History of Interior Design 2 - Exam 1

Wampanoag/ Algonquian

Basket donated to the Rhode Island Historical Society in 1842. Women took on the role of designers and manufacturers. Beginnings of factory lines

Slipware Dish

Samuel Malkin, beginnings of designers as potters sign their work (pride and ownership)

Crystal Palace

Joseph Paxton, 1851. Furniture exhibition, modern-day shopping mall. Epitome of mass production, glass and steel, held expositions, hot, humid, noisy

Territorial Transformations

No more city walls meant it was easier to expand, garden suburbs were introduced

Technological Transformations

Steam engines, railways, bridges

Gottfried Semper

Against cheap imitations of other materials, skeptical of recent advancements like industrialization and mass production

John Ruskin

Disapproves of mass production, wants to go back to earthly ways (Gothic), no material imitations, no layering motifs, no mass produced furniture

Gesamptkunstwerk

The total work of art

William Morris’s theoretical position on modernism

Wanted to bring artistry back to the world of design

The Red House, Bexley Heath

Looks back to English country architecture, no formal hierarchy, brings inside and outside together, simple ornamentation, Gothic-inspired arches and spires, built in furniture

The Orchards in Chorleywood, C.F.A Voysey

Imitates an English country house, connects the interior and exterior, white ceilings brighten the room, uses nature rather than technology, vertical slatting on stairs, simple, and expresses verticality

Gamble House, Greene and Greene, California

Tried to use vernacular styles and built for the environment, luxury comes through details (shingles), terraces connect rooms to the landscape, simplicity and decoration, form follows function

Baillie Scott, House of an Art Lover

Honesty of structure, celebrates nature, emphasis on verticality, gothic arches

Stickley Reclining Chair

Visible joints, oak wood, simple leather cushion, craftsman style

Peacock Room, James McNeill Whistler, 1923

Total work of art, rich tones, gilded shelving, designed to match a painting, feather motif ceiling

Cragside, Northumberland, Richard Norman Shaw

First building to be lit by hydro-electric power, stained glass windows, angle nook

Havanna Tobacco Shop, Henry Van de Velde, Berlin

Doesn’t fit a rigid grid, art is an expression of joy of the worker, whiplash curves

Hotel van Eetvelde and Hotel de Tassle, Victor Horta

Organized around the staircase, detailed ironwork mixes with glasswork

L’Art Nouveau Pavilion 1900

New femininity to design, available to everyone, soothing, soft, slender, enveloping interior retreat

Glasgow School of Art

Looking for symbolic expression, influenced by arts and crafts, gothic, emphasized craft, stone exterior

Willow Tea Rooms

Social mixing space, bright, white, clean compared to dirty, smoky, loud street, high backed chairs, mirrors

Hill House for W.W. Blackie, Charles Reinne Mackintosh

Moved in with the family to observe, flat, geometric surfaces, idiosyncratic windows, genkan entrance, Japanese zen-inspired, gothic bed, windows respond to interior context

Vienna Secession Building, Josef Olbrich, Vienna, Austria

Breaks away from the academy, wants to merge arts and design, gold leaf ball floats above planar mass (possible by art), dedicates a gallery to Beethoven, Gustave Klimt frieze, artistic struggle, symbolic imagery

Postal Savings Bank Building, Otto Wagner, Vienna, Austria

Stone cladding shows rivets, exposed thickness of the facade, expresses differences between the inner kernel and the outer shell, and concedes to aesthetics

Villa Wagner, Otto Wagner, Vienna, Austria

Simple, rectilinear volume, both austere and elegantly proportioned, influenced by pupils

Elsie De Wolfe, The House in Good Taste

Her identity becomes her product, designs for women and femininity

Colony Club, Elsie De Wolfe, New York

Adult sorority club, first commercial project for an interior decorator, slender furniture, feels like a conservatory or in the country

Villa Trianon, Elsie de Wolfe, France

Dissolves interior and exterior

All White Room, Syrie Maugham

Folded mirror screen, different tones of beige, white and cream, sells individual pieces like fashion market

Rose Cummings

Caters to the rick and the famous, immersive environments, acidic, metallic colors

American Bar, Adolf Loos, Vienna, Austria

Coffered ceiling, frieze covered in mirrors, booths never show reflections of people - only the space

Villa Moller, Adolf Loos, Vienna, Austria

Small motif, no ornament, austere approach to interior - no molding or cornice, dark materials, symmetrical facade, complex floor plan - promotes interconnectivity

