Making reference to the weekly readings,consider the question posed by the last video “When did Modern Architecture Actually Begin?”
Do you think Modernism evolved gradually from the Industrial Revolution onwards?
Or was there a watershed moment where you see modernist ideas first develop?
If there was a watershed, options might include, but are not limited to the “reforms era” (Arts and Crafts), the “innovation” period (Art Nouveau and Secessionist era), the 1880s – 1910s Chicago School and skyscraper technology, the 1900s – 1930s (Modern Forerunners, De Stijl, Bauhaus, International Modernism), or the styles we explored in this module, perhaps with a 1950s/60s watershed.
Or perhaps Modernism was neither gradual or sudden, but developed following ‘punctuated evolution,’ with long periods of stasis jolted by a couple moments of high-level activity that pushed Modernism (capital M) to a new level?
Please give clear reasoning for your choice or choices, and support your statement with complementary images and context from your readings.
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)
8/11/2020
BUIE HARWOOD
BRIDGET MAY
CURT SHERMAN
An Integrated History to the Present
Chapter 44
Modern Historicism
1930s – 2000s
Chapter 55: Modern Historicism 55.2
Modern Historicism
Emphasizes importance of history
Uses attributes and/or elements form past styles or periods
within a modern framework
Historical structures, material culture, design principles are
valid models for & solutions to modern design problems
Architects, interior decorators, interior designers
Diversity of styles, themes, movements
Suburban Modern, New Urbanism, New Formalism,
Regionalism, New Classical Revival, Period Interior
Decoration
Influences: Victorian Revivals, Academic Tradition,
Bauhaus, Art Deco, Historic Preservation Movement
©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
Chapter 55: Modern Historicism 55.3
CONCEPTS
Modern Historicism uses past to express theme, symbolism,
monumentality & adapt to modern tastes & needs
Also expression of self, old money, culture, taste, wealth,
heritage; context or sense of place; signal of function or
brand
Variety of approaches from copying exactly as possible to
using as springboard for ideas
Remains intrinsically modern
Historic Preservation—conserve or retain historic sites
Methods: preservation, rehabilitation, restoration,
reconstruction, adaptive use
Mostly architecture but should be applied to interiors
©2012 Pearson Education
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Buie Harwood, Bridget May, and Curt Sherman
1
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Chapter 55: Modern Historicism 55.4
CHARACTERISTICS AND MOTIFS
Adapts elements & attributes of many past styles
Reflect forms, motifs of particular styles but specific
characteristics vary
Generally exploit one or more aspects; use in different or new
ways; combine details from other styles, periods
Simplification, abstraction, reduction of ornament most
common changes
May closely resemble or bear range of resemblances to
historic original; may also reflect previous associations or
unknown types
Motifs: period elements, details, motifs—columns, pediments,
pointed arches, flowers, pagodas, birds, leaves, arabesques,
shells
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 55: Modern Historicism 55.5
ARCHITECTURE
Many public & private buildings still follow past styles: client
preferences, associations; Beaux-Arts trained architects
Historic Preservation—identifies important structures &
areas; applies one of approaches to protect, maintain, reuse
Suburban Modern—unites design solutions of popular
tastes (usually past styles( with rapid construction methods
New Formalism—International Style inspired by past
Regionalism—considers surroundings, locales, vernacular
New Urbanism—small towns with place identity
New Classicism—deliberate return to classicism
Themed Environments—particular associations & uses of
past to particular buildings, building types
©2012 Pearson Education
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Buie Harwood, Bridget May, and Curt Sherman
Chapter 55: Modern Historicism 55.6
55-1. Governor’s Palace, 1795-1749; rebuilt in 1930s; Williamsburg, Virginia.
Reconstruction.
©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 55: Modern Historicism 55.7
55-2. Faneuil Hall
Marketplace, 1740-1742,
John Smibert; rebuilt after
fire 1761; expanded 18051806, Charles Bulfinch;
reconstructed 1898-1899;
Boston, Massachusetts;
1976, F.A. Stahl &
Associates with Benjamin
Thompson & Associates;
1992; Restoration &
Rehabilitation.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 55: Modern Historicism 55.8
55-3. United States Embassy, 1957-1959; New Delhi, India; Edward Durrell
Stone. New Formalism
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 55: Modern Historicism 55.9
55-4. Suburban houses,
split-level and Colonialstyle, c. 1950s-2000s.
United States. Suburban
Modern.
