id2202 exam 3 studying

Hoffman, Purkersdorf Sanatorium, Vienna, 1906; Wiener Werkstatte

Le Corbusier, Pierre Jeanneret, The Pavilion of the New Spirit, International Exposition of Decorative Arts, Paris, 1925

The Pavillion of the New Spirit Characteristics

No art deco, ornamental language, geometric structure, no art deco materials, lack or ornament

What did L’esprit Nouveau do

• advocated use of modern industrial techniques and strategies to make society more efficient & higher standard of living on all socioeconomic levels

• was anti-art deco

• “a tool object is attuned to our movements and quick to respond to them” - le corbusier

Le Corbusier and Perriang, Grand Confort Chair, 1929, International Style

• furniture as tool objects: “responds to our needs”

the building as a tool object: “machine for living”

Le Corbusier, Domino house, 1914

• modular kit:

  • concrete slabs

  • concrete columns

  • foundation blocks (adjust to site)

  • no weight-bearing walls (glass walls)

Domino house kit

modular kit:

• can be stacked or multiplied

• can be added to, subtracted from

• adjustable to site

• open spaces allows for variety of uses of the spaces

Le Corbusier, Citrohan House, 1919-1922

• a city made for speed is a city made for success

• houses, as efficient as a car

Piloti

Freestanding support that lifts building above ground/foundation

Le Corbusier Citrohan House, 1922

• concrete slabs

• concrete columns

• no weight bearing walls

• pilotis

International Style

• pilotis adjust to any topography

• Modular units provide for variety of configurations

• modular units provide for adjustments of functions

Le Corbusier, Citrohan House, 1922 & Adolf Loos, Steiner House, 1910 Early Modernism

• geometric structure

• absence of ornament

Le Corbusier, Modular Man

• “tool objects… are objects used by man”

• the “open hand” is a recurring motif in Le Corbusier’s architecture, a sign for him of peace and reconciliation

• “open to give and open to receive”

• to get at the “rhythms at the very root of human activity”

• Golden Section

• golden mean

• golden ration

• 1: 1.618

• Mark Barr, American mathematician 1909: proposed naming it “Phi”

Le Corbusier, Villa Savoye, Poissy, France 1930

• “a house is a machine for living in. baths, sun, hot water, cold water, warmth at will, conservation of food, hygeine, beauty in a sense of good proportion. an armchair is a machine for sitting and so on”

• geometric, volumes, unadorned

Five Points Toward a New Architecture, 1926, Le Corbusier:

1. Pilotis

2. Stack verticals

3. Free floor plan

4. strip windows

5. roof patio

Le Corbusier, Villa Savoye, Poissy, France, 1930

• furniture as “equipping a house” not decorating it

Museum of Modern Art, NYC

• 1932: exhibit:

  • “Modern architecture: International Exhibition”

Early Modernism characteristics

• use of rectinlinear forms

• flat surfaces without ornaments

• open interior spaces

• visually weightless quality

  • cantilever: open spaces

  • use of glass

• materials: concrete, steel, glass

Johnson, Hitchock, 1932 (International Style)

1925, Le Corbusier: L’Art Decoratif d’aujourd’hui

• The Decorative Art of Today

• types of furniture:

  • “human limb objects”

  • “tool objects”

• furniture that is “extension of our limbs and adapted to human functions”

• 1929: furniture: “equipment for the home”

Perriand: “confrontations” between…

materials, surfaces, colors, textures

Le Corbusier began collaborating with Charlotte Perriand on furniture design in….

1928

Le Corbusier and Perriand, B301 chair, 1929

Le Corbusier and Perriand, B306 chaise, 1929

Le Corbusier, City of Tomorrow, 1922-25

• “high density… high rise… modular city”

Le Corbusier, City of Tomorrow, 1922-25

• 2 million population

• expandable:

  • “plug in modules”

• cellular system

1929 International Exposition, Barcelona: May 1929-January 1930

• 25 million attended

• 20 European nations participated in the fair

• in addition, private organizations from the US and Japan participated

Mies, German Pavilion, Barcelona, 1929

• post WWI

• no trade exhibits

• Mies: wanted the building to become “an ideal zone of tranquility”

• assembled: 1929

• disassembled: 1930

• Reassembled: 1836

• International style:

  • assembled on foundation that adjusts to site

  • concrete (horizontal) slabs, cantilevers

  • non-weight bearing walls, long expanses of glass curtain walls

  • open plan

• “Mies’s Opaque Cube”

• partitions were removable, floating plan

• continuity of materials: interior/exterior

• “less is more”: do away with extraneous: “simplify to essentials”

• rely on materials for the “decorative”

• “god is in the details”

