History of Design Midterm

Joseph Hartwig, Chess Set, 1924

- Abstraction of figures - Directions of game in figures - X goes sideways (Bishop) - Knight goes up and across

Margarete Schutte-Lihotzky, The Frankfurt Kitchen, 1927.

- Built in kitchen furniture - Standardized - Labeled - Moveable light (form function) - Modernism, Clean (fresh air, light, cabinets flush to ceiling removes possibility of dust - Foldable ironing board on wall

Peter Keler, Cradle, 1922.

- Embodies form and function - Breaking down object to component parts - Primary colors, Primary Shapes Shapes inherit function

De Stijl

- Harmony, Balance, Purity, Abstraction - Gerrit Reitveld Red and Blue Chair (1917-18) - Leaving behind historical past - New style of harmony - Color Theory (RBY) - Celebration of Process (construction not concealed) - Truth in Materials - "Every part simple and in its most elementary form in accordance with function and material" -Reitveld Schroder House Very radical modern house in a line of traditional houses Primary Colors

Pierre Legrain, Stool. Lacquered Wood, horn and gold. French, 1923. Art Deco (1920)

-African inspiration -Art Deco

Cartier, Egyptian Sarcophagus Vanity Case, 1925. Gold, platinum, carved bone, sapphires, emeralds, diamonds, onyxes, and enamel. Art Deco (1920)

-Art Deco -Egyptian source/inspiration -imaginary compilation of Egyptian motifs -very refined & very few people could afford

Rene Buthaud, Vase, c. 1926. Stoneware. Art Deco (1920)

-Art Deco -inspiration from African textiles -object becomes sculpture within itself

Jacques-Emile Ruhlmann, Grand Salon in the Hotel d'un Collectionneur, at the Paris 1925 Exhibition. Art Deco (1920)

-Art Deco -more modern interior spaces -reinventions of old designs from the past

Jacques-Emile Ruhlmann, Dressing Table, 1925. Oak with amaranth and mahogany veneer; ebony and ivory inlays. Art Deco (1920)

-Art Deco -you can tell it's updated because only way French could get ivory was from Congo (which is new)

Alfons Mucha, Job Cigarette Papers, 1896. Color lithograph. Art Nouveau (1890s)

-Art Nouveau --> curvelinear in hair/smoke -not immediately clear what the ad is for, but it gives a feeling/idea rather than literal

Victor Horta, Hotel Tassel, 1893. First floor landing with view towards staircase, 1893. Brussels. Art Nouveau (1890s)

-Art Nouveau --> decorated with vines/curves/unique columns -pillars are iron w/ a sense of an organic form --> not just still rod -menacing

Gerrit Reitveld, Schroder House Interior, 1924.

-De Stijl --> primary colors -moving walls --> new way of living --> control/adapt to needs -feminist --> house reflects that because.....

Gerrit Reitveld, Red and Blue Chair, 1917-1918.

-De Stijl --> primary colors --> no decor/history --> intersecting planes -simplicity/harmony of form/function -celebration of process -> "honest" connections

Heywood, Higginbottom and Smith, Wallpaper with representations of the Crystal Palace and Serpentine. Color machine print on paper. Included in Henry Cole's "False Principles" Exhibition, 1853-5. (Early Industrialisation)

-Henry Cole didn't like this wall paper because it's a "lie" --> can't actually put hand through or sail boat

Le Corbusier and Pierre Jeanneret, Casiers Standards in Pavillon de L'Esprit Nouveau, 1925. Bahaus Dessau (1925)

-Modernism -boxy geometric shelving compared to safes/filing cabinets in offices/banks

Le Corbusier and Pierre Jeanneret, Exterior of Pavillon de L'Esprit Nouveau, 1925 Paris Exhibition. Bahaus Dessau (1925)

-Modernism -prototype for utopian mass production for paris living --> houses were destroyed after WW1 -flat roof, more glass, no decor

Le Corbusier, Pierre Jeanneret and Charlotte Perriand, B306 Chaise Longue, c. 1928. Modernism

