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**## ch-54-PPTaccessible.pptx**
Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 54
Organic and Sculptural Modern
1930s – Early 1970s
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:
1) Math Type Plugin
2) Math Player (free versions available)
3) NVDA Reader (free versions available)
1
Organic & Sculptural Modern
Inspired by sculptural forms or abstracted living organisms
Rejects hard edges & geometry of International Style
Seeks total unity through harmony with nature & a human touch
Extremely popular in furniture & decorative arts after World War
few architectural examples
Aided by renewed creative energy, new materials & techniques
Images of the future, optimism, progress
Briefly synonymous with modernism
World’s design leaders: United States, Scandinavia, Italy
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
2
Concepts
Deliberate move away from geometry & hard edges to asymmetrical, expressionist design; still functional, mass produced
Emphasizes humans & human body, expressionism, symbolism—qualities lacking in International Style
Technology, not craft, drives concepts & appearances
Innovations from experimentation with new construction methods from other industries or new materials
Some in advance of technology to produce
Softer, curvilinear modern with an organic nature but inorganic materials
Influences from painting & sculpture—organic or biomorphic forms, abstraction
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
3
Characteristics and Motifs
Smooth curving forms & shapes
Pierced, abstracted, elongated, attenuated, asymmetrical
Exaggerated, abstracted naturalistic forms & unity important
Simplicity, no applied ornament, design for mass production
More expressive or symbolic design language from experimentation & energy
Irregular surfaces, boldness, rhythm, continuous surface, parabolic arches, spherical forms, oblique angles
Colors from Pop Art, nature, Modern Art
Motifs: amoeboid & kidney shapes, spheres, parabolas, atoms, molecules, rockets, satellites, flying saucers, abstracted & stylized fruit, flowers, plants, objects of daily life
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
4
Architecture
Organic architecture roots in primitive vernacular forms; evolves over time & work of particular architects
Focus on humans, humanness in design, materials; forms from nature
Modern architecture that is softer, more rounded, expressive but unified
Fluid, curving forms from specific purpose; personal architectural statement; programmatic goals
Bold, powerful statements
Influence by Wright, 1920s German architects, Scandinavians
Few examples; require extraordinary creativity, technical genius, innovative construction techniques
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.1a
Administration Building, S. C. Johnson and Son Factory, offices 1936-1939, tower 1947-1950; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building has symmetrical multiple stories and a cupola on the top. The entrance has a portico and circular dependency buildings. The roofs are plain. The circular buildings have curved glass top walls.
6
54.1b
Great workroom, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The ceiling has a flat roof and voids. The numerous adjacent columns have a circular top on them. The top story has a pathway with a wall railing.
7
54.1c
Office furniture, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The table has three steps of oval desks. A short top oval desk, middle long oval desk, and bottom short oval desk. The bottom desk has drawers. The chair has a circular back supported by the semicircular tubular frame and the seat is supported by a rectangle frame. The chair has wheels. A female is working on a typewriter that is placed on the desk. A device is on the side.
8
54.2a
Notre-Dame-du-Haut (Pilgrimage Chapel), 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has asymmetrical composition. The roof is dark, curved roof overhang. The facade is a white, sculptural concrete facade. The walls have irregularly sized and spaced windows with deep reveal filter light. It is sited on a high plateau with surrounding plantings.
9
54.2b
Notre-Dame-du-Haut (Pilgrimage Chapel) interior, 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.3
Taliesin West, 1938-1959; Scottsdale, Arizona; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building has a portico with a flat roof. The walls are constructed with stones. The roof is flat. The walls have wide windows. A pool is there on the side. A stone on a rock pedestal surrounded by steps.
11
54.4
Solomon R. Guggenheim Museum, 1957-1959, 1957-1959; New York, New York; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.5a
Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport), 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has an asymmetrical roof with flight wings shape on the left and right and a center axis connected by long projecting tubes. It has curved and flat roofs.
13
54.5b
Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport) interior, 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The roof has a ceiling that allows the natural light to penetrate through ceiling crevices. It has sculptural concrete surfaces that fuse ceiling walls and floor. The Y-shaped column supports the sculptural stair area. The floor has multiple level changes.
14
54.6
Terminal Building, Dulles International Airport, 1958-1962; Dulles, Virginia; Eero Saarinen and Associates. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.7
Sydney Opera House, 1956-1973; Sydney, Australia; Jorn Utzon and Peter Hall. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has a series of large precast concrete shells, forming the roofs of the structure, and concrete piers. The precast concrete panels are supported by precast concrete ribs. The walls have shielded windows. It is located on the banks of a harbor.
