Thursday, August 13, 2009
Richard Buckminster Fuller by John McClish
A Man With A Big Dome
Richard Buckminster Fuller (Bucky) was not a trained architect; but he was a designer who was ahead of his time and had significant impact on the architectural community. He designed many things, including an aerodynamic vehicle when people were still driving boxes down the road and the Geodesic Dome, a structure light enough to be flown in on a helicopter but still had the ability to withstand hurricane winds and had no internal support structure.
Bucky was born on 
He spent his childhood summers on
When Fuller was eight, he produced his first invention, a mechanical oar patterned after the motion of jellyfish. This invention expedited his four mile trek to pick up mail and supplies. "It consisted of a tepee-like cone mounted on the end of a pole and resembled an inside-out umbrella. Standing at the rear of his boat, Fuller would pull the pole toward him through a large iron ring attached to the rear of the boat. As the peak of the umbrella-like invention pointed toward the boat, it displayed little resistance. However, when it pushed backward into the water, the cone opened, propelling the boat forward”
(Sieden, 10). Fuller also discovered that his trips became much safer and more enjoyable because he could now see everything in front of him, where in a normal rowing position your back is turned to the direction of travel.
Fuller attended
In 1917 Fuller joined the Navy. “The period he spent in the
Bucky’s first venture into the building industry did not go very well. His father in law, James Monroe Hewlet, invented a new kind of hollow building block and Bucky discovered the type of cement to use for it. They sold about 240 houses but the company went down in financial ruin. Still, Fuller was convinced that mass production of housing was feasible. Fuller was drawn to the aircraft engineering and he disliked the bulkiness of current housing as well as how long it took to build a house. His solution was a house built on tension rather than compression. He wanted to create a building that could be massed produced and ultimately be light enough to be flown to its destination. In order to be flown in the building weight would have to be low. To keep the weight low meant he needed to use lighter materials that would not be able to support a conventional design. Tension seemed to be the answer. The first structures were hexagonal and they were 
suspended from a central mast. The rooms surrounded the mast, which contained heating and air-conditioning as well as other items. The Dymaxion house was supposed to be fully automated, solar-powered, deliverable by air, and low-priced. It was said to be priced about the same price per pound as a 1929 automobile. However, the major problem was getting it off the ground. To begin construction you would have to tool up the manufacturing plant which would cost in the billions. “Fuller argued, if for his new Model A Henry Ford had to make just one unit, that car would have cost $43,000,000 but the production of the second car would only cost $500” Gorman, 49. There was really no housing industry at this time, so finding an investor was difficult. Fuller was able to build a couple Damaxion buildings here and there but obviously was never able to mass produce them as he initially intended.
In the 1930s Fuller designed the Dymaxian car. The Damaxion car utilized a Ford V-8 engine, front wheel drive, and a single wheel in the rear fo
r steering. This vehicle was designed in a tear drop shape for its aerodynamic properties. The vehicle was supposedly able to drive at 120 miles per hour, get 40 miles to the gallon, and carry eleven passengers. This design was revolutionary considering the cars at this time were all shaped like boxes. Yet this unusual shape may have also contributed to its downfall. In 1933 the vehicle was involved in an accident and the newspapers wrote articles with head lines such as “Freak Auto Turns Over With Graph Passengers” (Gorman, 62). The crash was actually caused by another vehicle, but even with a newspaper retraction, perspective investors steered clear of this three wheeled dynamo (ha ha).
Probably the thing that Bucky Fuller is most famous for is the Geodesic Dome. He developed the dome in the 1940s. This st
ructure was completely different than his previous buildings. “While Fuller’s previous building-conceptions generally had an “endoskeleton” housing a “central nervous system”, like a human being, geodesic domes had an “exoskeleton”, like a sea urchin or egg” (Gorman, 115). This “exoskeleton” (Gorman, 115) is achieved by the inherent stability of triangles.
The force of the building is distributed in all directions throughout the entire structure. A very interesting yet unintended factor achieved in the geodesic dome is that the dome will cool itself. It was discovered that even if the when the skin was made of sheet metal and hot enough to fry an egg, the dome would stay cool. Warm air gets drawn out of the unit toward the lower edge and cooler denser air gets sucked in through the top of the dome. “Geodesic domes are the strongest, lightest, most resource-efficient shelter available today” (
Buckminster Fuller created and designed some very interesting things throughout his lifetime and he was way ahead of his time in these designs. Yet, I do believe that the Damaxion house and car would have had difficulty surviving even if production had started. I just think that certain elements were not quite thought all the way through. The Damaxion house seemed like a good idea and also cheap to make, but what about stability and maintenance? The structures main support was in one spot, the center. If something were to happen, a crack for instance, what could you do? Also, the tension wires were outside, how long would it take for the wires to corrode and need to be replaced, and could they be replaced easily or would part of the structure be weakened?
