Annotated Bibliography: French Designer Pierre Chareau

The article “The Approaching Obsolescence of Housework: A Working-Class Perspective” by Angela Davis addresses on the liberation of women from their socially regarded functions in society. She explores the idea of capitalist critique and feminism, and she argues that housework is annoying as much as it is disempowering women in the society and women need to be released and discharged from these duties (Angela, 2011). Angela's unique perspective on women's roles as housewives and history of house works gives us a clear perspective on the plight of women in society. The article shares a different perspective to the traditional view of women as housewives in the community. Instead of judging women on their femininity and history of their work

Lutz addresses a topic that has spread like an uncontrollable virus fueled by political correctness. However, I question the social relevance of the topic. Lutz’s essay comes off as having a chip on his shoulder and cold disdain for current trends in corporate communication. Lutz’s thoughts, accurate as they are, are nothing more than a rehashed Andy Rooney editorial. Quindlen however, delicately reminds us of how important a place to call “home” is. Quindlen eloquently says, “Home is where the heart is. There's no place like it. I love my home with ferocity totally out of proportion to its appearance or location. I love dumb things about it: the hot-water heater, the plastic rack you drain dishes in, the roof over my head, which occasionally leaks. And yet it is precisely those dumb things that make it what it is--a place of certainty, stability, predictability, privacy, for me and for my family. It is where I live. What more can you say about a place than that? That is everything.” (Quindlen, n.d.) This is how Quindlen separates her work from Lutz’s work; by making her

For the first time in 130 years, more young adults are living with parents until their mid thirties. Part of this could be an emotional attachment keeping them from leaving home because after they leave, everything will change. However, many are losing their real sense of home and are just using it as a place where they can avoid paying bills and many other responsibilities. Many young adults now do not understand the extensive sacrifice it is to leave their one and only home. In “On Going Home,” Joan Didion expounds on her struggle to connect with her current house, in a nostalgic and resigned tone, and vivid imagery, symbolism, and comparison Didion expresses the regret she feels every time she remembers she left her “home”.

She tells of the feeling of shame which emerge from not even having a bed throughout her entire childhood (3). She does reassure that she has the security of her family being the only constant in her life, “Close and sweet and loving. Lucky me on my small pallet on the floor” (4). Travelling every summer “We never knew from one day to the next, from one year to the next, where we would go or live or what we would do” (127), her security of her family seemed always there “Having lived in other people’s houses, barns, and in migrant housing in various stages of decay and repair, it felt as though we could make a home out of anything” (99).

Moore sees the home as a reflection of the self as well as a mirror image of one’s surroundings. His goal is to describe the importance of archaeology in history of home by critiquing the writing of an illuminated history and that by exploring the homes of people in the past we can see the pas from a different perspective (Moore, 9). He says that, “archaeology is the only way those ancient lives can be recovered and added to the consultable record of what it means to be human” (Moore, 10). He also wants to abandon the notion of time as linear and wants it to be seen as a continuum instead. He believes the “the goal of understanding the past intersects with the continuing human domestic project” (Moore, 11). Another goal of the book is to “survey the ways

The home is actually a major “mechanism for the domestication of … women” as substantiated by the esteemed Leon Baptista Alberti (Wigley 332). Alberti writes in his 15th century treatise on Architecture, that the ancient Greeks rightfully confined women within the private sphere of the home where the women are deeply distanced from public association and men are granted the freedom to network publicly outside and the additional defeminized space of the study. These sexual assertions emanated from misogynistic literature expressing the physical and mental inferiority of undisciplined women as a means to justify domesticating women. The second component of Wigley’s argument is the concept of domestic architecture as a metaphor for femininity. He explains that the house itself is “a domesticated woman”. Just

These houses were amalgamation of retained social expectations of housework but also more progressive architectural ideas. The period saw great change thanks in part to the influence of the Garden City Movements and Raymond Unwin. Unwin semis featured additional living space on the ground floor, running hot water, internalised kitchen and bathing facilities. The extra living space on the ground floor provided an area for families to engage with everyday life and again a parlour in the front of the house to entertain with. The changed position of the kitchen to inside the house really demonstrates the change of gender perspective during this time, it lessened the separation of house tasks by bringing them closer to the family. The provision of hot running water, electricity and internal washrooms helped ease some of the labour of housework, beginning to liberate the housewife. It was however still expected that she would prepare and serve all foods. Therefor the housewife found herself in a funny situation of being both privileged with modern conveniences but still bound to being unseen doing her task in a small space as if a

Home is more than just a place to most people, it is a different set of values and behaviors. Joan Didion, in her personal essay “On Going Home,” reflects on the difficulty of combining one’s adult life with one’s values and experiences from the place one comes from, the troubles of being home. In contrast, the article in Quartz by Corinne Purtill raises awareness for those who are refugees, who had to abandon their homes, and for Better Shelter, a company trying to “give a more dignified home for displaced people.” Despite the differences in aforementioned purposes, the texts share a subject of the struggle to find that place one can call home and feel secure in. Although these two texts are linked in terms of subject matter, they differ in terms of their varying purposes, context, and syntactical and stylistic features.

