put together by mortise and tenon. The cabinet is built for storing coats, hats, shoes, anything that would be taken off in an entryway where there is no closet available. It is to be built by hand with out the use of any machining, indicative of the arts and crafts movement. It is also simplistic in form but does have some marque inlays. The ends of the mortise and tenon joints are imperative for the structural integrity of the cabinet as it will be used to store things.

The quarter-sawn oak was chosen to show the graining in the wood without adding any type of thick or shiny finish to it. It serves it purpose and it shows. There is no unessacary ornamentation which also adheres to this style and movement. The inlays, quarter-sawn oak, and joints are all tributes to the artisanship of the cabinetmaker.

CABINET SKETCHES

WORKS CITED

Image 1: “Design Dictionary: Mortise and Tenon Joinery.” Décor Arts Now. 2013. Image. 20 September 2016. <http://www.decorartsnow.com/design-dictionary-mortise-and-tenon-joinery/>.

Image 2: “Original Ellis Design.” McGlynn on Making. n.d. Image. 20 September 2016. < https://mcglynnonmaking.com/page/14/?pages-list.>

Image 3: “Dovetail Joint.” Woodworking Archive >> Skills Techniques. 11 September 2016. Image. 20 September 2016. <http://www.woodworkingarchive.biz/skills-techniques/how-to-make-handcut-dovetail-joints.html>.

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ARTS AND CRAFTS MOVEMENT: 1860-1920VERNACULAR MEDIEVAL STYLES20TH CENTURY FUNCTIONALISMGOTHIC REVIVALSTUART PERIOD FURNITURE ADAPTATIONSAESTHETIC MOVEMENT

DESIGNERS PORTFOLIO

Philip Speakman Webb

Nicole StebnitzINTA207 Faculty ConnerSeptember 25, 2016W2A2Figure 1


Philip Speakman Webb

Born: January 12, 1831 in Oxford England

Died: April 17th, 1915 in England

Studied at Aynho in Northamptonshire

Articled to builder architects in Wolvenhampton

Trained under John Billing in Reading

Became a Junior Assistant for the office of G.E. Street in London

Founded the Morris, Marshall, and Faulkner Co. in 1861

Founded the Society for the Protection of Ancient Buildings in 1877 (Encyclopedia Britannica, Web)

SIGNIFICANT BUILDINGS:• 1859: Red House, Bexley, Kent• 1868: No. 1 Palace Green, London• 1868: No. 19 Lincoln’s Inn Fields, London• 1873: Joldwyns, Surrey• 1878: Smeaton Manor, Yorkshire• 1878: St. Martin’s Church, Brampton• 1885: Coneyhurst on the Hill, SurreyALSO KNOWN FOR: • Stained Glass• Hand Painted Glass• Tile • Carvings• Furniture, including the famous Morris Chair• Wallpaper• Carpets• Tapestries (Craven, Web)


Philip Web was one of many artists and architects that believed that the art, architecture, and furniture that came out of the industrial revolution had a bad effect on the consumers as well as the people that made them. (Harkness, Web). The arts and crafts movement brought back styles from previous eras. Web believed that the medieval artisans were the ones to follow. They handcrafted their work from start to finish and that evoked a sense of pride in the artisan as well as the end user. His furniture and architecture reflected gothic revival elements. Although functionalism is usually associated with modern times it does pop up throughout history and it is seen in some of his work. He was a Pre-Raphaelite architect that is sometimes referred to as the “father of Arts &Crafts architecture.” (Victorianceramics, web) He also geared more towards the Gothic style because he thought it was a better fit for Northern Europe. This was because it originated in France (a Northern Country), as opposed to the classical styles of Ancient Greece and Rome.(Harkness, web) (Those were also styles associated with the arts and crafts movement. He believed in the artistry of the work and was against the mass produced products that came out of the Industrial Revolution. He was influenced by others such as Ruskin and especially William Morris who he went to school with and would later become very good friends with.

ARTS AND CRAFTS: GOTHIC STYLE:FUNCTIONALIST

Figure 2: Dresser located in the Red House ca. 1859 in Bexleyheath, in South London, England

POINTED ARCHES

TREFOIL

IRON HARDWARE

This piece was also designed for the purpose of storage and showcasing photos. So it was also designed with function in mind.

ARTS AND CRAFTS MOVEMENT:FUNCTIONALISM, WITH ELEMENTS OF GOTHIC REVIVAL

Figure 3: Morris Chair also designed for the Red House (Philip Web, William Morris), ca 1859. Located in Bexleyheath in South London, England

Decoration through craftsmanship (not elaborate ornamentation)

Simplistic curvature

Casters for mobility

Finials

Velvet Upholstery

ARTS AND CRAFTS MOVEMENT

Figure 4: Sideboard, located at the Red house (Philip Web, WiliamMorris), in Bexleyheath South London, England

Simple Rectilinear Design

Detailed Craftsmanship

Iron Hardware.

Marquetry

AESTHETIC MOVEMENT

Figure 5: Hand Painted Glass: Philip Webb; Designer. Manufactured by Morris & Co. ca. 1859

Simple Bright Colors and black

Sunflower: popular motif because it was a simple shape with a bold color that could be stylized

Birds often used as well

Art only needs to be beautiful

RENAISSANCE REVIVAL

Figure 6: Settle: Philip Speakman Webb; Designer. Manufacturer: William Morris & Co. ca. 1890’s

Elaborate gilded plasterwork. Putti and Fruit Trees.

