Om Namah Shivaya

Om Namah Shivaya

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Showing posts with label Architect. Show all posts
Showing posts with label Architect. Show all posts

Sep 30, 2011

DESIGN STREET: Top Architects of the year

Finally, I am rolling out top ten architects from across world for the last decade (2001 – 2010) based on the Laureates of Pritzker Prize, in this section of 'Design Street'. For many months, I was trying to find the most suitable way to decide and feature at my blog decade’s top architect of the year, when I stumbled upon "The Pritzker Architecture Prize" considered to be Architecture's Noble Prize. I was impressed with the ‘purpose’ and the jury members who decide this award every year.

But before I go further, let me give you a little brief about the most prestigious award as considered by many in the Architectural Field.

This international prize, which is awarded each year to a living architect for significant achievement, was established by the Pritzker family of Chicago through their Hyatt Foundation in 1979. Often referred to as “architecture’s Nobel” and “the profession’s highest honor,” it is granted annually.

Purpose
To honor a living architect whose built work demonstrate a combination of those qualities of talent, vision, and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture.


Many of the procedures and rewards of the Pritzker Prize are modeled after the Nobel Prize. Laureates of the Pritzker Architecture Prize receive a $100,000 grant, a formal citation certificate, and since 1987, a bronze medallion. Prior to that year, a limited edition Henry Moore sculpture was presented to each Laureate. The award is conferred on the laureate at a ceremony held at an architecturally significant site throughout the world.

Text and Image Curtsey: Pritzker Prize website.

Now back to the top architects of the decade, given in the choronical order of the year they have received the Pritzker Prize.


Allianz Arena, Munich, Germany 
Herzog & de Meuron Architekten, is a Swiss architecture firm, founded and headquartered in Basel, Switzerland in 1978. The careers of founders and senior partners Jacques Herzog (born 19 April 1950), and Pierre de Meuron (born 8 May 1950), closely paralleled one another, with both attending the Swiss Federal Institute of Technology (ETH) in Zürich. They are perhaps best known for their conversion of the giant Bankside Power Station in London to the new home of the Tate Modern. Jacques Herzog and Pierre de Meuron have been visiting professors at the Harvard University Graduate School of Design since 1994 and professors at ETH Zürich since 1999.

In 2001, Herzog & de Meuron were awarded the Pritzker Prize, the highest of honours in architecture. Jury chairman J. Carter Brown commented, "One is hard put to think of any architects in history that have addressed the integument of architecture with greater imagination and virtuosity." This was in reference to HdM's innovative use of exterior materials and treatments, such as silkscreened glass. Architecture critic and Pritzker juror Ada Louise Huxtable summarized HdM's approach concisely: "They refine the traditions of modernism to elemental simplicity, while transforming materials and surfaces through the exploration of new treatments and techniques. In 2006, the New York Times Magazine called them "one of the most admired architecture firms in the world."




Glenn Marcus Murcutt AO (born 25 July 1936) is a British-born Australian architect and winner of the 2002 Pritzker Prize and 2009 AIA Gold Medal.

Murcutt's motto, 'touch the earth lightly', convinces him to design his works to fit into the Australian landscape features. His works are highly economical and multi-functional. Murcutt also pays attention to the environment such as wind direction, water movement, temperature and light surrounding his sites before he designs the building itself. Materials such as glass, stone, timber and steel are often included in his works.

Testament to his influence internationally was the award of the 2002 Pritzker Prize one of the highest distinctions in architecture. In the words of the Pritzker jury: "In an age obsessed with celebrity, the glitz of our 'starchitects', backed by large staffs and copious public relations support, dominate the headlines. As a total contrast, Murcutt works in a one-person office on the other side of the world ... yet has a waiting list of clients, so intent is he to give each project his personal best. He is an innovative architectural technician who is capable of turning his sensitivity to the environment and to locality into forthright, totally honest, non-showy works of art."



Sydney Opera House
Jørn Oberg UtzonAC (9 April 1918 – 29 November 2008) was a Danish architect, most notable for designing the Sydney Opera House in Australia. When it was declared a World Heritage Site on 28 June 2007, Utzon became only the second person to have received such recognition for one of his works during his lifetime. Other outstanding works include Bagsværd Church near Copenhagen and the National Assembly Building in Kuwait. He also made important contributions to housing design, especially with his Kingo Houses near Helsingør.