I thought the car was just ingenious for it’s time. The aerodynamics were just astonishing when you look at the other vehicles of the time. I do believe there would be some safety issues though. The vehicle had front wheel drive yet the steering cam e from single wheel in the rear. With the shape of the vehicle that puts the engine toward the front to middle of the vehicle. A blow-out or something happening to that rear wheel would just be devastating. You only have three point of contact with the road and less weight on the steering wheel. With only three points of contact and such a wide body over that small base a rollover seems inevitable. A solution may be just adding a rear axle with two wheels. The axle does not need to be as long as the front axle but spreading out the points of contact would make the vehicle significantly safer.
The Geodesic domes and the octet truss are just remarkable. It makes me want to build a house using these structures. You could use fewer and lighter materials and still have a stronger structure, who doesn’t want that. The cooling effect of the dome would be great here in
Home Sweet Dome.
Fuller’s designs were ahead of his time. If he were around today I believe his ideas would have been accepted much more willingly. I respect Fuller for his ability to see things differently and then act on his intuition. This is how new and wonderful things get created everyday. If no one was willing to try something new, we would never see anything new. How sad would that be?
Works Cited
Baldwin, J.. Bucky Works, Buckminster Fuller’s Ideas For Today,
Fuller R. Buckminster,
Gorman, Michael. Buckminster Fuller, Designing for Mobility,
Kenner, Hugh. Bucky: A Guided Tour of
Sieden, Lloyd. Buckminster Fuller’s Universe,
Wednesday, August 12, 2009
Paul Rand, Eddie Beck
The complex notion of “defamiliarizing the ordinary”, has driven the creation of simplistic modern designs. This modernist philosophy of design allowed Paul Rand to fabricate iconic logo’s for companies such as IBM which, among other things, molded his success as a graphic design legend. Born in Brooklyn New York in 1914 with the given name Peretz Rosenbaum, Rand struggled at an early age to engage in his passion for design being raised in a Jewish Orthodox community. Although during his childhood Rand demonstrated great interest in artistic design by painting signs for his father’s grocery store and school events at P.S. 109, his father believed that art could not guarantee a sufficient livelihood for Rand. While attending the renown art institutions such as the Parsons school of design and the Pratt institute, the uninspired Rand became a self-taught designer by educating himself through the works of Cassandre (an influential Ukrainian-French painter, commercial poster artist, and typeface designer) and Moholy-Nagy (a Hungarian painter and photographer). During his early career, Rand had a part time position creating stock images for a company that catered to various magazines and newspapers. During his stay with the company (circa 1937) Rand decided to shadow his Jewish identity telegraphed by the name Peretz Rosenbaum, to his iconic surname Paul Rand. Peter Behrens, a well known German architect of that time, notes the importance of this new title: “Rand’s new persona, which served as the brand name for his many accomplishments, was the first corporate identity he created, and it may also eventually prove to be the most enduring.” The reputation Rand amassed during his early twenties drove his succers as a graphic designer, allowing him to provoke thought and inspiration through his teachings at Yale University as a professor of design, and gained his place in the New York Art Directors Club Hall of Fame. Rand has received countless awards for his designs of corporate logos, and as an author has spread his theories on design that have revolutionized the way individuals perceive aesthetics. To add to his accomplishments, Paul Rand is accredited with being one of the originators of the International Typographic Style, also known as the Swiss Style, which was a precursor to the often used Helvetica typeface.
Irrefutably, Rand’s greatest contributions that allowed him to be an icon in graphic design are the corporate identities he created that are still widely used. Conglomerates such as ABC, IBM, Westinghouse, and UPS owe their logos that the world has associated with their products. One of his primary strengths, as Maholy-Nagy pointed out, “was his ability as a salesman to explain the needs his identities would address for the corporation.” The logos that were stamped onto the companies may be interpreted as simplistic, yet Rand refuted this ideology by stating that ideas do not need to be arcane to be original or exciting. The trademark for ABC created by Rand in 1962 embodies the ideal of minimalism while proving Rand’s point that a logo “cannot survive unless it is designed with the utmost simplicity and restraint.” Steve Jobs was another client that revered Rand’s simplistic design. Although Jobs’s company (NeXT computers) that Rand created logos for was unsuccessful, Jobs was inspired by Rand to put large emphasis on the aesthetic design of products to come. In a 1996 interview prior to Rand’s death, Jobs labeled him, simply, “the greatest living graphic designer.”