Velvet Seat Cushion

Oak Wood

Tufted trellis over red silk fringe

Turned legs for of stylized lotus

WHOLE HOUSE DESIGN: TUDOR GOTHIC STYLE

Figure 7: Philip Webb and William Morris, Red House Bexleyheath England. Ca. 1859

Figure 8: L-Shaped Plan of the Red House shown on left

The L-Shape design of the home allows for the garden area to be included along with the asymmetrical shape which both would have been elements of medieval style architecture.

Steep pitched Roof, and asymmetrical placement of windows. The exposed red brick which emphasizes the natural beauty of the material.

FIGURE CITATIONS

FIGURES

Figure 1: “artists: Philip Webb (1831 – 1915).” Victorianceramics. N.d. Image. 25 September 2016. http://www.victorianceramics.com/philip-webb.html

Figure 2: Didimendum1. “The Furniture Designs of Philip Web.” 8 December 2012. Image. 25 September 2016. http://groupblue3.blogspot.com/2012/12/furniture-designed-by-phillip-webb.html



Figure 5: Exhibition Catalogue. “Hand-Painted Glass Philip Speakman Webb, Designer.” The Victorian Web. 17 July 2001. Image. 25 September 2016. http://www.victorianweb.org/victorian/art/architecture/webb/2.html

Figure 6: Landow, George P.. “Settle Philip Speakman Webb, Designer.” The Victorian Web. 17 July 2001. Image. 25 September 2016. http://www.victorianweb.org/victorian/art/architecture/webb/15.html

Figure 7: Cadman, Steve. “William Morris and Philip Webb, Red House.” KhanAcademy. N.d. Image. 25 September 2016. https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/william-morris-and-philip-webb-red-house.

Figure 8: “William Morris and Philip Webb, Red House” KhanAcademy. N.d. Image. 25 September 2016. https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/william-morris-and-philip-webb-red-house.

http://www.victorianceramics.com/philip-webb.html

http://groupblue3.blogspot.com/2012/12/furniture-designed-by-phillip-webb.html



http://www.victorianweb.org/victorian/art/architecture/webb/2.html

http://www.victorianweb.org/victorian/art/architecture/webb/15.html

https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/william-morris-and-philip-webb-red-house.

https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/william-morris-and-philip-webb-red-house.

WORKS CITED

Craven, Jackie. “Philip Webb, the Arts & Crafts Architect and Designer (1831 – 1915).” About Home. 24 January 2016. Web. 25 September 2016. <http://architecture.about.com/od/greatarchitects/p/webb.htm>

Didimendum1. “Red House, Bexley and Related Material.” Flickriver: Photoset (blog). 8 December 2012. Web. 25 September 2016. <http://www.flickriver.com/photos/mynameismisty/sets/72157627292853981/.>

Editors of Encyclopedia Britannica. “ Philip Speakman Webb.” Encyclopedia Britannica. 2016 Encyclopedia Britannica. N.d. Web. 25 September 2016. <https://www.britannica.com/biography/Philip-Speakman-Webb>

Harkness, Dr. Kristen M. “William Morris and Philip Webb, Red House.” KhanAcademy. N.d. Web. 25 September 2016. <https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/william-morris-and-philip-webb-red-house>

VictorianCeramics. “artists: Philip Webb (1831 – 1915). “Victorian Ceramics.” Victorianceramics. N.d. Web. 25 September 2016. <http://www.victorianceramics.com/philip-webb.html>

Didimendum1. "'Red House, Bexley and Related Material." Flickriver: Photoset (blog). Accessed December 9, 2012. http://www.flickriver.com/photos/mynameismisty/sets/72157627292853981/.

ASSIGNMENT 1: FURNITURE SKETCHBOOK (IDENTIFYING STYLES)INTA207

FACULTY CONNORW3A1

Nicole Stebnitz

ART DECO: (ASSUMING THE TABLETOP IS GLASS). THIS PIECE USES BROAD CURVES AND THE USE OF MODERN MATERIALS (GLASS TABLETOP) THAT WOULD BE FOUND IN FURNITURE FROM THIS PERIOD. GEOMETRIC DESIGN AND SMOOTH SURFACE ARE ALSO CHARACTERICS OF THIS ERA. THESE ALSO HAD AN ASIAN INFLUENCE BY HAVING TABLES THAT ARE A LOWER HEIGHT WHICH SEEMS TO BE THE CASE IN THE IMAGE BELOW.

Use of modern materials: Glass Tabletop

Broad curves

Rectilinear shapes

“ART DECO” FURNITURE PIECE: AUSTRALIAN: GLOSSY APPEARANCE. EMERGED AFTER WW1. THESE PIECES ARE GEOMETRIC WITH CURVING LINES. USE CONTRASTING COLORS AND IF CUT IN HALF BOTH SIDES WOULD MIRROR THEMSELVES. COULD ALSO BE PART OF THE ART MODERNE MOVEMENT DUE TO THE FRONT CURVATURE WHICH MIMICKED THE DESIGNS OF NEW AERODYNAMICS OF THE TIME.

High Gloss finish.

Use of contrasting colors could be laquer or glass and wood.

Aerodynamic front shape, curvilinear with horizontal lines.

FRENCH VARIATION OF “ART NOUVEAU” FURNITURE STYLE: THIS STYLE TAKES INTO CONSIDERATION THE VIEWERS EXPERIENCE AS WELL AS THE FUNCTION OF THE PIECE. THE CURVILINEAR LINES, FLOWERY MOTIFS, AND THE USE OF EXOTIC HARDWOODS ARE CHARACTERISTICS OF THIS TYPE OF FURNITURE. RESPONSE TO THE INDUSTRIAL REVOLUTION.

Bird wings or around the edges of furniture. Usually doves or sparrows.

Curvilinear shapes, graceful, and delicate. High craftsmanship.