16
54.8a
Fallingwater, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The house has natural stone, ochre concrete, and russet-painted steel. The natural light penetrates from all sides. In the house, cantilevered terraces project in horizontal layers. The building integrates with the site. The organic architecture emphasizes asymmetry.
17
54.8b
Fallingwater living room with fireplace, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description 1:
The ceiling has descending steps. The walls have glass windows. The walls are constructed with stones. The floor is constructed with stones. The sofa and cushion chairs are arranged in the room.
**## ch-53-PPTaccessible.pptx**
Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 53
Geometric Modern
1930s – 1960s
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:
1) Math Type Plugin
2) Math Player (free versions available)
3) NVDA Reader (free versions available)
1
Geometric Modern
Continues design language & many ideas of the Bauhaus & International Style
Work by originators, go to U.S. during World War
& their followers
Key characteristics: functionalism, geometric forms, minimal applied decoration, new materials & technologies
Style enters mainstream
U.S. becomes world’s leader in Modernism
Development of commercial interiors & expansion of interior design profession
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Concepts
Does not continue political overtones or social reforms of early modernism
Aligns with faith in democracy, egalitarianism, dynamism, new technologies in U.S, for new image as world power
Defers to capitalism in public & image of good life in private
Embraces standardization, prefabrication, mass production, new materials & technologies developed during war
Associated with promise of better tomorrow today & no nonsense or modest lifestyles
Museums, periodicals, department stores promote modern design as good taste in contests, competitions, exhibitions
Modern—up-to-date, in step with advances, new ways of living, good design
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Characteristics and Motifs
Bauhaus & International Style characteristics
Geometry, rectilinear grids, regularity but not necessarily symmetry, minimal applied ornament
Box shapes, glass curtain walls, bands of windows, smooth white walls, flat roofs
New materials—aluminum, plastics
Standardization, prefabrication essential in achieving design goals
Functionalism, efficiency, simplicity
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Architecture
Economical, easy to build, adaptable to many building types
Defined and dominated by modernist pioneers: Gropius, Breuer, Mies, Le Corbusier
Simple, rectilinear in silhouette, simple, sleekness
Some follow Bauhaus; others use concrete or other materials to express monumentality
Glass box common, especially for corporate offices
New Brutalism—bold concrete in geometric forms
Geodesic dome—prefabricated modules easily interlocked; unique because offers open interior spaces
Case Study Houses—series of residential prototypes built quickly & economically for any client any where; practical, functional
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
5
53.1
Lever House, 1951-1952; New York, New York; Gordon Bunshaft of Skidmore, Owings, and Merrill. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
6
53.2
Seagram Building, 1954-1958; New York, New York; Ludwig Mies van der Rohe and Philip Johnson. Geometric Modern
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The Seagram building has a glass curtain wall facade with a bronze grid and no ornamentation. The straight edges define the corporate glass box. The ground floor of the building has a main entry at the plaza or street level. The base is raised on columns. The granite plaza is in front.
7
53.4
Biosphere, United State Pavilion, E X P O 67; 1950s-1960s; geodesic dome introduced by Buckminster Fuller. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
8
53.5
Salk Institute of Biological Studies, 1959-1966; La Jolla, California; Louis Kahn. New Brutalism.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
9
53.6
Habitat, E X P O 67, 1967; Montreal, Canada; Moshe Safdie. New Brutalism.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building is an asymmetrical structure. It has random buildings with rectangular windows. It has bridges with balustrades between the buildings. The buildings are rectangular and triangular shapes.
10
53.7
Gropius House and living room, 1937-1938; Lincoln, Massachusetts; Walter Gropius and Marcel Breuer. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
53.8
Kaufmann Desert House, 1945-1947; Palm Springs, California; Richard Neutra. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
12
53.9a
Glass House (Residence of Philip Johnson) and floor plan, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The glass house has a bathroom chimney core, flat roof, and steel frame with glass windows. The integration of outside to inside throughout the building. The flat manicured green lawn is around the glass house. The glass house has a living area.
13
53.9b
Glass House (Residence of Philip Johnson) living room, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
14
53.10a
Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
15
53.10b
Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has an attic. The walls have glass windows The floors are decorated with rugs and tiles. The walls are decorated with wood. The chairs are arranged randomly. Two people are discussing this in the hall.