During a meeting with Rand and Moholy-Nagy, Moholy-Nagy inquired on whether Rand had ever invested time into reading art criticism. As Rand replied with a sincere no, it opened another chapter of curiosity in the life of the soon to be theorist of design. Rand engaged in reading books on philosophy of art by Roger Fry, Alfred North Whitehead, and John Dewey that would have a lasting impression on his work. Furthermore, it allowed him to create theories that he would later express in his book “Thoughts on Design” in which he would elicit ideas on the need of functional aesthetic perfection. Among his proposals in “Thoughts on Design” was the idea of creating graphical design capable of maintaining their recognizable quality even after being changed, a test Rand performed on IBM’s corporate identity. Throughout the number of years that Rand produced trademarks for IBM, he modified the logo multiple times showing the strength of the company’s corporate identity regardless of the changed icon. In a article published in the New York Times, Rand denotes that the failed programs of corporations is not due to the impotency of design, rather “what is evident is that management does not really appreciated the contribution that design (art) can make socially, aesthetically, and economically.” Rand also commented in his book and other articles that it designers are often placed on the low end of the corporate ladder, resulting in the businesses appeal to consumer’s lower instincts rather than to their higher ideals.
The modern corporate era was in its infancy when Rand began his career, which contributed to his success in graphic design. During and at the end of World War II, corporate America was increasing dramatically due to the advancements in media and technology, and due to the confidence in American economics which lead to higher consumer spending. As companies began competing for an increase of clientele, they soon identified the need for simplistic icons that consumers could identify their products with. As Rand’s work began to show high dividend returns for stock holders, more and more companies acquired his expertise to put their name in the race and prevent them from being engulfed by growing conglomerate giants. Well into his eighties and nineties, Rand continued to produce important corporate identities with a rumored price tag of $100,000 dollars per single solution. During an interview, Rand wittily stated “Mies van der Rohe once said that being good is more important than being original. Originality is a product, not an intention.” If you’re good at something, you learn to not do it for free.
Without Rand’s idea of “defamiliarizing the ordinary” consumers would not be able to associate excellence of service from companies such as UPS nor would viewers associate family oriented shows produced by ABC. Most of us take for granted the complexity involved in the designing of icons that will effectively broadcast the message of a company for generations. When asked “how did you become a designer (more specifically on your path to becoming a designer what happened that you might consider unusual, out of the norm, that has had an influence on how you design today)?” Rand simply replied “An act of God.” Clearly, there was always method to Rand’s madness, all while adding a little madness and wit to his method.
Works Cited:
Rand, Paul “Thoughts On Design” Wittenborn, Schultz; 2nd edition (1951)
Rand, Paul Failure by Design New York Times; 1993
http://www.areaofdesign.com/americanicons/rand.htm (electronic)
http://www.paul-rand.com/thoughts.shtml (electronic)
Irrefutably, Rand’s greatest contributions that allowed him to be an icon in graphic design are the corporate identities he created that are still widely used. Conglomerates such as ABC, IBM, Westinghouse, and UPS owe their logos that the world has associated with their products. One of his primary strengths, as Maholy-Nagy pointed out, “was his ability as a salesman to explain the needs his identities would address for the corporation.” The logos that were stamped onto the companies may be interpreted as simplistic, yet Rand refuted this ideology by stating that ideas do not need to be arcane to be original or exciting. The trademark for ABC created by Rand in 1962 embodies the ideal of minimalism while proving Rand’s point that a logo “cannot survive unless it is designed with the utmost simplicity and restraint.” Steve Jobs was another client that revered Rand’s simplistic design. Although Jobs’s company (NeXT computers) that Rand created logos for was unsuccessful, Jobs was inspired by Rand to put large emphasis on the aesthetic design of products to come. In a 1996 interview prior to Rand’s death, Jobs labeled him, simply, “the greatest living graphic designer.”
