History of Furniture Sketchbook and Designers Portfolio

History of Furniture Sketchbook and
Designers Portfolio
Nicole Stebnitz
INTA207 P01
Faculty Sheri Conner
October 18th, 2016

Nicole Stebnitz
INTA207 Faculty Conner
September 15, 2016
W1A2

Regency Furniture/ Greek Revival: 1790’s to 1840’s
Image 1Image 2

Regency Furniture Style: Description
• Graceful, moveable, and light in scale
• Rectangular, symmetrical, and with restrained ornament
• Metal parts, coasters for movement
• Saber legs, reeding, paw feet
• Pediments, Columns, Arabesques, Urns
• Egyptian motifs: Sphinxes, Egyptian Heads, Hieroglyphics, crocodiles, sun disc, vulture, and star
• Trellisses, Fretwork, Bamboo, Foliage, Pagodas, Painted arches, FanVaulting, and Rose
Windows
• Rosewood, Zebrawood, Mahogony, andTulipwood.
• Often covered with woven and printed fabrics with a glazed finish: Chintz
All of the above are examples of what would be found on Regency style furniture

American Empire Furniture 1820’s – 1860’s
Image 5
Image 4

American Empire Style: Description
• Motifs: Egg and Dart, Bead, Dentil Moldings,Triglyphs and metopes, Honeysuckles,
Anthemions, Acanthus leaves, Fret or Key.
• Interiors, furniture and decorative arts show a greater range of motifs from more sources:
Egyptian, Greek, Roman, and Renaissance: Sphinxes, battered or pylon forms, paw feet,
Egyptian or Classical figures, lyres, harps, swans, dolphins, eagles, caryatids, serpants,
arabesques, and columns.
• Greater Simplicity than Europe
• LaterVariation was called Pillar and Scroll or Late Classical.
• Exotic and Medievel styles were rare in America
• Rectangular Case pieces
• Curvilinear chairs and sofas
• Dark wood, carving, and brass mounts.

Gothic Revival: 1840 –1880
Image 6 Image 3

Gothic Revival Style: Description
• Revives Gothic and other Aspects of Middle Ages
• Applies ecclesiastical architectural motifs to contemporary forms
• Motifs: Derive from Medievil precedents
Pointed Arches, Battlements, Crockets, Stained Glass,Tracery, Rose Windows, Pinnacles,Tresfoils,
Quatrefoils, Cinquefoils, Cluster Columns, Oak Leaves, Heraldic Devices
• Early:Tudor/Ogre Arches
• Late: Round Arches

WORKS CITED
• Image 1: Furniture Styles. 1800. BeechWood, Painted inWhite and Grey in Imitation of Marble. Copied from a Marble Seat in
Rome. Digital image. Regency Furniture. Copyright © 2004-12 International Styles, n.d. Web. 14 Sept. 2016.
• Image 2: Furniture Styles. Egyption Style Klismos Chair, 1805. Digital image. Regency Furniture. Copyright © 2004-12 International
Styles, n.d. Web. 14 Sept. 2016.
• Image 3: Architecture, Buffalo. Rosette. Digital image. Rosette. Buffalo Architecture, n.d. Web. 14 Sept. 2016.
• Image 4: Architecture, Buffalo. Paw Feet. Digital image. Paw Feet. Buffalo Architecture, n.d. Web. 14 Sept. 2016.
• Image 5: Architecture, Buffalo. Lyre. Digital image. Lyre. Buffalo Architecture, n.d. Web. 14 Sept. 2016.
• Image 6: ETC, Art. Gothic Revival Chair. Digital image. The Age of Revivals: Gothic Revival Furniture. Art Ect, n.d. Web. 14 Sept. 2016.

GILDED AGE: LATE 19TH CENTURY
FURNITURE STYLES:
NEO-GREC: 1855 - 1890
RENAISSANCE REVIVAL: 1850 - 1880
AESTHETIC MOVEMENT: 1860 - 1890
DESIGNERS PORTFOLIO
HERTER BROTHERS
Nicole Stebnitz
September 15, 2016
W1A3Image 7: Herter Brothers (1864–1906), Cabinet from the Japanese parlor of the William H. Vanderbilt House, New York City,
1879–1882. Cherry, brass, and later textile. 76-7/8 x 60 x 12 in. The Metropolitan Museum of Art; Gift of Barrie A. and Deedee
Wigmore, 2014 (2014.530.2).

DESIGNER INFORMATION
 Herter Brothers
 Gustave Herter: 1830 – 1898
 Christian Herter: 1839 – 1883
 Both Brothers were born in Germany.
 They learned their craft as cabinetmakers from their father who was also a
cabinetmaker.

DESIGNERSTHEORIES AND PHILOSOPHIES
 Gustave Herter was the designer who enjoyed ornamented Baroque and Louix
XIV styles. Christian Herter was more interested in a marriage of European styles,
French style, Greek Revival, and Anglo Japenese They were born in Germany in
the early 18oo’s when Revival styles and mixing of different elements of the past
eras was starting to come into play. The fact that their father was a cabinetmaker
led to the taste they had in the different styles. When they came to the United
States it was the perfect time for them. The Guilded Age brought about a wealthy
class that wanted to showcase their wealth in the design of their interiors and
furniture. (The met, web). The turn of the 19th century also brought about the
finding of Pompeii. Europeans wanted to replicate the furniture from those
excavations. This is where the Neo-Grec style came into play and was brought to
the U.S. The William H.Vanderbilt house was the largest job they would do. The
rooms were each styled in a different theme. The brothers supplied furniture and
designed interiors for some of the wealthiest people in America.

RENAISSANCE REVIVAL
Figure 1: LibraryTable
Date Designed: 1879-82; Made in NewYork, NewYork
Made from Rosewood:
Table top with a celestial field of stars over the Northern
Hemisphere on the dayWilliamVanderbilt was born. (8 May 1821)
Lions Head Paw Feet.
Stylized Palmettes
Relief Carving

AESTHETIC MOVEMENT
Figure 2: Cabinet; Date Built: CA. 1880
Rectilinear shape and Sturdy with Japanese influence
Brass pull and Key
Marquetry: Flowers
Guilt Highlights
Maple and Birds eye Maple

NEO GREC MOVEMENT
Figure 3: J.P Morgan Pompeiian Side Chairs; CA. 1880
Splay of chair leg.
Inversely arched backrest (Adaptation of Greek Klismos Chair)
Pompeiian design taken from the excavation at pompeii
Front legs with goat hoofed feet. This was not normal for this
style, but it was said it was a tribute to the Pompeiian god PAN,
who was found in many of the depictions at the excavation of
Pompeii. (1stdibs, web)

AESTHETIC MOVEMENT
Figure 4: Aesthetic Maple Fall Front Secretaire; CA. 1880
Interior:Velvet lined
Marquetry Motifs
FlutedColumns
Legs volute capped discs: (Character of Ionic order which is said
to be the most graceful of the orders.) (1stdibs, web)

RENAISSANCE REVIVAL
Figure 5: Lady’s Bergere (Armchair); 1881 82
Two opposing griffins that connect at the middle
Mother of pearl roundels framed by sinous rope like elements
Shield like motif
Tufted trellis over red silk fringe
Turned legs for of stylized lotus

WHOLE INTERIOR DESIGN: NEO-GREC
Figure 6:William H.Vanderbilt Drawing Room Interior; CA. 1821 -1885
Example of one of the rooms built in the William H.
Vanderbilt house. Each room was designed with its own
theme which was popular at that time.

