Biography Of Gustav Stickley

The bungalow design was influenced by a variety of social and economic trends that expanded the middle class and became a powerful means of transformation in American society. Arts and Crafts promoters associated the bungalow design with creative manual work, independence, and a way to return to manhood of common work practices. The bungalow

In IKEA, the Unsolicited Proposal came from many directions. Firstly, in 1952 the boycott by Swedish retailers to IKEA, obliged to IKEA to seek new sources of furniture. Second, the Swedish furniture market demand fall by the early 1970s. Third, IKEA had identified as we said before two big markets to

(2005). In D. Bjelajac, American Art: A Cultural History (pp. 37-129). Upper Saddle River: Prentice Hall, Inc.

The chair utilizes the space and structure well and also is developed from a traditional idea into an innovative modern design for a chair. This chair was famous for its new use of materials, in the original design, the frame was made out of chrome steel and the upholstery was covered with white kidskin and filled with cotton burlap and horsehair (Meadmore, 1997). This chair is still in production for over eight decades.

The Arts and Craft movement was a social and artistic movement, which began in Britain in the second half of the nineteenth century and continued into the twentieth spreading to continental Europe and the USA. Its adherents-artists, architects, designers and Craftsmen sought to reassert the importance of and craftsmanship in all arts in the face of increasing industrialization, which they felt was sacrificing quality in the pursuit of quantity. Its supporters and practioners were united not so much by a style rather than the common goal- a desire to break down the hierarchy of the arts and to revive traditional handicrafts and make art that could be affordable to all.

During the later half of the nineteenth century, new beliefs were adopted towards decorative and fine arts. While some such as Ruskin saw art that was made by the industrial machinery lacking the sensitivity of that made by hand, others took advantage of the technology at their disposition. Gustav Stickley, a well-known manufacturer worked on simple furniture and designs in the hopes to appeal to the people of the era. Regardless of manufacturing furniture, Stickley was aware of the virtue of hand craftsmanship and encouraged his workers to learn about it by providing workshops. A lot of the designs in the United States during this time were considered Mission Style because they tried to incorporate a balance nature. This is seen in pottery,

Peter Behrens is one of the most influential German designers. At the beginning of the century, he brought forth amazing works in architecture, graphic design, and painting, which began to influence in all these various fields, opening uncharted territory for the generations to come. He is viewed as the founder of modern objective industrial architecture as well as modern industrial design. From the late 1800's he worked as a graphic artist in Munich, where he joined the Jugendstil movement. He produced woodcuts, colored illustrations, designs for book bindings and craft objects. Peter Behrens designed china, glass objects, and patterned linoleum flooring. This fused Graphic Design and Architecture.

Gustav was born on August 7th, 1860. He was born in Austria. Gustav grew up as the oldest of 12 siblings. His Mother gave birth to 14 in all, but 2 before they were born. 3 more died as a kid and 1 commited suicide. So Gustav grew to adulthood with only 5 other siblings.

Wegner grew up with a love of wood as a medium, and managed to complete a cabinetmaker’s apprenticeship with H. F. Stahlberg by the time he was 17. He served his required time in Denmark’s military, and at 20, Wegner moved to Copenhagen to study architecture from the School of Arts and Crafts. While there, Wegner

The trip to Europe and back by the Finlay brothers was one of the first Americans who brought the Grecian-Roman revival to the public. After the War of 1812, a sense of renewal of a better time became a distinct interest to designers as well as the public. With the help of the Finlay brothers, “there was a civility and sophistication in the late neoclassical ideals” (Greene, 122) that mirrored the continued success of the newborn America. Thus from it grew the early empire style furniture in America, which featured elegant and delicate furniture with waterleaf carving being one of the favorite treatments like the Grecian couch.

“Design is for living”. The adage fashioned a widespread shift in design during the 1940s and 1950s. It revolutionized the form by creating an electrifying visual language that signaled a new age and a fresh start- two of the powerhouses were Charles and Ray Eames. The Eameses were a husband and wife team whose unique synergy led to a whole new expression in furniture and architecture. The couple advocated the principles of Modernism through the adaptation of innova¬tion from wartime technology .Their design style can be branded as “California Modernism,” a term that is often used interchangeably with “Mid-Century Modernism.” This distinct style embodied an approach to design that opposed the “social conscience” of the Bauhaus in order to embrace looser, warmer design which was both more expressive of local character and in touch with the realities of commerce and salesmanship. With the west-coast coming-of-age, economy shift from making goods to producing information and the global expansion of American culture; their lives and work embodied some of America’s defining movements. They contributed to architecture, film, industrial and graphic design. They were known as pioneers of affordable mass production and residential constructions. The evolution from furniture designers to cultural ambassadors validated their bents and overlaps with country’s interest and projected how design can enhance the lives and practical needs of ordinary people and not just the elite.

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.

In this essay, I am going to talk about the famous furniture designer George Nelson and his most

Even early on in 1942, Herman Miller was producing new furniture that people had not seen before. The fact that it kept hiring new designers and experimenting with different designs shows its innovation.

What I, never thought about is furniture being consider a form of art. I was taken back with the many different styles that were on display. The two pieces I chose are from two different time period 1800s and 1900. Both pieces resemble each other in their own way, with some fine details. What drew to each piece was the detail and craftsman ship. That fact they are hand maid and have deep rich colors tones. It is masculine but has some feminine elements to each piece. My first view was the style of the cabinet. The color and detail caught my attention giving me a sense of down home comfort. The chisel marking gave the cabinet a theme, and the latch played off of the chisel marking as well. The Chair complement the cabinet. The color of the leather seat and the circular buttons played off of the cabinet. The two piece are for two different centuries and can be placed together in any room as if they were made to be paired together from the same century.