Flat decorative patterns, usually leaf and tendril.

Use of exotic hardwoods such as oak, teak and walnut.

FRENCH VARIATION OF THE “ART NOUVEAU” STYLE FURNITURE: THIS IS AN EXAMPLE OF COMBINING GOTHIC EXTRAVAGANCE WITH THE SPARE ELEGANCEOF JAPANESE DÉCOR. CRAFTMANSHIP IS SEEN IN THE INTRICATE CARVINGS AND BLOCK INLAYS IN THE PIECE. THE DESIGN IS CENTERED AROUND THE FUNCTION OF THE PIECE OF FURNITURE. (ART NOUVEAU, WEB)

Intertwined organic forms, that are curvaceous .

Flat decorative patterns, leaf or tendril patterns.

Bird wings or around the edges of furniture. Usually doves or sparrows.

Craftmanship with the use of exotic hardwoods.

ART DECO: CONTRAST OF MATERIALS, GEOMETRIC SHAPES, WITH SOME CURVATURE.

Use of iron hardware. New materials

Geometric shapes with inlays

Linear shapes with curvature.

Exotic woods.

ART NOUVEAU, VIENNA SECESSION: IT STILL HAS THE CURVILINEAR LINES OF THE ART NOUVEAU MOVEMENT WITH OUT THE ORNAMENTATION. THERE IS AN EXAGGERATED HEIGHT SEEN IN THE HORIZONTAL LINES ALONG WITH AN APPARENT AWARENESS OF NEGATIVE SPACE. ( COMMON CHARACTERISTICS, WEB). THESE PIECES ARE MUCH SIMPLER THAN THEIR FRENCH COUNTERPARTS FROM THE ART NOUVEAU ERA.

Curvilinear lines

Apparent awareness of negative space.

Straight Lines.

The vertical lines of create an exaggerated sense of height.

WORKS CITED/IMAGES CITED

“Art Nouveau Characteristics, History of Curvilinear Design Movement.” Encyclopedia of Arts History. 2016. Web. 2 October 2016. <http://www.visual-arts-cork.com/history-of-art/art-nouveau.htm>

“What are the common characteristics of Art Nouveau Furniture?” wiseGEEK. N.d. Web. 2 October 2016. http://www.wisegeek.com/what-are-the-characteristics-of-art-nouveau-furniture.htm

ART MODERNE: AMERICAN ART DECOINDUSTRIAL

DESIGNERS PORTFOLIO

Donald Deskey

Nicole StebnitzINTA207 Faculty ConnerOctober 2, 2016W3A2

Figure 1

Figure 2


Donald Deskey

Born: November 23rd, 1894: Blue Earth, MN

Died: April 29th, 1989: Vero Beach, FL

Studied Architecture at University of California Berkeley. Painting at California School of Design, The Art Institute of Chicago, and Art Students League in New York. He also studied in Paris at Ecole de la Grande Chaumi.

While a student in Chicago and New York, he worked for several advertising agencies.

Pioneer of American Industrial Design (Donald Deskey, Web)

TIMELINE:• 1928: Founder of American Union of Decorative Artists and

Craftsmen.• 1927-31: Had a joint studio with Phillip Vollmer• 1920’s: Developed Weldtex, a decorative material made of

laminated wood.• 1930: Won competiton to design the Radio City Music Hall in

the Rockefeller Center.• 1944: Founder/member of American Society of Industrial

EngineersALSO KNOWN FOR: • Interiors• Champion of modern art and design• Furniture• Textiles• Lamps• One of first American designers to use Fabrikoid, brushed

aluminum, and chromium plated brass• (MCHALE, Web)


Donald Deskey was a true pioneer in the age of art deco/ art moderne. In 1925 he visited the “Exposition Internationale des Arts Decoratifs et Industriels Modernes” in Paris. This trade fair played a large part in the spread of the Art Deco movement and was said to be a major catalyst in Deskey’s style of design. (MCHALE,web). He had varied life experiences early on along with his exposure to modern art brought him to the design of it. He crossed many design areas, from exterior architecture, textiles, furniture, artwork, interior design and packaging. He came up with building designs that branded the business that was inside. One famous quote of his was “A storefront is a label.” He believed that what you designed on the outside should represent who you are. He also believed that you needed to figure out what the problem was and come up with a solution. There wasn’t such a thing as an invention. He stated “There is no such thing as an invention; there’s just the stating of a problem and the engineering of a solution.” (Muente, Web) His entire career exemplifies this statement. He founded organizations, led new art movements, and was able to design just about anything.

ART MODERNE: AMERICAN ART DECO

Figure 3: Donald Deskey: Table Lamp. Designed 1927-28; Made 1927-31. New York. Credit Line: John Axelrod Collection

Stepped Geometrical Shapes: Pointed triangular edges, Abstract.

Silver Plated Brass: Modern elements of Art Moderne

Glass: Modern elements of Art Moderne

This is a perfect example of Art moderne with the stepped risers and sharp rectilinear lines. The use of new materials and technology.

ART DECO: ART MODERN: BAUHAUS STYLE

Figure 4: American Deco step-back dental supply cabinet; Designer: Donald Deskey: Manufacturer The Hamilton Co. Ca. 1930’s

Streamlined metal handle pull

Smoked glass: use of modern materials

2 Drawers have white enameled folded sheet steel interiors

Bauhaus: Clean Lines, unadorned

Walnut wood with varnished finish

Figure 5

ART DECO: ART MODERNE(STREAMLINED MODERNE)

Figure 6: Armchair. Model No. 4517. ca. 1933. Donald Deskey.

Bold Color

Curved Edges

Aerodynamic shape

Lifted off of floor. Also last phase of art deco movement. Mass produced.