FIGURE CITATIONS
FIGURES
 Figure 1: Met,The. LibraryTable. Digital image. Herter Brothers | LibraryTable | American |The Met.The Met, n.d.Web. 15 Sept. 2016.
 Figure 2: Museum of FineArts Boston. Cabinet. Digital image. Cabinet | Museum of Fine Arts Boston. Museum of FineArts Boston, n.d.Web. 14 Sept. 2016.
 Figure 3: Artists, Associated. Pair ofJ.P. Morgan "Pompeiian"SideChairs. Digital image. Pair ofJ.P Morgan Pompeiian Side Chairs for Sale at 1stdibs. 1stdibs, n.d.
Web. 15 Sept. 2016.
 Figure 4: Artists, Associated. Aesthetic Maple Fall-Front Secretaire. Digital image. Aesthetic Maple Fall-Front Secretaire for Sale at 1stdibs. 1stdibs, n.d.
Web. 15 Sept. 2016.
 Figure 5: Met,The. Lady’s Bergere (armchair). Digital image. Herter Brothers | Bergere | American |The Met.The Met, n.d.Web. 15 Sept. 2016.
 Figure 6: Frelinghuysen,Alice Cooney. Artistic Furniture of the GuildedAge: Herter Brothers and theWilliam H.Vanderbilt House by AliceCooney Frelinghuysen |
Articlesn. Digital image. Artistic Furniture OfThe Gilded Age: Herter Brothers AndTheWilliam H.Vanderbilt House. Incollect, 18 Jan. 2016.
Web. 15 Sept. 2016.

WORKS CITED
FIGURES
 1stdibs. "Pair of J.P. Morgan Side Chairs." Pair ofJ.P. Morgan SideChairs for Sale at 1stdibs. 1stdibs, n.d.Web. 15 Sept. 2016.
 Ross, Nancy L. "FURNISHINGS : Herter Brothers Crafted Pieces for a Gilded Age." Los AngelesTimes 27Aug. 1994, Collections sec.: 1. Print.
 The Met. "Lady’s Bergere (Armchair)." Herter Brothers | Bergere | American |The Met.The Met, n.d.Web. 15 Sept. 2016.
 The Met. "LibraryTable." Herter Brothers | LibraryTable | American |The Met.The Met, n.d.Web. 15 Sept. 2016.

ASSIGNMENT 1: FURNITURE SKETCHBOOK (ILLUSTRATING TERMS)
Nicole Stebnitz
INTA207: Faculty Conner
September 20th, 2016
W2A1

MORTISE ANDTENON
A very simple yet strong joint
that has been used for a very
long time.
Image 1

MARQUETRY AND INLAYS
This is a technique that is an art. Decorative designs or pictures are creating by using the grain, figure and
colors of thin veneers and some other materials like wood, stone, metal, ivory and other exotic materials.
Image 1

DOVETAIL JOINT
As seen on the left this is also a
very strong way to hold
together pieces of wood. It
consists of one or more tapered
tenons that interlock with the
mortises.
Image 1

CABINET SKETCH
AND EXPLANATION
The cabinet is built with quarter-sawn oak that
has a dark stain applied. The joints are all
dovetail and on each side panel they are put
together by mortise and tenon. The cabinet is
built for storing coats, hats, shoes, anything that
would be taken off in an entryway where there is
no closet available. It is to be built by hand with
out the use of any machining, indicative of the
arts and crafts movement. It is also simplistic in
form but does have some marque inlays. The
ends of the mortise and tenon joints are
imperative for the structural integrity of the
cabinet as it will be used to store things.
The quarter-sawn oak was chosen to show the
graining in the wood without adding any type of
thick or shiny finish to it. It serves it purpose and
it shows. There is no unessacary ornamentation
which also adheres to this style and movement.
The inlays, quarter-sawn oak, and joints are all
tributes to the artisanship of the cabinetmaker.

WORKS CITED
 Image 1: “Design Dictionary: Mortise andTenon Joinery.” Décor Arts Now. 2013. Image. 20 September 2016. <http://www.decorartsnow.com/design-dictionary-mortise-and-tenon-
joinery/>.
 Image 2: “Original Ellis Design.” McGlynn on Making. n.d. Image. 20 September 2016. < https://mcglynnonmaking.com/page/14/?pages-list.>
 Image 3: “Dovetail Joint.” WoodworkingArchive >> SkillsTechniques. 11 September 2016. Image. 20 September 2016. <http://www.woodworkingarchive.biz/skills-techniques/how-to-
make-handcut-dovetail-joints.html>.
 Image 4:

ARTS AND CRAFTS MOVEMENT: 1860-1920
VERNACULAR MEDIEVAL STYLES
20TH CENTURY FUNCTIONALISM
GOTHIC REVIVAL
STUART PERIOD FURNITURE ADAPTATIONS
AESTHETIC MOVEMENT
DESIGNERS PORTFOLIO
Philip SpeakmanWebb
Nicole Stebnitz
September 25, 2016
W2A2Figure 1

 Philip SpeakmanWebb
 Born: January 12, 1831 in Oxford England
 Died: April 17th, 1915 in England
 Studied atAynho in Northamptonshire
 Articled to builder architects inWolvenhampton
 Trained under John Billing in Reading
 Became a JuniorAssistant for the office of G.E.
Street in London
 Founded the Morris, Marshall, and Faulkner Co. in
1861
 Founded the Society for the Protection of Ancient
Buildings in 1877 (Encyclopedia Britannica,Web)
SIGNIFICANT BUILDINGS:
• 1859: Red House, Bexley, Kent
• 1868: No. 1 Palace Green, London
• 1868: No. 19 Lincoln’s Inn Fields, London
• 1873: Joldwyns, Surrey
• 1878: Smeaton Manor,Yorkshire
• 1878: St. Martin’s Church, Brampton
• 1885: Coneyhurst on the Hill, Surrey
ALSO KNOWN FOR:
• Stained Glass
• Hand Painted Glass
• Tile
• Carvings
• Furniture, including the famous Morris Chair
• Wallpaper
• Carpets
• Tapestries (Craven, Web)

 Philip Web was one of many artists and architects that believed that the art, architecture, and
furniture that came out of the industrial revolution had a bad effect on the consumers as well as the
people that made them. (Harkness,Web). The arts and crafts movement brought back styles from
previous eras. Web believed that the medieval artisans were the ones to follow. They handcrafted
their work from start to finish and that evoked a sense of pride in the artisan as well as the end user.
His furniture and architecture reflected gothic revival elements. Although functionalism is usually
associated with modern times it does pop up throughout history and it is seen in some of his work.
He was a Pre-Raphaelite architect that is sometimes referred to as the “father of Arts &Crafts
architecture.” (Victorianceramics, web) He also geared more towards the Gothic style because he
thought it was a better fit for Northern Europe. This was because it originated in France (a
Northern Country), as opposed to the classical styles of Ancient Greece and Rome.(Harkness, web)
(Those were also styles associated with the arts and crafts movement. He believed in the artistry of
the work and was against the mass produced products that came out of the Industrial Revolution.
He was influenced by others such as Ruskin and especially William Morris who he went to school
with and would later become very good friends with.

