History and Furniture

Sketchbook/Designer
Portfolios
HERMAN CASTLE III
INTA207
WEEK 6 FINAL

Table of Contents

Slides 1 (Cover Page)

Slides 2 (Table Of Contents)

Slides 3-4 (W1A1)

Slides 5-10 (W1A2)

Slides 11-17 (W1A3)

Slides 18-26 (W2A1)

Slides 27-35 (W2A2)

Slides 36-43 (W3A1)

Slides 44-54 (W3A2)

Slides 55-60 (W4A1)

Slides 61-72 (W4A2)

Slides 73-78 (W5A1)

Slides 79-88 (W5A2)

Slides 89-100 (W6A1)

Introduction/Meeting The Team

Hello class, my name is Herman Castle III. I am from Michigan but currently residing
in the Los Angeles area. This will be my sixth class within the residential planning
program and Ive enjoyed them all thus far. Im currently working in retail at IKEA
home furnishings in their customer service department. Ultimately I want to work in
their Interior Design/Visual Merchandising department and have been in
training/learning for that position. This class will be very beneficial to me now and
for my career in the future, because working in a home furnishing store, its best to
be an expert about the furniture youre selling and in the future it would be
practical to know about different choices for potential clients. I have read the
announcements for this course and am aware of the changes that have been
made. For the drawing, I chose a chest that my parents had before I was born and
Ive used it ever since I was a kid. It has traveled with me from home in Detroit, to
Atlanta, and now LA. Theres nothing in particularly fancy about the chest except
that it brings me back home (in my mind) while away from home. I hope you all
have a great week and look forward to working with you in the next 6 weeks.
Herman C

W1A1

Intro to Sketchbook

History of
Architecture
Interiors and
Furniture
HERMAN CASTLE III
INTA207
WEEK 1 ASSIGNMENT 2

W1A2

W1A2

Gothic Revival style

Gothic revival style was heavily influenced by the architecture of

the church established in Europe during the later medieval period.
Gothic cathedrals inspired and amazed people. The physical
elements, such as the pointed arches, ribbed vaults, and stained
glass, came to create beautiful churches that people went to glorify
God. The arches and high points of the cathedral were a symbolic
gesture of touching the heavens. The pointed arches had tracery
that drew peoples attention upwards towards God. The furniture
reflected these same characteristics. Pointed arches, crocket finials,
vertical grandeurs, and flamboyant tracery were on the chairs and
dressers. The chair that I drew on the next slide shows the
characteristics of the gothic revival style. It has three high pointed
arches emphasizing on the height, ornate crocket finials around the
arch points, and architectural trefoil.

W1A2

Gothic revival Style

High Pointed
Arches
Ornate
Crocket
Finial

Architectural
Trefoil Motif

Figure 1

W1A2

Rococo Revival Style

The Rococo Revival Style was based upon the 18th century French Rococo. In
the 19th Century the Rococo Revival style was the most popular style of its time
for its interiors and furniture in England and North America. The Rococo furniture
styles originated from the Palaces of the Kings. The furniture was made to match
in sets for the first time and often having an symmetrical design to them. The
furniture matched the interior walls, wall paneling outlined with carved and gilt
moldings in foliate patterns. Foliate designs and free-blowing botanical designs
were the main focus for the Rococo Revival style, such as foliate patterns made
up of acanthus leaves on the chairs. The furniture resembled a curvy design
that was influenced by the bombe shape on commodes, cartouche shapes for
the back of the chairs, and curved cabriole legs on the chairs and tables, lots of
C-shape and S-shape. The chair that I drew is a beautiful example of a furniture
piece designed of the Rococo Revival style. The tte--tte, designed by J.H.
Belter, is made up of a settee, two arm chairs, and two side chairs that are
facing the opposite direction but joined at the sides making suitable for discreet
conversations. The design has the strong S curve shape, Carved foliate patterns
and cabriole legs.

W1A2

Rococo Revival Style

Floral Patterns/Carved
Gilt Molding

Strong S
Curve

Curved
Cabriole
legs

Figure 2

W1A2

Works Cited

Figure 1 - "Henry Mooney House." Henry Mooney House. Web. 14

Apr. 2016.

Figure 2 - "Attributed to John H. Belter | Tte--tte | American |

The Met." The Metropolitan Museum of Art, I.e. The Met Museum.
Web. 14 Apr. 2016.

Renaissance Revival

C. 1840 1920
HERMAN CASTLE III
INTA207
WEEK 1 ASSIGNMENT 3

W1A3

Biography Herter Brothers

Julius Gustav Alexander Hagenlocher (adopted) Born in Struttgart, Germany (1830-1898)

Christian Augustus Ludwig Herter Born in Struttgart Germany (1840-1883)

Gustave adopted the last name Herter after his mother married Christian Herter

Gustave Herter - Decorator, Designer and Founder of Herter Brothers (TNCAB)

Christian Herter - Decorator, Designer, and Artist (TNCAB)

Christian studied in Paris, France where he developed his outstanding artistic abilities.

After receiving a practical preparatory education, Gustave worked for two years under the
architect Liens who built The Villa.

Gustave moved to New York in 1848 and became business partners with Edward W.
Hutchings, a well known cabinet-maker, that led to Gustaves permanent establishment.

In 1857 Gustave organized the firm Gustave Herter, which he then changed to Herter
Brothers in 1865 once his brother Christian joined partnership.

Christian was the artistic force behind the Herter Brother. He had visited England,
travelling to Birmingham, Manchester and London in the early 1870s, and had absorbed
the ideas of E.W. Godwin, B.J. Talbert and other members of the design reform movement.

W1A3

What led the Hebert Brothers into Furniture

Design?
Christian Herter, the father of the two brothers was a very skilled cabinet-maker and
wood carver. When they got of age they followed their father's footsteps into trade.
Once Gustave Herter established the Herter Brothers with his brother/partner Christian
Herter, the earlier years were distinguished by marked changes in the world of
decorative art. Herter Brothers became one of the first firms of furniture makers and
interior decorators in the United States after the Civil War. With their own design office
and cabinet-making and upholstery workshops, Herter Brothers were ready to
accomplish every aspect of interior furnishing including decorative paneling and
mantels, wall and ceiling decoration, patterned floors and carpets and draperies. The
architectural part of their interior work including staircases, doors, and mantels were
made up of rosewood many years before it became popular in fashion to have the
entire interior of hardwood. The brothers used such materials as ebonized wood, inlays
of ivory and gilt, and other flashy devices to satisfy the tastes of their wealthy clients.
French, English, and Japanese influences are evident in the furniture designs. The firm
was at the forefront of the exhibition of furnishing styles that preceded the Mission style:
Renaissance Revival, Neo-Grec, Eastlake, the Aesthetic Movement, ebonized "AngloJapanese style" furnishings of the 1870s 1880s, which the firm is best recognized for
today, and the wide range of furnishings in revival styles required for Gilded Age houses.

W1A3

Furniture Designs

W1A3

Entablature Style
Headboard with Carved
Frieze
Bonnet
Pediment
Brass gilding
and paint

Acanthus
Leaf
Carving
Rosewood with
ebonized
cherry, walnut,
and satinwood
(Figure 1)

Cabinet 1878/80

Claw
and
ball
foot
(Figure 2)

American Renaissance Bed

W1A3

Furniture Designs Contd

Oak wood fruit
Carved
crest Rail

Ormolu
Winged
Female
adopted
from
ancient
Greek
caryatid
designs
Cabriole
Legs
(Figure 3)

Square
columnar
style legs
with
symmetrical
foliage
design
Brass
plates at
socks
and
knees of
legs
(Figure 4)

Herter Brothers Sofa 789232

The Herter Brothers Side

Chair 1881-1882

The Herter Brothers Influence Today

(Figure 5)

Cabinet 1875

This magnificent cabinet by Herter Brothers of

New York was made for Thurlow Lodge in
Menlo, California, 1875. It is the first piece of
Herter furniture that Ruger acquired at
auction that had been owned at one point
by Universal Pictures. The carving, highlighted
in gilding, is both organic and architectural.
The pier mirror is elaborately carved with
cranes standing in reeds and leaves, their
posture symbolizing eternal vigilance, with one
foot raised and holding a rounded stone.
(incollect)

W1A3

W1A3

Works Cited

Title Page - "Photo by Mariana Pinheiro." Photobucket. Web. 15 Apr. 2016.