-Modernism --> clean surfaces in modernism --> healthier --> no dust --> easier to clean -feet above heart believed to be healthier/breathe better -healthier living --> inspiration from medicinal chairs

Le Corbusier, Pierre Jeanneret, and Charlotte Perriand, B302 Swivel Chair, 1928-1929. Le Corbusier, Pierre Jeanneret, and Charlotte Perriand, Grand Confort, 1928. Modernism

-Perriand written out of modernist history, but it was a collaboration --> "we don't embroider cushions here" --> didn't take no for an answer -non-traditional materials --> stainless steel = not ever seen in homes, but hospitals/factories -usually modernism is massed produced, but these are actually luxury items = not a lot made

The Medieval Court, 1851. Louis Hahhe. From Dickinson's comprehensive pictures of the Great Exhibition of 1851. Color Lithograph. (Early Industrialisation)

-Pugin loved the Medieval time because they didn't mass produce --> they were more focused on the hand (imperfections) -Pugin believed that carving your own piece and controlling the creation is more honest

Etagere-Sideboard, 1853-54, Alexander Roux, New York, of black walnut, pine, poplar, Metropolitan Museum of Art (Rococo Revival 1850-1870s)

-Rococo Revival --> hourglass shape & scrolls --> leaves/fruit on scrolls --> shelving categorizes it as Rococo -shown in 1853 Exhibition --> Crystal Palace in New York -Alexander Roux was French immigrant

Centripetal Spring Chair, c. 1849-58, design attributed to Thomas E. Warren, possibly manufactured by American Chair Company, Troy, New York, of cast iron, steel, birch, yellow- poplar, basswood, brass, paint, Munson-Williams-Proctor Institute, Utica, NY (Rococo Revival 1850-1870s)

-Rococo Revival --> hourglass shape with "S" scrolls at bottom -one of the first forms of our modern office chair --> swivel, lean back, spin, wheels, springs -shown at 1853 Exhibition -patent furniture

Rococo Revival

-a lot going on --> more frivolous than rigid neoclassicism -reference to an hourglass shape -lots of "C" or "S" scrolls with leaves/fruit/grapes/etc -longest lived style in the 1800s

Pier Table, c. 1835, Joseph Meeks and Sons, New York City, of mahogany veneer, marble, mirror glass, Metropolitan Museum of Art (American Neoclassicism 1783-1820s)

-appeared in one of the first furniture catalogs in American -not necessary piece of furniture --> existence is to fit between two windows

Hall Chair, c. 1845, Alexander Jackson Davis, designer, Richard Byrne, White Plains, New York, of oak and cane, for Lyndhurst, Tarrytown, NY (Gothic Revival 1830-1850)

-back of chair = represented rosette window -characteristics of gothic architecture --> arches/points

Hector Guimard, View of the Paris Metro. Art Nouveau (1890s)

-beautified the city while adding function -natural/menacing forms -Art Nouveau

R.W. Winfield of Birmingham, Gas Jet Lamp in the shape of a convolvulus, 1848. Furnishing chintz, c. 1850. Roller printed glazed cotton. (Early Industrialisation)

-both included in Henry Cole's "False Principles" Exhibition --> Henry Cole thought the flowers were "false" because they're posing as real flowers in nature but are not what real nature actually looks like --> Cole did not want this type of "dishonest" design for England -Industrialized mills wiped out hand-made/detailed goods --> textiles started being rolled instead of hand-painted ^What's the point of having these things if the taste & quality is so low?

Le Corbusier and Pierre Jeanneret, Interior of Pavillon de L'Esprit Nouveau, 1925 Paris Exhibition. Bahaus Dessau (1925)

-built in furniture -"home is the machine for living" -plain furniture --> no drapes/decor/wallpaper -avant-garde architecture -very radical new interior -Modernism --> clean surfaces in modernism --> healthier --> no dust --> easier to clean

Federal Style

-classical style, but with symmetry and often geometric shapes -more simple

American Neoclassicism

-design motifs: columns, mythical figures, ancient references, leaves

Emile Galle, Bat Vase, c. 1903-1904. Art Nouveau (1890s)

-dream & nightmare -emphasis on advances in meds/science --> anesthesia --> haziness -Art Nouveau

Imperial Federation Map of the World. From "The Graphic", 24 July, 1886. (Early Industrialisation)

-everything in red = British rule (Queen Vic) -visuals: Britannia on top of the world --> rest of the world (symbols: native americans, etc) kneeling before her -supply & demand between trade triangle

Lithograph, Broadside for Joseph Meeks and Sons, 1833, New York City, Metropolitan Museum of Art (Gothic Revival 1830-1850)

-first example of catalog today -can choose how fancy you wanted your piece -more access to designs -American Neoclassicism?

