History of Interior Design-Pilar Uribe Donatiu-Home of the Future

In this era, the importance of creating futuristic designs became the most important thing. In 1955 the concept of “Home of the Future” (by Alison & Peter Smithson 1955-1956) was created due to the need of breaking with the idea of the traditional house. They tried to make modular houses that could be easily put into communities and several prototypes were made.

New materials and new concepts were introduced. They were taking into account new concepts like new ventilation systems, the right to have a private interior garden included in your house and even the concept of sustainability when constructing new houses, for example a system that could collect water from the rain for personal use. Rooftop made of aluminium foil to reflect the sunlight, the shell made of moulded plastic-impregnated plaster. Almost everything in the house was made of plastic, including translucent walls and chairs. The electric power was taken from a nearby atomic power station. Related with the ventilation, the house was entirely air-conditioned and warmed by radiant heating in the floor. The electronic equipment was controlled by a short-wave transmitter with push buttons.

They also took into account the circulation in the space, the use each area had and other points that are nowadays something we take for granted.

New shapes appeared, most of them with organic features, new concepts of furniture like tables that could be hidden after their use or even couches and seats designed with ergonomics, something new for that time.

The presence of gardens inside the house created a new concept that was “Nature being a part of the house”.  New materials that appeared and were used for these houses came from prefabricated processes. They all had very futuristic designs in general.

When the prototype house was ready, they hired various actors and actresses to pretend they lived in the house. They wore clothes specially made for them to fit the ideal of the inhabitants who would live in this kind of houses.

Most of the people adapted to this movement but the others went back to other movements due to the nostalgic feeling they had in relation to the handicraft movements.

All in all, I think that the main idea of this house was a big step for design. The new way of thinking how a house works, its areas, uses and circulation became something to take into account. Moreover, having a garden inside, or even the fact of having a small piece of nature in your house, was a new concept that we take for granted nowadays but back then was something completely new, taking into account that these houses would be in communities that would later on form a city.

The silver factory by Andy Warhol

The silver factory

The silver factory was not only a space but a story that became history. 

Andy Warhol created this studio as a sanctuary for people of his kind. People looking for avant-garde ideas such as painters, writers or photographers. They were all looking for a place to express their creativity without any process, to become free of expression without any judgments. 

To me, this factory became a central point for Pop Art in the United States, it became the historical place where the pop artists had to be or go through out their lives. 

It became the church of Catholics, the mosque of Muslims and the synagogue for Jews.

In my point of view, the silver factory gave the impression of a travel to the space. The aim of Andy Warhol was probably to have this feeling of being in the stars or even touching them.

He created this spaceship where his mind and creativity could be floating and travelling. 

And this idea could be very much linked with the common expression "having the head in the clouds". 

As we can see in the second picture, the space was hosting many events and parties where Pop artists could share and be on the same wave.

Therefore, this is probably thanks to this space that Andy Warhol became the father of Pop Art. 

Léa Blanchard

Super socialising workspace.

The Andy Warhol’s Silver Factory is amazingly interesting example of the workspace of 60’s in POP ART movement. 

This Factory was located in New York, built in 1962 and was designed & decorated by Andy Warhol and his friend – Billy Name. Actually, the whole studio was covered with silver paint and aluminium foil. In my opinion, this space perfectly matched the pop-art artists movement, cause it was something unusual, new and crazy.

Picture 1. Billy Name and Andy Warhol.    Picture 2. Main Factory's material. Silver aluminium foil.

The Factory was more than just a place where Andy Warhol could work, he wanted this studio to be a special space, where artists can come and feel absolutely free to create and do art. Inside, everything was surrounded with inspirational atmosphere, where artists came up with new ideas, where Warhol surrounded himself with people who served him as an unlimited source of inspiration: some artists, movie stars, fellow artists, musicians, actresses, socialites, drug addicts, drag queens, free thinkers, and many others. 

                                                     Picture 3. Party at the Silver Factory.