Utzon had a Nordic sense of concern for nature which, in his design, emphasized the synthesis of form, material and function for social values. His fascination with the architectural legacies of the ancient Mayas, the Islamic world, China and Japan enhanced his vision. This developed into what Utzon later referred to as Additive Architecture, comparing his approach to the growth patterns of nature. A design can grow like a tree, he explained: "If it grows naturally, the architecture will look after itself."




BMW Leipzig
Zaha HadidCBE (born 31 October 1950) is an Iraqi-British architect.

A winner of many international competitions, theoretically influential and groundbreaking, a number of Hadid's winning designs were initially never built: notably, The Peak Club in Hong Kong (1983) and the Cardiff Bay Opera House in Wales (1994). In 2002 Hadid won the international design competition to design Singapore's one-north master plan. In 2005, her design won the competition for the new city casino of Basel, Switzerland. In 2004 Hadid became the first female recipient of the Pritzker Architecture Prize, architecture's equivalent of the Nobel Prize. Previously, she had been awarded a CBE for services to architecture. She is a member of the editorial board of the Encyclopædia Britannica. In 2006, Hadid was honored with a retrospective spanning her entire work at the Guggenheim Museum in New York. In that year she also received an Honorary Degree from the American University of Beirut.

In 2008, she ranked 69th on the Forbes list of "The World's 100 Most Powerful Women"



Diamond Ranch High School in Pomona, California (1999)
Thom Mayne (b. January 19, 1944, in Waterbury, Connecticut) is a Los Angeles-based architect. Educated at University of Southern California (1969) and the Harvard University Graduate School of Design in 1978, Mayne helped found the Southern California Institute of Architecture (SCI-Arc) in 1972, where he is a trustee. Since then he has held teaching positions at SCI-Arc, the California State Polytechnic University, Pomona (Cal Poly Pomona) and the University of California, Los Angeles (UCLA). He is principal of Morphosis an architectural firm in Santa Monica, California. Mayne received the Pritzker Architecture Prize in March 2005.

Morphosis’s design philosophy arises from an interest in producing work with a meaning that can be understood by absorbing the culture for which it was made.

Morphosis has grown into prominent design practice, with completed projects worldwide. Under the Design Excellence program of the United States government's General Service Administration, Thom Mayne has become a primary architect for federal projects. Recent commissions include: graduate housing at the University of Toronto; the San Francisco Federal Building; the University of Cincinnati Student Recreation Center; the Science Center School in Los Angeles, Diamond Ranch High School in Pomona, California; and the Wayne L. Morse United States Courthouse inEugene, Oregon.



Patriarch Plaza, São Paulo (2002)
Paulo Mendes da Rocha (born October 25, 1928 in Vitória) is a Brazilian architect, honored with the Mies van der Rohe Prize (2000) and the Pritzker Prize(2006). Paulo attended the Universidade Presbiteriana Mackenzie College of Architecture, graduating in 1954. Working almost exclusively in Brazil, Mendes da Rocha has been producing buildings since 1957, many of them built in concrete, a method some call "Brazilian Brutalism" arguably allowing buildings to be constructed cheaply and quickly. He has contributed many notable cultural buildings to São Paulo and is widely credited as enhancing and revitalizing the city.



Madrid-Barajas Airport terminal 4
Richard George Rogers, Baron Rogers of Riverside CH Kt FRIBA FCSD (born 23 July 1933) is a British architect noted for his modernist and functionalist designs.

Rogers is perhaps best known for his work on the Pompidou Centre in Paris, the Lloyd's building and Millennium Dome both in London, and the European Court of Human Rights building in Strasbourg. He is a winner of the RIBA Gold Medal, the Thomas Jefferson Medal, the RIBA Stirling Prize, the Minerva Medal and Pritzker Prize.

Rogers has continued to create controversial and iconic works. Perhaps the most famous of these, the Millennium Dome, was designed by the Rogers practice in conjunction with engineering firm Buro Happold and completed in 1999. It was the subject of fierce political and public debate over the cost and contents of the exhibition it contained, although the building itself cost only £43 million.



Torre Aigües de Barcelona (Agbar), Barcelona
Jean Nouvel (born August 12, 1945) is a French architect. Nouvel studied at the École des Beaux-Arts in Paris and was a founding member of Mars 1976 and Syndicat de l'Architecture. He has obtained a number of prestigious distinctions over the course of his career, including the Aga Khan Award for Architecture (technically, the prize was awarded for the Institut du Monde Arabe which Nouvel designed), the Wolf Prize in Arts in 2005 and the Pritzker Prize in 2008. A number of museums and architectural centres have presented retrospectives of his work.

