Think about the innovations explored by designers at the turn of the 20th century, particularly the integration of new construction materials, the reinterpretation of forms, and the shift in thinking neatly encapsulated by Louis Sullivan’s famous adage “form follows function.”
Then, making reference to the weekly readings,answer the following questions in relation to the International, Art Deco, and Scandinavian Modern design movements:
- How does using “new” materials, such as metal, concrete, or glass, in place of “old” materials such as stone, brick, or wood, affect design in the first half of the 20th century?
- How does the widespread shift in thinking, privileging functionality over formal or aesthetic characteristics, shape design in the 20th century?
- Are there any designs created during this period that you see still in use today?
Why do you think these forms remain relevant in contemporary design?
–
When answering please include the following components:
1. One or more images to help illustrate your argument
2. Captions, immediately beneath your images, in the following format:
Fig. 1. Artist/Architect.Title of object/structure. Date. Medium. Dimensions. Geographic location. (Web address/URL)
***Please see the Course Information & Policies link “
Captioning Images
” for more information about captions.
3. Terminology from our readings
4. In-text citations and references (where necessary)
***Please see the Course Information & Policies link “
Avoiding Plagiarism
” for more information about citing and referencing your work.
https://artsandculture.google.com/story/sQVBB7_jKk…
8/6/2020
BUIE HARWOOD
BRIDGET MAY
CURT SHERMAN
An Integrated History to the Present
Chapter 52
Scandinavian Modern
1900s – 1960s
1
Chapter 52: Scandinavian Modern 52.2
Scandinavian Modern
Specific early 20th-century architecture, interiors, &
furnishings from Denmark, Sweden, Finland, Norway
Adopt some elements of Bauhaus & International Style
Shared aesthetic—nationalism; folk or vernacular & craft
traditions; nature; excellent craftsmanship; desire to provide
well-designed buildings & objects for all Scandinavian
people
Simple, functional, often minimal, concern for individual,
natural materials
Scandinavian refers to 4 northwestern European countries,
Denmark, Sweden, Finland, Norway
Share strong historical, cultural and linguistic ties
Alternative term: Nordic
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
2
Chapter 52: Scandinavian Modern 52.3
CONCEPTS
Architects & designers more concerned with practical &
humanitarian matters than design theory
Strive for functional designs that reflect humanity in planning,
scale, materials
Shared belief—architecture & design not only about
aesthetics but economical & function housing for all
Promote good design through education & collaboration
among designers, architects, manufacturers
Nordic or Scandinavian identity also important
Design vocabulary from folk or vernacular traditions; natural
environment or landscape; individual characteristics of each
country; or collective Scandinavian heritage
Maintains nationalism within modernist design
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 52: Scandinavian Modern 52.4
CHARACTERISTICS AND MOTIFS
Simplicity, human scale, modesty, practicality, elegance,
excellent craftsmanship
Shared Scandinavian traditions, natural environments or
landscapes; respect for materials; natural materials
From landscape—movement, texture, complex compositions,
curvilinear forms, eclectic
Designs may rework traditional forms by simplifying or
refining to suit modern aesthetics or lifestyles
Purely functional, modernist, organic
Unity, texture, light important
Motifs—modernist expressions have none; mostly stylized
foliage or plants
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Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.5
ARCHITECTURE
Variety–rugged stone compositions with steep roofs to plain
brick, geometric facades to International Style buildings with
flat roofs, glass curtain walls, white concrete walls
National Romanticism—folk or vernacular traditions; national
identity; wood; handicraft; local building types
Scandinavian Neoclassicism—stripped down classicism;
simplified; classical order; some classical elements
Functionalism or Modernism—begins about 1930s;
International Style influences
Some move beyond white boxes by incorporating
Scandinavian forms & materials
Individuality & uniqueness
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Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.6
52-1. Main Railway Terminus, 1904-1914; Helsinki, Finland; Eliel Saarinen,
Herman Gesellius, and Armas Lindgren. National Romanticism.
©2012 Pearson Education
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Chapter 52: Scandinavian Modern 52.7
52-2. Stockholm City Library, 1920-1928; Stockholm, Sweden; Gunnar Asplund.
Scandinavian Modern.