"The National Cyclopedia of American Biography." Google Books. Web. 15 Apr. 2016.
Figure 1 - "About This Artwork." Cabinet. Web. 15 Apr. 2016.
Figure 2 - "Herter Bros Highlights BonhamsAmericana Auction." AA. Web. 15 Apr. 2016.
"Herter Brothers." Herter Brothers. Web. 15 Apr. 2016.
Figure 3 - "Neal Auction Company's Winter Estates Auction February 23rd & 24th."
Pinterest. Web. 15 Apr. 2016.
Figure 4 - "Artnet.com Magazine Features - Garrett's Attic." Artnet.com Magazine
Features - Garrett's Attic. Web. 15 Apr. 2016.
Figure 5 - "Grandeur in the White Mountains: Art, Architecture, and Automobiles by
Caryn B. Davis | Articles | InCollect." Grandeur in the White Mountains: Art,
Architecture, and Automobiles by Caryn B. Davis | Articles | InCollect. Web. 15 Apr.
2016.

W2A1

Furniture Sketchbook
(Illustrating Terms)
HERMAN CASTLE III
INTA207
WEEK 2 ASSIGNMENT 1

W2A1

Mortise and Tenon Construction

The Mortise and Tenon joints are probably used more than any other joints
in woodworking. The mortise and tenon joint is the oldest, strongest joint in
woodworking, among cabinetmakers and other woodworkers without
doubt. It is considered the most appropriate method of joining two pieces
of wood together crossways. All mortise and tenon joints consist of two
parts, the "tenon," which is a rectangular projection on the end of one
member, and the "mortise," which is a rectangular hole chiseled on the
edge or side of the other member, and into which the tenon is fitted
(Kestrel Shutters). For structural areas, the joint must be tight fitting to
ensure maximum strength but also to achieve a neat flush look. The
mortise and tenon joint is made with many variations, some of the most
important being the blind, the through, the haunched, the keyed, and the
slip joint. The mortise and tenon joint or some form of it is most effective
and best suited for areas that are required to support a large amount of
weight or are structurally important such as the rails and legs of a table or
chair (Kestrel Shutters).

W2A1

Examples of Mortises and Tenon

Joints

Figure 1

Figure 2

W2A1

Marquetry and Inlay

Marquetry is the art of inlaying different woods, and other natural materials to create a
picture. To inlay is to set a material onto another surface, but recessed in so that inlayed
material is at the same level as the surface (What is Marquetry). In most cases the
material used for the inlay design is wood, ivory, mother-of-pearl, tortoise shells, bark,
straw, stone, metal, gems, etc. Marquetry and inlay were inspired by the ancient craft of
intarsia - the making of decorative and pictorial mosaics by the inlaying of precious and
exotic material into or onto a groundwork of solid wood (What is Marquetry). The inlay
technique was originally centered in the Italian city of Sienna in the 11th century and was
often used to decorate church furniture and panels. All marquetry can be described as
inlay because each individual component can be said to be inlayed into each other.
On the contrary, true inlay can never be defined as marquetry as it is composed of
segments in which a space is first chiseled into the solid ground to be then filled with a
piece cut to fit. Through the centuries, in ancient Egypt, Imperial Rome, Persia, eighthcentury Japan, and sixteenth-century Italy and Germany, rich patrons employed inlay
craftsmen to create beautiful works of art. From the seventeenth century right through to
the end of the nineteenth century, tools improved, and techniques became increasingly
swifter and more refined. By the end of the nineteenth century, thin inlay veneer, or
marquetry as it was now called, was an extremely popular and accessible form of
furniture decoration (American Marquetry Society).

Examples of Marquetry and

Inlay

Figure 3
Maryland Commission on Artistic
Property, MSA SC 1545-0749a

Figure 4
Bartledannian 000104

W2A1

W2A1

Dovetail Joints
The Dovetail joint in woodworking is where two sides are fitted together
with interlocking pieces. Its very strong because of the way the tails
and pins are shaped, making it difficult to pull the joint apart and
virtually impossible when glue is added. The name dovetail comes
from the appearance of the joint, resembling the triangle shape of a
bird's tail. This type of joint is used in box constructions such as draws,
jewelry boxes, cabinets and other pieces of furniture where strength is
required. There are different types of dovetail joint and when cut
accurately they are very impressive and attractive. As the dovetail joint
evolved through the last one hundred thirty years, it has become a
clue for the age and authenticity of antique furniture. The type of
dovetailed joint, especially in drawers, reveals much about furniture
construction and dating.

Examples of Dovetail Joints

Figure 5
Figure 7

Figure 6

Figure 8

W2A1

My Addition to the Arts and Crafts

Movement
Walnut
Wood

Marquetry
inlay on
side and
above the
dresser

Wood pieces
connected by
Mortises and
Tenon Joints

Dovetail
Joints used
to create
the drawers
for the
dresser

W2A1

The piece of furniture I drew is a good

example of something during the Arts
and Crafts Movement because of its
unique pieces that make up the
structure of the dresser. The dresser in its
entirety is made up of walnut wood
which was a popular choice for furniture
in that time. Its mortises and tenon joints
lock the top layer together with the
bottom and also combines the legs
together making it nice and sturdy. The
drawers are constructed with the
dovetail joints allowing a tight firmness
so that the contents remain in the
drawer and it wont come apart when
pulling the drawer out. The knobs on the
drawers and cabinet doors are made of
gilt copper, and the finish on the top
and the side of the dresser is a
marquetry and inlay design of leaves
and flowers made with wood and ivory.

W2A1

Works Cited Page

"Kestrel Shutters & Doors Blog." Kestrel Shutters Doors Blog RSS. Web. 19 Apr. 2016.

Figure 1 - "Glossary -- Mortise and Tenon Joint." Glossary -- Mortise and Tenon Joint.
Web. 19 Apr. 2016.

Figure 2 - "Halving Joints, Bridle Joints, Mortise and Tenon Joints." Halving Joints, Bridle
Joints, Mortise and Tenon Joints. Web. 19 Apr. 2016.

Figure 3 - "What Is Marquetry." What Is Marquetry. Web. 19 Apr. 2016.

"The American Marquetry Society." What Is Marquetry? Web. 19 Apr. 2016.

Figure 4 - "Bartledanian Wood Marquetry Kit Art." Digital Wood. Web. 19 Apr. 2016.

Figure 5 - "Wanderings in the Labyrinth." Wanderings in the Labyrinth. Web. 19 Apr.

2016.

Figure 6/7/8 - "Dovetail Joints." Dovetail Joints. Web. 19 Apr. 2016.

"Dovetails and Other Joinery." Camelot Antique Center and Furniture Gallery
Bennington Vermont. 2013. Web. 19 Apr. 2016.

Edward William Godwin

Gothic Revival Period (1830-1860)

HERMAN CASTLE III
INTA112
WEEK 2 ASSIGNMENT 2

W2A2

Biography

Born in Bristol, United Kingdom (May 26, 1833) died in London, United Kingdom (October 6, 1886)
The son of a prosperous currier and leather cutter

Godwin was one of the great figures in nineteenth-century for architecture and design.

Attended Exton School in Highbury London

Trained as an architect, he was also a designer, an interior decorator, a theatrical producer, and an influential writer/critic
notable for his contributions to the English Aesthetic movement in design (Britannica).

