Ational Register of Historic Places Registration Form
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Historic-Cultural Monument (HCM) List City Declared Monuments
Historic-Cultural Monument (HCM) List City Declared Monuments No. Name Address CHC No. CF No. Adopted Community Plan Area CD Notes 1 Leonis Adobe 23537 Calabasas Road 08/06/1962 Canoga Park - Winnetka - 3 Woodland Hills - West Hills 2 Bolton Hall 10116 Commerce Avenue & 7157 08/06/1962 Sunland - Tujunga - Lake View 7 Valmont Street Terrace - Shadow Hills - East La Tuna Canyon 3 Plaza Church 535 North Main Street and 100-110 08/06/1962 Central City 14 La Iglesia de Nuestra Cesar Chavez Avenue Señora la Reina de Los Angeles (The Church of Our Lady the Queen of Angels) 4 Angel's Flight 4th Street & Hill Street 08/06/1962 Central City 14 Dismantled May 1969; Moved to Hill Street between 3rd Street and 4th Street, February 1996 5 The Salt Box 339 South Bunker Hill Avenue (Now 08/06/1962 Central City 14 Moved from 339 Hope Street) South Bunker Hill Avenue (now Hope Street) to Heritage Square; destroyed by fire 1969 6 Bradbury Building 300-310 South Broadway and 216- 09/21/1962 Central City 14 224 West 3rd Street 7 Romulo Pico Adobe (Rancho 10940 North Sepulveda Boulevard 09/21/1962 Mission Hills - Panorama City - 7 Romulo) North Hills 8 Foy House 1335-1341 1/2 Carroll Avenue 09/21/1962 Silver Lake - Echo Park - 1 Elysian Valley 9 Shadow Ranch House 22633 Vanowen Street 11/02/1962 Canoga Park - Winnetka - 12 Woodland Hills - West Hills 10 Eagle Rock Eagle Rock View Drive, North 11/16/1962 Northeast Los Angeles 14 Figueroa (Terminus), 72-77 Patrician Way, and 7650-7694 Scholl Canyon Road 11 The Rochester (West Temple 1012 West Temple Street 01/04/1963 Westlake 1 Demolished February Apartments) 14, 1979 12 Hollyhock House 4800 Hollywood Boulevard 01/04/1963 Hollywood 13 13 Rocha House 2400 Shenandoah Street 01/28/1963 West Adams - Baldwin Hills - 10 Leimert City of Los Angeles May 5, 2021 Page 1 of 60 Department of City Planning No. -
Vitra Accessories Collection Developed by Vitra in Switzerland Update: Maison & Objet, September 2017
Vitra Accessories Collection Developed by Vitra in Switzerland Update: Maison & Objet, September 2017 The Vitra Accessories Collection encompasses the growing portfolio of design objects, accessories and textiles produced by the Swiss furniture company. The collection is based on classic patterns and objects conceived by designers such as Alexander Girard, Charles and Ray Eames and George Nelson. In addition to these classics, it also includes pieces by contemporary designers like Ronan and Erwan Bouroullec, Jasper Morrison, Hella Jongerius and Michel Charlot. Authenticity, joy and playfulness are hallmarks of the Vitra Accessories Collection. For the autumn / winter collection of 2017 Vitra will expand its accessories portfolio with design objects by Charles and Ray Eames, Alexander Girard and George Nelson. Charles & Ray Eames Charles and Ray Eames are among the most influential designers of the twentieth century. Working with tireless enthusiasm, the pair explored the fields of photography, film, architecture, exhibitions, and furniture and product design, making landmark contributions in each domain. Plywood Elephant & Eames Elephant (small), 1945 In the 1940s, Charles and Ray Eames spent several years developing and refining a technique for the three-dimensional moulding of plywood, creating a series of furniture items and sculptures in the process. Among these initial designs, the two-part elephant proved to be the most technically challenging due to its tight compound curves, and the piece never went into serial production. A prototype was given to Charles's 14-year-old daughter Lucia Eames and later borrowed for the exhibition at the Museum of Modern Art in New York in 1946. It still survives in the Eames family archives today. -
After Seven Decades Strong, Good Design Continues Its Iconic History Awarding the Best and Most Recognized Design Products Worldwide