Mahogany and fabric upholstery

ART DECO: ART MODERNE

Figure 7: Rare Room Divider. Donald Deskey. Painted Canvas. Ca. 1920-1929 78 x 36”

Geometric Shapes

Bold Color, Simplistic, Minimalistic

Use of modern material: Aluminum leaf

ART DECO

Figure 8: Art Deco Table: Ca 1930’s

Copper Legs: Modern Material

Leather

Simplistic, no ornamentations.

DONALD DESKEY: INTERIOR DESIGNER: ART DECO

Figure 7: Bedroom of Mrs. John D. Rockefeller, Jr.

Figure 8: Radio City Hall

Giant sunburst seen here is a prevailant characteristic of art moderne style architecture.

The room above is filled with elements from the art deco movement.

FIGURE CITATIONSFIGURES

Figure 1: “Donald Deskey.”, art DIRECTORY. n.d. Image. 2 October 2016. <http://www.donald-deskey.com/>

Figure 2: MCHALE, Gary. “Donald Deskey.” Art Deco Designers. 6 October 2009. Image. 2 October 2016. <http://art-deco-designers.blogspot.com/2009/10/donald-deskey.html>

Figure 3: MCHALE, Gary. “Donald Deskey Table Lamp 1927.” Art Deco Designers. 6 October 2009. Image.. 2 October 2016. <http://art-deco-designers.blogspot.com/2009/10/donald-deskey.html>

Figure 4: “Art Deco Hamilton Donald Deskey Walnut Dental Cabinet.” 1st dibs. N.d. Image. 2 October 2016. <https://www.1stdibs.com/furniture/storage-case-pieces/cabinets/art-deco-hamilton-donald-deskey-walnut-dental-cabinet/id-f_1102544/>

Figure 5: “Art Deco Hamilton Donald Deskey Walnut Dental Cabinet (MR12702).” metroretrofurniture.com. N.d. Image. 2 October 2016. <http://www.metroretrofurniture.com/cgi-bin/store.pl?item=12702&cameFrom=527>

Figure 6: “Armchair, Model No. 4517, ca. 1933.” ARTNET. N.d. Image. 2 October 2016. <http://www.artnet.com/artists/donald-deskey/armchair-model-no-4517-Dhhkrfm7-j3AOOXBSA9RjQ2>

Figure 7: “Rare Room Divider, ca. 1920-1929.” ARTNET. N.d. Image. 2 October 2016. <http://www.artnet.com/artists/donald-deskey/rare-room-divider-Jjsr0sqUDd9icwBl_NPFtg2>

Figure 8: “Art Deco Table.” 1st dibs.N.d. Image. 2 October 2016. <https://www.1stdibs.com/furniture/seating/ottomans-poufs/round-art-deco-leather-copper-ottoman-side-coffee-table-donald-deskey/id-f_5457503/>

Figure 9: Anthony and Chris. “The Bedroom of Mrs. John D. Rockefeller Jr.” Driving for Deco. 23 November 2015. Image. 2 October 2016. http://www.drivingfordeco.com/happy-birthday-donald-deskey/

Figure 10: Anthony and Chris. “Radio City Hall.” Driving for Deco. 23 November 2015. Image. 2 October 2016. <http://www.drivingfordeco.com/happy-birthday-donald-deskey/>

WORKS CITED

“Donald Deskey.” art DIRECTORY, n.d. Web. 2 October 2016. <http://www.donald-deskey.com/> MCHALE, Gary. “Donald Deskey.” Art Deco Designers, 6 October 2009. Web. 2 October 2016. <http://art-deco-

designers.blogspot.com/2009/10/donald-deskey.html> Muente, Tamera Lenz. “The Creatively Conscious Donald Deskey.” CityBeat, 19 January 2016. Web. 2 October 2016.

<http://www.citybeat.com/arts-culture/visual-arts/article/13012658/the-creatively-conscious-donald-deskey-review>

ASSIGNMENT 1: FURNITURE SKETCHBOOK: COMPARING AND CONTRASTING FURNITURE AND

ARCHITECTURE

Nicole Stebnitz

INTA207: Faculty Sheri Connor

October 4, 2016

W4A1

Gerrit Thomas Rietveld Dutch Architect, Painter, and Furniture Designer.

Born in 1888 and Died in 1964

Son of a carpenter

Studied night courses and learned hands on.

Had a furniture workshop in Utrecht

One of the founders of “De Stijl”: they wanted to reach the “greatest objectivity and autonomy in a work of art” (Art Directory, web). Their works did not represent any single thing, they were broken down to a very basic arrangement of geometrical shapes in horizontal and verticals. The color palette was made up of primary colors (red, yellow, and blue), and added black and white. They used this for 2 dimensional and 3 dimensional work.

This will be seen in the following sketches showing his work.

Schroder House, 1925Comparison: The use of primary colors: Blue being the one he used in both of these.

Comparison: The use of modern materials: The one used in both of these is steel.

Contrast: There is no use of wood on the exterior of this structure. The chair seat is made of wood.

Contrast: In the Chair there is a curvilinear element in the legs whereas the exterior of the home is all straight lines and no curves

Beugel Stoel, 1927Painted bentwood and tubular steel

Metz & Co. (Manufacturer)

Contrast: Here is the curvature in line that you see in the base of the chair legs as well as in the seat itself.

Comparison: The use of primary colors: Blue is seen here in the seat as well as the seat in the exterior of the house.

Comparison: The use of modern materials: The one used in both of these is steel.