Along with Augustus Pugin, John Ruskin, and William Morris, Godwin's impact on design (including his furniture) is pivotal.
Godwin's impact gives true meaning to the concept, Gestalt especially when considering his role in the transition from
Gothic Revival styles to "Queen Anne Revival" to Arts and Crafts, including the infusion of Japanese design themes into such
things as furniture (Geometry.net)

After completing his education, Godwin returned to Bristol and was apprencticed to William Armstrong, City Surveyor,
Architect and Civil Engineer, with the emphasis much on the "engineer." Little was known of architecture in this office, and
with Godwin being the self-taught extraordinaire, became responsible for the architectural commissions undertaken by the
office at an unusually early age during that time.

Outraged at the lack of recognition paid to his part in this field, in 1854 he set up his own practice and after a slow and not
very promising start he won the competition for the design for Northampton Town Hall in 1861. The design he submitted was
in the personal French Gothic Revival style that he preferred in all his early work.

Also during this time, Godwin designed and decorated his own house, with much of the Japanese influence and the first of
its kind in Great Britain

Godwin's early designs are certainly in the neo-Gothic style, with all the furniture and fittings designed to match. Some of his
famous designs for Congleton Town Hall, Dromore Castle, Glenbegh Towers and the additions to Castle Ashby are all inspired
by the European Gothic tradition (Geometry.net).

W2A2

Edward William Godwins Motivations

When I came to
furniture I found
that hardly anything
could be bought
ready-made that
was at all suitable
to the requirements
of the case. l
therefore set to
work and designed
a lot of furniture
and with a desire
for economy
directed it to be
made of deal
ebonized-Edward
W. Godwin

(Figure 1)

Hanging Corner Cabinet

1872

(Figure 2)

Side Table 1873

W2A2

W2A2

Edward w. Godwins Theories/Expertise

For many years Godwin had shown a marked preference for the
Japanese style in his own surroundings, and this preference began to
surface in his pattern designing. In 1862, Godwin furnished his Bristol house,
in the Georgian style, which during the time was considered eccentric by
his Bristol neighbors. His walls were painted in plain colors and had
Japanese prints on the walls, the floors covered by beautiful Persian rugs.
When he was able to please himself, his designs had a Japanese
character. From 1860 onward, Godwin devoted as much time to the study
of Japanese art and its principals (Batsford). Godwin was capable of
working in all the historicist styles that popular taste demanded, including
Gothic, Anglo-Egyptian, Anglo-Greek, Jacobean or Old English, Cottage,
Queen Anne, and of course Anglo-Japanese, which he is credited with
originating and making popular (Batsford). Godwin believed that every
detail of the interiors as well as the exterior should be under the control of
the architect. The idea of a unified scheme of decoration was very crucial
to Godwins approach (Google Books).

Edward Goodwins Famous Work

Stylized
Naturalistic
Motifs

Ebonized
Wood

Walnut
Wood

Carved
Boxwood
Panel

Quadrangular
legs

(Figure 3)

Ebonized Display Cabinet 1875

Ivory
handles
/Brass
castors

V & A Collections
Cabinet 1876

(Figure 4)

W2A2

W2A2

Edward William Godwins Influence

Today
In the last ten years of his life Godwin designed some of his most
revolutionary buildings as well as the most utilitarion, The White House in
Chelsea for Whistler and houses in Bedford Park; the new entrance for
The Fine Art Society and some cottoges at Moorgreen for Earl Cowper
(Architect-Designers from Pugin to Mackintosh). Godwin sold his
designs for furniture to numerous companies. His wallpaper designs
were made by Jeffrey and Co. and fabrics by Warner & Ramm and J.
W. & C. Ward. He also designed metalwork and tiles, wrote articles on
Japanese culture, Saxon and Celtic architecture and contemporary
issues in the architectural press. In 1881 he designed the entrance to
The Fine Art Society and in the same year redecorated the gallery for
Whistler's sensational exhibition of Venice pastels (Arts & Crafts Textiles
in Britain).

More Work of Edward William Godwin

(Figure 5)

Dromore Castle, Co. Limerick 1874

(Figure 6)

The White House 1877

W2A2

Photos Cited

Title page "Edward William Godwin." Edward William Godwin. Web. 21 Apr.
2016.

Figure 1 "Edward William Godwin." Edward William Godwin. Web. 21 Apr. 2016.

Figure 2 "Edward William Godwin." Edward William Godwin. Web. 21 Apr. 2016.

Figure 3 - "Aesthetic Movement." DesignerGirlee. 2011. Web. 21 Apr. 2016.

Figure 4 - "Cabinet." Pinterest. Web. 21 Apr. 2016.

Figure 5 - "1874 - Dromore Castle, Co. Limerick - Architecture of Limerick, Lost

Buildings of Ireland - Archiseek - Irish Architecture." Archiseek Irish Architecture.
2013. Web. 21 Apr. 2016.

Figure 6 - "James McNeill Whistler." James McNeill Whistler. Web. 21 Apr. 2016.

W2A2

W2A2

Works Cited Page

The Editors of Encyclopedia Britannica. "Edward Godwin." Encyclopedia

Britannica Online. Encyclopedia Britannica. Web. 21 Apr. 2016.
"Edward William Godwin." Edward William Godwin. Web. 21 Apr. 2016.
"Geometry.Net - Philosophers: Godwin William." Geometry.Net Philosophers: Godwin William. Web. 21 Apr. 2016.
Edward William Godwin, Art furniture from designs by E.W. Godwin and
others: with hints and suggestions on domestic furniture and decoration
London: B.T. Batsford, 1877
"E.W. Godwin." Google Books. Web. 21 Apr. 2016.
"Architect-designers : Pugin to Mackintosh : 5-29 May 1981." (Book, 1981)
[WorldCat.org]. Web. 21 Apr. 2016.
"Arts & Crafts Textiles in Britain." (Book, 1999) [WorldCat.org]. Web. 21
Apr. 2016.

W3A1

Furniture
Sketchbook
HERMAN CASTLE III
INTA207RP
WEEK 3 ASSIGNMENT 1

W3A1

Art Deco Style

Smooth rounded corners

Naturalized Motifs

Emphasis on horizontality
with light and dark
relationships and contour
lines

Art Deco style integrates and modernizes

forms from the past to bring a total unity.
Furniture often reflect a traditional influence,
such as Rococo or Neoclassicism. Solids and
voids combined with light and dark
relationships are important. A rich decoration
in the form of two-dimensional is a absolute
characteristic. Forms become simplified,
sleek, and efficient. Surfaces are smooth and
corners rounded. Horizontality is emphasized
through shape and with contour lines. New
materials, such as Vitrolite and tubular steel,
are also part of characteristic. Motifs are
naturalistic including stylized flowers, banana
leaves, stylized water fountains, feathers,
doves, deer or antelopes, elephants,
greyhounds, exotic animals, human figures,
sun rays and sunbursts (AIDV2)

W3A1

Art Nouveau Style (French Variation)

Curving
Corners

Curved
top
Asymmetrical
design with
curving
panels

Naturalistic
vine motifs

The French Variation of the Art Nouveau

styled furniture has qualities of
architecture and can be sculptural with
organic forms and motifs. Like this
cabinet the designs usually have curved
tops, sides, and drawers. It also has a
asymmetrical design with curving
panels. Doors and drawers of buffets or
china cabinets feature curving corners,
tops, glazing, handles, and pulls
composed of whiplash tendrils and
stems. Some combine open shelves,
cabinets, and drawers. Designers may
choose woods with strong grains to
emphasize the curving organic nature
of their design or use marquetry for
ornamentation (AIDV2)

W3A1

Art Deco Style

Plain/Smooth/Glass
Rectangular Table top
Lowered Seating

U-Shaped
Trestle wood
base

This is another example of the

art deco style of furniture
because of the modernistic
and symmetrical simple
design. Its apparent the
Eastern or Asian influence of
this design with the lowering of
seating, geometric shape of
the coffee table. With French
variation most tables,
consoles, or desks may be
mirrored or have applied or
structural glass panels. Dining
tables have rectangular
wooden or tubular metal legs,
or U-shaped trestles of wood
and/or metal. The rectangular
or oval tops are of wood
and/or glass.