During a meeting with Rand and Moholy-Nagy, Moholy-Nagy inquired on whether Rand had ever invested time into reading art criticism. As Rand replied with a sincere no, it opened another chapter of curiosity in the life of the soon to be theorist of design. Rand engaged in reading books on philosophy of art by Roger Fry, Alfred North Whitehead, and John Dewey that would have a lasting impression on his work. Furthermore, it allowed him to create theories that he would later express in his book “Thoughts on Design” in which he would elicit ideas on the need of functional aesthetic perfection. Among his proposals in “Thoughts on Design” was the idea of creating graphical design capable of maintaining their recognizable quality even after being changed, a test Rand performed on IBM’s corporate identity. Throughout the number of years that Rand produced trademarks for IBM, he modified the logo multiple times showing the strength of the company’s corporate identity regardless of the changed icon. In a article published in the New York Times, Rand denotes that the failed programs of corporations is not due to the impotency of design, rather “what is evident is that management does not really appreciated the contribution that design (art) can make socially, aesthetically, and economically.” Rand also commented in his book and other articles that it designers are often placed on the low end of the corporate ladder, resulting in the businesses appeal to consumer’s lower instincts rather than to their higher ideals.
The modern corporate era was in its infancy when Rand began his career, which contributed to his success in graphic design. During and at the end of World War II, corporate America was increasing dramatically due to the advancements in media and technology, and due to the confidence in American economics which lead to higher consumer spending. As companies began competing for an increase of clientele, they soon identified the need for simplistic icons that consumers could identify their products with. As Rand’s work began to show high dividend returns for stock holders, more and more companies acquired his expertise to put their name in the race and prevent them from being engulfed by growing conglomerate giants. Well into his eighties and nineties, Rand continued to produce important corporate identities with a rumored price tag of $100,000 dollars per single solution. During an interview, Rand wittily stated “Mies van der Rohe once said that being good is more important than being original. Originality is a product, not an intention.” If you’re good at something, you learn to not do it for free.
Without Rand’s idea of “defamiliarizing the ordinary” consumers would not be able to associate excellence of service from companies such as UPS nor would viewers associate family oriented shows produced by ABC. Most of us take for granted the complexity involved in the designing of icons that will effectively broadcast the message of a company for generations. When asked “how did you become a designer (more specifically on your path to becoming a designer what happened that you might consider unusual, out of the norm, that has had an influence on how you design today)?” Rand simply replied “An act of God.” Clearly, there was always method to Rand’s madness, all while adding a little madness and wit to his method.
Works Cited:
Rand, Paul “Thoughts On Design” Wittenborn, Schultz; 2nd edition (1951)
Rand, Paul Failure by Design New York Times; 1993
http://www.areaofdesign.com/americanicons/rand.htm (electronic)
http://www.paul-rand.com/thoughts.shtml (electronic)
William Morris, Stephanie Aguilar
San Francisco/Oakland is a school I attended for two years. I admired the openness to design that I experienced there as well as the equality and respect of an individuals craft. But it was not before long that the word craft was dropped along with half the staff, the price increased and the whole mood changed. After speaking with veteran advisors and professors at the school and doing a little research I found that this school was originally designed after the influence of this man; William Morris and his beliefs in the Arts and Crafts movement.
Born to a business man in 1834 named William Morris and a daughter of a musician, named Emma Shelton; William Morris Jr. was born to be an artist. Growing up in London Morris became a fan of the medieval style in which he was surrounded. A natural at design Morris always had a gift for interior design which is not surprising considering he studied architecture in his early years of higher education. Morris always understood that art surrounds us at all times and even the chair chosen to place next to your desk was an aesthetic decision.
Pre-Raphaelite Brotherhood was originally composed of painters and poets who openly rejected the idea of the academy and felt like painters like Raphael and Michelangelo corrupted the academic practice of art. William Morris became a predominate figure of the unofficial second phase of the Pre-Raphaelite Brotherhood. The opposition to the royal academy was the basis of brotherhood and it was obvious to those in the group that not only painting should be a respected/accepted form of art worthy of academic training. Naturalism; or the study of nature was extremely important to William Morris especially when in reference to his designs. He was especially disgusted by the industrial mass produced aspect of design. When posed with the challenge of finding furniture for his home, he gave up and hand crafted his own “total” environment. His colleagues; John Everett Millais, Dante Gabriel Rossetti supported him with the this new appreciation of the craft of art, but after an affair the Rossetti had with Morris’ wife the friendship slowed down and Morris when head first into interior design or what he liked to call “decoration”.