©2012 Pearson Education
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Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.8
52-3a. Tuberculosis Sanatorium, 1929-1933; Paimio, Finland;
Alvar Aalto. Scandinavian Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.9
52-3b. Paimio armchair, 1929-1933; Paimio, Finland; Alvar
Aalto. Scandinavian Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 52: Scandinavian Modern 52.10
52-4. Säynätsalo Town Hall, Jyväskylä, Finland; Alvar Aalto. Scandinavian Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.11
52-5a. S.A.S. Royal
Hotel, 1959;
Copenhagen,
Denmark; Arne
Jacobsen.
Scandinavian Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
11
Chapter 52: Scandinavian Modern 52.12
52-5b. S.A.S. Royal Hotel lobby, 1959; Copenhagen, Denmark; Arne Jacobsen.
Scandinavian Modern.
©2012 Pearson Education
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Chapter 52: Scandinavian Modern 52.13
52-6a. Villa Mairea
and floor plans;
1937-1938;
Noormarku,
Finland; Alvar Aalto.
Scandinavian
Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.14
52-6b. Villa Mairea stair hall; 1937-1938; Noormarku, Finland; Alvar Aalto.
Scandinavian Modern.
©2012 Pearson Education
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Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.15
INTERIORS
Simple, modest, minimal furnishings
Important principles—function, lightness, natural light,
natural materials & textures
Architect-designed interiors—most variety & pleasant
sensory experiences
Spatial changes, color, light, texture; design furniture &
interior for unity
Large windows unite interior with landscape & contrast with
more intimate, fireplace- or hearth-centered alcoves
Nationalism—traditional materials & forms; wood
construction
Small rooms borrow space from outside; light colors, high
ceilings help visually expand space
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 52: Scandinavian Modern 52.16
52-7. Discussion and lecture hall, Municipal Library, 1927-1935; Viipuri,
Finland. Alvar Aalto. Scandinavian Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.17
52-8. Interior, Finnish Pavilion, World’s Fair Exhibition, 1939; New York, New
York; Alvar Aalto. Scandinavian Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.18
52-9. Textiles: Cotton and linen, c. 1950s-1960s; Sweden and Finland;
manufactured by Marimekko and Nordika. Scandinavian Modern.
©2012 Pearson Education
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Chapter 52: Scandinavian Modern 52.19
52-10. Lighting: Chandeliers, c. 1950s; Finland and Denmark; Alvar Aalto
and Paul Henningsen. Scandinavian Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.20
FURNISHINGS AND DECORATIVE ARTS
Ranges from handmade to mass-produced
Collaboration among designers, artisans, manufacturers
Strong craft tradition maintained
Types
Simplified & mass produced traditional forms
Designed by architects for particular projects
Experiments with new materials (plywood) & construction
methods (prefabrication)
Simplicity, fits human body, warm, timeless, economical,
practical, user-centered, functional
Scandinavian furniture popular post World War II
Knocked-down (KD) furniture a Scandinavian contribution
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
20
Chapter 52: Scandinavian Modern 52.21
52-11. Blue chair,
1929; Finland;
Eliel Saarinen.
Scandinavian
Modern.
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Chapter 52: Scandinavian Modern 52.22
52-12a. Peacock
chair, 1947;
Denmark; Hans
Wegner.
Scandinavian
Modern.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.23
52-12b. Armchair and storage cabinet in teak, 1944-1949; Denmark; Hans
Wegner. Scandinavian Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.24
52-13. Eva armchair in laminated beech, 1934;
Sweden; Bruno Mathsson. Scandinavian Modern
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Chapter 52: Scandinavian Modern 52.25
52-14. Armchair, 1945; Finn Juhl. Scandinavian
Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.26
52-15. Top: Ant
chair/Model 3107-Series
7 chair, 1955;
Left: Egg chair, 19561957,
and right, Swan chair,
1956-1957; Denmark;
Arne Jacobsen.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.27
52-16. Chaise, Model PK24, 1965; Denmark Poul Kjaerholm. Scandinavian
Modern.