MORE INFORMATION Jennifer Nyholm Chicago, Illinois USA [email protected] EUROPE CONTACTS: Fachanan Conlon Dublin, Ireland [email protected] AFTER SEVEN DECADES STRONG, GOOD DESIGN CONTINUES ITS ICONIC HISTORY AWARDING THE BEST AND MOST RECOGNIZED DESIGN PRODUCTS WORLDWIDE The Modern Design Revolution Persists in a Steady Loud and Showy Innovative Pace as It Did at the Offset of the 1950s. CHICAGO, ILLINOIS (MAY 25, 2020) — Seventy years ago, a group of die-hard advocates for modern design banded together to brand a novel marketing campaign to showcase and trumpet new American home furnishings, household items, and industrial objects with a revolutionary passion and zeal. Good Design® was founded in Chicago in 1950 by architects Charles and Ray Eames, Eero Saarinen, and Edgar Kaufmann, Jr., director of the Industrial Design Department, Museum of Modern Art (MoMA) and professor of Architecture and Art History at Columbia University with the first installation of Good Design at The Merchandise Mart in Chicago. The first Good Design exhibition was sponsored by The Merchandise Mart and The Museum of Modern Art, together with the Society of Industrial Designers, the American Institute of Decorators, the Home Furnishing Industry Committee, Neiman-Marcus, Lord & Taylor, The Art Institute of Chicago, and the American Institute of Architects. The Good Design exhibition opened at The Merchandise Mart on January 16, 1950 with the installation designed by Charles and Ray Eames. A reduced version of the exhibition, assembled by Eames, opened at MoMA in New York on November 21, 1950. This was the first time that a wholesale merchandising center and an art museum joined forces to present “the best new examples in modern design in home furnishings.” The program called for three shows a year: one during the Chicago winter furniture market in January, another coinciding with the June summer market in Chicago, and a November show in New York based on the previous two exhibitions. -
The Design and Construction of Furniture for Mass Production
Rochester Institute of Technology RIT Scholar Works Theses 5-30-1986 The design and construction of furniture for mass production Kevin Stark Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Stark, Kevin, "The design and construction of furniture for mass production" (1986). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. ROCHESTER INSTITUTE OP TECHNOLOGY A Thesis Submitted to the Faculty of The College of Fine and Applied Arts in Candidacy for the Degree of MASTER OF FINE ARTS The Design and Construction of Furniture for Mass Production By Kevin J. Stark May, 1986 APPROVALS Adviser: Mr. William Keyser/ William Keyser Date: 7 I Associate Adviser: Mr. Douglas Sigler/ Date: Douglas Sigler Associate Adviser: Mr. Craig McArt/ Craig McArt Date: U3{)/8:£ ----~-~~~~7~~------------- Special Assistant to the h I Dean for Graduate Affairs:Mr. Phillip Bornarth/ P i ip Bornarth Da t e : t ;{ ~fft, :..:..=.....:......::....:.:..-=-=-=...i~:...::....:..:.=-=..:..:..!..._------!..... ___ -------7~'tf~~---------- Dean, College of Fine & Applied Arts: Dr. Robert H. Johnston/ Robert H. Johnston Ph.D. Date: ------------------------------ I, Kevin J. Stark , hereby grant permission to the Wallace Memorial Library of RIT, to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit. Date : ____5__ ?_O_-=B::;..... 0.:.......-_____ CONTENTS Thesis Proposal i CHAPTER I - Introduction 1 CHAPTER II - An Investigation Into The Design and Construction Process Side Chair 2 Executive Desk 12 Conference Table 18 Shelving Unit 25 CHAPTER III - A Perspective On Techniques Used In Industrial Furniture Design Wood 33 Metals 37 Plastics 41 CHAPTER IV - Conclusion 47 CHAPTER V - Footnotes 49 CHAPTER VI - Bibliography 50 ILLUSTRATIONS Page I. -
Preservation by Design: Archives and Records Services at Herman Miller, Inc
Reprint: Business Archives Section Newsletter, 1998 Preservation by Design: Archives and Records Services at Herman Miller, Inc. By Robert W. Viol, Corporate Archivist, Herman Miller, Inc. Who is Herman Miller? Collections and Services departments. Space in the record Herman Miller Inc. is a leading Herman Miller’s corporate archival center has been designed to store multinational manufacturer of holdings have been described by requested documents and furniture, furniture systems and researchers as "awesome" - a accommodate lawyers from both furniture management services. testimonial to the corporate sides of the courtroom. Headquartered in Zeeland, officers, who have generously