I come more into the details of my subject I shall not meddle much with the great art of Architecture, and less still with the great arts commonly called Sculpture and Painting, yet I cannot in my own mind quite sever them from those lesser, so-called Decorative Arts, which I have to speak about: it is only in latter times, and under the most intricate conditions of life, that they have fallen apart from one another; and I hold that, when they are so parted, it is ill for the Arts altogether: the lesser ones become trivial, mechanical, unintelligent, incapable of resisting the changes pressed upon them by fashion or dishonesty; while the greater, however they may be practiced for a while by men of great minds and wonder-working hands, unhelped by the lesser, unhelped by each other, are sure to lose their dignity of popular arts, and become nothing but dull adjuncts to unmeaning pomp, or ingenious toys for a few rich and idle men.” Morris.
Arts and Crafts Movement was probably a direct result and opposition of the industrial revolution. The repetitive nature of design was limiting, not inspiring; non-personal. The machine taking over the job of a man was not to be accepted or respected. Of course many artists were involved in the creation of this movement but William Morris in particular stood out as a founding father. The arts and crafts movement was very special, especially to those that had not had the luxury of art surrounding them, similar to families that had never had a portrait made until photography made it possible. Also the arts and crafts movement has created an appreciation for hand crafted works, from jewelry to textile, from stained glass to furniture. Eventually Morris was able to start his own company. Morris and company specialize in interior design products such as wallpapers, curtains, stained glass and pillow cases. It is obvious that Morris loved to design not only textiles or furniture, but he loved to design his total environment, call it Feng Shui if you will. It was the idea that art should not be secluded for the rich and only viewed by the elite, but should be something by the secluded for the rich and only viewed by the elite, but should be something by the people and for the people.
Another project that enthralled Mr. Morris and his arts and crafts friends was a house called the Red House. While researching this subject of the Red House it became ever so clear how important the total environment actually was to Morris, even in his own personal life this was a priority of his to design his world. Here are a couple of images below as finding ones of the interior are a bit difficult.
Decoration was William Morris’ first born love, he of course did not stop there in his dabbles with the arts. Phillip Webb along with William Morris designed a home called the Red House where William Morris lived for some time. Here many artists came and went, shows were held, and spoken word was herd. Many artists before leaving would add a special touch of their own to the house. The Red House has a beautiful garden landscape that surrounds it. It is often called the house of the arts and crafts movement. Still to date furniture, stained glass windows, paintings and even letters recently found under floor boards have resided there in tact and open to the public.
William Morris also enjoyed the practice of Calligraphy, or Typology as we would probably now call it. In his book plates he used the visual expression of language to convey emotion or intention mixed carefully with his signature filigree work as decoration. He was a well know writer publishing many works such as A Dream of John Ball, The Defiance of Guinevere and Other Poems, and The Earthly Paradise. He was evolved in writing for the News from Nowhere which was a community based newsletter. The list can travel on and on but rather here is an example of a work he did that I thought was beautiful.
It is amazing the amount of work this man William Morris put into making his world so beautifully decorated. I clearly understand now why the Arts and Crafts Movement was so admired, and why after learning about CCA I chose to attend that ridiculously expensive school. I love the term art by the people for the people, it sounds so revolutionary and political! I guess I wonder now how William Morris would have reacted to the modernist move towards kitsch. Would he agree that kitsch is a move toward totalitarianism, a victim of a mindless culture? Or would he enjoy the playfulness and sarcasm that goes hand and hand with the art practice? I sure wish I could ask him. None the less the man was somewhat of a genius and impacted the world of design immensely.
Bibliography
Bibliography
*Stokstad, Marilyn. Art History: A View of the West, Volume Two. Pearson Education Inc., New Jersey. 2008.
*Stokstad, Marilyn. Art History, Revised Second Edition. Pearson Education Inc., New Jersey. 2005.
Born to a business man in 1834 named William Morris and a daughter of a musician, named Emma Shelton; William Morris Jr. was born to be an artist. Growing up in London Morris became a fan of the medieval style in which he was surrounded. A natural at design Morris always had a gift for interior design which is not surprising considering he studied architecture in his early years of higher education. Morris always understood that art surrounds us at all times and even the chair chosen to place next to your desk was an aesthetic decision.