©2012 Pearson Education
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Chapter 55: Modern Historicism 55.10
55-5. Wigwam Motel,
Holbrook, Arizona and Inn
of Loretto, Santa Fe, New
Mexico, c. 1950s-1990s;
United States. Regionalism.
©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
Chapter 55: Modern Historicism 55.11
55-6. House, 1981-1987; Seaside, Florida; Andres Dulany and Elizabeth PlaterZyberk. New Urbanism.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 55: Modern Historicism 55.12
55-7. Richmond Riverside, 1984-1989; Richmond suburb of London, England;
Quinlan Terry. New Classicism.
©2012 Pearson Education
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Chapter 55: Modern Historicism 55.13
55-8. Teatro nacionale de Cataluña, 1997; Barcelona, Spain; Ricardo Bofill.
New Classicism.
©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
Chapter 55: Modern Historicism 55.14
55-10. Venetian Hotel and Great Hall, 1990s; Las Vegas, Nevada; Veldon
Simpson and Marnell Corrao Associates, interiors by Trisha Wilson, Wilson
Associates, Texas. Modern Historicism.
©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
Chapter 55: Modern Historicism 55.15
INTERIORS
Great variety of treatments & furnishings
Period-Style Decoration—decorating room in particular
historical period but in modern context, preferences,
lifestyles
Earlier more accurate; later more simplified
Historic Preservation—preservation, rehabilitation,
restoration, reconstruction, adaptive use; physical evidence
important
Suburban Modern—period flavor
Regionalism—reflect locale in treatments, finishes,
furnishings; literal or more loosely applied
New Classicism—reflect monumentality, formality of
exteriors; classical proportions, details, motifs
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 55: Modern Historicism 55.16
55-12. Metropolitan Museum of Art Restaurant (The Dorotheum), 1954; New
York, New York; Dorothy Draper. Modern Historicism.
©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
Chapter 55: Modern Historicism 55.17
55-12. Before and after images of the entrance Hall to Diplomatic Reception Rooms,
State Department, 1979-1986; Washington D.C.; Edward Vason Jones. Modern
Historicism. [Courtesy of the Diplomatic Reception Rooms, U.S. Department of State]
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 55: Modern Historicism 55.18
©2012 Pearson Education
Upper Saddle River, NJ 07458
55-14. Lobby 1915 & lobby restoration
1986, Willard Intercontinental
Washington Hotel; Washington D.C.;
1986 restoration by Henry Janway
Hardenbergh, interiors by Sarah
Tomerlin Lee. Restoration &
Redecoration.
Architecture and Interior Design: An Integrated History to the Present
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Chapter 55: Modern Historicism 55.19
55-15. Interior Musée
d’Orsay, 1980-1987;
Paris France; interiors
by Gae Alulenti.
Rehabilitation and
Adaptive Use.
©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
Chapter 55: Modern Historicism 55.20
55-1. Lobby, Park Hyatt
Hotel, 2004-2005; Dubai,
United Arab Emirates;
Wilson Associates,
Singapore and Texas.
Regionalism.
©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
Chapter 55: Modern Historicism 55.21
55-17. Dining Room, Mrs. Hugh Mercer Walker residence, 1930s; New York,
New York; Roby Ross Wood. Period Decoration.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 55: Modern Historicism 55.22
55-18. Nancy Lancaster’s Yellow Room, Avery Row, 1960; London,
England; John Fowler. Period Decoration.
©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
Chapter 55: Modern Historicism 55.23
55-19. Stair Hall,
Drayton Hall, 17381742; Charleston South
Carolina; National Trust
for Historic Preservation
Property. Preservation.
©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
Chapter 55: Modern Historicism 55.24
55-20. Entrance
Hall, c. 1990s;
Santa Barbara,
California; John
Saladino. Modern
Historicism.
©2012 Pearson Education
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Chapter 55: Modern Historicism 55.25
55-22. Textiles: From left: Toile de Jouy Panurge dan I’Lle des Lanternes;
Readbourne Bouquet; and Meissen; c. 1970s-2000s; Scalamandré.
Reproduction and Modern Historicism.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 55: Modern Historicism 55.26
55-23. Lighting: Wall bracket and table lamps, c. 1940-2000s; United States;
table lamp by Kartell. Modern Historicism
©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
Chapter 55: Modern Historicism 55.27
FURNISHINGS AND DECORATIVE ARTS
Furnishings maybe antiques, contemporary or modern period
styles arranged for modern use in most buildings except for
restorations in museum
Some design custom pieces for clients or manufacturers
Period styles—French styles (Louis XV); English Georgian
(Chippendale); Victorian Revivals; American Colonial &
Georgian; Mediterranean
Reproductions copy historic object as closely as modern
technology will allow
American museums license manufacturers to reproduce or
adapt items from their collection
Contemporary period interpretations—mix period and
contemporary influences; distinctly different; reflect new
design ideas
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 55: Modern Historicism 55.28
55-24. Tête-à-tête, c.