The Crystal Palace, Exhibition Building for the Great Exhibition of 1851. Designed by Joseph Paxton, Hyde Park, London. (Early Industrialisation)

-greenhouse type structure made of glass & iron -held over 100,000 exhibits -was built to be temporary --> built in parts so could be taken down and built fast (less than 6 months to build) -largest building that people had ever seen at the time -Henry Cole was upset w/ outcome of what came to the Exhibition --> overly ornate pieces that were not hand-made

Sofa, c. 1855, attributed to John Henry Belter and Company, New York City, of rosewood with contemporary upholstery, Milwaukee Museum of Art (Rococo Revival 1850-1870s)

-he wanted to make it more affordable and comfortable --> put plywood foundation and decoration on top --> plywood molded in "caulks" to make more comfy curves -Belter was a German immigrant -shown in 1853 Exhibition -Belter furniture = curves around the back --> one of the first examples of bent furniture

John Nash, Stuffed Elephant and Howdah from India, The Indian Court, Crystal Palace, 1851. (Early Industrialisation)

-heart of the whole building -the room was a metaphor of power/control for Britain (ownership) --> Britain showing off --> "look what we have" --> India was a place that many countries tried to get -imaginative fantasy of what India would be like --> taking the best from there and bragging

Makume Tea Caddy with Foo Dog Finial, c. 1878-80, designed by Edward C. Moore for Tiffany & Co., New York, New-York Historical Society American Aestheticism (1870s - 1890s)

-high-end box to hold tea -incorporated Eastern Styles --> he traveled & was inspired -Edward C. Moore = one of the first collectors of art -used a technique that made metal look like leather

René Lalique, Dragonfly woman corsage ornament, c. 1897-1898. Gold, enamel, chrysoprase, moonstones, and diamonds. Art Nouveau (1890s)

-menacing & beautiful --> scary claws --> predatory --> time when women were starting to fight for rights --> "femme fatal" = men fear women -luxury jewelry -Art Nouveau

D.G. Rosetti for William Morris and Co., Sussex side chair, 1865. Black painted bent wood and wicker. (Arts and Crafts)

-more variety to choose from (Morris trying to add choices) -form inspired by the Sussix country side --> lower class --> simplicity

Dragonfly Lamp, probably designed by Clara Driscoll, Tiffany Studios, NY, New-York Historical Society American Aestheticism (1870s - 1890s)

-mosaic glass, not stained glass -roll of women in design --> Driscoll actually designed a lot of Tiffany Studios --> women finally got credit for actually designing

William Morris, Brother Rabbit, 1880-1. Indigo discharged and block printed cotton. Produced by Morris and Co. Merton Abbey, England. (Arts and Crafts)

-natural dye makes it expensive = class issue --> Morris struggled to make his pieces affordable --> he was a socialist

Hector Guimard, Banquette, c. 1897. For the Castel Beranger. Art Nouveau (1890s)

-play on words --> people would call it the "deranged" house -bench with tobacco shelf --> example of "total work of art" --> everything works together -Art Nouveau

Wisteria Lamp, c. 1901, designed by Clara Driscoll, Tiffany Studios, NY, New-York Historical Society American Aestheticism (1870s - 1890s)

-roll of women in design --> Driscoll actually designed a lot of Tiffany Studios --> women finally got credit for actually designing

Gothic Revival

-shortest lived style in America -AWN Pugin

Card Table, 1817, Charles-Honore Lannuier, New York, of mahogany veneer, gilded gesso, verd antique, gilded brass, die-stamped brass borders, one of a pair, Metropolitan Museum of Art (American Neoclassicism 1783-1820s)