Nouvel was awarded the Pritzker Prize, architecture's highest honour, in 2008, for his work on more than 200 projects, among them, in the words of The New York Times, the "exotically louvered" Arab World Institute, the bullet-shaped and "candy-colored" Torre Agbar in Barcelona, the "muscular" Guthrie Theater with its cantilevered bridge in Minneapolis, and in Paris, the "defiant, mysterious and wildly eccentric" Musée du quai Branly (2006) and the Philharmonie de Paris (a "trip into the unknown" c. 2012).



Thermal Baths at Vals, Switzerland
Peter Zumthor (born 26 April 1943) is a Swiss architect and winner of the 2009 Pritzker Prize.
Zumthor founded his own firm in 1979. His practice grew quickly and he accepted more international projects.

His best known projects are the Kunsthaus Bregenz (1997), a shimmering glass and concrete cube that overlooks Lake Constance (Bodensee) in Austria; the cave-like thermal baths in Vals, Switzerland (1999); the Swiss Pavilion for Expo 2000 in Hannover, an all-timber structure intended to be recycled after the event; the Kolumba (2007), in Cologne; and the Bruder Klaus Field Chapel, on a farm near Wachendorf.

In 1998, Zumthor received the Carlsberg Architecture Prize for his designs of the Kunsthaus Bregenz in Bregenz, Austria and the Thermal Baths at Vals, Switzerland. He won the Mies van der Rohe Award for European Architecture in 1999. Recently, he was awarded Praemium Imperiale in (2008) and the Pritzker Architecture Prize (2009)

Zumthor says,“To me, buildings can have a beautiful silence that I associate with attributes such as composure, self-evidence, durability, presence, and integrity, and with warmth and sensuousness as well; a building that is being itself, being a building, not representing anything, just being. ...”



Christian Dior building, Omotesandō
SANAA (Sejima and Nishizawa and Associates) is an architectural firm. It was founded in 1995 by Kazuyo Sejima and Ryue Nishizawa. In 2010, Sejima and Nishizawa were awarded the Pritzker Prize, architecture's highest honor.

In 1995, Kazuyo Sejima (born in 1956) and Ryue Nishizawa (born in 1966) founded SANAA. Examples of their, groundbreaking work include, among others, the Rolex Learning Center in Lausanne, Switzerland; the Toledo Museum of Art's Glass Pavilion in Toledo, Ohio; the New Museum of Contemporary Art in New York, NY: the Serpentine Pavilion in London; the Christian Dior Building in Omotesando in Tokyo; and the 21st Century Museum of Contemporary Art in Kanazawa. The latter won the Golden Lion in 2004 for the most significant work in the Ninth International Architecture Exhibition of the Venice Biennale.

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Text and Image curtsey: Wikipedia

Hope you have enjoyed the journey on the Design Street... I look forward to your comments... and views...

Please also hit the ‘Join this Site’ button on the top right corner so that you will know when I post on this blog... which is not very frequent though... J

___________
नमः शिवाय
Om Namah Shivaya

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EAMES – A LEGENDARY DESIGNER

Sep 6, 2011

DESIGN STREET: Eames - A Legendary Designer


Charles and Ray Eames were American designers, who worked and made major contributions to modern architecture and furniture designs. Eames chair and Lounge chair with Ottoman, has become one of the iconic furniture in modern times. He and his wife, Ray Eames also worked in the fields of industrial design, fine art, graphic design and film.

Since I have been fortunate to work with Herman Miller, who were the manufacturer of his most of the iconic furniture designs, which gave me insight into his other creative sides which are not so well known to the people outside the industry. In this feature, I am going to take you on a journey to this legendary genius’s less known creative side, which was his passion for photography. But before I take you through to his photographic genius, I would like to show you two other side of his creative style.
Well that's me with Eames Chair, at Herman Miller Office



First and foremost is his iconic piece of furniture like Lounge Chair, The mesh chair and the ottomans etc. Here is some of the images of his iconic design to give you a feeling of his design range. The person on the lounge chair here is Charles Grandson Eames Demetrios.
Eames Demetrios on the lounge chair
Secondly, which has more to do directly with India, he is the genius behind thought process of creating the National Institute of Design (NID) at Ahmadabad. The, then, prime minister of India Pt Jawaharlal Lal Nehru called on him to prepare a report on creating a world class design university. After visiting several places and understanding India by travelling around for 3 months, Charles Eames came up with the report that is called “India report” which formed the basis of NID Ahmadabad.