16
53.11
Unité d’Habitation, 1946-1951; Marseilles, France; Le Corbusier. New Brutalism.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
17
*53.12
Farnsworth House, 1950-1952; Plan, Illinois; Ludwig Mies van der Rohe. Geometric Modern.
*Substitute image.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The base of the building is raised from the ground level through the columns. The stairs lead to the entrance. The entrance has glass walls. The roof is flat and supported by columns.
18
53.13
Case Study House 22, 1959-1960; Los Angeles, California; Pierre Koenig. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
19
Interiors
Commercial interiors follow Bauhaus & International Style principles: clean lines, simple forms, open space
Geometric grid a design feature; plain walls, suspended ceilings; modern furniture
Interiors more specialized, Interior Designers more important
Architectural firms have interior units
Knoll Planning Unit directed by Florence Knoll sets new design & planning standards; unifies furniture, textiles, & lighting; individual office layouts
Home interiors: modern furniture, textiles; open plans for informal living
Kitchens & baths efficiently planned with modern fixtures & materials
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
20
53.15
Lobby, General Motors Technical Center, 1951-1956; Eero Saarinen and Associates. Geometric Modern. [Ezra Stoller©Esto]
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
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**ch-55-PPTaccessible.pptx**
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**ch-55-PPTaccessible.pptx**
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**## ch-54-PPTaccessible.pptx**
Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 54
Organic and Sculptural Modern
1930s – Early 1970s
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:
1) Math Type Plugin
2) Math Player (free versions available)
3) NVDA Reader (free versions available)
1
Organic & Sculptural Modern
Inspired by sculptural forms or abstracted living organisms
Rejects hard edges & geometry of International Style
Seeks total unity through harmony with nature & a human touch
Extremely popular in furniture & decorative arts after World War
few architectural examples
Aided by renewed creative energy, new materials & techniques
Images of the future, optimism, progress
Briefly synonymous with modernism
World’s design leaders: United States, Scandinavia, Italy
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
2
Concepts
Deliberate move away from geometry & hard edges to asymmetrical, expressionist design; still functional, mass produced
Emphasizes humans & human body, expressionism, symbolism—qualities lacking in International Style
Technology, not craft, drives concepts & appearances
Innovations from experimentation with new construction methods from other industries or new materials
Some in advance of technology to produce
Softer, curvilinear modern with an organic nature but inorganic materials
Influences from painting & sculpture—organic or biomorphic forms, abstraction
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
3
Characteristics and Motifs
Smooth curving forms & shapes
Pierced, abstracted, elongated, attenuated, asymmetrical
Exaggerated, abstracted naturalistic forms & unity important
Simplicity, no applied ornament, design for mass production
More expressive or symbolic design language from experimentation & energy
Irregular surfaces, boldness, rhythm, continuous surface, parabolic arches, spherical forms, oblique angles
Colors from Pop Art, nature, Modern Art
Motifs: amoeboid & kidney shapes, spheres, parabolas, atoms, molecules, rockets, satellites, flying saucers, abstracted & stylized fruit, flowers, plants, objects of daily life
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
4
Architecture
Organic architecture roots in primitive vernacular forms; evolves over time & work of particular architects
Focus on humans, humanness in design, materials; forms from nature
Modern architecture that is softer, more rounded, expressive but unified
Fluid, curving forms from specific purpose; personal architectural statement; programmatic goals
Bold, powerful statements
Influence by Wright, 1920s German architects, Scandinavians
Few examples; require extraordinary creativity, technical genius, innovative construction techniques
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.1a
Administration Building, S. C. Johnson and Son Factory, offices 1936-1939, tower 1947-1950; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building has symmetrical multiple stories and a cupola on the top. The entrance has a portico and circular dependency buildings. The roofs are plain. The circular buildings have curved glass top walls.
6
54.1b
Great workroom, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The ceiling has a flat roof and voids. The numerous adjacent columns have a circular top on them. The top story has a pathway with a wall railing.
7
54.1c
Office furniture, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The table has three steps of oval desks. A short top oval desk, middle long oval desk, and bottom short oval desk. The bottom desk has drawers. The chair has a circular back supported by the semicircular tubular frame and the seat is supported by a rectangle frame. The chair has wheels. A female is working on a typewriter that is placed on the desk. A device is on the side.