Michigan, Herman Miller has been provided monetary and moral Get Rid of that Backlog! It Costs a source of major innovation in the support, and to the dozens of men Us Money! residential and office and women, who have contributed Litigation research has environments. The company their effort, time and talent. The demonstrated the urgent need to emphasizes problem solving archives, now located in one of the eliminate the backlog of through design, participate company’s original buildings, uncataloged Herman Miller management, environmental documents the development of publications and non-Herman responsibility and employee stock Herman Miller product from its Miller materials containing third ownership. inception and creation to marketing party endorsements of our product. and distribution. Collections Every growing and viable archives Herman Miller, Inc. began in 1905 include publications, administrative will have a backlog of the as the Star Furniture Company, a records, photography, drawings unprocessed, however, when manufacturer of ornate and blueprints, oral histories, records or publications are reproductions of traditional-style audiovisuals, three dimensional requested as a result of a court home furniture. -
Oral History of Edward Charles Bassett
ORAL HISTORY OF EDWARD CHARLES BASSETT Interviewed by Betty J. Blum Compiled under the auspices of the Chicago Architects Oral History Project The Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright © 1992 Revised Edition Copyright © 2006 The Art Institute of Chicago This manuscript is hereby made available to the public for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of this manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Preface to Revised Edition v Outline of Topics vi Oral History 1 Selected References 149 Curriculum Vitae 150 Index of Names and Buildings 151 iii PREFACE On January 30, 31, and February 1, 1989, I met with Edward Charles Bassett in his home in Mill Valley, California, to record his memoirs. Retired now, "Chuck" has been the head of design of Skidmore, Owings and Merrill's San Francisco office from 1955-1981. Those twenty-six years were a time of unprecedented growth and change to which Chuck not only bore witness but helped shape. Chuck Bassett was one of the SOM triumvirate of the postwar years: he was the West Coast counterpart of Gordon Bunshaft in New York and William Hartmann in Chicago. In 1988 the California Council of the American Institute of Architects awarded SOM, San Francisco, a 42-year award for "...the genuine commitment that the firm has had to its city, to the profession and to both art and the business of architecture." Although Chuck prefers to be known as a team player, his personal contribution to this achievement is unmistakable in the context of urban San Francisco since 1955. -
Eero Saarinen and Charles Eames in the Organic Design Competition, Moma, 1941
26 TRABAJANDO CON MAQUETAS: EERO SAARINEN Y CHARLES EAMES EN LA ORGANIC DESIGN COMPETITION, MoMA, 1941 WORKING WITH SCALE MODELS: EERO SAARINEN AND CHARLES EAMES IN THE ORGANIC DESIGN COMPETITION, MoMA, 1941 Carlos Montes Serrano, Noelia Galván Desvaux, Álvaro Moral García doi: 10.4995/ega.2019.12684 El presente artículo estudia los This article looks at the background antecedentes de la primera of the first exhibition given over exposición dedicada al diseño de to modern furniture design in mobiliario moderno en América America organized at the Museum organizada en el MoMA en 1941. Se of Modern Art in 1941. It becomes constata que la gran mayoría de los clear that the great majority of diseños premiados en el concurso the designs awarded prizes in the previo a la exposición fueron competition prior to the exhibition elaborados por jóvenes arquitectos, were produced by young architects. ya que eran los únicos que estaban This was because they were the al día de las tendencias modernas only people who were up-to-date derivadas de la Bauhaus o del with modern trends emanating diseño escandinavo. Tanto el from the Bauhaus or Scandinavian organizador, Eliot Noyes, como design. Both the organizer, Eliot los premiados, Eero Saarinen y Noyes, and the prize-winners, Charles Eames, despuntaron tras la Eero Saarinen and Charles Eames, guerra mundial como diseñadores became prominent after the Second de sobresaliente trayectoria World War as designers with profesional. Por último, resulta de outstanding professional careers. interés comprobar el papel que Finally, it is of interest to note the llegaron a alcanzar los prototipos y part played by prototypes and scale maquetas a escala en los procesos models in the processes of furniture de diseño de mobiliario. -