ARTS AND CRAFTS: GOTHIC
STYLE:FUNCTIONALIST
Figure 2: Dresser located in the Red House ca. 1859 in
Bexleyheath, in South London, England
POINTEDARCHES
TREFOIL
IRON HARDWARE
This piece was also designed for the purpose of storage and
showcasing photos. So it was also designed with function in mind.

ARTS AND CRAFTS MOVEMENT:
FUNCTIONALISM,WITH ELEMENTS
OF GOTHIC REVIVAL
Figure 3: Morris Chair also designed for the Red House (PhilipWeb,William
Morris), ca 1859. Located in Bexleyheath in South London, England
Decoration through craftsmanship (not elaborate
ornamentation)
Simplistic curvature
Casters for mobility
Finials
Velvet Upholstery

ARTS AND CRAFTS
MOVEMENT
Figure 4: Sideboard, located at the Red house (PhilipWeb,Wiliam
Morris), in Bexleyheath South London, England
Simple Rectilinear Design
Detailed Craftsmanship
Iron Hardware.
Marquetry

AESTHETIC
MOVEMENT
Figure 5: Hand Painted Glass: PhilipWebb; Designer.
Manufactured by Morris & Co. ca. 1859
Simple Bright Colors and black
Sunflower: popular motif because it was a simple shape with a
bold color that could be stylized
Birds often used as well
Art only needs to be beautiful

RENAISSANCE
REVIVAL
Figure 6: Settle: Philip Speakman Webb; Designer.
Manufacturer: William Morris & Co. ca. 1890’s
Elaborate gilded plasterwork. Putti and FruitTrees.
Velvet Seat Cushion
Oak Wood
Tufted trellis over red silk fringe
Turned legs for of stylized lotus

WHOLE HOUSE DESIGN:TUDOR GOTHIC STYLE
Figure 7: PhilipWebb andWilliam Morris, Red House Bexleyheath England.Ca. 1859
Figure 8: L-Shaped Plan of the Red House shown on left
The L-Shape design of the home allows for
the garden area to be included along with
the asymmetrical shape which both would
have been elements of medieval style
architecture.
Steep pitched Roof, and asymmetrical
placement of windows. The exposed red
brick which emphasizes the natural beauty
of the material.

FIGURE CITATIONS
FIGURES
 Figure 1: “artists: PhilipWebb (1831 – 1915).” Victorianceramics. N.d. Image. 25 September 2016. http://www.victorianceramics.com/philip-webb.html
 Figure 2: Didimendum1. “The Furniture Designs of PhilipWeb.” 8 December 2012. Image. 25 September 2016.
http://groupblue3.blogspot.com/2012/12/furniture-designed-by-phillip-webb.html
 Figure 5: Exhibition Catalogue. “Hand-PaintedGlass Philip SpeakmanWebb, Designer.” TheVictorian Web. 17 July 2001. Image. 25 September 2016.
http://www.victorianweb.org/victorian/art/architecture/webb/2.html
 Figure 6: Landow,George P.. “Settle Philip SpeakmanWebb, Designer.” TheVictorianWeb. 17 July 2001. Image. 25 September 2016.
http://www.victorianweb.org/victorian/art/architecture/webb/15.html
 Figure 7: Cadman, Steve. “William Morris and PhilipWebb, Red House.” KhanAcademy. N.d. Image. 25 September 2016.
https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/william-morris-and-philip-
webb-red-house.
 Figure 8: “William Morris and PhilipWebb, Red House” KhanAcademy. N.d. Image. 25 September 2016.
https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/william-morris-and-philip-
webb-red-house.

WORKS CITED
 Craven, Jackie. “PhilipWebb, the Arts & Crafts Architect and Designer (1831 – 1915).” About Home. 24 January 2016. Web. 25 September 2016.
<http://architecture.about.com/od/greatarchitects/p/webb.htm>
 Didimendum1. “Red House, Bexley and Related Material.” Flickriver: Photoset (blog). 8 December 2012. Web. 25 September 2016.
<http://www.flickriver.com/photos/mynameismisty/sets/72157627292853981/.>
 Editors of Encyclopedia Britannica. “ Philip SpeakmanWebb.” Encyclopedia Britannica. 2016 Encyclopedia Britannica. N.d.Web. 25 September 2016.
<https://www.britannica.com/biography/Philip-Speakman-Webb>
 Harkness, Dr. Kristen M. “William Morris and PhilipWebb, Red House.” KhanAcademy. N.d. Web. 25 September 2016.
<https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/william-morris-and-philip-
webb-red-house>
 VictorianCeramics. “artists: PhilipWebb (1831 – 1915). “VictorianCeramics.” Victorianceramics. N.d. Web. 25 September 2016.
<http://www.victorianceramics.com/philip-webb.html>
Didimendum1. "'Red House, Bexley and Related Material." Flickriver: Photoset (blog). Accessed December 9, 2012. http://www.flickriver.com/photos/mynameismisty/sets/72157627292853981/.

ASSIGNMENT 1: FURNITURE SKETCHBOOK (IDENTIFYING STYLES)
INTA207
FACULTY CONNOR
W3A1
Nicole Stebnitz

ART DECO: (ASSUMINGTHETABLETOP IS GLASS). THIS PIECE USES BROADCURVESANDTHE USE OF MODERN
MATERIALS (GLASSTABLETOP)THAT WOULD BE FOUND IN FURNITURE FROMTHIS PERIOD. GEOMETRIC DESIGN
AND SMOOTH SURFACEAREALSO CHARACTERICS OFTHIS ERA. THESEALSO HAD AN ASIAN INFLUENCE BY HAVING
TABLESTHAT ARE A LOWER HEIGHTWHICH SEEMSTO BETHE CASE INTHE IMAGE BELOW.
Use of modern materials: GlassTabletop
Broad curves
Rectilinear shapes

“ART DECO” FURNITURE PIECE: AUSTRALIAN: GLOSSY APPEARANCE. EMERGEDAFTERWW1.
THESE PIECESARE GEOMETRICWITH CURVING LINES. USE CONTRASTING COLORSAND IF CUT
IN HALF BOTH SIDESWOULD MIRRORTHEMSELVES. COULD ALSO BE PART OFTHE ART
MODERNE MOVEMENT DUETOTHE FRONT CURVATUREWHICH MIMICKEDTHE DESIGNS OF
NEW AERODYNAMICS OFTHETIME.
High Gloss finish.
Use of contrasting colors could be laquer or glass and wood.
Aerodynamic front shape, curvilinear with horizontal lines.

