Joseph Paxton. Crystal Palace. 1851. 1,848 x 408 ft.

The Design Profession

Philip Webb. The Red House. 1859.

The Arts and Crafts Movement: A rejection of mass-production caused by the Industrial Revolution

Morris and Company. Sussex Rush-Seated Chairs. William Morris’s style is about simplicity and utility. William Morris is often

considered the father of the Arts and Crafts movement.

Dante Gabriel Rossetti. Sofa. 1862. height 32 3/8 in., width 78 3/8 in., depth 26 in.

From the “state” collection of furniture by the Morris design company

William Morris (design) and Edward Burne-Jones (illustration). page opening Geoffrey Chaucer, The Works of Geoffrey Chaucer Newly

Augmented. 1896. sheet 16 3/4 x 11 1/2 in.

Gustav Stickley. Settee (for the Craftsman Workshops). 1909. back: 38 x 71 7/16 x 22 in.; seat: 19 x 62 in.

Frank Lloyd Wright. table lamp. 1903.

Louis Comfort Tiffany, Tiffany Studios. Water-lily table lamp. c. 1904–15.

height 26 1/2 in.

Art Nouveau: Vibrant colors, wave-like lines, organic and undulating elements

Louis Comfort Tiffany, Tiffany Glass & Decorating Co. (1893–1902), Corona, New York. Peacock Vase. c. 1893–96.

height 41 1/8 in., width 11 1/2 in.

Jan Toorop. Poster for Delftsche Slaolie (Salad Oil). 1894.

Paul T. Frankl. Skyscraper Bookcase. 1925–30. height 78 7/8 in., width 34 3/8 in., depth 18 7/8 in.

Art Deco: Up-to-date materials, geometric lines and shapes, straight, simple, and rectilinear

Edouardo Garcia Benito. Vogue. May 25, 1929.

Unidentified illustrator. Corset. Vogue, October 25, 1924.

Le Corbusier. Pavillon de l’Esprit Nouveau. 1925.

Avant-Gardes: A rejection of the past, embracing all things new

Gerrit Rietveld. Red and Blue Chair. c. 1918. height 34 1/8 in., width 26 in., depth 26 1/2 in.

Gerrit Rietveld. First floor, Schröder House. 1925 (photo taken 1987).

The Avant-Gardes believed in a simplified visual vocabulary and dynamic space in architecture

El Lissitzky. Beat the Whites with the Red Wedge. 1919.

Russian Constructivism: Same principles as the Avant-Gardes, with a focus on industry and mass-production.

Alexander Rodchenko. L’Art Décoratif, Moscow-Paris. 1925.

Cassandre. poster for Dubonnet. 1932.

Typography

Serif type: small lines at the end of the letter’s main stroke

Sans serif: “without serif”

Cassandre. poster for Dubonnet. 1932.

Cassandre. poster for Dubonnet. 1932.

Marcel Breuer. Armchair, model B3. late 1927 or early 1928. height 28 1/8 in., width 30 1/4 in., depth 27 3/4 in.

The Bauhaus: A German arts and crafts school that embraced the idea of using only modern materials and methods to showcase “the look of the new”.

Herbert Bayer. Cover for Bauhaus 1. 1928.

Burlington Northern Co.. Burlington Zephyr #9900. 1934.

1930’s: Streamlining: Rounded edges and smooth transitional curves

Chrysler Airflow 4-door Sedan. 1934.

Norman Bel Geddes, with Dr. Otto Koller. Air Liner Number 4. 1929.

Russel Wright. American Modern dinnerware. Designed 1937, introduced 1939.

Staubsauger. Champion vacuum cleaner, Type OK. late 1930s.

Charles and Ray Eames. Side chair, model DCM. 1946. height 28 1/4 in., width 19 1/2 in., depth 20 in.

The 1940s and 1950s: Graceful, organic, and compact designs that emphasize the use of new materials.

Eero Saarinen. Tulip Pedestal Furniture. 1955–57.

Four Lockheed P-38 Lightning fighters in formation. c. 1942–45.

General Motors. Cadillac Fleetwood. 1959.

Chris Strach. Apple computer logo with an old side and a new side. 2007.

Postmodern design: A rejection of unity; an all-embracing stew of the human experience; Postmodernism is about the individual and self-expression

Jean Robert and Käti Durrer. Swatch Watches. 1983–88.