W3A1

Art Deco Style

Stained Glass Surface

Metal
Motifs

Ebony Wood for Bottom Finishing

The nightstand has the characteristics of

the art deco style because of its luxurious
simplistic design. The most luxurious and
glamorous investment of the Art Deco style
would be mirrored furniture. Most of the
surface finishes for art deco designs are
stained glass (like the image) or inlays and
enamel. Art Deco furniture pieces would
have added accents of luxurious stones,
quartzes and jewels. Some of the more
popular accents were onyx, jade, ivory and
murano glass. Interior accent pieces like
lamps, chandeliers, wall clocks and radios
would contain elements such as these as
well. All of the pieces together would
create a very rich, modern and overall
luxurious look.

W3A1

Art Nouveau Style (Austrian Variation)

Curved
Back of
Chair
Line
Emphasis
Curved
Seat
corners

Quadrangular Legs

The art nouveau style specifically

Austrian variation utilized more
abstract symbolism than the
French variation. This kind of
furniture is generally rectilinear
with a strong emphasis on line just
like in architecture. The backs of
the chairs are curved as well as
the seat corners, and the legs
often take on a quadrangular
shape (AINV2)

W3A1

Art Nouveau Style (French variation)

Curved top edge with Motif

Stylized
motifs

Asymmetrical
Design and
Curved Panel

Upholstery
that shows a
geographical
image

Cabriole
legs with
covers
on them

Just like the first slide, this piece of

furniture from the Art Nouveau French
Variation also has some of the same
characteristics. The top is curved with
naturalistic motifs running along the
sides as well as the bottom. Theres an
asymmetrical curved panel that
opens as a cabinet in the center. The
legs are cabriole with covers on them.
Also many designers create textiles
and upholstery to suit the concepts of
their interiors, so there is a broad
range of patterns, weaves, and colors.
Expressions vary depending on
geography and ethnicity (AIDV2). The
background of this cabinet has a
geographical expression.

W3A1

Works Cited Page

May, Bridget, Curt Sherman, and Buie Harwood. Instructor

PowerPoint CD-ROM to Accompany Architecture and Interior
Design from the 19th Century an Integrated History, Vol. 2 Buie
Harwood, Bridget May, Curt Sherman. Upper Saddle River, NJ:
Prentice Hall, 2009. Print.

"Art Deco Furniture, Art Deco Style Furniture, Antique, Mirrored,

Vintage, Wood Furniture." Art Deco Furniture, Art Deco Style
Furniture, Antique, Mirrored, Vintage, Wood Furniture. Web. 26 Apr.
2016.

"Art Nouveau (c.1890-1914)." Art Nouveau Design: Characteristics,

History, Artists. Web. 26 Apr. 2016.

Josef Hoffmann

Vienna Secession 1897-1920

HERMAN CASTLE III
INTA112
WEEK3 ASSIGNMENT 2

W3A2

Biography Of Josef Hoffmann

Josef Franz Maria Hoffmann was born December 15, 1870 in the Moravian village of Pirnitz
(Brtnice), to Josef Franz Karl Hoffmann and Leopoldine Tuppy. Died May 7, 1956 in Vienna,
Austria

Austrian architect whose work was important in the early development of modern architecture
in Europe.

His father was the town mayor and also a successful businessman. He built a sizable fortune
through the local cotton industry, ensuring the familys well-being.

Hoffmann was strongly influenced by the local Moravian folk-traditions

His familys interest in the Biedermeier style would influence his development as an architect
and designer.

School was a challenge for Hoffmann. At the age of nine, he transferred to the local
gymnasium in Iglau (Jihlava), where Adolf Loos was also a student. Hoffmann found the
curriculum strict, and failed his fifth year twice, an experience that left him full of shame and
agony.

During this time Hoffmann enjoyed spending time with a student that was the son of an
architect, working on local sights. This is what led to Hoffmann discovering his calling.

W3A2

Biography Continued

Although Hoffmanns father had wanted him to pursue a career in law, he was allowed to enroll in
1887 at the Architecture Department at Brunns Hohere Staatsgewerbeschule (Senior State
Commercial and Technical School). Loos was also enrolled at the school at the same time. In 1891,
Hoffmann passed his final exam and enrolled in a practical course at the Militarbauamt (Military
Building Office) in Wurzburg, Germany (GoogleBooks).

In 1892 Hoffmann applied to Viennas Academy der bildenden Kunste (Academy of Fine Arts). He
was accepted and moved to Vienna, where he remained for the rest of his life. In October, he
enrolled in an elite class of architecture led by Karl von Hasenauer, one of the leading advocates of
the historicist style in Vienna at that time. After Hasenauers death in 1894, Otto Wagner took over his
class. Throughout the course of his lifetime, Hoffmann would repeatedly give credit to the influence
of Wagner on his work (Encyclopedia).

In 1899 while continuing to study under Otto Wagner, Hoffmann joined in the founding of the Vienna
Secession, which, although influenced by the Art Nouveau movement, was more modernist than
Wagners approach.

Beginning in 1899 he taught in the departments of architecture, metalwork, enameling, and applied
art at the School of Applied Arts, Vienna , and in 1903 participated in the establishment of the
Vienna Workshop, a center for arts and crafts, which he directed for some 30 years.

Two of his most well known projects are the Palais Stoclet and the Purkersdorf Sanatorium.

W3A2

W3A2

Josef Hoffmanns Works

Figure 1

Adjustable Lounge Chair, 1908

Figure 2

Kubis Fauteuil 1910

Figure 3

BT1 Side Table

Josef Hoffmanns Theories/Expertise

The ideals of the Vienna Secession eventually led Hoffmann to the founding of
the Wiener Werkstatte in 1903. Today, this fine arts society can most closely be
credited with the beginnings of the arts and crafts movement. Using
Gesamtkunstwerk (meaning the total work of art) as its mission statement, the
Wiener Werkstatte sought out to incorporate all elements of life into one
cohesive composition, unifying architecture and interior design. With the
recognition of the craftsman being just as important as the artist in the creation
of materials, Hoffmann turned out furniture and other home commodities that
were both hand crafted and mass-produced. Considering everything from the
architecture of a home to the cutlery that was to be set on the table, he served
as the artistic director for many projects influential to the Modern Movement.
Hoffmanns distinct style and favor of clean lines was seen throughout all the
Wiener Werkstatte projects in the early 1900s, emphasizing the use of simple
shapes like squares and circles and favoring the combination of black and
white. With this refined simplicity, Joseph Hoffmann quickly became Viennas
most popular architect, incorporating a revolutionary minimal style and steering
away from the florals and frills of the then popular Art Nouveau Style
(GoogleBooks).

W3A2

Josef Hoffmanns Style (Interiors)

Figure 4

Figure 5

Figure 6

Interiors By Josef Hoffmann 1898-1904 Austria

W3A2

Josef Hoffmans Influence Today

Hoffmann designed both for mass-production and for handcrafted

work. Some objects have remained in continuous production and others
are extremely rare or unique. Over the course of his career, he designed
for these firms among others: Jacob & Josef Kohn (furniture), Johann Lotz
(glass), Joseph and Ludwig Lobmeyr (glass), Johann Backhausen & Sohn
(textiles), Johann Jonasch (furniture), Jakob Soulek (furniture), Wiener
Porzellanmanufakture Augarten (porcelain), Alexander Sturm
(metalwork), and Wurbel & Czokally (metalwork) (GoogleBooks).
Although he was most creative in the area of metalwork design, he also
turned his attention to textile and fashion design. Today, his furniture
and home goods are still being produced by companies like Wiener
Silber Manufactur and his buildings like the Palais Stoclet stand as both
hallmarks of modernism and pioneers to the Art Deco movement.
Though Hoffmann passed away in 1956, at the age of 86, his lifes work
with the Viennese Secession and Wiener Werkstatte remain significant in
the applied arts today.