Pre-Raphaelite Brotherhood was originally composed of painters and poets who openly rejected the idea of the academy and felt like painters like Raphael and Michelangelo corrupted the academic practice of art. William Morris became a predominate figure of the unofficial second phase of the Pre-Raphaelite Brotherhood. The opposition to the royal academy was the basis of brotherhood and it was obvious to those in the group that not only painting should be a respected/accepted form of art worthy of academic training. Naturalism; or the study of nature was extremely important to William Morris especially when in reference to his designs. He was especially disgusted by the industrial mass produced aspect of design. When posed with the challenge of finding furniture for his home, he gave up and hand crafted his own “total” environment. His colleagues; John Everett Millais, Dante Gabriel Rossetti supported him with the this new appreciation of the craft of art, but after an affair the Rossetti had with Morris’ wife the friendship slowed down and Morris when head first into interior design or what he liked to call “decoration”.
I come more into the details of my subject I shall not meddle much with the great art of Architecture, and less still with the great arts commonly called Sculpture and Painting, yet I cannot in my own mind quite sever them from those lesser, so-called Decorative Arts, which I have to speak about: it is only in latter times, and under the most intricate conditions of life, that they have fallen apart from one another; and I hold that, when they are so parted, it is ill for the Arts altogether: the lesser ones become trivial, mechanical, unintelligent, incapable of resisting the changes pressed upon them by fashion or dishonesty; while the greater, however they may be practiced for a while by men of great minds and wonder-working hands, unhelped by the lesser, unhelped by each other, are sure to lose their dignity of popular arts, and become nothing but dull adjuncts to unmeaning pomp, or ingenious toys for a few rich and idle men.” Morris.
Arts and Crafts Movement was probably a direct result and opposition of the industrial revolution. The repetitive nature of design was limiting, not inspiring; non-personal. The machine taking over the job of a man was not to be accepted or respected. Of course many artists were involved in the creation of this movement but William Morris in particular stood out as a founding father. The arts and crafts movement was very special, especially to those that had not had the luxury of art surrounding them, similar to families that had never had a portrait made until photography made it possible. Also the arts and crafts movement has created an appreciation for hand crafted works, from jewelry to textile, from stained glass to furniture. Eventually Morris was able to start his own company. Morris and company specialize in interior design products such as wallpapers, curtains, stained glass and pillow cases. It is obvious that Morris loved to design not only textiles or furniture, but he loved to design his total environment, call it Feng Shui if you will. It was the idea that art should not be secluded for the rich and only viewed by the elite, but should be something by the secluded for the rich and only viewed by the elite, but should be something by the people and for the people.
Another project that enthralled Mr. Morris and his arts and crafts friends was a house called the Red House. While researching this subject of the Red House it became ever so clear how important the total environment actually was to Morris, even in his own personal life this was a priority of his to design his world. Here are a couple of images below as finding ones of the interior are a bit difficult.
Decoration was William Morris’ first born love, he of course did not stop there in his dabbles with the arts. Phillip Webb along with William Morris designed a home called the Red House where William Morris lived for some time. Here many artists came and went, shows were held, and spoken word was herd. Many artists before leaving would add a special touch of their own to the house. The Red House has a beautiful garden landscape that surrounds it. It is often called the house of the arts and crafts movement. Still to date furniture, stained glass windows, paintings and even letters recently found under floor boards have resided there in tact and open to the public.
William Morris also enjoyed the practice of Calligraphy, or Typology as we would probably now call it. In his book plates he used the visual expression of language to convey emotion or intention mixed carefully with his signature filigree work as decoration. He was a well know writer publishing many works such as A Dream of John Ball, The Defiance of Guinevere and Other Poems, and The Earthly Paradise. He was evolved in writing for the News from Nowhere which was a community based newsletter. The list can travel on and on but rather here is an example of a work he did that I thought was beautiful.
It is amazing the amount of work this man William Morris put into making his world so beautifully decorated. I clearly understand now why the Arts and Crafts Movement was so admired, and why after learning about CCA I chose to attend that ridiculously expensive school. I love the term art by the people for the people, it sounds so revolutionary and political! I guess I wonder now how William Morris would have reacted to the modernist move towards kitsch. Would he agree that kitsch is a move toward totalitarianism, a victim of a mindless culture? Or would he enjoy the playfulness and sarcasm that goes hand and hand with the art practice? I sure wish I could ask him. None the less the man was somewhat of a genius and impacted the world of design immensely.
Bibliography
Bibliography
*Stokstad, Marilyn. Art History: A View of the West, Volume Two. Pearson Education Inc., New Jersey. 2008.
*Stokstad, Marilyn. Art History, Revised Second Edition. Pearson Education Inc., New Jersey. 2005.