Contrast: There is more use of negative space in this piece

ANALYSISBoth of the above works show the style that Rietveld was known for; “De Stijl” (The style). They both use primary color in them and the house also uses grey, white and black. The very prominent line in the house seen by the use of geometrical elements also shows this style. The use of modern materials, such as metal, glass, and concrete also were elements that would be seen during this time. The chair was actually designed for the Schroder house along with the chair are both perfect example of the style of architecture and furniture found during this era. They are built with lines that are straight and clean, employ the use of shiny materials such as metal (the chair has a laquer finish), and abstract geometric shapes. This style is in close relation with the Bauhaus style that did not want to use themes from nature. The chair was designed to go into the Schroder house for visual balance. Rietveld said that “no part dominates or is subordinate to the others.” (artsy, web)

Works CitedIMAGES

• Figure 1: “Gerrit Thomas Rietveld.” art DIRECTORY. N.D. Image. 4 October 2016. <http://www.gerrit-thomas-rietveld.com/>

WORKS CITED:

“Gerrit Thomas Rietveld.” art DIRECTORY. N.D. Web. 4 October 2016. http://www.gerrit-thomas-rietveld.com/

Galerie VIVID, “Gerrit Thomas Rietveld.” arsty. N.D. Web. 4 October 2016. https://www.artsy.net/artwork/gerrit-thomas-rietveld-beugel-stoel-1

http://www.gerrit-thomas-rietveld.com/

https://www.artsy.net/artwork/gerrit-thomas-rietveld-beugel-stoel-1

BAUHAUSBRUTALSIMDE STIJL: DUTCH DESIGN MOVEMENTMODERNISM

DESIGNERS PORTFOLIO

Marcel Breuer

Architect/Furniture Designer


Figure 1


Marcel Breuer

Born: Pecs, Hungary: May 21st, 1902

Died: 1981

Studied for six months at the Art Academy in Vienna. Didn’t like the eclectic style of mixing various furniture styles from different eras so he enrolled at the new Bauhaus school which was located in Wienar at that time.

1925: His interest in standardized, inexpensive furniture led him to design the first chromium plated, bent steel, tubular furniture

1928: Huge year for him. He was commission to design the furniture for the new Bauhaus school which moved to Dessau. This led to his design of the S-Shaped cantilevered Chair which was the most widely used commercial chair in the world.


Marcel Breuers design came mostly from his training at the Bauhaus School. He started out at the Art Academy in Vienna but didn’t like the mixture of different styles from different eras. Once at the Bauhaus school he took a great interest in the new modern ideals and elements of design. (Yatzer, Web). He would start out using new man-made materials for his furniture design and eventually get into using these ideals to design architecture in the United States. He was forced to flee Germany where once again Walter Gropius (from the Bauhaus School) would play a role. Gropius asked Beuer to come to the United States where Gropius was the chairman of the architecture department at Harvard University. Breuer joined him there and along with some other Bauhaus collegues formed an architectural partnership in Cambridge. Eventually he would set up his own practice where he was commissioned to design many American Universities. Some of his work was on the Brutalist side, using concrete and creating structures that were heavy looking and ugly to some. He also integrated the International style with native materials. Overall his design ideals started with the Bauhaus school and he took those ideas and ventured into Stijl, brutalist, and international style architecture and furniture. (Encyclopedia.com, web)

DE STIJL MOVEMENT FURNITURE

Figure 2: B3 Chair: Marcel Breuer: 1927

Steel components: Use of modern materials

Straight lines

Geometric shapes

Use of primary colors: Blue is used in this chair.

MODERNISM: BAUHAUS STYLE

Figure 3: Marcel Breuer Bauhaus Desk by Thonet. Designed in 1935.

Streamlined metal handle pull: Functional Design

Use of modern materials: steel tubular

White Laquered ash with visible wood texture.

Bauhaus: Clean Lines, unadorned

MID-CENTURY MODERNIST

Figure 4: Marcel Breuer bent ply long chair. Ca 1964 birch ply and leather

Combination of man-made and natural materials

Comfort along with biomorphic forms

Simple lines, geometric pattern

Aesthetic contrasts and emphasis on texture.

Emphasis on function and affordability

MODERNISM: BRUTALIST

Figure 5: Begrisch Hall, the “University Heights” campus at New York University, N.Y. (1967 -1970, with Hamilton P. Smith and Robert Hatje.)

Concrete: Heavy almost ugly.

Unusually shaped Building

Assymetrical Design elements.

MID CENTURY MODERN

Figure 6: House Breuer II, New Canaan Connecticut, 1947 -198.

Use of man-made and natural materials (Glass, wood and concrete)

Bring the outdoors in with the use of glass.

Simplistic, functional, geometric lines.

MODERNIST: BRUTALISM

Figure 7: Breuer Central Library Atlanta

Geometric design

Big and heavy design with the use of concrete:


Figure 1: “Marcel Breuer (1901 -1981): Design and Architecture.” yatzer. N.d. Image. 7 October 2016. <https://www.yatzer.com/Marcel-Breuer-design-architecture>

Figure 2: Thomas Dix-Vitra Design Museum archives, Weil am Rhein. “Marcel Breuer (1901-1981): Design and Architecture.” yatzerr. N.d. Image. 7 October 2016. https://www.yatzer.com/Marcel-Breuer-design-architecture

Figure 3: “Marcel Breuer Bauhaus Desk.” 1stdibs. N.d. Image. 7 October 2016. https://www.1stdibs.com/furniture/tables/desks-writing-tables/marcel-breuer-bauhaus-desk-thonet/id-f_4515223/