8
54.2a
Notre-Dame-du-Haut (Pilgrimage Chapel), 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has asymmetrical composition. The roof is dark, curved roof overhang. The facade is a white, sculptural concrete facade. The walls have irregularly sized and spaced windows with deep reveal filter light. It is sited on a high plateau with surrounding plantings.
9
54.2b
Notre-Dame-du-Haut (Pilgrimage Chapel) interior, 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.3
Taliesin West, 1938-1959; Scottsdale, Arizona; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building has a portico with a flat roof. The walls are constructed with stones. The roof is flat. The walls have wide windows. A pool is there on the side. A stone on a rock pedestal surrounded by steps.
11
54.4
Solomon R. Guggenheim Museum, 1957-1959, 1957-1959; New York, New York; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.5a
Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport), 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has an asymmetrical roof with flight wings shape on the left and right and a center axis connected by long projecting tubes. It has curved and flat roofs.
13
54.5b
Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport) interior, 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The roof has a ceiling that allows the natural light to penetrate through ceiling crevices. It has sculptural concrete surfaces that fuse ceiling walls and floor. The Y-shaped column supports the sculptural stair area. The floor has multiple level changes.
14
54.6
Terminal Building, Dulles International Airport, 1958-1962; Dulles, Virginia; Eero Saarinen and Associates. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.7
Sydney Opera House, 1956-1973; Sydney, Australia; Jorn Utzon and Peter Hall. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has a series of large precast concrete shells, forming the roofs of the structure, and concrete piers. The precast concrete panels are supported by precast concrete ribs. The walls have shielded windows. It is located on the banks of a harbor.
16
54.8a
Fallingwater, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The house has natural stone, ochre concrete, and russet-painted steel. The natural light penetrates from all sides. In the house, cantilevered terraces project in horizontal layers. The building integrates with the site. The organic architecture emphasizes asymmetry.
17
54.8b
Fallingwater living room with fireplace, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description 1:
The ceiling has descending steps. The walls have glass windows. The walls are constructed with stones. The floor is constructed with stones. The sofa and cushion chairs are arranged in the room.
**## ch-53-PPTaccessible.pptx**
Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 53
Geometric Modern
1930s – 1960s
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:
1) Math Type Plugin
2) Math Player (free versions available)
3) NVDA Reader (free versions available)
1
Geometric Modern
Continues design language & many ideas of the Bauhaus & International Style
Work by originators, go to U.S. during World War
& their followers
Key characteristics: functionalism, geometric forms, minimal applied decoration, new materials & technologies
Style enters mainstream
U.S. becomes world’s leader in Modernism
Development of commercial interiors & expansion of interior design profession
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Concepts
Does not continue political overtones or social reforms of early modernism
Aligns with faith in democracy, egalitarianism, dynamism, new technologies in U.S, for new image as world power
Defers to capitalism in public & image of good life in private
Embraces standardization, prefabrication, mass production, new materials & technologies developed during war
Associated with promise of better tomorrow today & no nonsense or modest lifestyles
Museums, periodicals, department stores promote modern design as good taste in contests, competitions, exhibitions
Modern—up-to-date, in step with advances, new ways of living, good design
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Characteristics and Motifs
Bauhaus & International Style characteristics
Geometry, rectilinear grids, regularity but not necessarily symmetry, minimal applied ornament
Box shapes, glass curtain walls, bands of windows, smooth white walls, flat roofs
New materials—aluminum, plastics
Standardization, prefabrication essential in achieving design goals
Functionalism, efficiency, simplicity
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Architecture
Economical, easy to build, adaptable to many building types
Defined and dominated by modernist pioneers: Gropius, Breuer, Mies, Le Corbusier
Simple, rectilinear in silhouette, simple, sleekness
Some follow Bauhaus; others use concrete or other materials to express monumentality
Glass box common, especially for corporate offices
New Brutalism—bold concrete in geometric forms
Geodesic dome—prefabricated modules easily interlocked; unique because offers open interior spaces
Case Study Houses—series of residential prototypes built quickly & economically for any client any where; practical, functional
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
5
53.1
Lever House, 1951-1952; New York, New York; Gordon Bunshaft of Skidmore, Owings, and Merrill. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
6
53.2
Seagram Building, 1954-1958; New York, New York; Ludwig Mies van der Rohe and Philip Johnson. Geometric Modern
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The Seagram building has a glass curtain wall facade with a bronze grid and no ornamentation. The straight edges define the corporate glass box. The ground floor of the building has a main entry at the plaza or street level. The base is raised on columns. The granite plaza is in front.
