DOCSLIB.ORG

INT 120 Modern Architecture and Furniture Style Comparison Assignment - 75 Points

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

GENERAL STUDIES COURSE PROPOSAL COVER FORM (ONE COURSE PER FORM) 1.) DATE: 11/30/17 2.) COMMUNITY COLLEGE: Maricopa Co. Comm. College District 3.) COURSE PROPOSED: Prefix: INT Number: 120 Title: Modern Architecture and Furniture Credits: 3 CROSS LISTED WITH: Prefix: Number: ; Prefix: Number: ; Prefix: Number: ; Prefix: Number: ; Prefix: Number: ; Prefix: Number: 4.) COMMUNITY COLLEGE INITIATOR: CYNTHIA PARKER PHONE: 602-285-7608 FAX: Email: [email protected] ELIGIBILITY: Courses must have a current Course Equivalency Guide (CEG) evaluation. Courses evaluated as NT (non-transferable are not eligible for the General Studies Program. MANDATORY REVIEW: The above specified course is undergoing Mandatory Review for the following Core or Awareness Area (only one area is permitted; if a course meets more than one Core or Awareness Area, please submit a separate Mandatory Review Cover Form for each Area). POLICY: The General Studies Council (GSC) Policies and Procedures requires the review of previously approved community college courses every five years, to verify that they continue to meet the requirements of Core or Awareness Areas already assigned to these courses. This review is also necessary as the General Studies program evolves. AREA(S) PROPOSED COURSE WILL SERVE: A course may be proposed for more than one core or awareness area. Although a course may satisfy a core area requirement and an awareness area requirement concurrently, a course may not be used to satisfy requirements in two core or awareness areas simultaneously, even if approved for those areas. With departmental consent, an approved General Studies course may be counted toward both the General Studies requirements and the major program of study. 5.) PLEASE SELECT EITHER A CORE AREA OR AN AWARENESS AREA: Core Areas: Humanities, Arts and Design (HU) Awareness Areas: Select awareness area... 6.) On a separate sheet, please provide a description of how the course meets the specific criteria in the area for which the course is being proposed. 7.) DOCUMENTATION REQUIRED Course Description Course Syllabus Criteria Checklist for the area Table of Contents from the textbook required and list of required readings/books Description of how course meets criteria as stated in item 6. 8.) THIS COURSE CURRENTLY TRANSFERS TO ASU AS: DEC prefix Elective Current General Studies designation(s): HU, H Effective date: 2017 Spring Course Equivalency Guide Is this a multi-section course? yes no Is it governed by a common syllabus? yes no Chair/Director: CHERISE ROBB, IC CHAIR Chair/Director Signature: AGSC Action: Date action taken: Approved Disapproved Effective Date: Arizona State University Criteria Checklist for HUMANITIES, ARTS AND DESIGN [HU] Rationale and Objectives The humanities disciplines are concerned with questions of human existence and meaning, the nature of thinking and knowing, with moral and aesthetic experience. The humanities develop values of all kinds by making the human mind more supple, critical, and expansive. They are concerned with the study of the textual and artistic traditions of diverse cultures, including traditions in literature, philosophy, religion, ethics, history, and aesthetics. In sum, these disciplines explore the range of human thought and its application to the past and present human environment. They deepen awareness of the diversity of the human heritage and its traditions and histories and they may also promote the application of this knowledge to contemporary societies. The study of the arts and design, like the humanities, deepens the student’s awareness of the diversity of human societies and cultures. The arts have as their primary purpose the creation and study of objects, installations, performances and other means of expressing or conveying aesthetic concepts and ideas. Design study concerns itself with material objects, images and spaces, their historical development, and their significance in society and culture. Disciplines in the arts and design employ modes of thought and communication that are often nonverbal, which means that courses in these areas tend to focus on objects, images, and structures and/or on the practical techniques and historical development of artistic and design traditions. The past and present accomplishments of artists and designers help form the student’s ability to perceive aesthetic qualities of art work and design. The Humanities, Arts and Design are an important part of the General Studies Program, for they provide an opportunity for students to study intellectual and imaginative traditions and to observe and/or learn the production of art work and design. The knowledge acquired in courses fulfilling the Humanities, Arts and Design requirement may encourage students to investigate their own personal philosophies or beliefs and to understand better their own social experience. In sum, the Humanities, Arts and Design core area enables students to broaden and deepen their consideration of the variety of human experience. Revised April 2014 Course Prefix Number Title General Studies Designation INT 120 Modern Architecture and HU Furniture Explain in detail which student activities correspond to the specific designation criteria. Please use the following organizer to explain how the criteria are being met. Criteria (from checksheet) How course meets spirit Please provide detailed evidence of how (contextualize specific examples in course meets criteria (i.e., where in next column) syllabus) 3. The course focuses on the The course focuses on comprehension Course Competencies: comprehension and and interpretation/analysis of material 1, 2, 3, 4, 5, 6, 7, 8 interpretation/analysis of objects, images and spaces, and/or their material objects, images and historical development through the Syllabus and Course Schedule: quizzes, spaces, and/or their historical evolution of design in architecture and tests, research paper, extra credit projects development furniture from the mid-nineteenth century to the present. The progression is set Readings: Textbook Chapters 1-6, 9-15 and against philosophical movements Online/ Canvas. fundamental to their development such as: Arts and Crafts (late 19th century), Canvas Readings: Each style listed in the Art Nouveau (turn of the century), Frank Syllabus and Course Schedule has a module Lloyd Wright (late 19th - Mid-20th in Canvas that includes a web presentation Century) Art Deco (post WWI), Bauhaus developed using Softchalk LessonBuilder (Post WWII), Mid-Century Modernism, and a pdf Powerpoint presentation. Post Modernism (mid-to late 20th Century), Deconstructionism (late 20th Additional Readings: Modules have links to Century) and current trends. Ways in further information and/or videos. which new materials and advances in technology over this time period Compare and Contrast Project: influenced the work of architects and In order to challenge students to draw upon designers is also examined. their understanding of historic styles and think about them analytically, they are required to complete a compare and contrast project. For this project they choose two styles and describe their similarities and differences, adding images to illustrate their explanation. The paper must include the historical context of when and where the styles evolved, plus important social and/or economic influences or the time. Extra Credit Museum Project: Phoenix Art Museum Thorn Rooms Critique. 4.c. The course emphasizes In order to appreciate the significance of Course Competencies: aesthetic experience in ... the the varied styles of architecture and 2, 3, 4, 5, 6, 7, 8 applied arts, including furniture that have evolved over time, it architecture and design. is vital to understand what its designers Syllabus and Course Schedule: quizzes, believed to be the core determinants of tests, research paper, extra credit projects aesthetic experience. The major philosophical movements discussed in Readings: Textbook Chapters 1 - 6, 9 - 15 this course arose from beliefs prevalent and Online/ Canvas during each era regarding qualities seen as essential to architecture and furniture Canvas Readings: Each style listed in the for them to be aesthetically pleasing. For Syllabus and Course Schedule has a module example, critics of the social and in Canvas that includes a web presentation environmental ills brought about by the developed using Softchalk LessonBuilder industrial Revolution campaigned for a and a pdf Powerpoint presentation. return to handcrafting, which resulted in the Arts and Crafts Movement. From this Additional Readings: Modules have links to came new architecture, interior design, further information and/or videos. furniture, and a myriad of accessories. As the aesthetic experience of architectural and furniture design depends upon ever-changing social and cultural circumstances, this course examines the evolution of design in terms of these ideals. Course Competencies: Upon completion of this course the student will be able to: 1.In written oral, and visual presentation, analyze the stylistic influences on modern furniture, interiors, and architecture. (I, II, III, IV, V, VI, VII, VIII) 2. Explain the cultural, social, and technological influences on the evolution of modern design. (I, II, III, IV, V, VI, VII, VIII) 3. Identify and describe architecture, furniture pieces, materials, and construction methods of modern design. (I, II, III, IV, V, VI, VII, VIII) 4. Trace the chronological development of modern furniture, interiors, and architecture. (I, II, III, IV, V,
Recommended publications
  • Wk14-Lynn Et Al-Folding in Architecture

