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Architecture and Design homework help

M11 chapters 56-57-58

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 56

Late Modern – 1

Mid 1960s – 1980s

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P. Experimentation

Modern expands from single vision of before to new plurality of approaches

Driven by critiques & failures of Modern Movement; new technologies; consumerism; global community

Ways to achieve forward thinking design questioned, debated, experimented

Design more market driven—niche markets, image, branding; designer as celebrity

New materials, structural techniques, environmental controls, design tools allow designers to create what they can imagine

Also affecting design: increased regulation, building codes, research, development, environmental concerns

Late Modern – 1

New generation of architects & designers reevaluates effectiveness of Modernism & International Style

Lack applicability to time & users in universal solutions, anonymity, sameness, design flaws & construction problems

Adopt new design directions & approaches to address complexity, revolutionary changes, plurality, consumerism

Exaggerate language of International Style

Minimalism—pared down universalist aesthetic

High Tech—embraces & celebrates technology

Pop Modern–consumerism & youth or popular culture

Concepts

Shatters simplicity of Modernism & International Style with multiplicity of design methods to challenge, reassess, reinvent modern design principles

New design language to address complexity, plurality, diversity of the time

Importance of individuality, customization, identity & reject static, formalism

High Tech—combines high style & technology; explores relationship of industry, technology & art

Minimalism—rejection of rampant consumerism; simplifies & eliminates nonessentials; ties to newly emerging rationalism

Pop Modern—youth culture; everyday objects; modern materials; mass-production; Pop & Op Art

Characteristics and Motifs

Expanded vocabulary–function, efficiency & practicality plus innovation, individualism, monumentality

New materials, techniques, prefabrication, mass production

High Tech—emphasis on building components & systems that appear on buildings & in interiors; prefabricated & industrial materials, color coding

Minimalism—structure & construction define form; simplicity, repetition, articulation; minimal color, texture, & materials; few details

Pop Modern—youthful, hip, exciting, novel, colorful, nontraditional; appeal to masses; new materials, shiny finishes, bold patterns

Motifs—No common motifs; details emphasize innovation, construction, materials; popular culture

Architecture

Unique, individual expressions

Experimentation with visual form to create conspicuous monuments within environments

Most common—box of early Modern disappears with curves, angles, indentations, cutouts, exposed structure

Some have grid that is logical or irrational or both; facades may be solid, glass or combination

Less design unity; more experimentation with form, individuality

High Tech—components & systems on exterior; may sweep across façade or cluster

Minimalism—search for pure form; explore planar geometry; reduce form to essence

56.1

Schulin Jewelry Shop, 1965, 1972-1974; Vienna, Austria; Hans Hollein. Late Modern – 1

56.2

World Trade Center, 1962-1967; New York, New York; Minoru. Late Modern – 1.

56.3

Pennzoil Place, 1974-1976; Houston, Texas; Philip Johnson and John Burgee. Late Modern – 1.

56.4

Pacific Design Center, Blue Building, 1975-1976; Los Angles, California; Victor Gruen Associates. Late Modern – 1.

56.5

Pompidou Centre, 1971-1977; Paris, France; Richard Rogers and Renzo Piano. Late Modern – 1.

Long Description:

The center has exaggerated the use of color on structural and mechanical systems. It has exposed prefabricated steel supports and trusses. The asymmetry on the facade with a strong grid frame. The emphasis on solid and void, straight and curved lines, and celebration of technology. It has exposed mechanical systems. The building stands out from its environment.

56.6a

High Museum of Art, 1980-1983; Atlanta, Georgia; Richard Meier. Late Modern – 1.

Long Description:

The building has a flat roof. The facade is made of stark white tiles. It has the repetition of square grids on windows. The building used bold geometric forms extensively. The interplay of solid and void relationships, curves, and angles is visible. It has a processional path to the entrance. The building looks like a white sculpture on a green lawn.

56.6b

High Museum of Art atrium, 1980-1983; Atlanta, Georgia; Richard Meier. Late Modern – 1.