7
53.4
Biosphere, United State Pavilion, E X P O 67; 1950s-1960s; geodesic dome introduced by Buckminster Fuller. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
8
53.5
Salk Institute of Biological Studies, 1959-1966; La Jolla, California; Louis Kahn. New Brutalism.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
9
53.6
Habitat, E X P O 67, 1967; Montreal, Canada; Moshe Safdie. New Brutalism.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building is an asymmetrical structure. It has random buildings with rectangular windows. It has bridges with balustrades between the buildings. The buildings are rectangular and triangular shapes.
10
53.7
Gropius House and living room, 1937-1938; Lincoln, Massachusetts; Walter Gropius and Marcel Breuer. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
53.8
Kaufmann Desert House, 1945-1947; Palm Springs, California; Richard Neutra. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
12
53.9a
Glass House (Residence of Philip Johnson) and floor plan, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The glass house has a bathroom chimney core, flat roof, and steel frame with glass windows. The integration of outside to inside throughout the building. The flat manicured green lawn is around the glass house. The glass house has a living area.
13
53.9b
Glass House (Residence of Philip Johnson) living room, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
14
53.10a
Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
15
53.10b
Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has an attic. The walls have glass windows The floors are decorated with rugs and tiles. The walls are decorated with wood. The chairs are arranged randomly. Two people are discussing this in the hall.
16
53.11
Unité d’Habitation, 1946-1951; Marseilles, France; Le Corbusier. New Brutalism.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
17
*53.12
Farnsworth House, 1950-1952; Plan, Illinois; Ludwig Mies van der Rohe. Geometric Modern.
*Substitute image.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The base of the building is raised from the ground level through the columns. The stairs lead to the entrance. The entrance has glass walls. The roof is flat and supported by columns.
18
53.13
Case Study House 22, 1959-1960; Los Angeles, California; Pierre Koenig. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
19
Interiors
Commercial interiors follow Bauhaus & International Style principles: clean lines, simple forms, open space
Geometric grid a design feature; plain walls, suspended ceilings; modern furniture
Interiors more specialized, Interior Designers more important
Architectural firms have interior units
Knoll Planning Unit directed by Florence Knoll sets new design & planning standards; unifies furniture, textiles, & lighting; individual office layouts
Home interiors: modern furniture, textiles; open plans for informal living
Kitchens & baths efficiently planned with modern fixtures & materials
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
20
53.15
Lobby, General Motors Technical Center, 1951-1956; Eero Saarinen and Associates. Geometric Modern. [Ezra Stoller©Esto]
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
**IMG_0501.png**
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**ch-55-PPTaccessible.pptx**
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**## ch-54-PPTaccessible.pptx**
Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 54
Organic and Sculptural Modern
1930s – Early 1970s
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:
1) Math Type Plugin
2) Math Player (free versions available)
3) NVDA Reader (free versions available)
1
Organic & Sculptural Modern
Inspired by sculptural forms or abstracted living organisms
Rejects hard edges & geometry of International Style
Seeks total unity through harmony with nature & a human touch
Extremely popular in furniture & decorative arts after World War
few architectural examples
Aided by renewed creative energy, new materials & techniques
Images of the future, optimism, progress
Briefly synonymous with modernism
World’s design leaders: United States, Scandinavia, Italy
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
2
Concepts
Deliberate move away from geometry & hard edges to asymmetrical, expressionist design; still functional, mass produced
Emphasizes humans & human body, expressionism, symbolism—qualities lacking in International Style
Technology, not craft, drives concepts & appearances
Innovations from experimentation with new construction methods from other industries or new materials
Some in advance of technology to produce
Softer, curvilinear modern with an organic nature but inorganic materials
Influences from painting & sculpture—organic or biomorphic forms, abstraction
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
3
Characteristics and Motifs
Smooth curving forms & shapes
Pierced, abstracted, elongated, attenuated, asymmetrical
Exaggerated, abstracted naturalistic forms & unity important
Simplicity, no applied ornament, design for mass production
More expressive or symbolic design language from experimentation & energy
Irregular surfaces, boldness, rhythm, continuous surface, parabolic arches, spherical forms, oblique angles
Colors from Pop Art, nature, Modern Art
Motifs: amoeboid & kidney shapes, spheres, parabolas, atoms, molecules, rockets, satellites, flying saucers, abstracted & stylized fruit, flowers, plants, objects of daily life
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
4
Architecture
Organic architecture roots in primitive vernacular forms; evolves over time & work of particular architects
Focus on humans, humanness in design, materials; forms from nature
Modern architecture that is softer, more rounded, expressive but unified
Fluid, curving forms from specific purpose; personal architectural statement; programmatic goals
Bold, powerful statements
Influence by Wright, 1920s German architects, Scandinavians
Few examples; require extraordinary creativity, technical genius, innovative construction techniques
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.1a
Administration Building, S. C. Johnson and Son Factory, offices 1936-1939, tower 1947-1950; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building has symmetrical multiple stories and a cupola on the top. The entrance has a portico and circular dependency buildings. The roofs are plain. The circular buildings have curved glass top walls.