A Rccaarchitecture California the Journal of the American Institute Of
architecture california the journal of the american institute of architects california council a r cCA aiacc design awards issue 04.3 photo finish ❉ Silent Archives ❉ AIACC Member Photographs ❉ The Subject is Architecture arcCA 0 4 . 3 aiacc design a wards issue p h o t o f i n i s h Co n t e n t Tracking the Awards 8 Value of the 25 Year Award 10 ❉ Eric Naslund, FAIA Silent Archives: 14 In the Blind Spot of Modernism ❉ Pierluigi Serraino, Assoc. AIA AIACC Member Photographs 18 ❉ AIACC membership The Subject is Architecture 30 ❉ Ruth Keffer AIACC 2004 AWARDS 45 Maybeck Award: 48 Daniel Solomon, FAIA Firm of the Year Award: 52 Marmol Radziner and Associates Lifetime Achievement 56 Award: Donlyn Lyndon, FAIA ❉ Interviewed by John Parman Lifetime Achievement 60 Award: Daniel Dworsky, FAIA ❉ Interviewed by Christel Bivens Kanda Design Awards 64 Reflections on the Awards 85 Jury: Eric Naslund, FAIA, and Hugh Hardy, FAIA ❉ Interviewed by Kenneth Caldwell Savings By Design A w a r d s 88 Co m m e n t 03 Co n t r i b u t o r s 05 C r e d i t s 9 9 Co d a 1 0 0 1 arcCA 0 4 . 3 Editor Tim Culvahouse, AIA a r c C A is dedicated to providing a forum for the exchange of ideas among mem- bers, other architects and related disciplines on issues affecting California archi- Editorial Board Carol Shen, FAIA, Chair tecture. a r c C A is published quarterly and distributed to AIACC members as part of their membership dues. -
Eames House Case Study #8 : a Precedent Study Lauren Martin Table of Contents
EAMES HOUSE CASE STUDY #8 : A PRECEDENT STUDY LAUREN MARTIN TABLE OF CONTENTS 1. TITLE PAGE 2. TABLE OF CONTENTS 3. WHO? 4. WHERE & WHY? 5. DESIGN 6. PROPERTY DETAILS & SPECS 7.PLANS & SECTIONS 8. ELEVATIONS 9. PROGRAM 10. EXPERIENCE 11. SUSTAINABILITY 12. BIBLOGRAPHY WHO? C “EVENUTALLY, EVERYTHING CONNECTS” The Eameses are best known for their H -CHARLES EAMES groundbreaking contributions to architecture, furniture design, industrial A design and manufacturing, and the photographic arts. R “THE ARCHITECT & THE PAINTER” L Charles Eames was born in 1907, in St. Louis Missouri. He attended school there, developing an interest in engineering and architecture. By 1930 he E had opened his own architectural office. Later, he became the head of the design department at Cranbrook Academy. Ray Eames was born in 1912 in Sacramento, California. She studied painting with Hans Hofmann in New York before moving on to Cranbrook Academy where she met and assisted S Charles and Eero Saarinen in preparing designs for the MOMA’s Organic Furniture Competition. Married in 1941, they continued furniture design and later architectural design. & R A Y WHERE? WHY? In 1949, Charles and Ray designed and built their own home in Pacific Palisades, California, as part of the Case Study House Program sponsored by Arts & Architecture magazine. Located in the Pacific Palisades area Their design and innovative use of materials made the house a mecca for architects and designers from both near and far. Today, it is of Los Angeles, California. The Eames considered one of the most important post-war residences anywhere in House is composed of a residence and the world. -
Authentic Eames® Moulded Plastic Chairs from Herman Miller Now in a New, More Sustainable Fibreglass