FRENCHVARIATION OF “ART NOUVEAU” FURNITURE STYLE: THIS STYLE TAKES
INTO CONSIDERATION THEVIEWERS EXPERIENCE AS WELL ASTHE FUNCTION OF
THE PIECE. THE CURVILINEAR LINES, FLOWERY MOTIFS, ANDTHE USE OF EXOTIC
HARDWOODS ARE CHARACTERISTICS OF THISTYPE OF FURNITURE. RESPONSE
TOTHE INDUSTRIAL REVOLUTION.
Bird wings or around the edges of furniture. Usually doves or
sparrows.
Curvilinear shapes, graceful, and delicate. High craftsmanship.
Flat decorative patterns, usually leaf and tendril.
Use of exotic hardwoods such as oak, teak and walnut.

FRENCHVARIATIONOFTHE “ART NOUVEAU” STYLE FURNITURE: THIS IS AN
EXAMPLEOF COMBINING GOTHIC EXTRAVAGANCEWITHTHE SPARE ELEGANCE
OF JAPANESE DÉCOR. CRAFTMANSHIP IS SEEN INTHE INTRICATE CARVINGSAND
BLOCK INLAYS INTHE PIECE. THE DESIGN IS CENTEREDAROUNDTHE FUNCTION
OFTHE PIECE OF FURNITURE. (ART NOUVEAU,WEB)
Intertwined organic forms, that are curvaceous .
Flat decorative patterns, leaf or tendril patterns.
Bird wings or around the edges of furniture. Usually doves or
sparrows.
Craftmanship with the use of exotic hardwoods.

ART DECO: CONTRAST OF MATERIALS,GEOMETRIC
SHAPES,WITH SOME CURVATURE.
Use of iron hardware. New materials
Geometric shapes with inlays
Linear shapes with curvature.
Exotic woods.

ART NOUVEAU,VIENNA SECESSION: IT STILL HASTHE CURVILINEAR LINESOFTHE ART NOUVEAU MOVEMENTWITH
OUTTHE ORNAMENTATION.THERE ISAN EXAGGERATED HEIGHT SEEN INTHE HORIZONTAL LINESALONGWITH AN
APPARENTAWARENESSOF NEGATIVE SPACE. ( COMMON CHARACTERISTICS,WEB). THESE PIECESARE MUCH
SIMPLERTHANTHEIR FRENCH COUNTERPARTS FROMTHE ART NOUVEAU ERA.
Curvilinear lines
Apparent awareness of negative space.
Straight Lines.
The vertical lines of create an exaggerated sense of
height.

WORKS CITED/IMAGES CITED
 “Art Nouveau Characteristics, History of Curvilinear Design Movement.” Encyclopedia of Arts
History. 2016. Web. 2 October 2016. <http://www.visual-arts-cork.com/history-of-
art/art-nouveau.htm>
 “What are the common characteristics of Art Nouveau Furniture?” wiseGEEK. N.d. Web. 2
October 2016. http://www.wisegeek.com/what-are-the-characteristics-of-art-
nouveau-furniture.htm

ART MODERNE: AMERICAN ART DECO
INDUSTRIAL
DESIGNERS PORTFOLIO
Donald Deskey
Nicole Stebnitz
October 2, 2016
W3A2
Figure 1
Figure 2

 Donald Deskey
 Born: November 23rd, 1894: Blue Earth, MN
 Died: April 29th, 1989: Vero Beach, FL
 Studied Architecture at University of California
Berkeley. Painting at California School of
Design,The Art Institute of Chicago, and Art
Students League in NewYork. He also studied
in Paris at Ecole de la Grande Chaumi.
 While a student in Chicago and NewYork, he
worked for several advertising agencies.
 Pioneer of American Industrial Design (Donald
Deskey, Web)
TIMELINE:
• 1928: Founder of American Union of Decorative Artists and
Craftsmen.
• 1927-31: Had a joint studio with PhillipVollmer
• 1920’s: Developed Weldtex, a decorative material made of
laminated wood.
• 1930: Won competiton to design the Radio City Music Hall in
the Rockefeller Center.
• 1944: Founder/member of American Society of Industrial
Engineers
ALSO KNOWN FOR:
• Interiors
• Champion of modern art and design
• Furniture
• Textiles
• Lamps
• One of first American designers to use Fabrikoid, brushed
aluminum, and chromium plated brass
• (MCHALE, Web)

 Donald Deskey was a true pioneer in the age of art deco/ art moderne. In 1925 he visited the
“Exposition Internationale des Arts Decoratifs et Industriels Modernes” in Paris. This trade fair
played a large part in the spread of the Art Deco movement and was said to be a major catalyst in
Deskey’s style of design. (MCHALE,web). He had varied life experiences early on along with his
exposure to modern art brought him to the design of it. He crossed many design areas, from
exterior architecture, textiles, furniture, artwork, interior design and packaging. He came up with
building designs that branded the business that was inside. One famous quote of his was “A
storefront is a label.” He believed that what you designed on the outside should represent who you
are. He also believed that you needed to figure out what the problem was and come up with a
solution. There wasn’t such a thing as an invention. He stated “There is no such thing as an
invention; there’s just the stating of a problem and the engineering of a solution.” (Muente, Web)
His entire career exemplifies this statement. He founded organizations, led new art movements,
and was able to design just about anything.

ART MODERNE: AMERICAN ART DECO
Figure 3: Donald Deskey:Table Lamp. Designed 1927-28;
Made 1927-31. NewYork. Credit Line: John Axelrod Collection
Stepped Geometrical Shapes: Pointed
triangular edges, Abstract.
Silver Plated Brass: Modern elements
of Art Moderne
Glass: Modern elements ofArt
Moderne
This is a perfect example of Art moderne with the stepped risers and
sharp rectilinear lines. The use of new materials and technology.

ART DECO: ART MODERN: BAUHAUS STYLE
Figure 4: American Deco step-back dental supply cabinet; Designer: Donald
Deskey: Manufacturer The Hamilton Co. Ca. 1930’s
Streamlined metal handle pull
Smoked glass: use of modern materials
2 Drawers have white enameled folded
sheet steel interiors
Bauhaus: Clean Lines, unadorned
Walnut wood with varnished finish
Figure 5

ART DECO: ART MODERNE
(STREAMLINED MODERNE)
Figure 6: Armchair. Model No. 4517. ca. 1933. Donald Deskey.
Bold Color
Curved Edges
Aerodynamic shape
Lifted off of floor. Also last phase of art deco
movement. Mass produced.
Mahogany and fabric upholstery

ART DECO: ART
MODERNE
Figure 7: Rare Room Divider. Donald Deskey. Painted Canvas.
Ca. 1920-1929 78 x 36”
Geometric Shapes
Bold Color, Simplistic, Minimalistic
Use of modern material:Aluminum leaf

ART DECO
Figure 8: Art DecoTable: Ca 1930’s
Copper Legs: Modern Material
Leather
Simplistic, no ornamentations.