Tuesday, August 11, 2009
Eero Saarinen by Genny Konicke
Eero Saanrinen: A Design Genius
By: Genny Konicke
Eero Saanrinen was born in Kirkkonummi, Finland on August 20, 1910, oddly enough sharing the same birthday as his father. He emigrated to the United States in 1923 when he was only thirteen and blissfully began studying under his father at the Cranbook Academy of Art in Michigan. He concluded his studies at the Yale School of Architecture in 1934. In the 1940’s his friend recruited him to join the Office of Strategic Services where he designed certain functions of bombs. His father passed away in 1950 and Eero took over his father’s practice, Saarinen & Associates in Birmingham. He also embarked on a mission to design for Knoll International where he then promulgated his permanent role as one of the masters of American 20th Century architecture.
It was unambiguous there was a passion for design in Saarinen’s heart. He thought of architecture design as, “…a much more fundamental role to play for man, almost a religious one” (Saarinen 30). Unlike today where many look at architecture as merely a business, Saarinen perceives architecture as an art, which most likely led to his reputation with many critics as superseding form with function. He elusively described architecture as something that had to work with society, which established his belief that design greatly defined our societies since, “Each civilization and culture has produced a total surrounding with an architecture which has come down to our day as its contribution to culture” (30).
The futuristic era in architecture emanated in the early 20th century. This upheaval in the world of architects was distinguished by flagrantly prominent shapes, highly contrasting colors, unelaborate designs, and vibrant lines. Eero Saarinen superseded many designers once the futuristic age was promulgated. Many of Saarinen’s significant designs were birthed during this era, which indicated him as a major contributor of futurism. His designs from this age resume to serve as popular furniture, landmarks, and debates to this day.
Eero Saarinen’s most popular piece of designed furniture was the infamous tulip chair, still customary today after its construction in 1956. After the tulip chair was released to the public, Time Magazine dedicated an article to the new invigorating chair. They describe the chair as a, “…revolutionary design for on-legged, pedestal-based chairs, dining tables, and coffee tables that have all the weightless elegance of a stemmed wineglass” (1). Saarinen claimed that his inspiration came from the “…idea for a form to replace ‘the ugly clutter of cages and legs going in different direction’”. He precisely calculated the base of fascinating piece to decrease the amount of four legs to one. Time explains that, “The plastic seats are of tulip-shaped organic design, [that] have richly colored cushions to temper modern simplicity with elegance”. His stunning design was incredibly promoted when used on the set of Star Trek television series from 1966-69.
Another larger and flagrant piece Saarinen designed is the Trans World Airlines terminal at the John F. Kennedy International Airport in New York. Even though some classify it as a pariah that looks, “…like a bird that has lost its flock”, it was unequivocally a substantial beauty that defined the futuristic era (Muschamp 1). To encapsulate the Flight Center, it was considered anything but trite when finished in 1962. USA Today explains how the exhilarating structure’s, “…soaring, birdlike roof and curvy interior shapes evoke[d] the excitement of the Jet Age, when travelers dressed up rather than [strip] down to get on an airplane”. Robert A. M. Stern describes the invigorating sight as the, “Grand Central of the Jet Age” and New York Times agrees, “…it had a good reason for doing so” (Muschamp 1). New York Times claims the interior, “…is the most dynamically modeled space of its era” with dynamic lines being a fundamental part of futuristic design (2). Although this was an extraordinary structure, many critics have a belligerent attitude toward it. As Saarinen was well known to perform, critics presented their brackishness by blaming Saarinen for, …”placing image before function and structural integrity”, a major case of superseding function with form (3).
Saarinen’s design of the Tulip Chair, T.W.A. Flight Center, and many other invigorating designs such as the St. Louis Gateway Arch, unequivocally emphasized his power during the age of futurism.
Numerous works of Saarinen continue to generate a fervent attitude from society today while others beseech to maintain their importance. One of these futile structures includes the T.W.A. Flight Center. While its inconsequentiality is being debated, the terminal continues to sit empty since Trans World Airlines went out of business in 2001. William DeCota, director of the agency that runs the airport, describes the deteriorating condition of the structure, “As a piece of architecture, it’s exciting, but as a functioning airport terminal, it just absolutely can’t meet the needs of today”. The most popular answers for the quandary seem to be to either renovate the Flight Center or find a new use for it. But, there is the minority, such as Frank Sanchis, vice president of the Municipal Art Society of New York, who believe, “Some buildings are simply better like in their original use, and we think this is one”. The decision on what to transform the terminal into is still being debated.