Authentic Eames® Moulded Plastic Chairs from Herman Miller now in a new, more sustainable fibreglass. Herman Miller also announces a proprietary take Perhaps more than any design, the Shell Chair represents the back program in support of fibreglass recycling. Eames’ disinterest in superficial aesthetics and their agnostic approach to material. What mattered most to them was the integrity of the form, function and context. The chair, in The Eames Shell Chair, created by Charles and Ray Eames for fibreglass, was introduced by Herman Miller in 1950 – its now Herman Miller, is perhaps the epitome of the celebrated couple’s familiar form already a result of several refinements – as the design process—a philosophy characterised by a journey of first mass-produced plastic chair. The iconic design continued exploration, evolution, insight and delight. True to this spirit, the to evolve through the years with new colors, height options, Herman Miller Collection, in collaboration with the Eames Office, base variations, and the application of upholstery. But by the continues to push the boundaries of the Shell Chair form, first late 1980s the environmental risk associated with fibreglass introducing a moulded wood version and now with an advanced, production was recognised, leading Ray and Herman Miller to sustainable fibreglass chemistry and production process. The discontinue its production until a more suitable material could be result is the Eames Moulded Fibreglass Chairs, available through found. In 2000, Herman Miller reintroduced the Moulded Plastic authorised Herman Miller dealers. Chair in polypropylene. This durable, 100% recyclable material proved popular, with a softer profile and subtle matte texture. -
John and Marilyn Neuhart Papers, 1916-2011; Bulk, 1957-2000
http://oac.cdlib.org/findaid/ark:/13030/c8sj1mft No online items John and Marilyn Neuhart papers, 1916-2011; Bulk, 1957-2000 Finding aid prepared by Saundarya Thapa, 2013; machine-readable finding aid created by Caroline Cubé. The processing of this collection was generously supported by Arcadia. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] © 2013 The Regents of the University of California. All rights reserved. John and Marilyn Neuhart papers, 1891 1 1916-2011; Bulk, 1957-2000 Title: John and Marilyn Neuhart papers Collection number: 1891 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 40.0 linear ft.(57 document boxes, 3 record cartons, 10 flat boxes, 4 telescope boxes, 1 map folder) Date (bulk): Bulk, 1957-2000 Date (inclusive): 1916-2011 Abstract: John and Marilyn Neuhart were graphic and exhibition designers and UCLA professors who also worked at the Eames Design Office in Los Angeles. This collection includes research files for their books on the Eames Office, material documenting the design and organization process for Connections, an exhibition on the Eames Office which was held at UCLA in 1976, ephemera relating to the work of the Eames Office as well as the Neuhart’s own design firm, Neuhart Donges Neuhart and a large volume of research files and ephemera that was assembled in preparation for a proposed book on the American designer, Alexander Girard. Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. -
Digital Photo Proof Pages
F cover 42 summer14:ToC 4/9/14 12:30 PM Page 1 john entenza house 12 texas & florida updates 34, 60 the past perfected 46 SUMMER 2014 $6.95 us/can On sale until August 31, 2014 AtomicRanch 42 3/19/14 6:21 PM Page 1 AUDREY DINING made to order made in america made to last KYOTO DINING SOHO BEDROOM FUSION END TABLE Available near you at: California Benicia - Ironhorse Home Furnishings (707) 747-1383, Capitola - Hannah’s Home Furnishings (831) 462-3270, Long Beach - Metropolitan Living (562) 733-4030, Monterey - Europa Designs (831) 372-5044, San Diego - Lawrance Contemporary Furniture (800) 598-4605, San Francisco - Mscape (415) 543-1771, Santa Barbara - Michael Kate Interiors (805) 963-1411, Studio City - Bedfellows (818) 985-0500, Torrance - Contemporary Lifestyles (310) 214-2600, Thousand Oakes - PTS (805) 496-4804, Colorado Fort Collins - Forma Furniture (970) 204-9700, Connecticut New Haven - Fairhaven (203) 776-3099, District of Columbia Washington - Urban Essentials (202) 299-0640, Florida Sarasota - Copenhagen Imports (941) 923-2569, Georgia Atlanta - Direct Furniture (404) 477-0038, Illinois Chicago - Eurofurniture (800) 243-1955, Indiana Indianapolis - Houseworks (317) 578-7000, Iowa Cedar Falls - Home Interiors (319) 266-1501, Manitoba Winnipeg - Bella Moda (204) 783-4000, Maryland Columbia - Indoor Furniture (410) 381-7577, Massachusetts Acton - Circle Furniture (978) 263-7268, Boston - Circle Furniture (617) 778-0887, Cambridge - Circle Furniture (617) 876-3988, Danvers - Circle Furniture (978) 777-2690, Framingham - Circle