King Alonzo XIII and Mies, May 1929

Mies and Reich, barcelona chair, 1929

• “throne”

• original in white pigskin

• “floating plan”

• god is in the details

• Mies: “a chair is a very difficult object. A skyscraper is almost easier”

Mies, Farnsworth House, Fox River, Illinois, 1951

• “assembly house”

• International Style: pilotis adjust the building to any site

• “floating plan”

• “skin and bones architecture”

• concrete horizontal slabs

• non-weight bearing glass curtain walls

• International style: reduction to essentials

Mies, MR chair, 1927

MR - Mies van der Rohe

• cantilever chair

Mies, Brno chair, 1930

• cantilever chair

Mies Brno chair only piece of furniture selected

Mies, Day bed, 1940

“floating plan”

Mies, “glass skyscraper” 1921

• glass partition walls

• steel superstructure

• “skin and bones architecture”

• transparency: “floating”

Mies, Lakeshore Drive Apartments, Chicago, 1951

• skin and bones architecture

• steel superstructure with glass partition walls

• recessed ground floor

• “floating” quality

• matching interior/exterior materials

Mies, Crown Hall, I.I.T., Chicago, 1956

• skin and bones architecture

• floating plan

• less is more

Mies and Philip Johnson, Seagram Building, NYC, 1958

• built around elevators

• skin and bone architecture

• “floating” relieves massiveness at first floor by recessing entrance

• matching materials exterior/interior

Philip Johnson, “Glass House,” New Canaan, Connecticut, 1949

Mies, German National Gallery, Berlin, 1968

• floating plan

• transparency

• removable partitions

Rietveld, Schroder House, Utrecht, 1924

• Gerrit Rietveld: De Stijl: “Pure Style” “simplification”

  • verticals, horizontals to flat planes that intersect primary colors, black, white, gray

  • vertical horizontal

  • no curves

  • no diagonals

  • flat roof, cantilvers

  • angles/angular

  • intersections of verticals and horizontals form volumes

Rietveld, Red/Blue chair, 1918

space boxes

Reitveld

• a form that encloses space surrounded by a form

• space surrounded by a form

MHJ Schoenmaekers: “yellow symbolizes the vertical movement of the sun’s rays; blue, the horizontal lines of power around the sun”

Rational Design

1930s-1950s

Walter Dorwin Teague, 1940

• added Industrial Design to his letterhead upon landing his first big client, Eastman kodak

• described beauty as “visible rightness”

Raymond Loewy, 1951

• nickanmes were The Father of Industrial Revolution

• featured on cover of Time Magazine, October 31, 1949

• M.A.Y.A: “Most Advanced Yet Acceptable”

Henry Dreyfuss, 1955

• first worked doing set designs for Broadway plays

• opened his own firm in 1921

• learned how to draw upside down so that he would impress clients

• turned down a one-man show at New York’s Museum of Modern Art, saying he only wanted his products on display in Macy’s

• “dissecting the product, seeing what made it tick then making it look better”

• Table of contents indicates how much of the focus on being an industrial designer and on improving design relies on “problem solving”

Teague, Baby Brownie camera, 1935

“technical efficiency”

Raymond Lowey, PRR S1 locomotive, 1939

• designed the shell of the locomotive

• designed to carry heavy loads at advanced speeds

Raymond Lowey, mimeograph duplicator, 1940

• casing added for protection to mechanism (old version was 1938)

• operating dials improved

• loading trays added

Rational Design

Theorists refer to “function” as the controlling factor in problem solving a design issue:

The function might include:

• the ease of use (the “rationale of operating”)

• improving the operating efficiency of the design, and multiplying its functions and functional capacity

• marketability: improve appearance so it appeals to the consumer

Raymond Lowey, Coldspot “Super Six” refrigerator, 1935

• 1935 - 15000 sold

• sears sales increased 400% due to orders for the Coldspot

• by 1940: 275,000 sold

• “restyled”

• streamlined:

  • rounded edges

  • flush door

  • recessed handle

• chrome hardware

• “rational design”: weighted door

• Has water cooler, removable aluminum shelves, drawers/baskets, containers offered separately for sale

Coldspot, 1930

GE, 1992

ice box, pre 1900

GE “ice box” refrigerator, 1922

• cooling mechanism added

• (1930 version has cooling mechanism enclosed)

old Lucky Strike Packaging, 1917

Loewy, Lucky Strike packaging, 1942

Henry Drewyfuss, Model 300 telephone, 1937

• combined handset

• base with cradle

• circular dial

• molded in bakelite

• insulator, not heat conductive, light weight, moldable

• removed gallows shaped funnel on the handset

• weighted base, improved angle od dial and finger stop

• covered cord, cork feet

bakelit

a hard synthetic plastic, invented by Leo Baekleand, 1907

Alexander Graham Bell

• June 3, 1875 - voice sounds transmitted one way

• March, 1876 - two-way

• “gallows shaped instrument”