Interestingly, In this report, Charles Eames presented a very interesting discussion on the design conceptualization based on the design of our very own small water carrying vessel known as “LOTA”.

Here is what Eames says about Lota

“Of all the objects we have seen and admired during our visit to India, the Lota, that simple vessel of everyday use, stands out as perhaps the greatest, the most beautiful. The village women have a process which, with the use of tamarind and ash, each day turns this brass
into gold.
But how would one go about designing a Lota? First one would have to shut out all preconceived ideas on the subject and then begin to consider factor after factor.
The optimum amount of liquid to be fetched, carried, poured and stored in a prescribed set of circumstances.
Of course, no one man could have possibly designed the Lota. The number of combinations of factors to be considered gets to be astronomical — no one man designed the Lota but many men over many generations. Many individuals represented in their own way through something they may have added or may have removed or through some quality of which they were particularly aware.” – Charles Eames

For full discussion on this aspect, please have a look at the India Report – Click here

Opening shot of "Power of ten"
Now coming over to his Photographic genius, first and foremost is, and in my opinion very interesting, the movie called “Powers of 10”. You need to see it to believe it, that the whole movie was shot in studio of Eames and this one movie gave Hollywood a new camera shooting technique which is still used in the industry.

The other not very well known of this creative genius is his fascination and passion for Photography. His photographs form a significant part of MoMA, New York. Since I was working with Herman Miller, I was fortunate to travel with his grandson Mr. Eames Demetrius for the exhibition what is called “The Gifted Eye of Charles Eames” in Mumbai and at NID Ahmadabad.

Here I am showcasing some of the images from the exhibition that Charles Eames took over a period of many decades. As I travelled with Charles Eames Grand Son to give presentations, discuss and generally talk about his life, I could see a personal side of Eames, that is not generally known ... for example, when he was courting his would be wife, he wrote a letter full of interesting pictures and pictograms to make her understand his love for her “Ray” who partnered with him all his life to create such beautiful products and designs.. well that is another story altogether...

So here you have some of the beautiful images from the Gifted eye of Charles Eames


Exhibition at Taj's Land's End Hotel in Mumbai

Me and Eames Demetrius - With the presentation at Mumbai
If you are interested in seeing more of his pictures from the "Gifted Eye of Charles Eames" please comment me at this post or email me, I will send more.... Cheers!!!
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ॐ नमः शिवाय
Om Namah Shivaya

Oct 1, 2010

DESIGN STREET: A Note on Good Design


John Vaaler, Paper Clip Design 
first registeredin 1899
Recently I have read the book on Design by Stephen Bayley and Terence Conran. Here are some exerpts from their book, as they trace the history of designs and present most valueable design ideas from the centuries. In this first part of the two part series I bring to you their thoughts, ideas and views on the development and history of design through the century.

A NOTE ON GOOD DESIGN
A good design is that it’s immediately visible. A bad design will not work properly, uncomfortable to use, badly made, look depressing and be poor value for money. Good design is a Le Corbusier said, “Design is intelligence made visible”.

Innovation is defining character of good design. The capacity to see a new solution to an existing problem is what a designer does. But that is not the same as saying good designs involves a restless search for novelty. Good design tends to be enduring. It’s this tension between finding effective innovations and achieving lasting values that, so far as I am concerned, gives the designer so much of his creative energy. I firmly believe it’s the designer’s responsibility to help improve the quality of people’s lives through products that works well, are affordable and look beautiful. - Terence Conran

THE SCULPTOR, EDUARDO PAOLOZZI, 
PAYS HOMAGE TO THE MASTER
 In Renaissance, draughtsman did what was called disegno. For Leonardo da Vinci, the greatest draughtsman of them all, disegno meant not just the art and craft of drawing itself, but the ability to communicate ideas graphically. Leonardo’s broad interpretation of disegno, what is very close to “Design” : An ability to conceptualize and idea, express it in materials and prove it by demonstration. When the word Disegno migrated into English in the 16th Century, it came to mean not merely ‘drawing’, but the intention. In his letter of application to Duke of Milan, Leonardo da Vinci put the design of useful canals far in front of his achievements that the mere decorative painting and sculpture.
Design is an art that works. - Stephen Bayley
1- An Industrious Love of Art
The beginnings of designs