This was a multiuser studio, where at the same moment could happen many things, in some part there was filming, in others silkscreening, meetings, drawing, creation of some prototypes, discussions, thinkings. The workspace was extremely spacious, so it was possible to work simultaneously for many people, and at the same time you could also find some privacy there, which is really great, because sometimes you need to work, think alone, whilst sometimes team is needed. Also, Warhol held parties in his studio, where he invited all his famous friends, so this workspace easily turned into a party space, which is very unusual and interesting idea of combining two absolutely different spaces together.

 Picture 4. Activities inside the Silver Factory.

I think that’s amazing how this formal idea of a workspace at 60’s, where people were supposed to work hard and a lot can turn into the idea of a space where you can work, party, play, have fun. Actually socialising is a key to successful, amazing projects, which were done in Warhol’s studio and this socialising was created by the space, because it was open, it encouraged people to be together, gave them freedom. I am very up for the idea of having fun while work – when you work hard, and at the same time you enjoy your work, having fun makes more sense and results become better and more pleasant.

Naoualcohen_20/04/2016_historyofinteriordesign

More than one third of Czechs still live in panelaks, the communist-era prefabricated houses, which were built across the country from the 1950s to the 1980s. Nowadays, many of them are in urgent need of repair. A conference called Housing Estate, What’s Next, was recently held at the Faculty of Architecture in Prague to address the future of these housing estates. Michal Kohout is one of the architects behind the project:

 

 

“These housing estates were built in the second half of the 20th century in the Czech Republic. It's a phenomenon which was definitely not limited only to this country. It took place in the whole of Europe, but this is mostly about European housing estates and in particular Central European housing estates.

“The conference is part of a larger project which aims to internationalize the theme and part of the project is supported by the Visegrad fund, because we think that the Central European countries face similar problems in their efforts to cope with these housing estates.”

Panelak housing estates are one of the most visible parts of the heritage of communism. Even though some architecturally similar buildings were built even before the war, the main boom started in the 1960's and 1970's and they continued to be constructed in massive numbers until the end of communism.

The main goal of building these uniform housing estates was to provide housing at an acceptable price for huge numbers of citizens. Panelak blocks could be considered a symbol of an ideology that emphasised material equality and a collectivist style of life and they can be seen in most of the post-communist states today. Countries whose political systems were based on liberal values and individualism on the contrary developed a housing culture based more on family houses.

The effort to create uniform housing lead to the construction of a featureless, boring environment. The design of panelaks which initially looked for inspiration in the dignified functionalism of the 20s and 30s, gradually declined from bad to worse. But in the situation of a stagnant economy where demand for housing far exceeded supply, most people were grateful at least for the mediocre standards offered by the panelaks. They got used to the new environment. A lot of the panelaks' inhabitants proved enormous creativity in transforming their flats' interiors. The absence of a garden was solved by escaping to weekend cottages or chalets, which most of the families owned in the countryside. This kind of living became popular not only among people with low incomes, but also attracted the middle class who did not have many alternatives at the time. Even today, there are well off managers as well as a number of government ministers still living in panelak housing estates.

The fall of communism changed a lot in the life of these communities. The large housing estates which used to have only a single supermarket in their centre are now equipped with huge shopping malls, including a variety of services, as well as entertainment complexes. The old monotonous grey concrete buildings are changing colour and in many cases the bare walls are even adorned with works of art.

At the moment, there is a public debate going on how to deal with these aging buildings. Unlike some other countries, the Czech Republic has rejected the expensive demolition alternative and decided to renovate them to be used in future decades. The fact that these housing estates are inhabited by people of different social backgrounds seems to be a great advantage in this case - as it prevents them from becoming social ghettos.

But even though the environment of housing estates is gradually acquiring a happier face, it will never shake off its anonymous character. The panelaks' inhabitants hardly know their neighbours. Sometimes it is a great challenge to find a person you want to visit, living in this kind of concrete labyrinth. In spite of having a new coat, the panelak housing estates will always be a reminder of the arrogance with which they substituted old small neighbourhoods and villages.