DONALD DESKEY: INTERIOR DESIGNER: ART DECO
Figure 7: Bedroom of Mrs. John D. Rockefeller, Jr.
Figure 8: Radio City Hall
Giant sunburst seen here is a
prevailant characteristic of art
moderne style architecture.
The room above is filled with
elements from the art deco
movement.

FIGURE CITATIONS
FIGURES
 Figure 1: “Donald Deskey.”, art DIRECTORY. n.d. Image. 2 October 2016. <http://www.donald-deskey.com/>
 Figure 2: MCHALE,Gary. “Donald Deskey.” Art Deco Designers. 6 October 2009. Image. 2 October 2016. <http://art-deco-
designers.blogspot.com/2009/10/donald-deskey.html>
 Figure 3: MCHALE,Gary. “Donald Deskey Table Lamp 1927.” Art Deco Designers. 6 October 2009. Image.. 2 October 2016. <http://art-deco-
 Figure 4: “Art Deco Hamilton Donald Deskey Walnut Dental Cabinet.” 1st dibs. N.d. Image. 2 October 2016. <https://www.1stdibs.com/furniture/storage-case-
pieces/cabinets/art-deco-hamilton-donald-deskey-walnut-dental-cabinet/id-f_1102544/>
 Figure 5: “Art Deco Hamilton Donald Deskey Walnut Dental Cabinet (MR12702).” metroretrofurniture.com. N.d. Image. 2 October 2016.
<http://www.metroretrofurniture.com/cgi-bin/store.pl?item=12702&cameFrom=527>
 Figure 6: “Armchair, Model No. 4517, ca. 1933.” ARTNET. N.d. Image. 2 October 2016. <http://www.artnet.com/artists/donald-deskey/armchair-model-no-4517-
Dhhkrfm7-j3AOOXBSA9RjQ2>
 Figure 7: “Rare Room Divider, ca. 1920-1929.” ARTNET. N.d. Image. 2 October 2016. <http://www.artnet.com/artists/donald-deskey/rare-room-divider-
Jjsr0sqUDd9icwBl_NPFtg2>
 Figure 8: “Art DecoTable.” 1st dibs.N.d. Image. 2 October 2016. <https://www.1stdibs.com/furniture/seating/ottomans-poufs/round-art-deco-leather-copper-ottoman-side-
coffee-table-donald-deskey/id-f_5457503/>
 Figure 9: Anthony and Chris. “The Bedroom of Mrs. John D. Rockefeller Jr.” Driving for Deco. 23 November 2015. Image. 2 October 2016.
http://www.drivingfordeco.com/happy-birthday-donald-deskey/
 Figure 10: Anthony and Chris. “Radio City Hall.” Driving for Deco. 23 November 2015. Image. 2 October 2016.
<http://www.drivingfordeco.com/happy-birthday-donald-deskey/>

WORKS CITED
 “Donald Deskey.” art DIRECTORY, n.d. Web. 2 October 2016. <http://www.donald-deskey.com/>
 MCHALE, Gary. “Donald Deskey.” Art Deco Designers, 6 October 2009. Web. 2 October 2016. <http://art-deco-
 Muente,Tamera Lenz. “The Creatively Conscious Donald Deskey.” CityBeat, 19 January 2016. Web. 2 October 2016.
<http://www.citybeat.com/arts-culture/visual-arts/article/13012658/the-creatively-conscious-donald-deskey-review>

ASSIGNMENT 1: FURNITURE
SKETCHBOOK: COMPARING AND
CONTRASTING FURNITURE AND
ARCHITECTURE
Nicole Stebnitz
INTA207: Faculty Sheri Connor
October 4, 2016
W4A1

GerritThomas Rietveld
 DutchArchitect, Painter, and Furniture Designer.
 Born in 1888 and Died in 1964
 Son of a carpenter
 Studied night courses and learned hands on.
 Had a furniture workshop in Utrecht
 One of the founders of “De Stijl”: they wanted to reach
the “greatest objectivity and autonomy in a work of art”
(Art Directory, web). Their works did not represent any
single thing, they were broken down to a very basic
arrangement of geometrical shapes in horizontal and
verticals. The color palette was made up of primary colors
(red, yellow, and blue), and added black and white. They
used this for 2 dimensional and 3 dimensional work.
 This will be seen in the following sketches showing his
work.

Schroder House, 1925
Comparison: The use of primary
colors: Blue being the one he used
in both of these.
Comparison: The use of modern
materials: The one used in both of
these is steel.
Contrast: There is no use of wood
on the exterior of this structure.
The chair seat is made of wood.
Contrast: In the Chair there is a
curvilinear element in the legs
whereas the exterior of the home is
all straight lines and no curves

Beugel Stoel, 1927
Painted bentwood and tubular steel
Metz & Co. (Manufacturer)
Contrast: Here is the curvature in
line that you see in the base of the
chair legs as well as in the seat itself.
Comparison: The use of primary
colors: Blue is seen here in the seat
as well as the seat in the exterior of
the house.
Comparison: The use of modern
materials: The one used in both of
these is steel.
Contrast: There is more use of
negative space in this piece

ANALYSIS
Both of the above works show the style that Rietveld was known for; “De
Stijl” (The style). They both use primary color in them and the house also
uses grey, white and black. The very prominent line in the house seen by
the use of geometrical elements also shows this style. The use of modern
materials, such as metal, glass, and concrete also were elements that would
be seen during this time.
The chair was actually designed for the Schroder house along with the chair
are both perfect example of the style of architecture and furniture found
during this era. They are built with lines that are straight and clean, employ
the use of shiny materials such as metal (the chair has a laquer finish), and
abstract geometric shapes. This style is in close relation with the Bauhaus
style that did not want to use themes from nature. The chair was designed
to go into the Schroder house for visual balance. Rietveld said that “no part
dominates or is subordinate to the others.” (artsy, web)

Works Cited
IMAGES
• Figure 1: “GerritThomas Rietveld.” art DIRECTORY. N.D. Image. 4 October 2016. <http://www.gerrit-thomas-rietveld.com/>
WORKS CITED:
“GerritThomas Rietveld.” art DIRECTORY. N.D. Web. 4 October 2016. http://www.gerrit-thomas-rietveld.com/
Galerie VIVID, “GerritThomas Rietveld.” arsty. N.D. Web. 4 October 2016. https://www.artsy.net/artwork/gerrit-thomas-rietveld-
beugel-stoel-1

BAUHAUS
BRUTALSIM
DE STIJL: DUTCH DESIGN MOVEMENT
MODERNISM
DESIGNERS PORTFOLIO
Marcel Breuer
Architect/Furniture Designer
Nicole Stebnitz
October 7, 2016
W4A2
Figure 1

 Marcel Breuer
 Born: Pecs, Hungary: May 21st, 1902
 Died: 1981
 Studied for six months at the Art Academy inVienna. Didn’t like the eclectic style of mixing various
furniture styles from different eras so he enrolled at the new Bauhaus school which was located in
Wienar at that time.
 1925: His interest in standardized, inexpensive furniture led him to design the first chromium plated,
bent steel, tubular furniture
 1928: Huge year for him. He was commission to design the furniture for the new Bauhaus school
which moved to Dessau. This led to his design of the S-Shaped cantilevered Chair which was the
most widely used commercial chair in the world.