HOGARTH'S ABSTRACT 'LINE OF
BEAUTY' FRONT PAGE OF THE
BOOK
Modern design is, culturally speaking, rather old. It’s rooted in two distinct historic developments. One was the division of labour (Industrial process of breaking down manufacturing into its component) and the other was refinement of techniques of high volume production. The technological and social changes that arose around these developments are familiarly known as the Industrial Revolution. Because Britain faced the artistic and social consequences of the Industrial Revolution before any other nation, it was in Britain that design developed first.

In 18th century Britain, literature was alive with metaphors of industry, the earliest factories offering poets spectacular visions of the future world. In “The Seasons” (1726-30) James Thomson wrote,” these are thy blessings, Industry, rough power” It was this sort of investigative, artistic awareness that led the painter William Hogarth to write his book “The Analysis of Beauty” (1753), in which he set out to quantify the laws which govern our responses to art. Elemnts of appropriateness and fitness dominate the texts; he is aware that forms that are in themselves elegant can xcite disgusts if they are misapplied.

Hogarth’s abstract ‘line of beauty’ (shown in the pyramid) suggests that in coming industrial age, art and design will escape constraints.

Joseph Wright of Derby was one of the first artists to sense 
(and then record) the drama and romance of the industrial revolution. 
His Arkwright’s Cotton Mill by Night (1782-3) 
is the first every oil painting of an industrial scene.
2- LAWFUL PREY
Mass Consumption
The architect Jacob - Ignaz Hittoriff's
Archeological investigations showed
that the Ancient Greek Temples were
Brightly colored
The story of taste in the 19th century is one of confusion and crisis. It can be seen as two part drama.

The first act was the undermining by archaeology of the classical values which sustained Sir Joshua Reynolds and his academics, especially when an expedition to Sicily discovered that the ancient temples of the Greeks were not the austere, white edifices which neo-classicist and academicians had fancied, but were in fact garish and polychrome. The second act was the opening of consumerism to more than one social class as manufacturing exploded.

It was no longer possible to maintain, as Reynolds had done a century earlier, that there was a single standard of taste and that any man could achieve it; quite evidently, there were many standards. Artistic and philosophic attempts to rationalize these different standards form a fundamental past of the story of design in the following century.

With the loss of classical standards, many 19th century designers began to look to other sources for authority for their ideas, like deriving inspirations from this or that styles of the past, while other chose to be guided by moral standards rather than archeology. Among the first to react to the explosion in house and consumer designs was eccentric Architect Augustus Pugin, who turned to an idealized model of the Middle Ages (Which he imagined as an era of perfect social harmony) to serve as a didactic contrast to the world of the ‘depressed people’ which he saw all around him. He was the major intellectual force behind, and perhaps the greatest creative genius of, an ethical campaign, concentrated on architecture, which we call the Gothic Revival. His thought was a profound influence on Cole and his group: the ‘Journal of Design and Manufactures’ founded by Cole in 1849, is full of Pugin’s thought translated into  sound ‘principles’, but contained a hard, commercial sense quite alien to Pugin’s medievalism.
The Colt is thrillingly more beautiful than a stuffed frog holding an umbrella
While in Britain the problems of design reform and pubic taste preoccupied the authorities, in the United States a less self conscious attitude towards mass-production and consumption developed. During the second half of the 19th century, new companies in the United States surged ahead in the making of mechanical and electrical goods. At the same time, it developed a ‘culture’ for these goods for home and the office.

At first the design of the new American product was determined by the manufacturing processes by which they were made. Samuel Colt’s elemental ‘Navy’ model revolver which had shocked the British in 1851 was a remarkable example of how the aesthetic character of the product could be determined by machine-made, standardized parts.