Figure 4: “Armchair Marcel Breuer Long Chair Vintage Rare Modernist Chaise, circa 1964.” 1stdibs. N.d. Image. 7 October 2016. https://www.1stdibs.com/furniture/seating/chaise-longues/armchair-marcel-breuer-long-chair-vintage-rare-modernist-chaise-circa-1964/id-f_4113203/#0

Figure 5: : “Marcel Breuer (1901 -1981): Design and Architecture.” yatzer. N.d. Image. 7 October 2016. <https://www.yatzer.com/Marcel-Breuer-design-architecture>



WORKS CITED

Yatzer. “ Marcel Breuer (1902-1981): Design and Architecture.” Yatzer. N.d. Web. 7 October 2016. <https://www.yatzer.com/Marcel-Breuer-design-architecture>

Encyclopedia of World Biography. “Marcel Breuer.” Enclycopedia.com. N.d. Web. 7 October 2016. <http://www.encyclopedia.com/people/literature-and-arts/architecture-biographies/marcel-breuer>

ASSIGNMENT 1: FURNITURE SKETCHBOOK: RECREATING DESIGN

STYLE

Nicole Stebnitz

INTA207: Faculty Sheri Connor

October 11, 2016

W5A1

FRANCO ALBINI MODERNIST/ NEO-RATIONALIST.

Born: 1905 Died 1977

Italian designer. Was a prominent figure in the Neo-Rationalist Movement

Worked in architecture, furniture, industrial, and museum design.

Received his degree in architecture from the Politecnico de Milano in 1929.

1931: Set up his own practice

Was very involved in workers’ housing and helped with reconstruction projects after the war

1940’s: Collaberation with Cassini led to his signature chair designs.

Received many honors because of his contributions to culture. (Cassina, Web)

Figure 6

Images of Inspiration

Figure 1

Figure 3

Figure 2

Figure 4

Figure 5

Sketches: First sketches before final

design.

Both sketches were based on Neo-Rationalist elements. This includes the use of modern materials, geometrical shapes,

and designing based on the function of the piece of furniture. It also adds some

classical features but simplified, like a column but without the ornamentation.

TABLE: FINAL DESIGN

The feet include the classical columnar look with a modern twist and no ornamentation.

SMOKED GLASS TABLETOP: This is the use of modern materials.

GEOMETRICAL SHAPES: Use of rectilinear elements to create balance yet still simplistic.

TUBULAR STEEL FRAME: Combines the function of holding the glass, use of modern materials as well as painting them for a modern look.

Discussion of DesignNeo-rationalism comes from the earlier movement during the 18th century. The Enlightenment Architectural Rationalism had elements that were symmetrical, had accurate measurements of classic shapes, and functionality. Neoclassicism was a reaction to the extravagant and excessive styles of Baroque and Rococo. This was actually an extension of the Rationalist movement of the 18th century. Its designs had columns that were for support, had geometrical shapes, symmetrical, and minimalistic. The later movement as seen above known as Neo-rationalist, was also a part of the modern movement. It still held the same ideals and elements but because of the industrial revolution new materials were introduced like glass, steel, and iron. (Archgreentecture, web). Albini designed furniture that was functional, and aesthetically pleasing, but was also affordable for everyone to buy. He also had comfort in mind as well. The table I designed incorporates all of the elements that would have been found during this movement. I used the inspiration images to employ different aspects of Albinis’ desings.

Works CitedIMAGES

• Figure 1: “Franco Albini.” Daniella on Design. 17 August 2014. Image. 11 October 2016. <http://www.daniellaondesign.com/blog/franco-albini>

• Figure 2: “Franco Albini Stadera Desk for Cassini.” Bonluxat. N.D. Image. 11 October 2016. <http://www.bonluxat.com/a/franco-albini-stadera-desk.html>

• Figure 3: Ryan, Melanie. “Metropolis Mag: A Masterful Effort.” Brian Kish Inc. Oct 2008. Image. 11 October 2016. <http://briankish.com/information/press/#axzz4MprZJcLA>

• Figure 4: “Franco Albini Tre Pezzi lounge chairs, pair.” icollector.com Online Collectibles Auctions. N.D. Image. 11 October 2016. <http://www.icollector.com/Franco-Albini-Tre-Pezzi-lounge-chairs-pair_i8513509>

• Figure 5: “Albini Desk.” Knoll. N.D. Image. 11 October 2016. <http://www.knoll.com/product/albini-desk%3Fsection=Design>

• Figure 6: DA. “Franco Albini.” 3 April 2015. Image. 11 October 2016. <http://www.designaddict.com/atlas/designers/Franco-Albini>

WORKS CITED:

“Rationalism in Architecture.” Arcgreentecture. 23 January 2014. Web. 11 October 2016. <https://archgreentecture.wordpress.com/2014/01/23/rationalism-in-architecture/>

AMERICAN AND INTERNATIONAL MODERN STYLESMID CENTURY MODERN FURNITUREJAPANESE CRAFT TRADITIONSBAUHAUSAMERICAN CRAFT MOVEMENT

DESIGNERS PORTFOLIO

George Nakashima

Architect/Furniture Designer


Figure 1


Marcel Breuer

Born: Spokane, Washington: May 24th, 1905

Died: New Hope, Pennsylvania: June 15th, 1990

Furniture Maker, Architect, Artist, Teacher, Peace Activist, Essayist.

Graduated from the University of Washington-Seattle with a degree in architecture in 1929.

Received a scholarship to study in France at the Ecole Americaine des Beaux Arts in 1928

Graduated from MIT with a Masters in Architecture in 1930. ( He started at Harvard but they focused on Bauhaus and he thought the approach they took to this style was too theoretical and wanted a strong foundation in engineering. (McAndrews, web).