Naoualcohen_13/04/16_historyofinteriordesign

Hugo Alvar Henrik Aalto  ( 3 February 1898 – 11 May 1976) was a Finnish architect and designer, as well as a sculptor and painter. His work includes architecture, furniture,textiles and glassware. Aalto's early career runs in parallel with the rapid economic growth and industrialization of Finland during the first half of the twentieth century and many of his clients were industrialists; among these were the Ahlström-Gullichsen family. The span of his career, from the 1920s to the 1970s, is reflected in the styles of his work, ranging from Nordic Classicism of the early work, to a rational International Style Modernism during the 1930s to a more organic modernist style from the 1940s onwards. His furniture designs were considered Scandinavian Modern.What is typical for his entire career, however, is a concern for design as a Gesamtkunstwerk, a total work of art; whereby he – together with his first wife Aino Aalto – would design not just the building, but give special treatments to the interior surfaces and design furniture, lamps, and furnishings and glassware. The Alvar Aalto Museum, designed by Aalto himself, is located in what is regarded as his home city Jyväskylä.

Alto's international reputation was established by a large Hospital building the Paimio Sanatorium (1930-1933 )

He continued to be involved with furniture and other interior elements that became factory products, 
many of which are still in production

Furnitures by alvar aalto

The villa Mairea at noormarka (1938 - 41):

- blending of the order and logic of international Style thinking with a sensible, almost romantic use of natural materials and freer forms.

- connected wings placed at angles 

- the spaces are open, simple, and logical, but details are extraordinary sensitive.

- box-like interior space 

- introduction of flowing, fee-form walls.

- a wall of wood strips leaned out over.

- balcony restaurant 

- a small space whitin a larger building.

- whithin which products of finish industry could be seen in simulating setting.

PRINCIPLES THAT DEFINE ALVAR AALTO: 

- integrate harmoniously into the landscape

- wood and brick 

- functionalism and organic architecture 

- scandinavian modern 

Charles Ormond Eames Jr (1907-1978) and Bernice "Ray" Eames (1912-1988) 

Charles and Ray Eames are among the most influential designers of the 20th century. Together they moved fluidly between the fields of photography, film, architecture, exhibition-making, furniture, and product design.
The Eames Office in Los Angeles was a hub of activity where the husband-and-wife team produced pioneering designs with a boundless creativity that defined their careers.

The exhibition includes furniture, products, models, and multi-media installations, as well as personal letters, photographs, drawings, and artwork. It reveals the breadth of the Eameses’ innovative work, reminds us of their playful ideas, and provides an insight into their lives.

The exhibition was curated and produced by the Barbican Art Gallery, London, in collaboration with the Eames Office. It has been made possible through support from the Terra Foundation for American Art.

- The prince mover of such program was jonh Entenza, director of the magazine "Arts & Architecture" and some more architects like Richard Neutra, Raphael soriano, Craig Ellwood.

- It was developped between 1945 and 1966.

- The project is a two standarized volumes 

- double height spaces 

- living room / workshop

- pure basic colors 

- point out functions 

- in 1959, installed a media device in Moscow 

- hug e geodesic dome with seven screens attached to it 

- extremely fast series of slides or slideshows to present the latest US technological advances 

- the Eames slideshow focused on an image operation in which technology was shown at the service of the everyday

- space / hardware / software and images.

- DESIGN IS ALWAYS SOMEHOW RESTRICTED AND THOSE RESTRICTIONS USUALLY PRESUPPOSE AN ETHIC

Henry dreyfuss , presidential War situation Room: 

Henry Dreyfuss ( March 2, 1904 – October 5, 1972) was an Americanindustrial designer. Dreyfuss and his firm received world-wide recognition for numerous designs for a wide spectrum of consumer and commercial products, including their long-time association with the Western Electric company and the Bell System for designing telephones from the 1930s through the 1960s. His design philosophy was based on applied common sense and scientific principles and resulted in significant contributions to human factor analysis and consumer research.

- concept and development of the early situation rooms during World war II.

Philosophie and world envision:

- first environment activist.

- limited planet's earth ressources 

- ephemeralization

- wealth and richness

- technological ability 

- accomodate all growth needs of life

Barbara Stauffacher Supergraphics_Queenning Zhao

Barbara Stauffacher 

Transforming Space: Graphic Design for Walls, Buildings & Spaces

Barbara Stauffacher Solomon (born 1928) is a landscape architect and graphic designer well known for the large scale interior Supergraphics and exterior signage at Sea Ranch in Sonoma County, California. She was first trained as a dancer, then she studied graphic design and later she studied architecture as well.