    Wk14-Lynn Et Al-Folding in Architecture

    FOLDING IN ARCHITECTURE @WILEY-ACADEMY INTRODUCTION GREG LYNN s I argued in the original Folding in Architecture essay, models of complexity, initially those derived from the work of since Robert Venturi and Denise Scott Brown's influential Rene Thom and later those of the Santa Fe Institute, among oth­ AComplexity and Contradiction in Architecture (1966), it ers. The combination of the discovery, for the first time by archi­ has been important for architecture to define compositional com­ tects, of a 300-year-old mathematical and spatial invention, that plexity. Ten years ago, the collected projects and essays in the is calculus, and the introduction of a new cosmological and sci­ first edition of this publication were an attempt to move beyond entific model of emergence, chaos and complexity, made for an Venturi's pictorial collage aesthetics and the formal and spatial extremely provocative and incoherent moment in architectural collage aesthetics that then constituted the vanguard of com­ experimentation. Today, a decade later, these interests have plexity in architecture, as epitomized by Johnson and Wigley's shaken out into more or less discrete schools of thought. 'Deconstructivist Architecture' exhibition at MoMA in 1988. The Intricacy connotes a new model of connectionism composed desire for architectural complexity in both composition and con­ of extremely small-scale and incredibly diverse elements. struction continues today and can be characterised by several Intricacy is the fusion of disparate elements into continuity, the distinct streams of thought, three of which have connections to becoming whole of components that retain their status as pieces the projects and arguments first laid out in the Architectural in a larger composition.
  • Bauhaus 1 Bauhaus

