Architecture and Interior Design: An Integrated History to the Present
First Edition
Chapter 54
Organic and Sculptural Modern
1930s – Early 1970s
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
Copyright © 2012 Pearson Education, Inc. All Rights Reserved
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Organic & Sculptural Modern
Inspired by sculptural forms or abstracted living organisms
Rejects hard edges & geometry of International Style
Seeks total unity through harmony with nature & a human touch
Extremely popular in furniture & decorative arts after World War
few architectural examples
Aided by renewed creative energy, new materials & techniques
Images of the future, optimism, progress
Briefly synonymous with modernism
World’s design leaders: United States, Scandinavia, Italy
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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
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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
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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
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54.1a
Administration Building, S. C. Johnson and Son Factory, offices 1936-1939, tower 1947-1950; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.
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Long Description:
The building has symmetrical multiple stories and a cupola on the top. The entrance has a portico and circular dependency buildings. The roofs are plain. The circular buildings have curved glass top walls.
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54.1b
Great workroom, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern
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Long Description:
The ceiling has a flat roof and voids. The numerous adjacent columns have a circular top on them. The top story has a pathway with a wall railing.
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54.1c
Office furniture, S. C. Johnson and Son Factory, offices 1936-1939; Racine, Wisconsin; Frank Lloyd Wright. Organic & Sculptural Modern.
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Long Description:
The table has three steps of oval desks. A short top oval desk, middle long oval desk, and bottom short oval desk. The bottom desk has drawers. The chair has a circular back supported by the semicircular tubular frame and the seat is supported by a rectangle frame. The chair has wheels. A female is working on a typewriter that is placed on the desk. A device is on the side.
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54.2a
Notre-Dame-du-Haut (Pilgrimage Chapel), 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.
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Long Description:
It has asymmetrical composition. The roof is dark, curved roof overhang. The facade is a white, sculptural concrete facade. The walls have irregularly sized and spaced windows with deep reveal filter light. It is sited on a high plateau with surrounding plantings.
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54.2b
Notre-Dame-du-Haut (Pilgrimage Chapel) interior, 1950-1955; Ronchamp, France; Le Corbusier. Organic & Sculptural Modern.
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54.3
Taliesin West, 1938-1959; Scottsdale, Arizona; Frank Lloyd Wright. Organic & Sculptural Modern.
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Long Description:
The building has a portico with a flat roof. The walls are constructed with stones. The roof is flat. The walls have wide windows. A pool is there on the side. A stone on a rock pedestal surrounded by steps.
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54.4
Solomon R. Guggenheim Museum, 1957-1959, 1957-1959; New York, New York; Frank Lloyd Wright. Organic & Sculptural Modern.
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54.5a
Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport), 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.
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Long Description:
It has an asymmetrical roof with flight wings shape on the left and right and a center axis connected by long projecting tubes. It has curved and flat roofs.
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54.5b
Trans World Airlines Terminal (T W A, now Terminal 5; Kennedy International Airport) interior, 1956-1962; New York, New York; Eero Saarinen and Associates. Organic & Sculptural Modern.
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Long Description:
The roof has a ceiling that allows the natural light to penetrate through ceiling crevices. It has sculptural concrete surfaces that fuse ceiling walls and floor. The Y-shaped column supports the sculptural stair area. The floor has multiple level changes.
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54.6
Terminal Building, Dulles International Airport, 1958-1962; Dulles, Virginia; Eero Saarinen and Associates. Organic & Sculptural Modern.
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54.7
Sydney Opera House, 1956-1973; Sydney, Australia; Jorn Utzon and Peter Hall. Organic & Sculptural Modern.
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Long Description:
It has a series of large precast concrete shells, forming the roofs of the structure, and concrete piers. The precast concrete panels are supported by precast concrete ribs. The walls have shielded windows. It is located on the banks of a harbor.
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54.8a
Fallingwater, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.
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Long Description:
The house has natural stone, ochre concrete, and russet-painted steel. The natural light penetrates from all sides. In the house, cantilevered terraces project in horizontal layers. The building integrates with the site. The organic architecture emphasizes asymmetry.
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54.8b
Fallingwater living room with fireplace, 1935-1937; Bear Run, Pennsylvania; Frank Lloyd Wright. Organic & Sculptural Modern.
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Long Description 1:
The ceiling has descending steps. The walls have glass windows. The walls are constructed with stones. The floor is constructed with stones. The sofa and cushion chairs are arranged in the room.