6
54.1b
Great workroom, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The ceiling has a flat roof and voids. The numerous adjacent columns have a circular top on them. The top story has a pathway with a wall railing.
7
54.1c
Office furniture, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The table has three steps of oval desks. A short top oval desk, middle long oval desk, and bottom short oval desk. The bottom desk has drawers. The chair has a circular back supported by the semicircular tubular frame and the seat is supported by a rectangle frame. The chair has wheels. A female is working on a typewriter that is placed on the desk. A device is on the side.
8
54.2a
Notre-Dame-du-Haut (Pilgrimage Chapel), 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has asymmetrical composition. The roof is dark, curved roof overhang. The facade is a white, sculptural concrete facade. The walls have irregularly sized and spaced windows with deep reveal filter light. It is sited on a high plateau with surrounding plantings.
9
54.2b
Notre-Dame-du-Haut (Pilgrimage Chapel) interior, 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.3
Taliesin West, 1938-1959; Scottsdale, Arizona; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building has a portico with a flat roof. The walls are constructed with stones. The roof is flat. The walls have wide windows. A pool is there on the side. A stone on a rock pedestal surrounded by steps.
11
54.4
Solomon R. Guggenheim Museum, 1957-1959, 1957-1959; New York, New York; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.5a
Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport), 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has an asymmetrical roof with flight wings shape on the left and right and a center axis connected by long projecting tubes. It has curved and flat roofs.
13
54.5b
Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport) interior, 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The roof has a ceiling that allows the natural light to penetrate through ceiling crevices. It has sculptural concrete surfaces that fuse ceiling walls and floor. The Y-shaped column supports the sculptural stair area. The floor has multiple level changes.
14
54.6
Terminal Building, Dulles International Airport, 1958-1962; Dulles, Virginia; Eero Saarinen and Associates. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
54.7
Sydney Opera House, 1956-1973; Sydney, Australia; Jorn Utzon and Peter Hall. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has a series of large precast concrete shells, forming the roofs of the structure, and concrete piers. The precast concrete panels are supported by precast concrete ribs. The walls have shielded windows. It is located on the banks of a harbor.
16
54.8a
Fallingwater, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The house has natural stone, ochre concrete, and russet-painted steel. The natural light penetrates from all sides. In the house, cantilevered terraces project in horizontal layers. The building integrates with the site. The organic architecture emphasizes asymmetry.
17
54.8b
Fallingwater living room with fireplace, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description 1:
The ceiling has descending steps. The walls have glass windows. The walls are constructed with stones. The floor is constructed with stones. The sofa and cushion chairs are arranged in the room.