    Bauhaus 1 Bauhaus

    Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
  • The Design and Construction of Furniture for Mass Production

    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.
  • The Abuse of Architectonics by Decorating in an Era After Deconstructivism

    The Abuse of Architectonics by Decorating in an Era After Deconstructivism

    THE ABUSE OF ARCHITECTONICS BY DECORATING IN AN ERA AFTER DECONSTRUCTIVISM DECONSTRUCTION OF THE TECTONIC STRUCTURE AS A WAY OF DECORATION PIM GERRITSEN | 1186272 MSC3 | INTERIORS, BUILDINGS, CITIES | STUDIO BACK TO SCHOOL AR0830 ARCHITECTURE THEORY | ARCHITECTURAL THINKING | GRADUATION THESIS FALL SEMESTER 2008-2009 | MARCH 09 THESIS | ARCHITECTURAL THINKING | AR0830 | PIM GERRITSEN | 1186272 | MAR-09 | P. 1 ‘In fact, all architecture proceeds from structure, and the first condition at which it should aim is to make the outward form accord with that structure.’ 1 Eugène-Emmanuel Viollet-le-Duc (1872) Lectures Everything depends upon how one sets it to work… little by little we modify the terrain of our work and thereby produce new configurations… it is essential, systematic, and theoretical. And this in no way minimizes the necessity and relative importance of certain breaks of appearance and definition of new structures…’ 2 Jacques Derrida (1972) Positions ‘It is ironic that the work of Coop Himmelblau, and of other deconstructive architects, often turns out to demand far more structural ingenuity than works developed with a ‘rational’ approach to structure.’ 3 Adrian Forty (2000) Words and Buildings Theme In recent work of architects known as deconstructivists the tectonic structure of the buildings seems to be ‘deconstructed’ in order to decorate the building’s image. In other words: nowadays deconstruction has become a style with the architectonic structure used as decoration. Is the show of architectonic elements in recent work of
  • 1 Dataset Illustration

    1 Dataset Illustration

    1 Dataset Illustration The images are crawled from Wikimedia. Here we summary the names, index- ing pages and typical images for the 66-class architectural style dataset. Table 1: Summarization of the architectural style dataset. Url stands for the indexing page on Wikimedia. Name Typical images Achaemenid architecture American Foursquare architecture American craftsman style Ancient Egyptian architecture Art Deco architecture Art Nouveau architecture Baroque architecture Bauhaus architecture 1 Name Typical images Beaux-Arts architecture Byzantine architecture Chicago school architecture Colonial architecture Deconstructivism Edwardian architecture Georgian architecture Gothic architecture Greek Revival architecture International style Novelty 2 architecture Name Typical images Palladian architecture Postmodern architecture Queen Anne architecture Romanesque architecture Russian Revival architecture Tudor Revival architecture 2 Task Description 1. 10-class dataset. The ten datasets used in the classification tasks are American craftsman style, Baroque architecture, Chicago school architecture, Colonial architecture, Georgian architecture, Gothic architecture, Greek Revival architecture, Queen Anne architecture, Romanesque architecture and Russian Revival architecture. These styles have lower intra-class vari- ance and the images are mainly captured in frontal view. 2. 25-class dataset. Except for the ten datasets listed above, the other fifteen styles are Achaemenid architecture, American Foursquare architecture, Ancient Egyptian architecture,
  • Language in Architecture.Pdf