Villa Muller, Adolf Loos, Prague, Czech Republic

Abstract, volumetric exterior, thick interior, walls, rich color palette, antique furniture

Examples of German Expressionism

Berlin Grosses Schauspielhaus, Glass Pavilion (Bruno Taut), Einstein Observatory

Chicago Auditorium Building, Louis Sullivan, Chicago, Illinois

Arches hide mechanical systems, have acoustical properties and are beautiful

Ornamental vocabulary of Louis Sullivan

Form follows function, buildings are living creatures, follow the laws of nature, creative power comes from the individual aspects of the designer rather than classical styles

Sullivan Skyscraper (Wainwright Building)

Fully adorned, has to show that it is tall, tall column expressed on the facade, translated an idea from the past to create historical credibility, emphasizes the vertical lines.

The Arts and Crafts of the Machine, Frank Lloyd Wright, 1901

The machine should be a tool to be mastered by the artists, saw the machine as the forerunner of democracy (gave more people the ability to create)

Larkin Administration Building

Response to site, inwardly facing, open atrium, first example of climate control, exterior works around the HVAC, steel frame with brick, heated floors, women begin working in the office

Robie House, Frank Lloyd Wright, Chicago

Anchored on hearth, views direct outwards, horizontal expanse of landscape

Martin House, Frank Lloyd Wright, Buffalo

Total work of art, different ceiling heights, all oak wood

AEG Turbine Factory, Peter Behrens, Berlin

Accepts industry as the future of Germany, looks to classical for inspiration, no ornament, corner site, single story, tall, exposed column connection details, corners look structural (are not), subtle celebration of steel on windows, invokes vernacular countryside (barn roof) and celebrates industrialization

Fagus Factory, Walter Gropius, Alfeld

Glass corner, flat roof, expressed and recessed columns - play of volume, no ornament on interior

Deutsche Werkbund Exhibition, Cologne

Model Factory by Gropius & Meyer, Glass Pavilion by Bruno Taut, Werkbund Theatre, Austrian Building

Bauhaus, Walter Gropius, Dessau

Formed after World War 1 where all design had turned into tools of destruction, looking for spiritual foundation to uplift them and to bring back pre-industrial ideas

Bauhaus Master’s Houses, built by the residents

Combined of cubes, modern amenities (hot running water, heating, modern kitchen equipment, and the sequence of rooms planned according to function

Experimental House (Haus Am Horn), Georg Muche, Weimar

Steel and concrete construction, simple cubic design, custom kitchen storage (inspired the Frankfurt kitchen), embodied Bauhaus principles

Frankfurt Kitchen, Grete Schutte-Lihotzky

Featured built in furniture, counters, cabinets, was able to be mass produced, mapped out steps needed to cook to maximize efficiency, no longer a social kitchen, aluminum rice and lentil drawers, overly descriptive and imposes a solution (bad), custom - not standard sizes

Bar Sous Le Toit & Perriand Dining Room

Designed metal curving banquet, card table, steel barstools, (uses reflective materials before men). Studies ergonomics; luxurious, economical, uses William Morris’ ideals

Cite Contemporaine, Le Corbusier

Attempt to plan The City of Tomorrow. Buildings raised on columns; no public vs. private, everything planned, no spontaneity, no fronts or backs; pedestrian movement at ground level is unobstructed

The Five Points of Architecture, Le Courbusier

1. Columns lift buildings off the ground to leave room for parking or gardens

2. Roof gardens should be used on buildings with flat roofs

3. Free Plan because columns can support the ceiling so walls don’t need to match from floor to floor

4. Ribbon windows to bathe the room in sunlight

5. Free facade means that the front of the building can be designed openly with glass without being structural

Pavilion d’Espirit Nouveau

Model house at Paris Exposition, free plan configuration, built-in furniture & mass-produced furniture, deliberately sparse, double height inside and out to create a spaciousness in a small site and allows for light to enter more deeply into the unit

Villa Savoye, Le Courbusier

Corner kitchen, ribbon windows, dynamic route links spaces through ramps and stairs and ends in a framed view of the landscape beyond

Maison Domino

Pure expression of concrete uses in construction, domino construction, self referential, echoes classical form

E1027, Eileen Gray

To be experienced, not admired, windows oriented to sunrise, circulate slowly, living/bedroom combined, control light and air separately, Le Corbusier moves in uninvited, sense and experiences > mass production

Serpent Chair

Wood backing and arms looks like serpents