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Chapter 52: Scandinavian Modern 52.28
52-17. Coffee table in teak, 1960s; Denmark; Grete Jalk. Scandinavian
Modern.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.29
52-18. Dining table and chairs; Ørensend Series, 1955; Denmark;
Børge Mogensen. Scandinavian Modern.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 52: Scandinavian Modern 52.30
52-19. Decorative Arts: Savoy Vase, c. 1930s; Finland; Alvar Aalto.
Scandinavian Modern.
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BUIE HARWOOD
BRIDGET MAY
CURT SHERMAN
An Integrated History to the Present
Chapter 51
Art Deco, Art Moderne
1920s – Early 1940s
1
Chapter 51: Art Deco, Art Moderne 51.2
Art Deco, Art Moderne
Art Deco an international style with many expressions in all
design arts
Originates in Paris, 1910s
Makes strong design statement at Exposition
Internationale des Arts Décoratifs in 1925, Paris
Ranges from highly decorative & lavish to geometric &
simple
1930s American designers create Art Moderne or
Streamlined Modern
Simplified geometric style with curvilinear forms &
modern materials
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
2
Chapter 51: Art Deco, Art Moderne 51.3
CONCEPTS
Art Deco embraces machine, machine aesthetics,
craftsmanship
Respects past, draws from national & regional traditions
Strives to create modern style for modern age but lacks
modernist’s faith in ability of art to improve lives
Relies on consumerism & capitalism to disseminate
Recognizes importance of unity among the arts & totality of
design
Many expressions from diversity of influences–Western &
non-Western sources, avant-garde art
Art Moderne—similar influences as Art Deco
Main influences—idea of speed, aerodynamic forms of
industrial design
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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1
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Chapter 51: Art Deco, Art Moderne 51.4
CHARACTERISTICS AND MOTIFS
Art Deco modernizes past through stylization & contemporary
colors & materials
Coordinated & integrated approach for total unity
Traditional or classical forms or more Modernist simple
geometry
Two-dimensional or shallow ornament drawn from many
sources
Art Moderne—simplified, sleek, efficient forms
Smooth surfaces, rounded corners, horizontality, contour
lines, minimal ornament, new materials
Motifs: Stylized flowers, leaves, water fountains, birds,
animals, sunrays, star bursts; machine inspired geometrics—
circles, chevrons, lightning bolts, diamonds, stripes
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
4
Chapter 51: Art Deco, Art Moderne 51.5
51-1. Architectural Details: Iron entry gate and elevator doors, c. 1920s-1930s;
France and the United States; doors designed by Morgan, Walls and Clements.
Art Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
5
Chapter 51: Art Deco, Art Moderne 51.6
ARCHITECTURE
Art Deco–stylized & geometric floral & figural decoration &
brilliant color on classical & modernist forms
Architectural vocabulary adaptable to any theme, image,
or message
Common on buildings associated with modern life—
skyscrapers, movie theaters, airports
Many characteristics from pavilions at 1925 Paris
exposition—straight lines, stepped roofs
Important legacy—new & creative lighting designs made
possible by adoption of electricity
Art Moderne—from late 1920s
Rounded corners, glass block or porthole windows, bands
of windows, repeating lines, minimal ornament
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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2
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Chapter 51: Art Deco, Art Moderne 51.7
51-2. Pavilion of a Rich Collector, published in Exposition Internationale des
Arts Décoratifs et Industriels Modernes, 1925; Paris, France; Emile-Jacques
Ruhlmann and Pierre Patout (Ruhlmann Group). Art Deco.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
7
Chapter 51: Art Deco, Art Moderne 51.8
51-4. Chrysler Building and tower detail, 1928-1930; New
York, New York; William Van Alen. Art Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
8
Chapter 51: Art Deco, Art Moderne 51.9
51-5. Paramount Theater and lobby, 1931; Oakland, California; Miller and
Pflueger. Art Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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3
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Chapter 51: Art Deco, Art Moderne 51.10
51-6. Daily Express
Building, London,
England; 19301932; Herbert Ellis
and W. L. Clarke
with Owen
Williams. Art Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
10
Chapter 51: Art Deco, Art Moderne 51.11
51-7. Greyhound Bus Terminal,
1936-1937; Jackson,
Mississippi. Art Moderne.