-specifically empire style because clawed feet, caryatid, mahogany, more ornate -Lannuier was French immigrant who made furniture for the rich -card table = new piece of furniture at the time that signified wealth/class for being able to own this & have time to play cards -caryatid of lady with wings (column fused into a female figure)

Art Nouveau

-the new style in Europe -curvilinear motifs -very radical -predominantly France

A.W.N. Pugin, Table, c. 1847. Carved Oak. (Gothic Revival & Arts and Crafts)

-this is wood and not trying to be anything other than wood --> secrecy is dishonest --> don't hide joints/hinges --> furniture should be honest -a machine clearly did not make this

Paul Colin, Josephine Baker, plate from Paul Colin, Le Tumulte Noir, Paris, 1927. Paul Colin, Dancing Couple, Le Tumulte Noir, Paris, 1927. Art Deco (1920)

-transcends race --> interracial couple dancing -Josephine Baker = presented herself as exotic --> changed the way celebrity/black women were viewed --> "black is beautiful"

Aleksandr Rodchenko, Design for the USSR Workers' Club, Chess Table. Black and red India ink and gouache on paper, 1925. Modernism

-uncomfortable --> trapped -mobile/adjustable --> efficient -emphasis on intellectual play/leisure -playing chess kept workers from drinking --> political --> only the high class has time to sit around and play chess -consistent color themes -example of Russian constructionism --> first time that Russia & England interacted since revolution/WW1

William Morris, Acanthus, 1874. Printed distemper from wood blocks on paper. (Arts and Crafts)

-very flat interpretation of nature --> not "false" --> no fake depth

Empire Style

-warm colors -animal legs/feet -more ornate

American Aesthetic Movement???

Advocated "art for art's sake."

Bauhaus Dessau (1926-1933) Walter Gropius

Factory in building "Art and Technology, a new unity" Book binding, stained glass, gone Photography, film, introduced Move from Craft to industry

Marianne Brandt, Teapot, 1924.

Form and function One of the few women working in metal Wasn't trusted, had to prove herself

Gunta Stolzl and Marcel Breuer, "African Chair", Oak and cherry wood, hemp, wool, cotton and silk, 1921.

Gunta weaving directly onto chair rather than loom Looking to the "exotic" for inspiration and ideas

William Wagenfeld, Table Lamp, 1924. Glass, brass silver plated.

Idea of using geometry as the building block of design Aesthetic of machine

Left: Osbert Lancaster, "Moderne Home," Homes Sweet Homes, 1939 Right: Osbert Lancaster, "Modern Home," Homes Sweet Homes, 1939

Left = Art Deco: -more decorative/curvy -middle class -comfier -female --> "less intellect" Right = Modernism: -more spare/straight -upper class -less comfy -male --> "more serious/intellect"

Marcel Breuer, B3 Club Chair, "Wassily Chair," 1925.

Stainless Steel

Gunta Stolzl, Wall Hanging 1926

Women were funneled into more "feminine" practices such as weaving and pottery Woman were banned from studying architecture at the Bauhaus under Gropius First woman teaching at the bauhaus in weaving

Lyonel Feininger, Cathedral of the Future, woodcut, 1919

Woodcut, cathedral Very primitive compared to Bauhaus Design Cathedral is unity of art (sculptors, painters, wood cutters, stone cutters, etc.) Insistence on artists continual input even with the machine

Dickinson Brothers, Views of the Exhibition, 1851. Color lithograph. (Early Industrialisation)

gives a sense of how large the building was -two reddish lithograph prints of inside of exhibition

Modernism

increase in: -innovation -machine -abstraction -making a better world through design -unity of the arts -rectilinear geometry -industrial forms/materials decrease in: -tradition/historical reference -decoration -begins just after world war 1 --> machine = destruction --> modernism = how can we find salvation through the power of the machine? -occurring at same time as Art Deco --> modernism's "other" -not mainly a style, but a concept

Art Deco

simple, clean shapes, often with a "streamlined" look reflected admiration for the modernity of the machine and for the inherent design qualities of machine-made objects