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

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

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

Among the collection in the museum gallery are “Two Centuries of America Still-Life Painting”, this exhibition present the collection of Frank and Michelle Hevrdejs that brings still-life painting together from the early 19th century. According to the information gathered at the museum gallery said “American still-life painting is an art form that is deeply rooted in traditions of European art while

In this paper, I choose to discuss three pieces of art from the 19th century Impressionist period and three from the Post-Impressionist period and how these six pieces of art compare to each style. Then I will draft a memo to the CEO of my company to describe the appearance, so that they will have an idea of what the art looks like and where it should be placed throughout the corporate offices. Next, we are going to explain the historical significance for each piece of artwork that I choose. Finally, I will descried to the CEO of my company how each piece of art matches the company’s overall image.

Art Nouveau, 1890-1914, explores a new style in the visual arts and architecture that developed in Europe and North America at the end of the nineteenth century. The exhibition is divided into three sections: the first focuses on the 1900 World's Fair in Paris, where Art Nouveau was established as the first new decorative style of the twentieth century; the second examines the sources that influenced the style; and the third looks at its development and fruition in major cities in Europe and North

Modern art, as the intellectual reflection of social transformation, also attempted to form a new social consciousness, by introducing a new abstract language to demonstrate the understanding of the fundamental laws of the universe. Among all the avant-garde aesthetic approaches that were prevailing at the time, De Stijl, also known as neo-plasticism, a Dutch artistic movement founded in 1917 in Amsterdam, advocated the most radical rejection of the traditional artistic expression through its manifestation of mathematical geometry and ultimate

Frank Lloyd Wright and Walter Gropius are widely regarded as the prionneering masters of modern architecture.The Johnson Wax Building and Bauhaus as their symbolic and critical masterpieces shared similar style of form but different idea of interpreting design. Wright’s simplicity approach and Gropius ‘less is more’ idea are seemingly related, but varied by their self preference in most aspects.

This essay will inform the contrasts of two very important art galleries built 9 years apart. The Guggenheim, 1943-59, was built solely for Solomon R, Guggenheim to exhibit his collection of both modern and contemporary art from around the world. This building in New York was said to be one of the architect’s most important public projects , the architect being Frank Lloyd Wright. The building that will be put into contrast with the Guggenheim is the Neue Nationalgalerie in Berlin, 1962-68. Mies Van der Rohe was asked to design this new gallery during the modernism period in an act to revive the city of Berlin after the war as part of

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.

There were many contributions made by the artists and designers working in the De Stijl and the Constructivism movements. Two artists that greatly contributed to the De Stijl movement were Picasso and Braque. Their paintings helped in defining “a vocabulary of geometric forms”, while still using the elements of the real world. Another very important contributor to the De Stijl movement was Piet Mondrian. Mondrian also helped in defining the vocabulary of art and design, even further than Picasso and Braque had previously done. He used only primary colors, along with black and white, in his artwork. Mainly, all the artists of the De Stijl movement wanted their artwork to simply rely on the fundamental characteristics of having a vertical and horizontal grid. These artists hoped by using this grid, their artwork would open up space, instead of enclosing space. Gerrit Rietveld showed these same defining characteristics of the De Stijl art in his famous chair. His chair completely went against the traditional, or the expected, elements of a normal chair. “Both the arms and the base of the chair are insistently locked in a vertical and horizontal grid.” The seat and the back of the chair were used to help create a more open space. Rietveld also only used

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 focus of this essay is to explain why the International Typographic Style or “Swiss” style was so important to the mid twentieth century and how it got started. Firstly, it is an art movement that internationally began in the 1950’s, but the origins can be traced back at least thirty years. It can be thought of as a combination of elements from other movements such as Constructivism, De Stijl and the Bauhaus. According to Richard Hollis’ book Swiss Graphic Design, there are “at least three factors that account for the ‘Swiss’ style” (Hollis, R. 2006, P9), these being the country’s location, the language and the culture. There is evidence to prove that there are at least 2 other factors, especially for the origin of the style, which is shown in the book, along with several others. Although not directly linked to the foundation of the style itself, these 2 other factors include the designers and the typography, after all, it is known as the International Typographic Style. In this essay we will be discussing each of them in turn, and explaining views as to why they were important and what effect they had on graphic design in the mid twentieth century.

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.

The second chapter overlooks a series of art movements such as De Stijl, Bauhaus, Enlightenment, CIAM, and the work of famous architect Frank Lloyd Wright. This chapter attempts to find their position on senses and the cultural memory. The authors