The history of Supergraphics would be different if it were not for Barbara Stauffacher Solomon. Barbara pioneered the use of Supergraphics ( big graphics that are applied with vibrant colors, usually in geometric shapes, over walls or floors and ceilings to make the illusion of altered space).

In an interview Barabara said:

 

"For me Supergraphics was an opportunity to be an artist again, to paint on big white walls, from wall to wall, and from wall to ceiling, and to do what I wanted to do without the daily office grind of clients telling me what they wanted from me. Charles Moore talked and wrote of Supergraphics being the deconstruction of the white walls of Modernism, the beginning of Post-Modernism – but he did this only after I'd painted my stuff on his walls at The Sea Ranch.”

Exterior of the Sea Ranch

Interior of Sea Ranch

I personally think the introduction of graphic design into architecture is quite an interesting combination and transformation of the space. Barbara took the 2D to a new dimension and blurred the boundaries between the 2D and the 3D world. The interdisciplinary always gives new perspectives to things and enriches it. The process of the combination is also one of a complementary. 

Julius Shulman: The Man Behind the Lens_Queenning Zhao

Julius Shulman: The Man Behind the Lens

Julius Shulman (1910 – 2009) was an American architectural photographer. He captured the image that would represent modern architecture in Los Angeles during the 20th century. His work was contained in virtually every book published on modernist architects.

Shulman's work went well beyond merely taking beautiful pictures of houses and buildings. His mission was to use his photography to build the reputation of the architects who were bringing innovative design to the West. His photographs were, by and large, all that most people would ever see of noted architects’ works. With his photographs of homes and buildings it brought fame to a number of mid-20th century modernist architects.

Chuey House 1958 - Richard Neutra

Kaufmann House 1947 - Richard Neutra

Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times. The brilliance of buildings like those by Charles Eames, as well as those of his close friends, Richard Neutra and Raphael Soriano, was first brought to light by Shulman's photography.

The clarity of his work demanded that architectural photography had to be considered as an independent art form. Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.

case study #21

case study House #22 -Pierre Koenig

case study #22 (daytime pool)

He is perhaps best known for his photograph Case Study House #22, 1960, the architect being Pierre Koenig. 

Case Study Houses was a residential experiment sponsored by the Arts & Architecture magazine, introducing the modern movement ideas for affordable and efficient housing during the post-war years in the US.

The incredible photos of these houses reflected more than just pure architecture, it was displaying a lifestyle. He made the architecture seem complete together with the sense of life.

The Demountable House (Jean Prouvé)_Queenning Zhao

The Demountable House

Jean Prouvé (1901 – 1984) was a French metal worker, self-taught architect and designer. He is also designated as "constructor". His main achievement was transferring manufacturing technology from industry to architecture, without losing aesthetic qualities. Jean Prouvé  (functionalist) developed the system of assembling (demountable house).

Prouvé’s “constructional philosophy” of architecture prioritized functionality and fabrication, creating a unique aesthetic focusing on the two ideals. He pioneered the use of lightweight folded steel in both furniture and architecture and experimented with lightweight, demountable structures that were ahead of their time. He was thinking about ecology even before the term existed. Prouvé wrote that architecture should leave no trace on the landscape.

In 1944, the 6x6m Demountable House was designed to rehouse war victims in Lorraine, France. The Demountable House was built entirely of wood and metal. These houses survived the postwar period in very limited numbers. The components were shipped directly to bomb-devastated villages, where they could be assembled on site in a day by two people, enabling the homeless to stay on.

In 2015 the demountable house was adapted by Rogers Stirk Harbour + partners (RSHP) for Design Miami/Basel 2015 at the Galerie Patrick Seguin.

 

The new adaptation is reimagined as a holiday retreat, complete with a bathroom and kitchen pods and service trolleys providing hot water and solar energy that ensures the independence of the home, so that it can be built in any environment. 