Chris Ede. Illustration for Clear Channel Online Music & Radio. 2008.

Computer generated imagery is quicker-- pushing ideas faster then ever before

Talk about power! Society’s concept of aesthetics, expectations, values, and morals are all directed by: designers.

This

For next week:

- Study for Test #3:

- Lectures 11, 12, and 13

- Study The Craft Arts, Architecture, and The Design Profession

Craft as Art - The definition we use in class to determine the difference between art and craft: If a work is primarily made to be used, it is considered craft, but if it is primarily made to be seen, it is considered art. - There are five primary craft media: - Clay (ceramics) - Wood - Metal (metalsmithing, jewelry) -Glass -- Fiber (paper-making, felting, tapestry, weaving, sewing/stitching, crochet, knitting, quilt-making, embroidery, etc.) - Three ways of working with glass: - Hot glass- glass blowing - Warm glass- kiln worked, casting, slumping, fusing, lampwork, and bead-making - Cold glass- mosaic, stained-glass, and grinding - Metalsmithing is using “soft” metal (usually a precious or semi-precious metal) to create detail works with high craftsmanship - Blacksmithing is using “hard” metals to create works that typically lack detail (traditionally iron or steel)

Architecture - Almost all western architecture is based on ancient Greek and Roman ideals, principles, and architectural design. - The look of architecture was most often determined by three factors:

1. Environment 2. Technology 3. Function

- There are two types of walls: 1. Shell system: one material for the wall and support 2. Skeleton and Skin system: basic interior frame with a more fragile outer covering

- Tensile strength is the ability of a material to span horizontal distances without support and without buckling in the middle - Post-and-lintel construction: a horizontal beam supported at each end by a load-bearing vertical post or wall - Load Bearing: Bearing the weight of the material on top - Columns:

- Drum- an individual section of a column - Fluting- the parallel groves running the length of a column - Acropolis- The highest point of a city; usually where the biggest and most important temples or

buildings are found. - Colonnade- a row of columns

- The three Greek orders of architectural columns are: Doric, Ionic, and Corinthian - The Roman’s greatest contribution to architecture was the invention of concrete. - Romanesque: Using Roman methods and forms; rational order and logical development - Cast-Iron construction: adding carbon to iron - Steel-and-Reinforced-Concrete construction was a technological innovation that made large buildings and sky-scrapers possible - Cantilever- an overhang that extends away from a structure without support from beams; the support comes from the greater part of the total length being secured. - Spain and the United Arab Emirates have defined themselves as centers of international architectural experimentation

The Design Profession - The Arts and Crafts Movement: A rejection of mass-production caused by the Industrial Revolution William Morris’s style is about simplicity and utility. William Morris is often considered the father of the Arts and Crafts movement. Art Nouveau: Vibrant colors, wave-like lines, organic and undulating elements Art Deco: Up-to-date materials, geometric lines and shapes, straight, simple, and rectilinear Avant-Gardes: A rejection of the past, embracing all things new The Avant-Gardes believed in a simplified visual vocabulary and dynamic space in architecture

- Russian Constructivism: Same principles as the Avant-Gardes, with a focus on industry and mass-production.

- Typography - Serif type: small lines at the end of the letter’s main stroke - Sans serif: without serif - The Bauhaus: A German arts and crafts school that embraced the idea of using only modern materials and methods to showcase the look of the new. - Streamlining: Rounded edges and smooth transitional curves - The 1940s and 1950s: Graceful, organic, and compact designs that emphasize the use of new materials. - Postmodern design (postmodernism): A rejection of unity; an all-embracing stew of the human experience; Postmodernism is about the individual and self-expression

Today: Hands-On Project: 3D Design You are going to create wearable art. Using the medium of clay, you will create impressed medallions that can be displayed as necklaces, bracelets, pins, buttons, etc. Consider the Principles of Design

You will create the impressions and medallion proportions today in wet clay. They will need 3 days to dry, then placed in the kiln to be fired. Next week, you will inlay the black underglaze. They will need one more week to be fired to maturity.

Grades will be based on:

- A minimum of 2 medallions

- Each medallion will have an impressed surface

- The composition of the impression will display visual balance and unity

- The edges of the medallions will be finished and intentional

- The medallions will be ergonomically sound (form matches function)

- The medallions will be finished on time (ready to wear)

If you wear your creation during the final exam, you will receive 10 points extra credit.