    Language in Architecture.Pdf

    The Journey of Indian Languages: Perpectives on Culture and Society ISBN : 978-81-938282-6-7 Language in Architecture Rupa Singh The purpose of this paper is to trace the similarity between architectural styles and linguistics or nature of languages or narrative style in written form. Language as understood by mass is the method to communicate to each-other either orally or in written manner. Nature of the language can be anti-language, biased language, sexist language, natural language, body language, code switching, figurative language, Lingua-franca, taboo language, vernacular, killer or majority language. Nature of language is mirror to culture and civilization at any time in history. Similarly, Architecture is embraced in as many ways as there are architects or people commenting on their practices. Generally, it is taken as an art with Sciences as an attribute to create an object of aesthetics, social responsibility, and sensitivity. Architecture has evolved in nature of languages or style throughout the history of human and built environment. An architectural style includes form, building materials, or method of construction or regional character as distinguished features. Different Architectural styles, for example Romanesque Architecture, Gothic Architecture, Art Nouveau Architecture, Deconstructivism, Architecture; each of them has peculiar method of communicating their emotions, ideas with environment. Each of them can be explained in context of various phrases or narrative style like natural language, ornamental language, anti- language etc. Hamlet when asked in the drama ‗Hamlet‟ by Shakespeare‘ ―What do you read, my lord? He was made to say ‗Words, words, words‘. There is no sophisticated notion of ‗Words, words, words‘.
  • Modern Architecture and Modern Furniture

    Modern Architecture and Modern Furniture

    Modern Architecture and Modern Furniture 14 docomomo 46 — 2012/1 docomomo46.indd 14 25/07/12 11:13 odern architecture and Modern furniture originated almost during the same period of time. Modern architects needed furniture compatible with their architecture and because Mit was not available on the market, architects had to design it themselves. This does not only apply for the period between 1920 and 1940, as other ambitious architectures had tried be- fore to present their buildings as a unit both on the inside and on the outside. For example one can think of projects by Berlage, Gaudí, Mackintosh or Horta or the architectures of Czech Cubism and the Amsterdam School. This phenomenon originated in the 19th century and the furniture designs were usually developed for the architect’s own building designs and later offered to the broader consumer market, sometimes through specialized companies. This is the reason for which an agree- ment between the architect and the commissioner was needed, something which was not always taken for granted. By Otakar M á c ˆe l he museum of Czech Cubism has its headquarters designed to fit in the interior, but a previous epitome of De in the Villa Bauer in Liboˇrice, a building designed Stijl principles that culminated in the Schröderhuis. Tby the leading Cubist architect Jiˆrí Gocˆár between The chair was there before the architecture, which 1912 and 1914. In this period Gocˆár also designed Cub- was not so surprising because Rietveld was an interior ist furniture. Currently the museum exhibits the furniture designer. The same can be said about the “father” of from this period, which is not actually from the Villa Bauer Modern functional design, Marcel Breuer.
  • Deconstructivism: Richness Or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1

    Deconstructivism: Richness Or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1

    Deconstructivism: Richness or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1 1School of Landscape Architecture, Beijing Forestry University, 35 Qinghua East Road Beijing, 100083 China Abstract: In this paper, we examine the involvement of deconstructivism in the evolvement of postmodern architecture and ascertain its public acceptance dimensions as it progressively conquers postmodern architecture. To achieve this, we used internet search engines such as Google, Yahoo, Wikipedia and Web of Science, we also used knowledge repositories such as Google Scholar and the world’s largest travel site TripAdvisor to gather information and data about origin, evolution, characteristics and relationship between postmodernism and deconstructivism. We’ve based our judgment on concepts from famous architects, political leaders and public opinion to access the suitability of architectural style. The result of this research shows that postmodernism architecture buildings have an average 96.8% of visitor’s satisfaction ranking; while deconstructivism architecture buildings when taken alone, a decrease of 2% in visitor’s satisfaction ranking is perceived. In addition, strong comments against the upcoming architectural style confirm that deconstructivism still has ingredients to endorse in order to impose its trajectory towards the top of modern architecture. Being a piece of a globalized world, deconstructivism architecture in the most of the cases tends to disregard the history and culture of its location which compromise its innovative,
  • Similarity of Grammars of Architectural Space in Canonical Icons and the Architecture of Deconstructivism

    Similarity of Grammars of Architectural Space in Canonical Icons and the Architecture of Deconstructivism