Like the original design, all components can be easily assembled on-site. Though imagined as a holiday retreat, in keep with Prouvé’s original vision, it forms the foundation for future demountable housing for refugees.

render of the redesigned version

                                                   The Paimio chair

1928 was the date of  Alvar Aalto and his wife Aino that won the architectural competition to build a tuberculosis sanitarium near the Finnish city of Paimio. Construction begun when they were also commissioned to do the building’s interior design. In the beginning they considered  using the new Bauhaus tubular steel furniture  they already owned the Wassily club chair designed by Marcel Breuer but then quickly decided in favor of wood, for much of this nickel and chrome-plated steel furniture seemed to us to be psychologically too hard for an environment of sick persons. We  began working with wood, using this warmer and many more material in combination with practical structures to create an appropriate furnishing style for patients.

The first examples of these attempts were shown 1929 at the 700th anniversary celebration of the city of Turku. In 1933 work on the Paimio sanitarium was completed, and at the suggestion of Architectural Review, Aalto’s architectural projects and furniture designs were shown in the London department store Fortnum and Mason’s. The following year, the new furniture was already a part of the standard program at Wohnbedarf AG in Zurich. As the manufacturer’s export marketing left much to be desired, Alvar and Aino Aalto opened their own gallery and distributing company in 1935, inspired by Wohnbedarf AG in Zurich. 
The enterprise, which they called Artek that mean art and technology was to be a “center for contemporary furniture, interior decoration, art, and industrial art.” Aalto soon enjoyed worldwide fame after presentations at the VI Milan Triennial in 1936, and having designed the Finnish pavilion for the 1937 world’s fair in Paris and the 1939 world’s fair in New York, preceded by a solo exhibition of his work at the MoMA in 1938. The “Paimio” chair quickly became popular and was produced in large quantities. It is made of bent laminated veneer and is the result of numerous bending trials using birch wood that is in part naturally damp. As birch wood is plentiful throughout Finland and the production method required no expensive technology, it was possible to manufacture the chair at relatively low cost. Despite its lack of upholstery, the springy seat afforded comfortable sitting, and was suited for modern interiors with its contemporary, natural, and unobtrusive form. It paved the way for the Scandinavian-influence furniture design which lasted until the sixties.      


                                  

Panelak-the social housing that forever changed the way of living_04-20-16_AnastassiyaProkofyeva

View on panelak from Sidliste

Panelak-the social housing that forever changed the way of living

From my experience panelaks never been popular among its habitants, especially for its apperance. I grew up in couple of them, played in surrounding neighborhood called Sídliště („park“ surrounded by panelaks).

Panelak housing estates are one of the most visible parts of the heritage of communism. Even though some architecturally similar buildings were built even before the war, the main boom started in the 1960‘s and 1970‘s and they continued to be constructed in massive numbers until the end of communism.

View on Sídlištěs nowadays

Panelak in its new colorful coat

The main goal of building these was to provide housing at an acceptable price for huge numbers of citizens. The effort to create uniform housing lead to the construction of a featureless, boring environment. A lot of the panelaks‘ inhabitants proved enormous creativity in transforming their flats‘ interiors. The absence of a garden was solved by escaping to weekend cottages or chalets, which most of the families owned in the countryside. This kind of living became popular not only among people with low incomes, but also attracted the middle class who did not have many alternatives at the time. The fall of communism changed a lot in the life of these communities. The large housing estates which used to have only a single supermarket in their centre are now equipped with huge shopping malls, including a variety of services, as well as entertainment complexes. The old monotonous grey concrete buildings are changing colour and in many cases the bare walls are even adorned with works of art. But even though the environment of housing estates is gradually acquiring a happier face, it will never shake off its anonymous character. The panelaks‘ inhabitants hardly know their neighbours. Sometimes it is a great challenge to find a person you want to visit, living in this kind of concrete labyrinth. In spite of having a colorful, new coat, the panelak housing will always be a reminder of the arrogance with which they substituted old small neighborhoods and villages.

For me this was normal way of living. However, if I look back I see it was unique experience. Even though panelaks werent my favorite piece of architecture, they were part of my early life. I could see the big transformation from gray-concrete Sídlištěs to colorful more lively environment. Now, the colors of most of the panelaks are fading out but old generation remains, followed by young generation that, when it comes to family living, most of the citizens choose to live in panelak. As the living conditions and surroundings improved rapidly. Living quality increased as well. And nowadays we can say that some of them are beautiful.