Traveled extensively

1937 to 1939: Was on site supervisor for the first concrete reinforced structure in India. This was the dormitory at the ashram of Sri Aurobindo in Pondicherry, Tamil Nadu India. This was were he became a disciple of Aurobindo and is a major influencer for his design approach and philosophies.


George Nakashima was very much into spirituality and nature. This came about mainly from his time at the construction site of the dormitory of Sri Aurobindo in India. He believed that nature is at the root of everything. He also believed in the craftsmanship of his work. From 1942 to 1943, him and his immediate family were sent to Camp Mindoka in Hunt Idaho. While he was there he met Gentauro Hikogawa who taught him traditional Japanese carpentry. This was a major factor in his philosophy of craftsmanship in his work and how important it is. Durning the 1950’s and 60’s he was very successful in designing pieces that were associated with the Arts and Crafts movement in America. He used large pieces of wood and used the natural beauty of burls, knots, and grain of the wood to create natural looking pieces. He only created furniture for two commercial companies as he did not like mass produced products. He believed it took away from the craftsmanship, but did try to build pieces for those companies that included craftsmanship and could be mass produced. (McAndrews, web.) His schooling, travels, and personal experiences led to a design that is modern and functional, with attention to every detail that is put into building it, and focusing on using elements of nature in their design. He was a designer that put a unique spin on Modern and International styles of furniture, architecture, and art.

MID CENTURY MODERNARTS AND CRAFTS

Figure 2: George Nakashima Captains Chair: 1969; Walnut

Craftmanship: Hand-made and finished. Get away from industrialization.

Spindles

Carved wood seat

Spindle legs

MID-CENTURY MODERN

Figure 3: George Nakashima Mingren Coctail Table: 20th Century, Walnut

Smooth surfaces that have no decoration

Radical simplification of form

Use of walunut

No Ornamentation

MID-CENTURY MODERNIST

Figure 4: Pair of George Nakashima Lounge Chairs: 1951, Walnut

Function and comfort

Simple lines, no ornamentation.

Craftmanship, Hand carved

MID-CENTURY MODERNARTS AND CRAFTS

Figure 5: George Nakashima Conoid Dining Chairs: ca. 1969. Walunt

Spindles

Resistance to mass production by means of craftsmanship in the carving and building the furniture piece.

Use of walnut wood.

Figure 5

MID CENTURY MODERN

Figure 6: George Nakashima Plank Daybed: 1959, Walunt

Simple forms Rectilinear shapes.

Very representational of Nakashima design with the use of nature and the rough natural edges and natural look of the wood.

Functional

INTERNATIONAL STYLE/TRADITIONAL JAPANESE ARCHITECTURE

Figure 7: The Arts Building: George Nakashima. 1946-54. This is the house which also has a workshop where Nakashima lived and worked. New Hope, Pennsylvania.

Use of modern new elements such as glass, concrete, and steel.

Assymetrical design with geometrical shapes and patterns

Created a space that is harmonious with nature


Figure 1: “George Nakashima Quotes.” Az Quotes. N.D. Image. 11 October 2016. <http://www.azquotes.com/author/28966-George_Nakashima>

Figure 2: “George Nakashima Studio Captains Chair.” 1stdibs. N.D. Image. 11 October 2016. <https://www.1stdibs.com/furniture/seating/chairs/george-nakashima-studio-captains-chair/id-f_5376983/#0>

Figure 3: “ George Nakashima Minguren Cocktail Table.” 1stdibs. N.D. Image. 11 October 2016. < https://www.1stdibs.com/furniture/tables/coffee-tables-cocktail-tables/george-nakashima-minguren-cocktail-table/id-f_2451142/>

Figure 4: “Pair of George Nakashima Walnut Lounge Chairs.” 1stdibs. N.D. Image. 11 October 2016. <https://www.1stdibs.com/furniture/seating/lounge-chairs/pair-of-george-nakashima-walnut-lounge-chairs/id-f_5131823/>

Figure 5: “George Nakashima Conoid Dining Chairs circa 1969.” 1stdibs. N.D. Image. 11 October 2016. <https://www.1stdibs.com/furniture/seating/dining-room-chairs/george-nakashima-conoid-dining-chairs-circa-1969/id-f_1222986/>

Figure 6: “George Nakashima Plank Daybed.” 1stdibs. N.D. Image. 11 October 2016. <https://www.1stdibs.com/furniture/seating/day-beds/george-nakashima-plank-daybed/id-f_5323663/>

Figure 7: “George Nakashima Woodworker Complex New Hope, Pennsylvania.” nps.gov. N.D. Web. 11 October 2016. <https://www.nps.gov/nr/travel/asian_american_and_pacific_islander_heritage/George-Nakashima-Woodworker-Complex.htm>

WORKS CITED

McAndrews, Deidre. “Nakashima, George, Katsutoshi.” Pennsylvania Center for the Book. 2008. Web. 11 October 2016. <http://pabook2.libraries.psu.edu/palitmap/bios/Nakashima__George.html>

INDUSTRIAL DESIGNERCONTEMPORARYMID-CENTURY MODERNMINIMALIST

DESIGNERS PORTFOLIO

RON ARAD


Figure 1


• Born: April 24th, 1951: Tel Aviv, Still Living

Attended: Bezalel Academy of Art and Design in Jerusalem. In 1973 he moved to London and enrolled at the Architectural Association. Here he studied architecture under Peter Cook and Bernard Tschumi.

Graduated in 1979

1981: In collaberation with Caroline Thorman started his own design and production company called One-Off. They fused together partially ready and ready-made pieces.

1983: Launched One-Off Showroom in Convent Garden.

1990’s: Developed new ideas using welding, beating steel, and forging materials to form rigid and rough shapes.