1950s-1960s; United
States. Edward
Wormley for Dunbar.
Modern Historicism.
55-25. Regency armchair
and side chair, c. 1810;
England; Stately Homes
collection, c .1981; United
States; Baker Furniture.
Reproduction.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 55: Modern Historicism 55.29
55-26. Oval X-back chair, Barbara Barry Collection; c. 1980s; United States;
Baker Furniture. Modern Historicism.
©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
Chapter 55: Modern Historicism 55.30
55-27. Table, Wynn Hotel, Las Vegas,
55-28. Entertainment Center, late
c. 2000s; United States. Modern Historicism. 20th century; The Mission Collection,
L. & J.G. Stickley Furniture. Modern
Historicism
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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BUIE HARWOOD
BRIDGET MAY
CURT SHERMAN
An Integrated History to the Present
Chapter 54
Organic and Sculptural Modern
1930s – Early 1970s
1
Chapter 54: Organic and Sculptural Modern 54.2
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 II, 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
©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 54: Organic and Sculptural Modern 54.3
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
©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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1
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Chapter 54: Organic and Sculptural Modern 54.4
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
©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 54: Organic and Sculptural Modern 54.5
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
©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 54: Organic and Sculptural Modern 54.6
54-1a. Administration Building, S. C. Johnson and Son Factory, offices
1936-1939, tower 1947-1950; Racine, Wisconsin; Frank Lloyd Wright.
Organic & Sculptural 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
6
2
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Chapter 54: Organic and Sculptural Modern 54.7
54-1b. Great workroom, S. C. Johnson and Son Factory, offices 1936-1939;
Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural 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
7
Chapter 54: Organic and Sculptural Modern 54.8
54-1c. Office furniture, S. C. Johnson and Son Factory, offices 19361939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural
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
8
Chapter 54: Organic and Sculptural Modern 54.9
54-2a. Notre-Dame-du-Haut (Pilgrimage Chapel), 1950-1955; Ronchamp, France;
Le Corbusier. Organic & Sculptural 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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3
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Chapter 54: Organic and Sculptural Modern 54.10
54-2b. Notre-Dame-duHaut (Pilgrimage
Chapel) interior, 19501955; Ronchamp,
France; Le Corbusier.
Organic & Sculptural
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
10
Chapter 54: Organic and Sculptural Modern 54.11
54-3. Taliesin West, 1938-1959; Scottsdale, Arizona; Frank Lloyd Wright. Organic
& Sculptural 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
11
Chapter 54: Organic and Sculptural Modern 54.12
54-4. Solomon R. Guggenheim Museum, 1957-1959, 1957-1959; New
York, New York; Frank Lloyd Wright. Organic & Sculptural 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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4
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Chapter 54: Organic and Sculptural Modern 54.13
54-5a. Trans World Airlines Terminal (TWA, now Terminal 5; Kennedy International
Airport), 1956-1962; New York, New York; Eero Saarinen and Associates. Organic
& Sculptural 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
13
Chapter 54: Organic and Sculptural Modern 54.14
54-5a. Trans World Airlines Terminal (TWA, now Terminal 5; Kennedy
International Airport) interior, 1956-1962; New York, New York; Eero Saarinen and
Associates. Organic & Sculptural 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
14
Chapter 54: Organic and Sculptural Modern 54.15
54-6. Terminal Building, Dulles International Airport, 1958-1962; Dulles, Virginia;
Eero Saarinen and Associates. Organic & Sculptural 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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5
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Chapter 54: Organic and Sculptural Modern 54.16
54-7. Sydney Opera House, 1956-1973; Sydney, Australia; Jorn Utzon and
Peter Hall. Organic & Sculptural 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
16
Chapter 54: Organic and Sculptural Modern 54.17
54-8a. Fallingwater, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright.