  • gathers sound

  • projects sound

Candlestick telephone, 1888

• transmitter, receiver

• both gallows shaped

handset telephone, 1896

• integrates transmitter, receiver transmitter: gallows shaped

• ringer box: connects with manual switchboard dialing motion

Strowger, candlestick telephone with dial, 1905

Henry Dreyfuss, coil cord telephone (500 series), 1955

• coil cord vs covered cord

• coil cord first offered as a premium option in 1949

• standard feature from 1956

• flatter angle of dial and dialing

Dreyfuss, Princess telephone, 1959

Dreyfuss, touchtone telephone, 1965

• reverses numerical format from adding machine

• square buttons in contrast to circular cut-outs in rotary dial

Dreyfuss, trimline telephone, 1968

Dreyfuss, trimline telephone, 1969

• circular (rounded corner) buttons replace square buttons

Dreyfuss handset protypes

“rational design”

• 1935

  • fits into hand

  • ease of use

• 1969

  • improve function of act of dialing

  • not focused on comfort in hand

anthropometry

measurement of humans; the measurement of the human individual for the purposes of understanding human physical variation

Henry Dreyfuss, Humanscale Charts, 1950s

Henry Dreyfuss, Humanscale Charts, “Joe”, 1950s

Henry Dreyfuss, Humanscale Charts, “Josephine”, 1950s

Henry Dreyfuss, Humanscale charts, 1960s

• Dreyfuss: Humanscale = instead of adapting people to machine, “machines adapted to people would be the most efficient”

• box camera to protect the mechanism

• loaded with film

• 100 exposures

• entire box sent to factory for developing

Baby Brownie Camera, 1900

• interior box, to be removed and sent into Kodak for processing

Teague, Baby Brownie camera, 1935

• “technical efficiency”

Teague, Baby Brownie Camera with flash attachment

Rational Design

• “rationa” = function as the controlling factor in problem solving a design issue:

  • function might include:

    • the ease of use (the rationale of operating)

    • improving the operating efficiency of the design and multiplying its functions and functional capacity

    • marketability; improve appearance so it appeals to the consumer

ergonomics

the scientific discipline concerned with the understanding of interactions among humans and other elements of a system and the profession that applies theory, principles, data and methods to design in order to optimize human well being and overall system performance

ergonomics design: two stages

1. biomorphic molding

   1. living organism form: object focused shape

2. improve function

   1. improve angles of use

   2. improve accessibility

   3. improve adjustability

Thomas Lamb, knife handles, 1950s

• biomorphic:

  • assumes human form

  • molded to human form

  • hand perfect handle

Bahco knife handles, 1960s

biomorphic molding

Microsoft Intellimouse Explorer, 1966

biomorphic molding

Ergonomi Design Group, cutlery, 1972 (renamed Veryday 2012)

improves function

Fiskars scissors, 1967:

• left/right versions

• handles molded to improve angles of use

• flattened blades to glide along cutting edge

knee chairs, 1970s

• improves function

• the thighs are dropped to an angle of about 60-70 degrees from vertical

• with some of the bodys weight supported by the shins

• open body angle by lowering the angle of the lower body

• one leans forward

• in repositioning, the spine remains in alignment

Stokke design group, Balans knee chair, 1990s

• rocking function

• makes you comfortable and makes you feel good

• improves function

Bill Stumpf and Don Chadwick, Ergon chair, 1976

• 10 years of research in how people sit at their desks

• “when i looked around at office spaces found designs that denies the human spirit”

• “offices that were hermetically sealed artificial spaces”

• “furniture that is design indignity”

• improves functions

• University of Wisconsin: environmental design center

• collaboration with orthopedic and vascular specialists

• research into how poeple sit and how people should sit

• feel well. work well

• seat: pocket for the body

• swiveling base, rolling casters, pneumatic lift

• three sizes

• named after Aeron (celtic mythology “wind” reference)

  • also refers to aeration

• lumbar support

• pellicle weave:

  • provides ventilation

  • flexible to mold to body

  • sturdy, keeps shape

• improves function

• embody chairs

Kevin Foley, James O’Halloran, Radius toothbrush, 1984

• thumb plate

• palm handle

neo functionalist design

late functionist design

Hochschule for Gestaltung, Ulm, Germany

• “The Ulm model was born as a model for design education based on science and technology”

Max Bill, Director of the Hochschule Fur Gestaltung, Ulm Germany