2008: Established Ron Arad Architects

1997 to 2009: Served as the Professor of Design Product at the Royal College of Art in London.

Has done museum shows, two of which are “No Discipline” tour and “Restless”.

2002: Awarded the Royal Designer for Industry (RDI) for his “sustained excellence in aestetic and efficient design for industry.”

2011: Awarded the London Design Week Medal for “design excellence”.

2013: Made a Royal Academician of the Royal Academy of Arts. (Famous Architects, Web)


Ron Arad is a designer that uses new technology to create furniture pieces. His first big break was with the Rover chair. In an interview with Ben Hobson he stated: “I picked up this Rover seat and I made myself a frame and this piece sucked me into this world of design.” (Hobson, web.) He loves to design pieces with metal and use new processes and technology that is available to see what he can create. He also takes some pieces that are man made and puts them together with pieces that are ready made. Although he didn’t aspire to become an architect when he was young, it was in his blood. Both of his parents are artists and his mother wanted him to become an architect. While he didn’t start out either thinking about the environment, the Rover chair was the perfect example of repurposing something to create something else. He is an industrialist designer that creates pieces that are comfortable, sleek, and futuristic. This is seen in the design and the types of materials that he uses.

MID-CENTURY MODERN/MINIMALIST

Figure 2: Ron Arad: Rare red lacquer Voido pair of chairs: Plastic. 1990’s

Sleek futuristic design.

The curvilinear shape and flat surface.

Red was a popular color used in chairs.

Minimalistic furniture pieces often used lacquer and plastic.

MODERN

Figure 3: Ron Arad: Raviolo Lounge Chair. 2011. Rotational-molded polyethylene.

Continuous line for a sleek look.

Looped ribbon for a futuristic looking effect

Bright Colors

Rotational-molded polyethylene use of new technology.

POST MODERNISM/MINIMALIST

Figure 4: Ron Arad. Rover Chair. 1981.

Broken down to bare essentials. Upholstered seat from Rover vehicle

Use industrial materials, here the legs and arms are a tubular steel frame

Single cushion.

Designed with the end use in mind while also repurposing materials.

MODERN/INDUSTRIAL

Figure 5: Ron Arad. Tom Vac Chair. 1999

Vacuum shaped aluminum: Use of new technology and process to make it.

Futuristic Design.

Use of modern material: Aluminum leaf

Mass manufactured and stackable.

MODERN/ INDUSTRIAL

Figure 6: Ron Arad. Moroso Orange Misfits Central 1 Modular Sectional Sofa Unit. Italy. 2000-2009

Mass produced.

Designed for comfort

Simplistic design somewhat abstract.

Bold Color.

INDUSTRIAL/MODERN

Figure 7: Bedroom of Mrs. John D. Rockefeller, Jr.

Figure 8: This room exhibits bare materials. The exposed wood and concrete ceilings and flooring as well as the exposed beams of the exterior.

Figure 7: Design Museum Holon: Ron Arad Architects.. 2010 This building uses the classic elements of modern design with an industrial flair. The sleek curvature of the lines and the bold color create a building that is fun to look at. The 5 bands that make it up are made of CortonSteel.


Figure 1: “Ron Arad.” Famous Architects. N.D. Image. 18 October 2016. <http://www.famous-architects.org/ron-arad/>

Figure 2: “Rare Red Lacquer Voido Pair of Chairs by Ron Arad.” 1stdibs. N.D. Image. 18 October 2016. <https://www.1stdibs.com/furniture/seating/chairs/rare-red-lacquer-voido-pair-of-chairs-ron-arad/id-f_5551633/>

Figure 3: “Pair of Raviolo Chairs by Ron Arad.” 1stdibs. N.D. Image. 18 October 2016. <https://www.1stdibs.com/furniture/seating/lounge-chairs/pair-of-raviolo-chairs-ron-arad/id-f_4483833/>

Figure 4: Hobson, Ben. “Rover Chair by Ron Arad.” dezeen. 5 August 2014. Image. 18 October 2016. <http://www.dezeen.com/2014/08/05/ron-arad-rover-chair-sucked-me-into-the-world-of-design-dezeen-book-of-interviews/>

Figure 5: Hobson, Ben. “Tom Vac Chair by Ron Arad.” dezeen. 5 August 2014. Image. 18 October 2016. <http://www.dezeen.com/2014/08/05/ron-arad-rover-chair-sucked-me-into-the-world-of-design-dezeen-book-of-interviews/>

Figure 6: “Moroso Orange Misfits central 1 Modular sectional Sofa Unit.” 1stdibs. N.D. Image. 18 October 2016. <https://www.1stdibs.com/furniture/seating/chairs/moroso-orange-misfits-central-1-modular-sectional-sofa-unit-ron-arad-italy/id-f_5025673/>

Figure 7: “Design Museum Holon / Ron Arad Architects.” Arch Daily. 9 November 2010. Image. 18 October 2016. < http://www.archdaily.com/87173/design-museum-holon-ron-arad-architects>

Figure 7: “Design Museum Holon / Ron Arad Architects.” Arch Daily. 9 November 2010. Image. 18 October 2016. < http://www.archdaily.com/87173/design-museum-holon-ron-arad-architects>

WORKS CITED

“Ron Arad.” Famous Architects. N.D. Web. 18 October 2016. <http://www.famous-architects.org/ron-arad/>

Hobson, Ben. “Ron Arad: The Rover chair sucked me into the world of design.” dezeem. 5 August 2015. Web. 18 October 2016. <http://www.dezeen.com/2014/08/05/ron-arad-rover-chair-sucked-me-into-the-world-of-design-dezeen-book-of-interviews/>