56.7a

National Gallery of Art, East Building, 1968-1978; Washington D.C.; I. M. Pei. Late Modern – 1.

56.7b

National Gallery of Art, East Building atrium, 1968-1978; Washington D.C.; I. M. Pei. Late Modern – 1.

56.8

Casa Rotunda, 1980-1982; Stabio, Ticino, Switzerland; Mario Botta. Late Modern – 1.

Interiors

Strong design relationship with exterior

Structure may be exposed; curving, angled, pierced walls

Function; industrial technology & materials; modules; spatial layering; solid/void relationships; construction, structure & materials as ornament

Grid defines & shapes space but may be regular & symmetrical or asymmetrical & irrational or both

Experiments in space planning leads to new ways of addressing functional requirements, zoning, furniture arrangements

Many architects design interiors for an integrated whole

Interior designers deal with renovations of existing spaces & development of new ones

56.9

Lobby, Hyatt Regency Hotel, 1967-1972; Atlanta, Georgia; John Portman and Associates. Late Modern – 1.

Long Description:

The lobby has wind chimes hanging in the corners of the balconies. The hotel corridors overlook the atrium. The glass elevators are near the center of the atrium. The large sculpture serves as an accent. The restaurant is housed under an umbrella-type canopy located in the atrium. The terrazzo-like flooring helps convey a garden character. The conversation groupings are defined by large plants.

56.11

Joe D’Urso Design office, 1970s-1980s; New York, New York. Minimalism. Late Modern – 1.

56.12

Lobby, Morgan’s Hotel, c. 1985; New York, New York; Andrée Putman. Late Modern – 1.

56.13

Vignelli Associates Office, 1986; New York, New York; Vignelli Associates. Late Modern – 1.

56.14

Shoe salesroom, Esprit Clothing Company, 1988; New York, New York; Michael Vanderbyl, Vanderbyl Design. Late Modern – 1.

56.15

Lighting: Tizio desk lamp, 1972; Richard Sapper; and Boalum, c. 1970s; Livio Castiglioni and Gianfranco Frattini; both for Artemide. Late Modern – 1.

Furnishings and Decorative Arts

Mostly two types: contract or office furniture & popular culture

Office furniture expands, particularly in systems furniture that supports open office planning

Addresses way people work, technology, computer

Rational, functional, flexible, durable; refined; machine-made look; no applied ornament; ergonomic

Pop Modern—addresses consumer & youth

New materials, bright colors, novelty, disposability, low cost, bold forms; many sizes, shapes, forms

Readily available—low-cost image or fashion conscious furnishings to suit particular consumer lifestyles

56.16

40/4 Stacking chair, 1964; U.S. David Rowland for General Fireproofing, Inc. Late Modern – 1.

56.17

Ball or Globe chair, 1963-1965; Finland; Eero Saarinen. Late Modern – 1.

56.18

Chairs, 1966; United States; Warren Platner for Knoll International. Late Modern – 1.

56.19

Malitte, 1966; Italy and the United States; Roberto Sebastian Matta for Knoll International. Late Modern – 1.

56.20

Panton Stacking Chair, 1960-1967; Switzerland and the United States; Verner Panton for Vitra GmbH and Herman Miller. Late Modern – 1.

56.21

Sacco, 1968; Piero Gatti, Cesare Paolini and Franco Teodoro for Zanotta. Late Modern – 1.

56.22

Blow and Joe chairs, 1967, 1970; Italy; De Pas, D’Urbino, and Lomazzi for Zanotta and Poltronova. Late Modern – 1.

56.23

Ergon chair, 1976; United States; Bill Stumpf for Herman Miller. Late Modern – 1.

56.24

Action Office systems from 1964-1968; United States; Robert Probst and details by George Nelson for Herman Miller. Late Modern – 1.

Long Description:

The storage has bumper doors and varies in size and finish. The wall panes have come in various sizes, colors, and heights. The movable desk comes in different finishes. The secretarial chair swivels and adjusts to fit the user. The individual parts can be customized.

56.25

Chrome shelving, c. 1980s; Metro. Late Modern – 1.

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M11 chapters 56-57-58

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