W3A2

More of Hoffmans Work

Circles
forming a
geometric
pattern

Rounded
Yoke for
easy
gripping

Combination
of Solids and
Voids
Emphasis on
the
ball/Sphere
design for
decoration

Emphasis
on
straight
lines

Figure 7

Siebenkugelstuhl Chair 1908

Hoffmann's furniture illustrates his

fascination with basic geometric shapes
(circles, squares, and rectangles), flat plane
surfaces, solid and void patterns, and
artistic details. Sometimes large wooden
balls or spheres act to reinforce the joints of
horizontal and vertical members or to add
decoration. Linear elements interact with
three-dimensional ones. He considers his
furniture as an art object first, and then
addresses the functional purpose, a
concept common to architects during this
period (AIDV2).

W3A2

Hoffmanns Most Famous Work

Figure 8

Palais Stoclet, Brussels, Belgium, 1905-11

Figure 9

Sanatorium Purkersdorf 1904-05

W3A2

Photos Cited

Title Page - "MAK - Event." MAK - Event. Web. 29 Apr. 2016.

Figure 1 - "SITZSMASCHINE ADJUSTABLE LOUNGE CHAIR, DESIGNED 1908 -JOSEF

HOFFMANN (1870-1956)." JOSEF HOFFMANN (1870-1956). Web. 29 Apr. 2016.

Figure 2 - Wikipedia. Wikimedia Foundation. Web. 29 Apr. 2016.

Figure 3 - "Josef Hoffmann BT1 Side Table." Bonluxat. Web. 29 Apr. 2016.

Figure 4/5/6 - "Bookshelf Online." Bookshelf Online. Web. 29 Apr. 2016.

Figure 7 - "Josef Hoffmann Siebenkugelstuhl Chair." Bonluxat. Web. 29 Apr. 2016.

Figure 8 - "Private House, Westchester County, New York, USA, 1974-6, Robert
Stern." Private House, Westchester County, New York, USA, 1974-6, Robert Stern.
Web. 29 Apr. 2016.

Figure 9 - "Sanatorium Purkersdorf." Wikipedia. Wikimedia Foundation. Web. 29

Apr. 2016.

W3A2

Works Cited

"Design, Vienna, 1890s to 1930s." Google Books. Web. 29 Apr. 2016.

May, Bridget, Curt Sherman, and Buie Harwood. Instructor PowerPoint

CD-ROM to Accompany Architecture and Interior Design from the 19th
Century an Integrated History, Vol. 2 Buie Harwood, Bridget May, Curt
Sherman. Upper Saddle River, NJ: Prentice Hall, 2009. Print.

The Editors of Encyclopedia Britannica. "Josef Hoffmann." Encyclopedia

Britannica Online. Encyclopedia Britannica. Web. 29 Apr. 2016.

"Josef Hoffmann Biography - Infos - Art Market." Josef Hoffmann

Biography - Infos - Art Market. Web. 29 Apr. 2016.

"Josef Hoffmann." Encyclopedia of World Biography. 2004, James

Stevens Curl, and "Hoffmann, Josef." The Columbia Encyclopedia, 6th
Ed.. 2016. "Josef Hoffmann." Encyclopedia.com. HighBeam Research,
2004. Web. 29 Apr. 2016.

W3A2

W4A1

Furniture
Sketchbook
HERMAN CASTLE III
INTA207
WEEK 4 ASSIGNMENT 1

Comparing and Contrasting Frank

Lloyd Wrights Furniture/Architecture
Continuous Band of Art glass
Windows

Flat
Interpenetrating
Roof

Parapet
surrounding the
front of the house

House Designed in
Geometric forms

W4A1

Stucco finish as
exterior material
for house

Oscar B Balch House by

Frank Lloyd Wright 1911

Comparing and Contrasting Frank

Lloyd Wrights Furniture/Architecture
Curved back of
chair

Flat Arms for

arm rest

Repeated
Linear
pattern for
the back of
chair
Polyester
Cushion with
leather/fabric
upholstery
Seating
Cheery
stained
walnut
wood

Barrel Armchair designed by Frank

Lloyd Wright 1904

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W4A1

Comparisons/Contrasts
Geometric Shape
Horizontal Linear
Pattern
Simple Design
Modern
Overhanging flat
roofs

Oscar B Balch House

Curved back of
chair
Vertical Linear
pattern
Slated Lines
Modern Design

Barell Arm Chair

W4A1

Comparisons/Contrast Continued
Frank Lloyd Wright influences the Modern Movement in Europe through unity and
integration of exterior, plan, interiors, and furnishings. Wrights home designs are admired
for its organic concepts, open planning, integration of structure, geometric forms,
horizontality, and natural use of materials. Wright designs his furniture to go along with the
interior and exterior of the homes it will be in. His furniture often convey an architectural
quality, simplicity, considering the human scale, and inventiveness. The furniture is severe,
angular, and often uncomfortable. Furniture designs usually appear as parts of a whole
integrated unit like his interiors.
Wrights design of the Oscar B Balch house and the Barrel Arm chair are very similar and
very different in design. The barrel chair has a simplistic design with a vertical linear
pattern along the backside of the chair. Its made up of materials like traditional walnut
wood and leather upholstery. Wright likes his designs to be economy friendly so that it
can be easily manufactured by machines. This chair in particular has curves and a
rounded back unlike most of his rectilinear designs. The Oscar B Balch building is an
example of the rectilinear design. It has horizontal linear patterns, with materials like
stucco for the exterior. There is an emphasis on the lines with the rectangular windows all
across the front of the home and the structure of the home is rectangular. The roof is flat
in linear form all across the home like most of his prairie house designs. Both the barrel
arm chair and the Oscar B Balch house are modern in its design and timeless.

W4A1

Works Cited Page

Figure 1 - "Frank Lloyd Wright-Prairie School of Architecture Historic

District." Wikipedia. Wikimedia Foundation. Web. 03 May 2016.

Figure 2 - "Frank Lloyd Wrights Tectonic Forms in Furniture." Celeste

Greenbaum. Web. 03 May 2016.

"Frank Lloyd Wright." Bio.com. A&E Networks Television. Web. 03 May

2016.

"Frank Lloyd Wright Home in Oak Park Lists for $1.25M." Curbed
Chicago. 2016. Web. 03 May 2016.

Alvar Aalto

HERMAN CASTLE III

INTA207
WEEK 4 ASSIGNMENT 2

Modern Movement 1930-1945

W4A2

W4A2

Biography of Alvar Aalto

Hugo Alvar Henrik Aalto was born in the Ostro-Bothnian village of Kourtane, Finland on February 3,
1898. He died May 11, 1976 in Helsinki, Finland.

Alvar Aalto is considered a modern architect, yet his work exhibits a carefully crafted balance of
intricate and complex forms, spaces, and elements, and reveals a traditionalism rooted in the
cultural heritage and physical environment of Finland.

As a child Aalto attended the Normal School and the Classical Lyceum in Jyvaskyla after his
father remarried and moved the family. In the summer months during his teens, Aalto often
accompanied his father on surveying trips.

In 1916 Aalto entered the Helsinki Polytechnic, and became a protg of Armas Lindgren (who
was partner of E. Saarinen and H. Gesellius during the formative period of Finnish National
Romanticism).

While Aalto was a student, he also worked for Carolus Lindberg on the "Tivoli" area for the 1920
Finnish National Fair, and served in the militia during the civil strife following the Russian Revolution.

After Aalto graduated from the Polytechnic school in 1921, he went to Sweden to seek
employment but was unable to secure a job with Gunnar Asplund. Instead Aalto worked for
worked for A. Bjerke on the Congress Hall for the 1923 Goteborg World's Fair.

W4A2

Biography Continued

After accomplishing several buildings for the 1922 Industrial Exhibition in Tampere, Alvar Aalto
established his practice in Jyvaskyla in 1923.