One of the works by Saarinen that is acknowledged as a U.S. Historical Landmark today is the St. Louis Gateway Arch. Designed by Saarinen in the 1960’s, the arch is also known as the Gateway to the West and is especially valuable to the Jefferson National Expansion Memorial. Construction on the arch finished in 1965 and was declared a National Historic Landmark in 1987. During the mid-1900’s, St. Louis was considered the “Gateway to the West” and thought it appropriate to build a gate to indicate the spot. Saarinen’s winning designed was promulgated while Time illustrated the design as a, “…stainless steel, streamlined, 590-ft-high arch to rise beside the Mississippi” with, “…a funicular elevator and observation corridor” (1).
Even though critics often pointed out mistakes in Saarinen’s works and some of his works may have to disappear forever, he has left behind numerous colossal changes in the world of design that will never be forgotten. He wasn’t afraid to accept the critic’s comments and shine though his own individualistic approach which eventually lead to his extraordinary designs. These designs are what allowed him to really allow the futuristic age to soar not to mention helping the Jet Age take flight.
Eero Saarinen eventuall was married and had two children. He then divorced and remarried having another child. He died on September 1, 1961 at the age of 51 in Michigan.
Sorry Guys
If you wanted to hear about William Morris email me and I will send you the paper. For some reason I was unable to cut and paste to the blog. I will try again tomarrow from a computer at the library, so just wanted to tell everyone that the papers are great and I wish I could recieve all your comments too, its nice to have feedback from your peers. Anyway good sharing class with you all!
Monday, August 10, 2009
Lissitzky works cited
"El Lissitzky." Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 31 Jul. 2009 <http://www.britannica.com/EBchecked/topic/343316/El-Lissitzky>. Electronic
"El Lissitzky." The Columbia Encyclopedia, Sixth Edition. 2008. Encyclopedia.com. 31 Jul. 2009 <http://www.encyclopedia.com>. ElectronicGray, Camilla. The great experiment: Russian art, 1863-1922. New York:Abrams, 1962. Print.
http://www.el-lissitzky.com/ (Electronic)
Lissitzky, El An Exhibition from 9th April until end of June 1976. Zurich: Galerie gmurzynska, 1976. Print.
Lissitzky, El. El Lissitzky, 1890-1941 catalogue for an exhibition ofselected works from North American collections, the Sprengel Museum Hanover,and the Staatliche Galerie Moritzburg Halle. [Cambridge, Mass.]: HarvardUniversity Art Museums, Busch-Reisinger Museum, 1987. Print. Lissitzky-Kuppers, Sophie. El Lissitzky Life, Letters, Texts. London: Thames& Hudson, 1992. Print. Rudenstine, Angelica Zander. Russian Avant-Garde Art The George CostakisCollection. New York: Harry N Abrams, 1981. Print. Situating El Lissitzky Vitebsk, Berlin, Moscow (Issues and Debates Series).Detroit: Getty Trust Publications: Getty Research Institute, 2003. Print.
Tupitsyn, Margarita. El Lissitzky beyond the Abstract cabinet : photography, design, collaboration. New Haven: Yale UP, 1999. Print.
"El Lissitzky." The Columbia Encyclopedia, Sixth Edition. 2008. Encyclopedia.com. 31 Jul. 2009 <http://www.encyclopedia.com>. ElectronicGray, Camilla. The great experiment: Russian art, 1863-1922. New York:Abrams, 1962. Print.
http://www.el-lissitzky.com/ (Electronic)
Lissitzky, El An Exhibition from 9th April until end of June 1976. Zurich: Galerie gmurzynska, 1976. Print.
Lissitzky, El. El Lissitzky, 1890-1941 catalogue for an exhibition ofselected works from North American collections, the Sprengel Museum Hanover,and the Staatliche Galerie Moritzburg Halle. [Cambridge, Mass.]: HarvardUniversity Art Museums, Busch-Reisinger Museum, 1987. Print. Lissitzky-Kuppers, Sophie. El Lissitzky Life, Letters, Texts. London: Thames& Hudson, 1992. Print. Rudenstine, Angelica Zander. Russian Avant-Garde Art The George CostakisCollection. New York: Harry N Abrams, 1981. Print. Situating El Lissitzky Vitebsk, Berlin, Moscow (Issues and Debates Series).Detroit: Getty Trust Publications: Getty Research Institute, 2003. Print.
Tupitsyn, Margarita. El Lissitzky beyond the Abstract cabinet : photography, design, collaboration. New Haven: Yale UP, 1999. Print.
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