 Marcel Breuers design came mostly from his training at the Bauhaus School. He started out at the
Art Academy inVienna but didn’t like the mixture of different styles from different eras. Once at
the Bauhaus school he took a great interest in the new modern ideals and elements of design.
(Yatzer, Web). He would start out using new man-made materials for his furniture design and
eventually get into using these ideals to design architecture in the United States. He was forced to
flee Germany where once againWalter Gropius (from the Bauhaus School) would play a role.
Gropius asked Beuer to come to the United States where Gropius was the chairman of the
architecture department at Harvard University. Breuer joined him there and along with some other
Bauhaus collegues formed an architectural partnership in Cambridge. Eventually he would set up
his own practice where he was commissioned to design manyAmerican Universities. Some of his
work was on the Brutalist side, using concrete and creating structures that were heavy looking and
ugly to some. He also integrated the International style with native materials. Overall his design
ideals started with the Bauhaus school and he took those ideas and ventured into Stijl, brutalist,
and international style architecture and furniture. (Encyclopedia.com, web)

DE STIJL MOVEMENT FURNITURE
Figure 2: B3 Chair: Marcel Breuer: 1927
Steel components: Use of modern
materials
Straight lines
Geometric shapes
Use of primary colors: Blue is used in
this chair.

MODERNISM: BAUHAUS STYLE
Figure 3: Marcel Breuer Bauhaus Desk byThonet. Designed in 1935.
Streamlined metal handle pull: Functional
Design
Use of modern materials: steel tubular
White Laquered ash with visible wood
texture.
Bauhaus: Clean Lines, unadorned

MID-CENTURY MODERNIST
Figure 4: Marcel Breuer bent ply long chair. Ca 1964 birch ply and
leather
Combination of man-made and natural
materials
Comfort along with biomorphic forms
Simple lines, geometric pattern
Aesthetic contrasts and emphasis on
texture.
Emphasis on function and affordability

MODERNISM: BRUTALIST
Figure 5: Begrisch Hall, the “University Heights” campus at NewYork University, N.Y.
(1967 -1970, with Hamilton P. Smith and Robert Hatje.)
Concrete: Heavy almost ugly.
Unusually shaped Building
Assymetrical Design elements.

MID CENTURY MODERN
Figure 6: House Breuer II, New Canaan Connecticut, 1947 -
198.
Use of man-made and natural
materials (Glass, wood and
concrete)
Bring the outdoors in with the use of
glass.
Simplistic, functional, geometric
lines.

MODERNIST: BRUTALISM
Figure 7: Breuer Central Library Atlanta
Geometric design
Big and heavy design with the
use of concrete:

FIGURE CITATIONS
FIGURES
 Figure 1: “Marcel Breuer (1901 -1981): Design andArchitecture.” yatzer. N.d. Image. 7 October 2016. <https://www.yatzer.com/Marcel-Breuer-design-
architecture>
 Figure 2: Thomas Dix-Vitra Design Museum archives, Weil am Rhein. “Marcel Breuer (1901-1981): Design andArchitecture.” yatzerr. N.d. Image. 7 October
2016. https://www.yatzer.com/Marcel-Breuer-design-architecture
 Figure 3: “Marcel Breuer Bauhaus Desk.” 1stdibs. N.d. Image. 7 October 2016. https://www.1stdibs.com/furniture/tables/desks-writing-tables/marcel-breuer-
bauhaus-desk-thonet/id-f_4515223/
 Figure 4: “Armchair Marcel Breuer LongChairVintage Rare Modernist Chaise, circa 1964.” 1stdibs. N.d. Image. 7 October 2016.
https://www.1stdibs.com/furniture/seating/chaise-longues/armchair-marcel-breuer-long-chair-vintage-rare-modernist-chaise-circa-
1964/id-f_4113203/#0
 Figure 5: : “Marcel Breuer (1901 -1981): Design andArchitecture.” yatzer. N.d. Image. 7 October 2016. <https://www.yatzer.com/Marcel-Breuer-design-
architecture>
architecture>
architecture>

WORKS CITED
 Yatzer. “ Marcel Breuer (1902-1981): Design and Architecture.” Yatzer. N.d. Web. 7 October 2016.
<https://www.yatzer.com/Marcel-Breuer-design-architecture>
 Encyclopedia ofWorld Biography. “Marcel Breuer.” Enclycopedia.com. N.d. Web. 7 October 2016.
<http://www.encyclopedia.com/people/literature-and-arts/architecture-biographies/marcel-breuer>

ASSIGNMENT 1: FURNITURE
SKETCHBOOK: RECREATING DESIGN
STYLE
Nicole Stebnitz
INTA207: Faculty Sheri Connor
October 11, 2016
W5A1

FRANCO ALBINI
 MODERNIST/ NEO-RATIONALIST.
 Born: 1905 Died 1977
 Italian designer. Was a prominent figure in the Neo-
Rationalist Movement
 Worked in architecture, furniture, industrial, and
museum design.
 Received his degree in architecture from the
Politecnico de Milano in 1929.
 1931: Set up his own practice
 Was very involved in workers’ housing and helped with
reconstruction projects after the war
 1940’s: Collaberation with Cassini led to his signature
chair designs.
 Received many honors because of his contributions to
culture. (Cassina,Web)
Figure 6

Images of
Inspiration
Figure 1
Figure 3
Figure 2
Figure 4
Figure 5

Sketches: First
sketches before final
design.
Both sketches were based on Neo-
Rationalist elements. This includes the use
of modern materials, geometrical shapes,
and designing based on the function of the
piece of furniture. It also adds some
classical features but simplified, like a
column but without the ornamentation.

TABLE: FINAL DESIGN
The feet include the classical
columnar look with a modern twist
and no ornamentation.
SMOKEDGLASSTABLETOP: This is
the use of modern materials.
GEOMETRICAL SHAPES: Use of
rectilinear elements to create
balance yet still simplistic.
TUBULAR STEEL FRAME:
Combines the function of holding
the glass, use of modern materials
as well as painting them for a
modern look.

Discussion of Design
Neo-rationalism comes from the earlier movement during the 18th century. The
Enlightenment Architectural Rationalism had elements that were symmetrical,
had accurate measurements of classic shapes, and functionality. Neoclassicism
was a reaction to the extravagant and excessive styles of Baroque and Rococo.
This was actually an extension of the Rationalist movement of the 18th century.
Its designs had columns that were for support, had geometrical shapes,
symmetrical, and minimalistic. The later movement as seen above known as
Neo-rationalist, was also a part of the modern movement. It still held the same
ideals and elements but because of the industrial revolution new materials were
introduced like glass, steel, and iron. (Archgreentecture, web).Albini designed
furniture that was functional, and aesthetically pleasing, but was also affordable
for everyone to buy. He also had comfort in mind as well. The table I designed
incorporates all of the elements that would have been found during this
movement. I used the inspiration images to employ different aspects of Albinis’
desings.