Aalto followed the normal practice of architects by participating in many architectural

competitions in Finland while still collecting commissions for his local work.

In 1927 Aalto won the competition for the Southwestern Agricultural Cooperative Building (19271929), and moved his office to Turku. Located on the southwest coast of Finland, Turku, the
former Swedish capital, was a major cultural center where Aalto made numerous contacts that
proved important to his development.

During the six years spent in Turku (1927-1933), Aalto designed the series of buildings that would
establish his international reputation. His architecture evolved from the bare classicism of the
Agricultural Cooperative Building toward a full acceptance of the recognized and theoretical
standards of International Style modernism or "functionalism" as it was labeled in Finland.

Around the mid-1930s Aalto 's work began to embody a more tactile, romantic, and
picturesque posture, becoming less machinelike in imagery.

Alvar Aalto began designing furnishings as a natural and important extension of his architectural
thinking. His first modern piece of furniture was created in 1931-32 for the Tuberculosis
Sanatorium in Paimio, which proved to be his international breakthrough. Artek was set up in
1935 to market and sell Alvar and Aino Aalto's furniture, lamps and textiles, particularly on
international markets where Artek focused its operations from the initial stages (Smow).

W4A2

Examples of Alvar Aaltos Work

Figure 1

Kauhajrvi bell tower and

church 1921

Figure 2

Southwestern Finland Agricultural Cooperative Building

in Turku 1927-28

More Architecture Work by Alvar Aalto

W4A2

Copper Roof

Uneven Red
brick facade
Irregular
placement
and grouping
of the buildings

Tall windows
covered with
vertical slats

Figure 3

Syntsalo Town Hall, 19491952 (AIDV2)

W4A2

Alvar Aaltos Theories/Expertise

Alvar Aalto committed to making designs that create

a sense of warmth and humanity as opposed to sheer
function, or his dedication to the concept of
gesamtkunstwerk, meaning a work of art. Aalto
interpreted gesamtkunstwerk as a necessity in all
areas of building design, from the structural to the
interiors finishes and furnishings. Aalto spoke of his art
(building art he called it) as a synthesis of life in
materialized form. "Architecture," he said, must have
charm; it is a factor of beauty in society. But real
beauty is not a conception of form...it is the result of
harmony between several intrinsic factors, not the
least, the social(DWR). Aalto's intention was to
create integrated environments to be experienced
through all the senses, and to design furniture that
would be at once modern, human and specifically
Finnish.
Figure 4

W4A2

Alvar Aaltos Furniture

Cantilevered seating with made of plywood
tightly bent at top and bottom into sinuous
scrolls

Two closed
loops of
laminated
birch
wood
Figure 5

Paimio armchair 1932-1933

Seating often has a sculptural

appearance and is very comfortable.
Much seating is of wood with simplified
traditional forms or adaptations from
other cultures. Legs, arms, and supports
may be solid or laminated wood. Solid
wood legs are usually straight, rounded,
and tapered, while laminated ones are
curved for flexibility. Some seating is
cantilevered or has continuous, closed
curvilinear frames instead of legs. Backs
and seats may be lightly upholstered,
have fabric webbing, or be of shaped
plywood. Seats may be solid wood,
cane, rush, rattan, or upholstered.
Designs may be distinctive as in Finn
Juhls chairs and settees in which the
back and seat appear to float above
the frame instead of being attached to
it(AIDV2).

More Examples of Aaltos Furniture Designs

Figure 6

Stool 1932-1933

Figure 7

Tea Cart 1932-1933

W4A2

W4A2

Alvar Aaltos Influence Today

Alvar Aalto, icon of Finnish architecture, contributed many aspects to

modern and postmodern architecture, though his most significant
contribution and achievement is most likely his practice of
gesamtkunstwerk. His practice of gesamtkunstwerk refined his ability to
conceptualize a building as an organic whole. He created structures that
are both functional and human and connected at all levels, and most of
all construct structures that have stood the test of time and are still revered
long after his death. Aalto's contribution to the standardized construction
and socially oriented architectural planning of the modern movement was
important for the development of Finnish architecture and society. As one
of the founding fathers of modern design, Alvar Aalto had a profound
influence on Charles and Ray Eames and George Nelson, designers who
also combined formal concerns with humanistic ideals. Aalto wrote little to
explain his work, but his architecture conveyed a variable, lively
temperament, free from interpretation and without dullness.

W4A2

More Work by Alvar Aalto

Figure 8

Figure 9

House of Culture 1952-1958

Artek Alvar Aalto - Lounge

Chair 406

W4A2

Photos Cited

Title Page - "Alvar Aalto Archives - Smow Blog English." Smow Blog English. Web. 05 May 2016.

Figure 1 - "Alvar Aalto's Architecture." Alvar Aalto's Architecture. Web. 05 May 2016.

Figure 2 - "Alvar Aalto's Architecture." : Alvar Aalto in Turku (2). Web. 05 May 2016.

Figure 3 - May, Bridget, Curt Sherman, and Buie Harwood. Instructor PowerPoint CD-ROM to
Accompany Architecture and Interior Design from the 19th Century an Integrated History, Vol. 2
Buie Harwood, Bridget May, Curt Sherman. Upper Saddle River, NJ: Prentice Hall, 2009. Print.

Figure 4 -"About Alvar Aalto." - Designers. Web. 05 May 2016.

Figure 5 - "The Architecture Of Alvar Aalto: A Finnish Icon." The Culture Trip. Web. 05 May 2016.

Figure 6 - May, Bridget, Curt Sherman, and Buie Harwood. Instructor PowerPoint CD-ROM to
Accompany Architecture and Interior Design from the 19th Century an Integrated History, Vol. 2
Buie Harwood, Bridget May, Curt Sherman. Upper Saddle River, NJ: Prentice Hall, 2009. Print.

Figure 7 - May, Bridget, Curt Sherman, and Buie Harwood. Instructor PowerPoint CD-ROM to
Accompany Architecture and Interior Design from the 19th Century an Integrated History, Vol. 2
Buie Harwood, Bridget May, Curt Sherman. Upper Saddle River, NJ: Prentice Hall, 2009. Print.

Figure 8 - "The House of Culture (Helsinki)." Wikipedia. Wikimedia Foundation. Web. 05 May 2016.

Figure 9 - "Artek Alvar Aalto - Lounge Chair 406." Pinterest. Web. 05 May 2016.

W4A2

Works Cited

"Alvar Aalto Archives - Smow Blog English." Smow Blog English. Web. 05
May 2016.
"Artek - Designers - Alvar Aalto." Artek. Web. 05 May 2016.
"Alvar Aalto." Design Within Reach. Web. 05 May 2016.
"The Alvar Aalto Story by Bob BrookeIf. The Alvar Aalto Story. Web. 05
May 2016.
"Alvar Aalto. Paimio Chair. 19311932 | MoMA." The Museum of Modern
Art. Web. 05 May 2016.
May, Bridget, Curt Sherman, and Buie Harwood. Instructor PowerPoint
CD-ROM to Accompany Architecture and Interior Design from the 19th
Century an Integrated History, Vol. 2 Buie Harwood, Bridget May, Curt
Sherman. Upper Saddle River, NJ: Prentice Hall, 2009. Print.
Koeper, H.F. "Alvar Aalto." Encyclopedia Britannica Online.
Encyclopedia Britannica. Web. 05 May 2016.

W5A1

Furniture Sketchbook:
Recreating Design
Style
HERMAN CASTLE III
INTA207
WEEK 5 ASSIGNMENT 1

Arne Jacobsens Design Inspiration

Fabric
Upholstery
with soft
human
sculptural form

Aluminum
steel
polished
pedestal

Figure 1

The Egg is available in a

wide range of fabric and
leather upholstery. The star
base is made of aluminum
mounted on a satin
polished steel pedestal. The
shells are made of a
synthetic material, padded
with cold-cured foam. An
upholstered foot stool with
aluminum base is available
for the Egg (Egg).