Organic & Sculptural 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
17
Chapter 54: Organic and Sculptural Modern 54.18
54-8b. Fallingwater living
room with fireplace,
1935-1937; Bear Run,
Pennsylvania; Frank
Lloyd Wright. Organic &
Sculptural 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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6
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Chapter 54: Organic and Sculptural Modern 54.19
INTERIORS
Interiors of Organic & Sculptural buildings continue exterior
design—one forms the other
Exterior materials, movement, openness,
organic/sculptural qualities
Other interiors—plain walls, minimal trim, no ornament—
reflect modernist/International Style aesthetic
White, off-white walls, primary, secondary colors
1950s colors—shocking pink, orange, magenta, brilliant
green, turquoise, yellow, red
Curvilinear, biomorphic stoves instead of fireplaces
Organic/sculptural aesthetic conveyed by furniture, textiles,
lighting, decorative arts, art work, plants
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
19
Chapter 54: Organic and Sculptural Modern 54.20
54-9. Textiles: Fabrics c, 1950s-1960s; United States; Ray Eames (dots)
and Alexander Girard (flowers) for Herman Miller. Organic & Sculptural
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
20
Chapter 54: Organic and Sculptural Modern 54.21
54-10. Lighting: Table lamp, desk lamp, lava lamp, 19402-1950s; Raoul Raba
(table lamp). Organic & Sculptural 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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7
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Chapter 54: Organic and Sculptural Modern 54.22
FURNISHINGS AND DECORATIVE ARTS
Best represent abstract, biomorphic, sculptural aesthetic of
style
Fluidity of line; rounded forms; free-form, biomorphic shapes;
lightness; new materials—plywood or plastics; new
construction techniques
Fit human frame; long, low; contrasts with rectilinear spaces
Rarely modular; variety in legs, bases, colors, finishes for
individuality
Pieces often suit residential and non residential spaces
Designers concentrate on chairs with colorful names inspired
by nature
Popular; many produced by Knoll, Herman Miller, others
©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 54: Organic and Sculptural Modern 54.23
©2012 Pearson Education
Upper Saddle River, NJ 07458
54-11. Butterfly or sling chair, 1938; Brazil;
Jorge Ferrari-Hardov, Juan Kurchan, and
Antonio Bonet for Knoll International. Organic
& Sculptural Modern.
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 54: Organic and Sculptural Modern 54.24
54-12a. Side chairs and
armchairs in molded
plywood, wire, and molded
plastic, 1946-1951; United
States; Charles and Ray
Eames for Herman Miller.
Organic & Sculptural
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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8
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Chapter 54: Organic and Sculptural Modern 54.25
54-12b. Lounge chair and ottoman, 1956; United States; Charles and Ray
Eames for Herman Miller. Organic & Sculptural 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
25
Chapter 54: Organic and Sculptural Modern 54.26
54-13a. Pedestal or Tulip chairs and tables, 1956; United States; Eero Saarinen
for Knoll International. Organic & Sculptural 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
26
Chapter 54: Organic and Sculptural Modern 54.27
54-13b. Womb chair and ottoman, 1948; United States; Eero
Saarinen for Knoll International. Organic & Sculptural Modern.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
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Chapter 54: Organic and Sculptural Modern 54.28
54-14. Diamond chairs, 1952; United States; Harry Bertoia for Knoll International.
Organic & Sculptural 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 54: Organic and Sculptural Modern 54.29
54-15. Coconut chair, 1956-1957; United States;
George Nelson Associates for Knoll International.
Organic & Sculptural 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 54: Organic and Sculptural Modern 54.30
54-16. Coffee table, c. 1940s; Isamu Noguchi for Herman Miller. Organic &
Sculptural Modern.
©2012 Pearson Education
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10
BUIE HARWOOD
BRIDGET MAY
CURT SHERMAN
An Integrated History to the Present
Chapter 53
Geometric Modern
1930s – 1960s
Chapter 53: Geometric Modern 53.2
Geometric Modern
Continues design language & many ideas of the Bauhaus
& International Style
Work by originators, go to U.S. during World War II, &
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
©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
Chapter 53: Geometric Modern 53.3
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
©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
Chapter 53: Geometric Modern 53.4
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
©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
Chapter 53: Geometric Modern 53.5
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
©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
Chapter 53: Geometric Modern 53.6
53.1. Lever House,
1951-1952; New York,
New York; Gordon
Bunshaft of Skidmore,
Owings, and Merrill.
Geometric 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
Chapter 53: Geometric Modern 53.7
53-2. Seagram
Building, 19541958; New York,
New York; Ludwig
Mies van der Rohe
and Philip Johnson.