Works Cited
IMAGES
• Figure 1: “Franco Albini.” Daniella on Design. 17 August 2014. Image. 11 October 2016.
<http://www.daniellaondesign.com/blog/franco-albini>
• Figure 2: “Franco Albini Stadera Desk for Cassini.” Bonluxat. N.D. Image. 11 October 2016. <http://www.bonluxat.com/a/franco-
albini-stadera-desk.html>
• Figure 3: Ryan, Melanie. “Metropolis Mag: A Masterful Effort.” Brian Kish Inc. Oct 2008. Image. 11 October 2016.
<http://briankish.com/information/press/#axzz4MprZJcLA>
• Figure 4: “Franco Albini Tre Pezzi lounge chairs, pair.” icollector.com Online Collectibles Auctions. N.D. Image. 11 October 2016.
<http://www.icollector.com/Franco-Albini-Tre-Pezzi-lounge-chairs-pair_i8513509>
• Figure 5: “Albini Desk.” Knoll. N.D. Image. 11 October 2016. <http://www.knoll.com/product/albini-desk%3Fsection=Design>
• Figure 6: DA. “Franco Albini.” 3 April 2015. Image. 11 October 2016. <http://www.designaddict.com/atlas/designers/Franco-
Albini>
WORKS CITED:
“Rationalism in Architecture.” Arcgreentecture. 23 January 2014. Web. 11 October 2016.
<https://archgreentecture.wordpress.com/2014/01/23/rationalism-in-architecture/>

AMERICAN AND INTERNATIONAL
MODERN STYLES
MID CENTURY MODERN FURNITURE
JAPANESE CRAFT TRADITIONS
BAUHAUS
AMERICAN CRAFT MOVEMENT
DESIGNERS PORTFOLIO
George Nakashima
Architect/Furniture Designer
Nicole Stebnitz
October 11, 2016
W5A2
Figure 1

 Marcel Breuer
 Born: Spokane,Washington: May 24th, 1905
 Died: New Hope, Pennsylvania: June 15th, 1990
 Furniture Maker,Architect, Artist,Teacher, PeaceActivist, Essayist.
 Graduated from the University ofWashington-Seattle with a degree in architecture in 1929.
 Received a scholarship to study in France at the EcoleAmericaine des Beaux Arts in 1928
 Graduated from MIT with a Masters inArchitecture in 1930. ( He started at Harvard but they focused on
Bauhaus and he thought the approach they took to this style was too theoretical and wanted a strong
foundation in engineering. (McAndrews, web).
 Traveled extensively
 1937 to 1939: Was on site supervisor for the first concrete reinforced structure in India. This was the dormitory
at the ashram of Sri Aurobindo in Pondicherry,Tamil Nadu India. This was were he became a disciple of
Aurobindo and is a major influencer for his design approach and philosophies.

 George Nakashima was very much into spirituality and nature. This came about mainly from his
time at the construction site of the dormitory of Sri Aurobindo in India. He believed that nature is
at the root of everything. He also believed in the craftsmanship of his work. From 1942 to 1943,
him and his immediate family were sent to Camp Mindoka in Hunt Idaho. While he was there he
met Gentauro Hikogawa who taught him traditional Japanese carpentry. This was a major factor in
his philosophy of craftsmanship in his work and how important it is. Durning the 1950’s and 60’s he
was very successful in designing pieces that were associated with the Arts and Crafts movement in
America. He used large pieces of wood and used the natural beauty of burls, knots, and grain of the
wood to create natural looking pieces. He only created furniture for two commercial companies as
he did not like mass produced products. He believed it took away from the craftsmanship, but did
try to build pieces for those companies that included craftsmanship and could be mass produced.
(McAndrews, web.) His schooling, travels, and personal experiences led to a design that is modern
and functional, with attention to every detail that is put into building it, and focusing on using
elements of nature in their design. He was a designer that put a unique spin on Modern and
International styles of furniture, architecture, and art.

MID CENTURY MODERN
ARTS AND CRAFTS
Figure 2: George Nakashima Captains Chair: 1969; Walnut
Craftmanship: Hand-made and finished.
Get away from industrialization.
Spindles
Carved wood seat
Spindle legs

MID-CENTURY MODERN
Figure 3: George Nakashima Mingren CoctailTable: 20th Century, Walnut
Smooth surfaces that have no decoration
Radical simplification of form
Use of walunut
No Ornamentation

MID-CENTURY MODERNIST
Figure 4: Pair of George Nakashima Lounge Chairs: 1951, Walnut
Function and comfort
Simple lines, no ornamentation.
Craftmanship, Hand carved

MID-CENTURY MODERN
ARTS AND CRAFTS
Figure 5: George Nakashima Conoid DiningChairs: ca. 1969. Walunt
Spindles
Resistance to mass production by means
of craftsmanship in the carving and
building the furniture piece.
Use of walnut wood.
Figure 5

MID CENTURY MODERN
Figure 6: George Nakashima Plank Daybed: 1959, Walunt
Simple forms Rectilinear shapes.
Very representational of Nakashima
design with the use of nature and the
rough natural edges and natural look
of the wood.
Functional

INTERNATIONAL STYLE/TRADITIONAL JAPANESE
ARCHITECTURE
Figure 7: The Arts Building: George Nakashima. 1946-54. This is the house which also has a
workshop where Nakashima lived and worked. New Hope, Pennsylvania.
Use of modern new elements
such as glass, concrete, and
steel.
Assymetrical design with
geometrical shapes and
patterns
Created a space that is
harmonious with nature

FIGURE CITATIONS
FIGURES
 Figure 1: “George Nakashima Quotes.” AzQuotes. N.D. Image. 11 October 2016. <http://www.azquotes.com/author/28966-George_Nakashima>
 Figure 2: “George Nakashima Studio CaptainsChair.” 1stdibs. N.D. Image. 11October 2016. <https://www.1stdibs.com/furniture/seating/chairs/george-
nakashima-studio-captains-chair/id-f_5376983/#0>
 Figure 3: “ George Nakashima MingurenCocktailTable.” 1stdibs. N.D. Image. 11 October 2016. < https://www.1stdibs.com/furniture/tables/coffee-tables-
cocktail-tables/george-nakashima-minguren-cocktail-table/id-f_2451142/>
 Figure 4: “Pair of George Nakashima Walnut LoungeChairs.” 1stdibs. N.D. Image. 11 October 2016. <https://www.1stdibs.com/furniture/seating/lounge-
chairs/pair-of-george-nakashima-walnut-lounge-chairs/id-f_5131823/>
 Figure 5: “George Nakashima Conoid DiningChairs circa 1969.” 1stdibs. N.D. Image. 11 October 2016. <https://www.1stdibs.com/furniture/seating/dining-
room-chairs/george-nakashima-conoid-dining-chairs-circa-1969/id-f_1222986/>
 Figure 6: “George Nakashima Plank Daybed.” 1stdibs. N.D. Image. 11 October 2016. <https://www.1stdibs.com/furniture/seating/day-beds/george-nakashima-
plank-daybed/id-f_5323663/>
 Figure 7: “George Nakashima Woodworker Complex New Hope, Pennsylvania.” nps.gov. N.D.Web. 11 October 2016.
<https://www.nps.gov/nr/travel/asian_american_and_pacific_islander_heritage/George-Nakashima-Woodworker-Complex.htm>