W5A1

W5A1

More Design Inspiration

Geometric
Shape with
fabric
upholstery

Figure 2

Shaker base in
satin polished
aluminum

The Swan sofa is available

in a wide range of fabric
and leather upholstery.
The sofa rests on a shaker
base in satin polished
aluminum. The shell is
made of a synthetic
material and upholstered
with cold-cured foam
(Swan).

Recreated Design by Me (Process Drawings)

W5A1

Final Recreated Design

W5A1

Arne Jacobsens designs encompasses

architecture, interior design, furniture design, and
industrial design. Like others, he interprets modern
within Scandinavian traditions. Although not as
innovative as some in architecture, his furniture
designs are often cutting edge, particularly those
in plywood and plastic. Work ranges from hardedged geometrics to soft, sculptural forms. In
search of forms that fit the human body, many
designs grow out of the study of anthropometrics
and ergonomics. Thus, seating often has a
sculptural appearance and is very comfortable.
(AIDV2). The design I created was inspired by the
egg chair and the swan sofa. I took both furniture
pieces and combined them together and made
an Egg Sofa with the same characteristics of both
furniture pieces. The bottom supports for the sofa
are made of satin aluminum like the original
design and fabric upholstery for the seating. The
shape is a geometric stretched out form of an
egg like the original design but made for seating
of two instead of one.

Photos Cited/Works Cited

Photos

Figure 1 - "Arne Jacobsen." -. Web. 10 May 2016.

Figure 2 - "Swan Sofa." Swan Sofa. Web. 10 May 2016.

Works

"Egg." Egg. Web. 10 May 2016.

"Swan Sofa." Swan Sofa. Web. 10 May 2016.

"Bookshelf Online." Bookshelf Online. Web. 10 May 2016.

W5A1

Hans Wegner

HERMAN CASTLE III

INTA207
WEEK 5 ASSIGNMENT 2

Danish Modernist 1940s-60s

W5A2

Biography of Hans Wegner

Hans Jorgensen Wegner was born in Tonder, Denmark on April 2nd 1914. He died
on January 26th, 2007 in Copenhagen, Denmark.

Wegner was the son a master shoe maker.

He fell in love with wood from an early age and became an apprentice
carpenter, and it was this craft background that would eventually set him apart
from many of his design peers.

At the age of 17, Wegner completed his apprenticeship as a cabinetmaker in

the workshop of H. F. Stahlberg where his first designs saw the light of day.

After serving in the military Wegner went to technical college.

Once he finished his education at the technical college, at the age of twenty
Wegner moved to Copenhagen, Denmark, to attend the School of Arts and
Crafts, where he studied from 1936-1938 before embarking on a career as an
architect.

Much of his early work consisted of stripping old chairs of their outer style and
letting them appear in their pure construction.

W5A2

Biography Continued

In 1940, Wegner joined Arne Jacobsen and Erik Moller working as an assistant
and began designing furniture for the new City Hall in Aarhus, Denmark's
second-largest city. This was also the year that Wegner began working with
master cabinetmaker Johannes Hansen, who played a major role in
introducing modern design to the Danish public.
In 1943 Wegner opened his own drawing office where one of his most famous
designs was created, The China Chair. The China Chair and its series (Round
Chair 1949) was inspired by the Ming Dynasty and became the basis for many
of his designs.
From 1941-66 Wegner and Johannes Hansen exhibited a joint project at the
Cabinetmakers show every year. Wegner claimed, more like a game...we
had to have something to display every autumn (1).
Wegners own chair designs from those decades, manufactured primarily
today by PP Mobler, were made with the modern, sculptural idea that they
could stand on their own, rather than as parts of a furniture set (1).

W5A2

Examples of Hans Wegners Work

Figure 2

Figure 1

The China Chair 1943

The Round chair 1949

W5A2

Breaking Down Hans Wegners Designs

Bentwood
Hoop
Back

Spindle

Teak
Armrests

Smooth
rounded
legs
Scooped cane
seating
Figure 3

Peacock Chair 1947

Working primarily in wood, he

consistently emphasizes naturally
finished materials, handcrafted
processes, and ergonomically
contoured seating. Chairs are
noteworthy for their smooth curved
surfaces, rounded legs, cane or wood
seats, and beautiful proportions. Joints
are elegant and well detailed. Based
on the traditional 18th-century Windsor
chair, the Peacock chair has an ash
frame, bentwood hoop back, teak
armrests, and wenge dowel splines.
Storage units are typically plain,
rectangular, and unadorned. Some
have open compartments covered by
sliding doors. Emphasis is on the beauty
of the wood (2).

W5A2

Hans Wegners Theories/Expertise

Wegners love of timber formed the basis of

his work which, although modern, lacked the
cold functionalism of the International style.
He thought that functionalism on its own was
not enough each piece needed to speak
visually and ergonomically.
Wegners chairs display a pared-down purity
that comes from the use of beautiful
materials and simple joinery.
For him, the Danish style was a continual
process of purification to cut down to the
simplest possible elements of four legs, a seat
and combined top rail and armrest. His
designs were as fine as possible, without
compromising their structural strength (3).

Figure 4

W5A2

Wegners Influence Today

Hans J. Wegner is considered one of the most creative and productive Danish furniture
designers of all time. He has received several accolades given to designers, including the
Lunning Prize in 1951 and The 8th International Design Award in 1997. He became an
honorary member of the Royal Danish Academy for the Fine Arts in 1995, and an honorary
doctor of the Royal College of Art in 1997. Almost all of the world's major design museums,
from The Museum of Modern Art in New York to Die Neue Sammlung in Munich, feature his
furniture in their collections (5).

By the late 1960s, the demand for Danish Modern had ceased in the United States. With this
happening Wegner still continued to create new designs for another Danish company, P P
Mobler. He retired his work of being a cabinetmaker in the early 1990s and had Marianne,
his daughter and architect take over his studio. Over the last decade of his life, Wegner was
able to witness a new demand of interest in his work as mid-century modern furniture
became popular again. Over the span of his career, Wegner has made more than 2500
workshop drawings and sketches for almost 1000 pieces of furniture. Today the midcentury
designs are still sought after but they carry high prices when and if you can find them. Many
have purchased reproductions that look just like the designer brand but are more
affordable. Nowadays reproductions are just as sought after and well-made as the originals.
Wegner was very successful at furniture making and will be remembered for his vivid styles
that were responsible for opening many eyes to the chair as a piece of art.

W5A2

Hans Wegner the Great Danish Modernist

W5A2

He was one of what I think of

as the humble giant of the 20th
century design, those men
who would probably shun the
term designer and prefer to
call themselves cabinet
makersFirst and foremost, its
comfortable, and saying that
its comfortable before saying
its beautiful is really high
praise, because the truth is
that its incredibly elegant
Paola Antonelli

Figure 5

Photos Cited

Title Page - "PP MBLER /." DESIGNERS. Web. 12 May 2016.

Figure 1 - "Hans Wegner Chinese Chair for PP Mobler | 1stdibs.com."

1stdibs.com. Web. 12 May 2016.

Figure 2 - "8 Iconic Chairs by Hans Wegner." Dwell. Web. 12 May

2016.

Figure 3 - "CHANELE ROSE." Chanele Rose Flowers Sydney Based

Designer Wedding Florist and Stylist Hire Comments. Web. 12 May
2016.

Figure 4 - Larson, Soren. "Hans J Wegner: The Man of Details..." Ego

Design.ca. 30 Nov. 2015. Web.

Figure 5 - "8 Iconic Chairs by Hans Wegner." Dwell. Web. 12 May

2016.

W5A2

Works Cited

(1) - Larson, Soren. "Hans J Wegner: The Man of Details..." Ego

Design.ca. 30 Nov. 2015. Web.

(2) - May, Bridget, Curt Sherman, and Buie Harwood. Instructor

PowerPoint CD-ROM to Accompany Architecture and Interior
Design from the 19th Century an Integrated History, Vol. 2 Buie
Harwood, Bridget May, Curt Sherman. Upper Saddle River, NJ:
Prentice Hall, 2009. Print.

