A New Idea For Furniture Pieces By Comparing The Red And Blue Chair, And The Interior Of The

An architect’s intention on how his or her design is to be viewed can be misconstrued in a variety of different ways. For example, dissecting the compositional and formal design of a building, with or without knowledge of the architect’s actual intent, is completely up to the interpretation of the person or persons researching or viewing the design. In my own research about the compositional and formal design of the Margaret Esherick House, designed by Louis Kahn, I have come to realize, with the help of scholarly resources, the direct intention of Louis Kahn’s design; in which this paper will come to analyze and explain. While compiling research about the Esherick house, I came across a very informative book, The Houses of Louis Kahn, written by George H. Marcus and William Whitaker. The Houses of Louis

In Gehry’s house, he used big openings, unique wall surfaces and light conditions in a large room or visible framework, they all showing the postmodern style and making relationships between architecture and its origin. Gehry tried to “make a very tough sculptural

Elizabeth Bay house that was built between 1835 and 1839 as the home of Alexander Macleay became one of the Australian historic houses and opened as a museum in 1977. This is a critical analysis of comparing and contrasting between the historic and contemporary design. The first object that has been chosen from Elizabeth Bay house was the ‘cabinet’ (picture 1) that was made for Alexander Macleay in the late 18th century and the second object is contemporary cabinet which is called “Delphine Cabinet” (picture 2) made by the company named Coco Republic design. In this critical analysis, firstly it will demonstrate the detail information of each item. Secondly, it will explain the significance between the two objects that related to the international design movement during their time.

The eighteenth-century city was a place in which actual physical space was subjected to a complex mental layering of conceptual spaces, focusing on the design theory of architects as Boullee and Durand, with his charts. Which legacy was continued later on through the architecture of Paul Philippe Cret, Frank Lloyd Wright and Louis Kahn, some of the most outstanding modern architects of 18th-19th century. Furthermore, distinctive features of neoclassicism and outlines

Elsie de Wolfe designed during the Victorian movement, however “had adopted the 1890’s preference for Neoclassicism” (Smith, 22). Unlike the cluttered and dark interiors of an average Victorian interior, her interiors were, “in the words of one visitor, ‘[models] of simplicity’” (Smith, 20). She redecorated the once cluttered dining room of her apartment in the

With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.

It is considered beautiful to the public and the Stillman couple. The building speaks for its architect by the beauty and creativeness of the house. Since the house was considered successful and to be one of Breuer’s most successful post-war houses; the successfulness of the house being displayed at the museum of Art proves that the house does have true beauty and is respected in the design

Visually, the Lady’s Writing Table and Chair is breathtaking. Ebony, mahogany, boxwood redwood, and thuya wood make up the various colored wooden panels for which the frame of the desk and chair are constructed. The shape of set is quite unusual in the fact that there are no hard edges. Every corner is curved and sides of the desk fluctuate inwards and outwards like an ocean wave. This use of concave and convex shapes is inspired by 18th century French Rococo in which artists would try to emulate a sense of lightness and elegance through their furniture and art pieces. Rococo influence is also present in the “C” and “S” shape curvature seen in the legs of the desk and the back of the chair. Furthermore, the organic shapes utilized in Art Nouveau and

One of the most recognized architectural movements are the modern movements which comprise of the International Style, Art Deco Style, and Moderne Style. Modern Movements occurred between 1925 and 1950. Out of the three styles of architecture, International Style has been selected for this art analysis. The International Style of Architecture occurred between 1920s and 1930s, and it is characterized by starkly unornamented rectangular shapes which are very different from the traditional forms of architecture. The reason why International Style of architecture has been chosen for analysis in this paper is the fact that the rectangular shapes used in constructing the style have been punctuated with bands of windows which depict the modern purpose

Internationally stylized, the De Stijl movement emphasized universality. It communicated via a visual language of primary colors and quadrilaterals. A famous De Stijl artist, Theo van Doesburg, greatly influenced the movement “to geometric abstraction, the overturning of expression, and the emphasis on mechanical production processes” (White).

The Designer Gerrit Thomas Rietveld lived in Utrecht, the Netherlands and was qualified as a cabinet maker. In 1917 Rietveld set up his own furniture store, this gave him the opportunity to create furniture to his very own design. He was part of an early 1920’s movement called De Stijl (Dutch for Style.) From 1930 Rietveld worked on his own as an independent Architect. He remained part of the De Stijl movement until 1931. There he worked alongside Piet Mondriaan and Theo van Doesberg and many others. The De Stijl movement was formed by a group of architects and artists who were greatly influenced by the ideals of DaDa. De Stijl was founded by Theo van Doesburg. The term Neo- Plasticism, meaning “a new plastic art” was adopted by Mondrian to describe the types of work the movement members created. De Stijl was based around the principals of fundamental geometry.

Mies van der Rohe is one of the most prominent figures in modernist architectural history, the man who popularised some of the most influential phrases of the era, e.g. “less is more”, and strove to push his ideas and philosophies, not just on what he thought a building should be, but of what he thought architecture itself was. He changed the cityscape of America, showing the world a style that was simple and elegant, with such a controlled palette of expressions that shone through in its geometric beauty.

Gropius traces the growth of the New Architecture and the work of the now well-known Bauhaus, with accuracy, calls for a new artist and architect educated to new materials and approaches as well as meeting the requirements of the age. It is also mentioned in The New Architecture and the Bauhaus that the intention of the Bauhaus was not to reproduce any “style”, system or belief, but simply to exert a revitalizing impact on design. Even though the outward forms of the New Architecture differ primarily in an organic sense from the old, it is the inevitable logical product of the intellectual, social and technical conditions of our age. A gap has been made with the past, allowing us to face a new aspect of architecture corresponding to the technical civilization of the age we live in. The analysis of the dead styles has been destroyed. Furthermore, the new building throws open the walls like curtains to allow an abundance of fresh air, daylight and sunshine. Instead of securing the building ponderously into the ground, it poises them lightly, yet firmly at the same

Different architects have different styles because they are trying to get at different things. Architecture is not just about making something beautiful anymore, it is about trying to get across a set of ideas about how we inhabit space. Two of the most famous architects of the twentieth century, one from each side, the early part and the later part up until today each designed a museum with money donated by the Guggenheim foundation. One of these is in New York City, it was designed by Frank Lloyd Wright. The other is in bilbao, Spain, and it was designed by Frank Geary. My purpose of this paper is to interrogate each of these buildings, glorious for different reasons, to show how each architect was expressing their own style.

The Bauhaus school was founded in 1919 in Weimar by German architect Walter Gropius (1883 - 1969). In 1923, Walter Gropius introduced the agreement between “creative artists and the industrial world”. The Bauhaus is most famous for the idea of combining forms and functions. They combined both fine arts and design elements to create a curriculum that trained artists and designers to be capable of producing both functional and aesthetic work. One of the main goals was to bring design and technology together. During the Bauhaus period, Fine art and craft were combined together and aimed toward problem solving for an innovative, modern and industrial society. Nowadays, the Bauhaus legacy continues in modern designs, such as minimalism, or design brands like IKEA. In this essay, I will analyze Bauhaus’s influence on modern design, including architecture and furniture design by exploring different examples from different periods of time.