WORKS CITED
 McAndrews, Deidre. “Nakashima, George, Katsutoshi.” Pennsylvania Center for the Book. 2008. Web. 11 October 2016.
<http://pabook2.libraries.psu.edu/palitmap/bios/Nakashima__George.html>

INDUSTRIAL DESIGNER
CONTEMPORARY
MID-CENTURY MODERN
MINIMALIST
DESIGNERS
PORTFOLIO
RON ARAD
Nicole Stebnitz
October 18, 2016
W6A1
Figure 1

• Born: April 24th, 1951: Tel Aviv, Still Living
 Attended: Bezalel Academy of Art and Design in Jerusalem. In 1973 he moved to London and enrolled at the Architectural Association.
Here he studied architecture under Peter Cook and BernardTschumi.
 Graduated in 1979
 1981: In collaberation with CarolineThorman started his own design and production company called One-Off. They fused together
partially ready and ready-made pieces.
 1983: Launched One-Off Showroom in Convent Garden.
 1990’s: Developed new ideas using welding, beating steel, and forging materials to form rigid and rough shapes.
 2008: Established Ron Arad Architects
 1997 to 2009: Served as the Professor of Design Product at the Royal College of Art in London.
 Has done museum shows, two of which are “No Discipline” tour and “Restless”.
 2002: Awarded the Royal Designer for Industry (RDI) for his “sustained excellence in aestetic and efficient design for industry.”
 2011: Awarded the London Design Week Medal for “design excellence”.
 2013: Made a Royal Academician of the Royal Academy of Arts. (Famous Architects, Web)

 Ron Arad is a designer that uses new technology to create furniture pieces. His first big break was
with the Rover chair. In an interview with Ben Hobson he stated: “I picked up this Rover seat and I
made myself a frame and this piece sucked me into this world of design.” (Hobson, web.) He loves
to design pieces with metal and use new processes and technology that is available to see what he
can create. He also takes some pieces that are man made and puts them together with pieces that
are ready made. Although he didn’t aspire to become an architect when he was young, it was in his
blood. Both of his parents are artists and his mother wanted him to become an architect. While he
didn’t start out either thinking about the environment, the Rover chair was the perfect example of
repurposing something to create something else. He is an industrialist designer that creates pieces
that are comfortable, sleek, and futuristic. This is seen in the design and the types of materials that
he uses.

MID-CENTURY MODERN/MINIMALIST
Figure 2: Ron Arad: Rare red lacquerVoido pair of chairs:
Plastic. 1990’s
Sleek futuristic design.
The curvilinear shape and flat surface.
Red was a popular color used in chairs.
Minimalistic furniture pieces often
used lacquer and plastic.

MODERN
Figure 3: Ron Arad: Raviolo Lounge Chair. 2011. Rotational-molded
polyethylene.
Continuous line for a sleek look.
Looped ribbon for a futuristic looking effect
Bright Colors
Rotational-molded polyethylene use of new
technology.

POST
MODERNISM/MINIMALIST
Figure 4: Ron Arad. Rover Chair. 1981.
Broken down to bare essentials.
Upholstered seat from Rover vehicle
Use industrial materials, here the legs and
arms are a tubular steel frame
Single cushion.
Designed with the end use in mind while
also repurposing materials.

MODERN/INDUSTRIAL
Figure 5: Ron Arad. TomVac Chair. 1999
Vacuum shaped aluminum: Use of new
technology and process to make it.
Futuristic Design.
Use of modern material:Aluminum leaf
Mass manufactured and stackable.

MODERN/ INDUSTRIAL
Figure 6: Ron Arad. Moroso Orange MisfitsCentral 1
Modular Sectional Sofa Unit. Italy. 2000-2009
Mass produced.
Designed for comfort
Simplistic design somewhat abstract.
Bold Color.

INDUSTRIAL/MODERN
Figure 7: Bedroom of Mrs. John D. Rockefeller, Jr.
Figure 8: This room exhibits bare materials. The
exposed wood and concrete ceilings and flooring
as well as the exposed beams of the exterior.
Figure 7: Design Museum Holon: RonArad Architects..
2010 This building uses the classic elements of modern
design with an industrial flair. The sleek curvature of the
lines and the bold color create a building that is fun to
look at. The 5 bands that make it up are made of Corton
Steel.

FIGURE CITATIONS
FIGURES
 Figure 1: “RonArad.” FamousArchitects. N.D. Image. 18 October 2016. <http://www.famous-architects.org/ron-arad/>
 Figure 2: “Rare Red LacquerVoido Pair of Chairs by Ron Arad.” 1stdibs. N.D. Image. 18 October 2016. <https://www.1stdibs.com/furniture/seating/chairs/rare-
red-lacquer-voido-pair-of-chairs-ron-arad/id-f_5551633/>
 Figure 3: “Pair of Raviolo Chairs by RonArad.” 1stdibs. N.D. Image. 18 October 2016. <https://www.1stdibs.com/furniture/seating/lounge-chairs/pair-of-raviolo-
chairs-ron-arad/id-f_4483833/>
 Figure 4: Hobson, Ben. “Rover Chair by Ron Arad.” dezeen. 5 August 2014. Image. 18 October 2016. <http://www.dezeen.com/2014/08/05/ron-arad-rover-
chair-sucked-me-into-the-world-of-design-dezeen-book-of-interviews/>
 Figure 5: Hobson, Ben. “TomVac Chair by RonArad.” dezeen. 5 August 2014. Image. 18 October 2016. <http://www.dezeen.com/2014/08/05/ron-arad-rover-
chair-sucked-me-into-the-world-of-design-dezeen-book-of-interviews/>
 Figure 6: “Moroso Orange Misfits central 1 Modular sectional Sofa Unit.” 1stdibs. N.D. Image. 18 October 2016.
<https://www.1stdibs.com/furniture/seating/chairs/moroso-orange-misfits-central-1-modular-sectional-sofa-unit-ron-arad-italy/id-
f_5025673/>
 Figure 7: “Design Museum Holon / RonArad Architects.” Arch Daily. 9 November 2010. Image. 18 October 2016. < http://www.archdaily.com/87173/design-
museum-holon-ron-arad-architects>
 Figure 7: “Design Museum Holon / RonArad Architects.” Arch Daily. 9 November 2010. Image. 18 October 2016. < http://www.archdaily.com/87173/design-
museum-holon-ron-arad-architects>

WORKS CITED
 “Ron Arad.” Famous Architects. N.D. Web. 18 October 2016. <http://www.famous-architects.org/ron-arad/>
 Hobson, Ben. “Ron Arad: The Rover chair sucked me into the world of design.” dezeem. 5 August 2015. Web. 18 October
2016. <http://www.dezeen.com/2014/08/05/ron-arad-rover-chair-sucked-me-into-the-world-of-design-
dezeen-book-of-interviews/>

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