51-8. Diner, c. 1930s; New
Jersey. Art Moderne.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
11
Chapter 51: Art Deco, Art Moderne 51.12
51-9. Century Hotel and Marling Hotel, 1935-1939; Miami Beach, Florida;
Century Hotel by Henry Hohauser. Art Moderne.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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4
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Chapter 51: Art Deco, Art Moderne 51.13
51-10. House, c. 1920s-1930s; San Diego, California. Art Moderne.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
13
Chapter 51: Art Deco, Art Moderne 51.14
INTERIORS
Art Deco in 1920s created by French artist/designers, not
architects
Renewed importance of decoration & designer’s
individuality
Interior design, designers, & decorators more important
during period; create custom designs; teams common
Underlying classicism in form & organization; superb
craftsmanship, expensive materials, lavish decoration
Great variety in style—various design approaches
Some architectural—more simplicity, starkness, rectilinear
More decorative—patterns, color, ornament
Kitchens & bathrooms receive more design attention
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 51: Art Deco, Art Moderne 51.15
51-11. Office of Paul Reynaud, Minister of Colonies; 1931; Paris,
France; furniture by Emile-Jacques Ruhlmann; frescoes by Louis
Bouquet. Art Deco.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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5
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Chapter 51: Art Deco, Art Moderne 51.16
51-12. Office exhibited at
the Contemporary
American Industrial Art
Show at the Metropolitan
Museum of Art, 1934;
New York, New York;
Raymond Loewry and
Donald Deskey. Art
Moderne.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
16
Chapter 51: Art Deco, Art Moderne 51.17
51-12. Grand
Foyer, Radio City
Music Hall, 19311940; New York,
New York;
interiors by
Donald Deskey.
Art Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 51: Art Deco, Art Moderne 51.18
51-14. Dining room, published in Les Art de la Maison, 1926; France; Martine. Art
Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
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Chapter 51: Art Deco, Art Moderne 51.19
51-15. Dining room, c. 1925-1926; France. Robert Mallet-Stevens. Modernist
Art Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 51: Art Deco, Art Moderne 51.20
51-16. Interior
published in
Intérieurs au Salon
des Artistes
Decorateurs, late
1920s. Modernist Art
Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
20
Chapter 51: Art Deco, Art Moderne 51.21
51-17. Advertisement showing a bathroom, c. 1930s. Art Deco.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 51: Art Deco, Art Moderne 51.22
51-18. Textiles: Woven and printed fabrics in various Art Deco designs, c. 1920s;
France and United States. Art Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 51: Art Deco, Art Moderne 51.23
51-19. Lighting: Sconce, table lamp by Robert Mallet-Stevens, and chandelier,
c. 1920-1930s. Art Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
23
Chapter 51: Art Deco, Art Moderne 51.24
FURNISHINGS AND DECORATIVE ARTS
Art Deco & Art Moderne furniture repeats form and motifs of
interiors & architecture
Art Deco types
High-style French custom designed—elegance, excellent
craftsmanship, expensive materials; 18th & early 19th
century forms
Bauhaus inspired—custom designed to reflect space;
geometric forms, less ornament, modern materials
Art Moderne usually mass-produced; sometimes custom
designed
Streamlined, geometric or biomorphic forms; simple
contours; no ornament
Smaller, less expensive, functional, practical
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 51: Art Deco, Art Moderne 51.25
51-20. Canapé, c. 1910-1920s; France; La Compagnie des Arts Français (Süe
et Mare.) Art Deco.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 51: Art Deco, Art Moderne 51.26
51-21. Console, c. 1920s; France; Edgar Brandt. Art Deco.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 51: Art Deco, Art Moderne 51.27
51-22. Skyscraper
bookcase,
c. 1926-1927;
United States;
Paul Theodore
Fankl. Art Deco.
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Chapter 51: Art Deco, Art Moderne 51.28
51-23a. Armoire,
1918-1925;
France; EmileJacques
Ruhlmann. Art
Deco.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 51: Art Deco, Art Moderne 51.29
51-12. Desk, 1918-1925; France; Emile Jacques-Ruhlmann. Art Deco.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 51: Art Deco, Art Moderne 51.30
51-24. Interior and furnishings, c. 1922; France. Eileen Gray. Modernist Art Deco.
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