Geometric 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
Chapter 53: Geometric Modern 53.8
53-4. Biosphere, United State Pavilion, EXPO 67; 1950s-1960s; geodesic
dome introduced by Buckminster Fuller. Geometric 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
Chapter 53: Geometric Modern 53.9
53-5. Salk Institute of
Biological Studies, 19591966; La Jolla, California;
Louis Kahn. New
Brutalism.
53-6. Habitat, EXPO 67,
1967; Montreal, Canada;
Moshe Safdie. New
Brutalism.
©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
Chapter 53: Geometric Modern 53.10
53-7. Gropius House and living room, 1937-1938; Lincoln, Massachusetts; Walter
Gropius and Marcel Breuer. Geometric 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
Chapter 53: Geometric Modern 53.11
53-8. Kaufmann Desert House, 1945-1947; Palm Springs,
California; Richard Neutra. Geometric 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
Chapter 53: Geometric Modern 53.12
53-9a. Glass House (Residence of Philip Johnson)
and floor plan, 1949; New Canaan, Connecticut;
Philip Johnson. Geometric 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
Chapter 53: Geometric Modern 53.13
53-9b. Glass House (Residence of Philip Johnson) living room, 1949; New Canaan,
Connecticut; Philip Johnson. Geometric 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
Chapter 53: Geometric Modern 53.14
53-10a. Eames House (Case Study House 8), 1945-1950; Pacific Palisades,
California; Kenneth Acker and Charles Eames. Geometric 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
Chapter 53: Geometric Modern 53.15
53-10b. Eames House
(Case Study House 8),
1945-1950; Pacific
Palisades, California;
Kenneth Acker and
Charles Eames.
Geometric 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
Chapter 53: Geometric Modern 53.16
53-11. Unité d’Habitation, 1946-1951; Marseilles, France; Le Corbusier. New
Brutalism.
©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
Chapter 53: Geometric Modern 53.17
*53-12. Farnsworth House, 1950-1952; Plan, Illinois; Ludwig Mies van der Rohe.
Geometric Modern. *Substitute image.
©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
Chapter 53: Geometric Modern 53.18
53-13. Case Study House 22, 1959-1960; Los Angeles, California;
Pierre Koenig. Geometric 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
Chapter 53: Geometric Modern 53.19
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
©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
Chapter 53: Geometric Modern 53.20
53-15. Lobby, General Motors Technical Center, 1951-1956; Eero Saarinen
and Associates. Geometric Modern. [Ezra Stoller©Esto]
©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
Chapter 53: Geometric Modern 53.21
52-16. Executive office, CBS Building, c. mid 1960s; New York, New York; Florence
Knoll. Geometric 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
Chapter 53: Geometric Modern 53.22
53-17. Textiles: Fabrics, c. 1950s-1960s; United States; Alexander Girard.
Geometric 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
Chapter 53: Geometric Modern 53.23
53-18. Lighting: Table lamp and floor lamp, c. 1950s-1960s; by
Knoll and Nessen. Geometric 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
Chapter 53: Geometric Modern 53.24
FURNISHINGS AND DECORATIVE ARTS
Relates to interiors: hard-edged geometry, cubic form, light
scale, new materials
Low, horizontal, hard edges, geometric forms, slender
wooden or metals legs, visual & material separation between
functional parts
Knoll & Herman Miller introduce new lines of modern office
furniture
Sleek, simple designs in different materials, finishes, colors
Pieces suit modern offices & work processes
Hire designers to work for them so part of reassessment of
relationship of art to industry
Modular furniture common in residences & offices
©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
Chapter 53: Geometric Modern 53.25
53-19. Lounge chair, c. 1940s; United States; Jens
Risom for Knoll International. Geometric 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
Chapter 53: Geometric Modern 53.26
53-20a. Marshmallow sofa, 1956; United States; George Nelson
for Herman Miller. Geometric 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
Chapter 53: Geometric Modern 53.27
53-20b. Modular storage
unit and bed, 1950s; United
States; George Nelson for
Herman Miller. Geometric
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
Chapter 53: Geometric Modern 53.28
53-21a. Armchair and stool, Aluminum Group,
1958, 1969; United States; Charles and Ray
Eames for Herman Miller. Geometric 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
Chapter 53: Geometric Modern 53.29
53-21b. Storage units. 1949-1950; United States; Charles and Ray Eames for
Herman Miller. Geometric 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
Chapter 53: Geometric Modern 53.30
53-22. Cyclone tables, c. 1953-1957; United States; Isamu Noguchi
for Knoll International. Geometric 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