(3) - "Danish Design :: Hans J. Wegner." Danish Design :: Hans J.

Wegner. Web. 12 May 2016.

(4) - "Hans J. Wegner." Hans J. Wegner. Web. 12 May 2016.

(5) - "PP MBLER /." DESIGNERS. Web. 12 May 2016.

W5A2

Michael Graves

Post Modernism 1970s-Present

HERMAN CASTLE III
INTA207
WEEK6 ASSIGNMENT 1

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Biography of Michael Graves

Michael Graves was born July 9th 1934 in Indianapolis Indiana. He passed away
March 12, 2015 In Princeton, New Jersey.

Michael Graves had a childhood interest in drawing and painting that stayed
with him throughout his career in architecture.

Michael Graves went on to attend the College of Design at the University of

Cincinnati, where he earned a bachelors degree in 1958. He then attended
Harvard and left with his masters in architecture a year later (1).

After graduation, Michael Graves went to work for the designer and architect,
George Nelson, where his long-standing interest in furniture design was
stimulated. Michael Graves's didnt say working at Nelson's office too long,
because in 1960 he was the recipient of the Prix de Rome fellowship of the
American Academy in Rome.

Graves spent the next two years in Rome and its surroundings, studying painting,
and drawing the buildings and the landscape. It was during this stay at Rome
where Graves learned about the language of architecture.

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Biography Continued

In 1962, Graves returned to the United States and accepted a teaching position at Princeton
Universitys School of Architecture, where he taught for nearly four decades. Graves was the
Robert Schirmer Professor of Architecture at Princeton.

The courses that Graves taught in architectural theory and composition addressed various
thematic topics including the relationship of buildings to landscape, the traditional elements of
architecture, the idea of metaphor in architecture, the contrast between open space and the
making of rooms, and the origins of furniture(1).

Outside the classroom, Graves was an active modernist architect, and the structures he designed
embraced the modernism movement fully, with clean lines and minimal ornamentation.

By the end of the decade, Graves was a part of a prestigious group of East Coast architects
known collectively as the New York Five.

By the late 1970s Graves turned away from the modernism movement. His first design in his new
style was the Plocek House, which was built in 1977 in Warren, New Jersey. With that single
building, Graves led in a new movement, postmodernism. This movement left behind modernisms
coolness in favor of a style that slightly borrowed from the classical structures Graves saw while he
was a student in Rome. He saw this style as a step forward, and a style that would make
architecture more approachable as an art form (2).

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Michael Graves Plocek House 1977

Graves heralded
a new movement
in architecture
with this
groundbreaking
home design, he
connected with
architectural
history creating a
new vocabulary
of design that
would inform an
emerging school
of thought:
postmodernism.
Vanessa Matos

Figure 1

Figure 2

Figure 3

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Michael Gravess Theories/Expertise

Drawing is central to Michael Graves's way of working on and thinking about

architecture, and he is well known for his evocative sketches and drawings.

Gravess work is eclectic, often referencing the past. Also characteristic are elegant
colors, rich textures, and aesthetically pleasing materials (3). He uses what he terms
representational colors, colors that are derived primarily from nature and materials.
For example, terra cotta, representing the earth, is usually seen near the base of his
structures, and blue used as a metaphor for the sky, is often chosen for the ceiling.

Humanism is probably the thing that connects all our projects. Whether planning a
city, designing a building, designing a piece of furniture, or designing a toaster, first
and foremost I think about how people will interact with the design. I embraced this
philosophy while studying in Rome. It is the most important filter that I include in all
our projects and it is the greatest thing I have instilled in our office. The terms have
become almost clich, but function drives form in good design at every scale. Michael Graves(5).

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Breaking Down Michael Gravess Work

Flat
Roof
Keystone
Representation
Bold offwhite
rectangular
block

Triangular
Capitol
Terra Cotta flat
surfaces for
columns

Figure 4

Portland Public Service Building 19791980

This first major public building of

Post Modernism (and by Graves)
helps establish Post Modern as a
mainstream architectural style.
Featuring classical formality,
ornament, and implied details, the
building is a bold off-white
rectangular block resting on a dark
green base. Seven-story barred
windows with heavy keystones or
stylized swags embellish the
facades. A change of color suggests
the shaft of a column with triangular
capital above on the other facades.
A grid of small, square windows
repeats around the perimeter. The
small square windows do not permit
much needed light into the interiors.
Much criticized for the ornament,
color, and cramped interiors,
nevertheless Gravess composition
strives to capture the progressive
spirit of the city (3).

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Michael Gravess Influence Today

In 1985, Graves designed a stainless steel teakettle featuring a red whistle shaped like a bird for the Italian
company Alessi, which became the companys all-time bestselling product. In the 1990s, his partnership
with Target defined Americas expectation that great design should be available to everyone. And
design became a corporate strategy (4).

In 2003, Graves was paralyzed from the waist down after he suffered a spinal cord infection. He then
became a force in advocating for the disabled, both through his acts and designs. He used the power of
design to improve healthcare experiences for patients, families and clinicians.

The Center for Health Design named Michael Graves one of the Top 25 Most Influential People in
Healthcare Design. Aside from that, Gravess significant contributions to architecture and design were
recognized many times, his most notable accolades being the National Medal of Arts in 1999, the
American Institute of Architects Gold Medal in 2001 (the institutes highest award). In 2013, President
Obama appointed Graves to the United States Access Board (4).

Graves also received the 2015 National Design Award for Lifetime Achievement, the AIA Gold Medal, the
National Medal of Arts from President Clinton, The Richard H. Driehaus Prize, and the Topaz Medallion for
Excellence in Architectural Education (5).

Michael Graves was the first architect to be inducted into the New Jersey Hall of Fame, and the first
recipient of the Michael Graves Lifetime Achievement Award from the New Jersey AIA (5).

The Michael Graves office has completed a wide variety of projects that include urban and master
planning; corporate, municipal, and speculative office buildings; shopping centers and retail stores;
single-family and multiple-family housing; cultural and educational facilities such as libraries, schools,
museums, and performing arts centers; showrooms and other special interiors; and furniture and artifacts.

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More Examples of Michael Gravess Work

Figure 5

Hanselmann House 1967-71

(Gravess first architectural commission)

Figure 6

Humana Building 1985

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Gravess Work Continued

Figure 7

Figure 8

Walt Disney World Swan and Dolphin Hotel 1987-1990

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Figure 9

Target
Stores
Housewares
1999-2012

Figure 10

Figure 11

Photos Cited

Title Page - "Michael Graves - Objectifixation." Objectifixation. 2016.

Web. 17 May 2016.

Figure (1-12) - "Selected Works | Architect Michael Graves: A Grand

Tour - WTTW." Selected Works | Architect Michael Graves: A Grand
Tour - WTTW. Web. 17 May 2016.

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Works Cited

(1) - "Michael Graves : Architect Biography." Michael Graves : Architect

Biography. Web. 17 May 2016.

(2) - "Michael Graves." Bio.com. A&E Networks Television. Web. 17 May 2016.

(3) - May, Bridget, Curt Sherman, and Buie Harwood. Instructor PowerPoint
CD-ROM to Accompany Architecture and Interior Design from the 19th
Century an Integrated History, Vol. 2 Buie Harwood, Bridget May, Curt
Sherman. Upper Saddle River, NJ: Prentice Hall, 2009. Print.

(4) - Anderson, Catherine. "Michael Graves." Encyclopedia Britannica

Online. Encyclopedia Britannica. Web. 17 May 2016.

(5) - "Michael Graves on Discovering Architecture, the Rewards of Practice

and the Most Important Element of Design." ArchDaily. 2015. Web. 17 May
2016.

(6) - "Michael Graves - Objectifixation." Objectifixation. 2016. Web. 17 May

2016.

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