L’Arbe de la Croix is the mansion that Valerian builds for himself on Isle des Chevaliers. It is a luxurious space, “with windows and doorsills carved lovingly to perfection” (Tar Baby 10), “built in the days when plaster was taken for granted” (11), although sometimes at odds with “panes [that do] not fit their sashes” and “hand-kiln tiles from Mexico, though beautiful to behold, [that] loosened at a touch” (10-11). Visitors

Though the name has changed what it represents has not. The Bijoux Parisians: French Jewelry from the Petit Palias, Paris is the exhibit that houses all of the jewelry that was designed by Parisian designers of the past that influences have taken a place in history as it illustrates the French culture in art form. The exhibit features more than 100 works of jewelry and drawings along with fashion prints, paintings, and photographs. The Cummer Museum of Arts is currently in possession of this spectacular exposition that tells a story of French jewelry from 17th to the 20th century. The Cummer is happy to share the Bijoux Parisians with the community as it will feature designers such as Lalique, Cartier, Jacqueu, and Chaumet to name a few; their work will be on display. This exhibit is one you would not want miss! Come see the Bijoux Parisian here at the Cummer Museum of Art &

“How Paris Became Paris: The Invention of Modern City” Introduction Joan Dejean wrote the book “How Paris Became Paris: The Invention of Modern City”. In the book, the author describes the century-long transformation of Paris from a medieval center to the modern city, which is recognized today, elaborating how the Parisian urban model was actually invented in the 17th century, when leaders tore down fortifications, and created public parks and constructed streets and bridges. In the book, the author argues that Paris has been a modern city far longer that it is usually thought of. In addition, the author builds her arguments for the 17th century origins of modern Paris piece by piece and unravelling the stories on how the city’s architectural

City scenes flicker by in a blink, followed by a panoramic of suburban life as the camera pans through the town. As fewer and fewer houses are visible, and the emptiness grows, the true remoteness of James family home can be understood. The audience is taken on a journey, not only to locate the home but also to provide a sense of isolation and solidarity within this environment. As we look into the house, we can critically analyse the research that considers how the home is viewed.

This essay is derived from the argument made by Benjamin Genocchio’s an art critic and non-fictional writer from Australia, titled “As a Museum, Frank Gehry’s Fondation Louis Vuitton in Paris Disappoints.” It’s boring, safe, sanitized -a handbag palace on steroids, on 6 November 2014 for art guide. The author demonstrates his review towards the foundation Louis Vuitton building, Paris at the end of the article Benjamin culminates that ‘’ A heralded reliance on “aerospace technology” and special 3-D software developed by Gehry’s Technologies, which made it possible to model complex shapes imagined for the exterior and is kind of interesting in a science-nerd sort of way, is redundant and irrelevant”. The readers of this essay witness the contradictory

For my choice of famous designers, I choose Benjamen Banneker which who set a lot of a lot of examples for others to go by in my opinion. Mr. Banneker finished designing Washington D.C., down to a science and that’s just one of his many designs that he did for this country. It’s known that L’Enfant started designing D.C. but Mr. Banneker saved and twerked it with his mathematical skills to what it’s known as today from the streets to the parks and especially some monuments. The most interesting part to me is that Mr. Banneker never had no formal architecture training pry to him taking on this job since the Frenchman wasn’t patient enough to receive his payment but he definitely did this country a great service for being impatient. But let us

Home is a geographical space -- a site where we live but it is also ‘an ideal and an imaginary that is imbued with feelings’1 .Somerville(1992) has picked out seven key aspects of being at home: shelter, hearth,(emotional and physical well-being),heart(loving and caring relations), privacy, roots(source of identity and meaning, fullness),abode and paradise(ideal home as distinct from everyday life)2.Down the ages, we have associated ‘home’ as a haven, far away from the hostility and surveillance of the outside world. It is in the privacy of home that an individual gives expression to his ideas. The domestic items from curtains and furniture to books and records all contribute to the development of an individual. In all its details, a home