    ARCHITECTURAL STUDIES Vol. 5, No. 1, 2019 Khrystyna Kramarchuk, Olga Chelombitko SIMILARITY OF GRAMMARS OF ARCHITECTURAL SPACE IN CANONICAL ICONS AND THE ARCHITECTURE OF DECONSTRUCTIVISM Lviv Polytechnic National University 12, S. Bandery Str., Lviv, 79013, Ukraine [email protected], [email protected] Received: 19.02.2019 / Revised: 12.06.2019 / Accepted: 18.07.2019 © Kramarchuk K., Chelombitko O., 2019 Abstract. The analogies in the grammar of architectural space in an icon and the architecture of deconstructivism have been revealed, the factors of influence on the formation of the grammar of the architecture of deconstructivism and architectural space in an icon have been listed, as well as the comparison of the grammar of the architecture of deconstructivism and architectural space in an icon has been made. Key words: perceptual perspective, reverse perspective, architectural space in an icon, the architecture of deconstructivism. 1. Introduction 1.1. Problem stating: The evolutionary scientific tendency to knowledge gaining and the psychological peculiarity of human perception through associative-figurative interaction of objects led to the discovery of common rules in construction of the architecture of deconstructivism and architectural space of an icon. A new look at the well-known things generates new knowledge. Destructive fragments of the architecture in icons, which are built according to the laws of perceptual perspective, generate associations with the architecture of deconstructivism and, as a result, encourage
  • Information to Users

    Information to Users

    INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information C om pany 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313 761-4700 800/521-0600 Order Number 9031153 The utilitarian object as appropriate study for art education: An historical and philosophical inquiry grounded in American and British contexts Sproll, Paul Anthony, Ph.D.
  • Siegfried Bing's Salon De L'art Nouveau and the Dutch Gallery Arts and Crafts

    Siegfried Bing's Salon De L'art Nouveau and the Dutch Gallery Arts and Crafts

    Marjan Groot Siegfried Bing's Salon de L'Art Nouveau and the Dutch Gallery Arts and Crafts Nineteenth-Century Art Worldwide 4, no. 2 (Summer 2005) Citation: Marjan Groot, “Siegfried Bing's Salon de L'Art Nouveau and the Dutch Gallery Arts and Crafts,” Nineteenth-Century Art Worldwide 4, no. 2 (Summer 2005), http://www.19thc- artworldwide.org/summer05/214-siegfried-bings-salon-de-lart-nouveau-and-the-dutch- gallery-arts-and-crafts. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2005 Nineteenth-Century Art Worldwide Groot: Siegfried Bing‘s Salon de L‘Art Nouveau and the Dutch Gallery Arts and Crafts Nineteenth-Century Art Worldwide 4, no. 2 (Summer 2005) Siegfried Bing's Salon de L'Art Nouveau and the Dutch Gallery Arts and Crafts by Marjan Groot On the 11th of August 1898 a Dutch gallery opened in The Hague under the English name Arts and Crafts (fig. 1). This was less than three years after Siegfried Bing had transformed his shop in Paris into the new and prestigious Salon de L'Art Nouveau. Important artist- designers in the Netherlands immediately recognized Arts and Crafts as the first Dutch gallery for contemporary decorative arts. The gallery presented handcrafted furniture, textiles, ceramics and metalwork of high quality alongside paintings and sculptures. Arts and Crafts only lasted until July 1904, whereas Bing's gallery closed in March 1905. But during the six years of its existence, the gallery played an important role in the world of Dutch applied arts by showing works by Dutch and foreign modern designers and by stimulating debate about the path the Dutch revival of the applied arts should take.
  • CHAPTER 1 Introduction and Survey Implementation

    CHAPTER 1 Introduction and Survey Implementation

    Uptown Historic Architectural and Cultural Landscape Reconnaissance Survey Introduction and Survey Implementation Chapter 1 CHAPTER 1 Introduction and Survey Implementation 3 ♦ IS Architecture, Ione R. Stiegler, Architect, AIA ♦ ♦ 5649 La Jolla Blvd, La Jolla, California 92037 ♦ ♦ Vonn Marie May - Cultural Landscape Specialist ♦ Uptown Historic Architectural and Cultural Landscape Reconnaissance Survey Introduction and Survey Implementation Chapter 1 ----- Page Left Intentionally Blank ----- 4 ♦ IS Architecture, Ione R. Stiegler, Architect, AIA ♦ ♦ 5649 La Jolla Blvd, La Jolla, California 92037 ♦ ♦ Vonn Marie May - Cultural Landscape Specialist ♦ Uptown Historic Architectural and Cultural Landscape Reconnaissance Survey Introduction and Survey Implementation Chapter 1 Table of Contents 1.0 Introduction................................................................................................................ 6 1.1 Survey Purpose and Scope.........................................................................................6 1.2 Survey Type..................................................................................................................8 1.3 Project Area................................................................................................................10 2.0 Implementation of The Architectural Reconnaissance Survey ................ 12 2. 1 Phase One: Preparations for Field Reconnaissance ..............................................12 2.1.1 Meetings ..........................................................................................................12