**## ch-53-PPTaccessible.pptx**
Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 53
Geometric Modern
1930s – 1960s
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:
1) Math Type Plugin
2) Math Player (free versions available)
3) NVDA Reader (free versions available)
1
Geometric Modern
Continues design language & many ideas of the Bauhaus & International Style
Work by originators, go to U.S. during World War
& their followers
Key characteristics: functionalism, geometric forms, minimal applied decoration, new materials & technologies
Style enters mainstream
U.S. becomes world’s leader in Modernism
Development of commercial interiors & expansion of interior design profession
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Concepts
Does not continue political overtones or social reforms of early modernism
Aligns with faith in democracy, egalitarianism, dynamism, new technologies in U.S, for new image as world power
Defers to capitalism in public & image of good life in private
Embraces standardization, prefabrication, mass production, new materials & technologies developed during war
Associated with promise of better tomorrow today & no nonsense or modest lifestyles
Museums, periodicals, department stores promote modern design as good taste in contests, competitions, exhibitions
Modern—up-to-date, in step with advances, new ways of living, good design
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Characteristics and Motifs
Bauhaus & International Style characteristics
Geometry, rectilinear grids, regularity but not necessarily symmetry, minimal applied ornament
Box shapes, glass curtain walls, bands of windows, smooth white walls, flat roofs
New materials—aluminum, plastics
Standardization, prefabrication essential in achieving design goals
Functionalism, efficiency, simplicity
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Architecture
Economical, easy to build, adaptable to many building types
Defined and dominated by modernist pioneers: Gropius, Breuer, Mies, Le Corbusier
Simple, rectilinear in silhouette, simple, sleekness
Some follow Bauhaus; others use concrete or other materials to express monumentality
Glass box common, especially for corporate offices
New Brutalism—bold concrete in geometric forms
Geodesic dome—prefabricated modules easily interlocked; unique because offers open interior spaces
Case Study Houses—series of residential prototypes built quickly & economically for any client any where; practical, functional
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
5
53.1
Lever House, 1951-1952; New York, New York; Gordon Bunshaft of Skidmore, Owings, and Merrill. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
6
53.2
Seagram Building, 1954-1958; New York, New York; Ludwig Mies van der Rohe and Philip Johnson. Geometric Modern
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The Seagram building has a glass curtain wall facade with a bronze grid and no ornamentation. The straight edges define the corporate glass box. The ground floor of the building has a main entry at the plaza or street level. The base is raised on columns. The granite plaza is in front.
7
53.4
Biosphere, United State Pavilion, E X P O 67; 1950s-1960s; geodesic dome introduced by Buckminster Fuller. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
8
53.5
Salk Institute of Biological Studies, 1959-1966; La Jolla, California; Louis Kahn. New Brutalism.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
9
53.6
Habitat, E X P O 67, 1967; Montreal, Canada; Moshe Safdie. New Brutalism.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The building is an asymmetrical structure. It has random buildings with rectangular windows. It has bridges with balustrades between the buildings. The buildings are rectangular and triangular shapes.
10
53.7
Gropius House and living room, 1937-1938; Lincoln, Massachusetts; Walter Gropius and Marcel Breuer. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
53.8
Kaufmann Desert House, 1945-1947; Palm Springs, California; Richard Neutra. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
12
53.9a
Glass House (Residence of Philip Johnson) and floor plan, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The glass house has a bathroom chimney core, flat roof, and steel frame with glass windows. The integration of outside to inside throughout the building. The flat manicured green lawn is around the glass house. The glass house has a living area.
13
53.9b
Glass House (Residence of Philip Johnson) living room, 1949; New Canaan, Connecticut; Philip Johnson. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
14
53.10a
Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
15
53.10b
Eames House (Case Study House 8), 1945-1950; Pacific Palisades, California; Kenneth Acker and Charles Eames. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
It has an attic. The walls have glass windows The floors are decorated with rugs and tiles. The walls are decorated with wood. The chairs are arranged randomly. Two people are discussing this in the hall.
16
53.11
Unité d’Habitation, 1946-1951; Marseilles, France; Le Corbusier. New Brutalism.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
17
*53.12
Farnsworth House, 1950-1952; Plan, Illinois; Ludwig Mies van der Rohe. Geometric Modern.
*Substitute image.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Long Description:
The base of the building is raised from the ground level through the columns. The stairs lead to the entrance. The entrance has glass walls. The roof is flat and supported by columns.
18
53.13
Case Study House 22, 1959-1960; Los Angeles, California; Pierre Koenig. Geometric Modern.
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
19
Interiors
Commercial interiors follow Bauhaus & International Style principles: clean lines, simple forms, open space
Geometric grid a design feature; plain walls, suspended ceilings; modern furniture
Interiors more specialized, Interior Designers more important
Architectural firms have interior units
Knoll Planning Unit directed by Florence Knoll sets new design & planning standards; unifies furniture, textiles, & lighting; individual office layouts
Home interiors: modern furniture, textiles; open plans for informal living
Kitchens & baths efficiently planned with modern fixtures & materials
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
20
53.15
Lobby, General Motors Technical Center, 1951-1956; Eero Saarinen and Associates. Geometric Modern. [Ezra Stoller©Esto]
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
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**ch-55-PPTaccessible.pptx**
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