3- A Kilogram of Stone or a Kilogram of Gold?
Survival and revival of craft value

In the later 19th century British Design became more involved with morals and ideology than even Pugin could have envisaged. To the leading writes of the age, the major challenge was to establish a simple and rational way of life but, in contrast the most celebrated contemporary designer William Morris offered what was basically an exclusive and elitist pseudo-medieval fantasy world. From Pugin via Ruskin and Morris a movement called the Arts and Crafts arose. In 1893, when William Morris took over The Arts and Crafts Exhibition Society, his influence and direction established John Ruskin’s barmy philosophy in the damaging and dominant place it retains in English imaginative life.
William Morris' Merton workshop began selling painted earthen ware tiles
in 1872 

A Swedish Interiors of 1885
Art and Crafts principles reached the public with the works of Ambrose Heal, a shopkeeper and furniture-maker and founder of the Design and Industrial Association (DIA). His store in London’s Tottenham Court Road was seen as an island of civilized values in an ocean of reproduction mediocrity.
Although ideas about fitness and propriety that had originated in Britain were taken up with enthusiasm in the German-speaking countries and in Scandinavia, where they were translated into the Modern Movement, there was so little response in their native country that Nikolaus Pevsner could declare in the Mid-thirties that Britain was 12 years behind the rest of Europe in accepting modern design.
Perhaps the keenest response to the demands of simplicity was found in Austria, a country whose relative industrial primitiveness offered a firmer basis for innovation. Its was in Austria that Michael Thonet had began his successful manufacture of bentwood furniture in the middle of 19th century. 
Viennese Architect Adolf Loos
It was also in Austria that the Architect Adolf Loos adapted Arts and Crafts view about simple materials, blended it with his own slick and idiosyncratic view of manners and style, and turned it into a ‘philosophy’ that was to be profoundly influential on the Modern Movement. He wrote in 1898, ‘What is worth more, a Kilogram of stone or a Kilogram of Gold? The question probably seems ridiculous. But only to a merchant. The artist will answer: all materials are equally valuable as far as I am concerned.’ This taste for simplicity reached such an extreme state with Loos that in 1908 he wrote an essay that h entitled ‘Ornament and Crime’. His thought became one of the strongest esoteric influences on Le Corbusier and the others who used Loos’s fevered proclamations as the ideological basis for ‘progressive’ European Architecture and Design between the wars
Arts and Crafts principles were imported, too, into the United States at the turn of the century, influencing the ideas and woks of Frank Lloyd Wright


4 - Hygiene of the optical
The romance of the machine

United d'Habitation Marseilles 1946 -52
Le Corbusier's master piece
A complete concrete city (337 Appt.)
on stilts in a park
The taste for simplicity and for the first principles in matters of design predisposed many architects and designer through out  Europe and the United States to an awareness of the machine, both as a means of achieving rational modern design (in mass production ) and as a metaphor of that achievement (when mechanistic details were adapted for everyday things).

Although the proponents of this machine style believed that they represented the unalterably correct expression of the modern world, like ‘Functionalism’, the style was itself no more than an expression of a particular taste. But unlike functionalism, which is a philosophical attitude more than 200 years old, the romance of the machine developed solely in 20th Century.

Although the Germans had the greatest practical success with the impulse to standardized and to tidy up, it was with a Swiss architect, Le Corbusier, that the same impulse reached its extreme. He coined the ultimate expression of the machine-romantic sentiment when he declared that ‘a house is a machine for living in’. Misquoted and taken out of contexts this remark brought about such abuse that Frank Lloyd Wright rejoined, ‘Yes, but only insofar as the human heart is suction pump’, and Marcel Breuer added, ‘and you don’t want to get greasy if you lean against the wall’.

The taste for the machine living was never fully accepted in the United States, despite the success of the 1934 Machine Art Exhibition nor it was fully expected in Britain.
Braun Electric razors 1950, 62, 84
A fine demonstration of design evolution
After the II World War, the machine style reached its most highly developed state, especially in the products of the Frankfurt electrical company Braun and those of all its imitators from Britain to USA to Japan. It fell to Dieter Rams, Braun’s chief designer, to introduce some Bauhaus principles to the consumers.

Henry J Kaiser's Boulder Dam, Colorado (1936)
Often cited as a heroic illustration of industrial art
in contemporary books and magazines
To Be Continued Next week... please log in next week
Final chapters of Design
5 - The cash value of art
6 - La Ricostruzione
7 - Ugly, Inefficient, depressing Chaos
8 - All that is solid melts into air

Now I leave you all with some of the great example of design excellence over the centuries... 

Swedish Glass designer won the 1916 design competition




for Coca Cola bottle, perhaps the most successful packaging ever

The Ero/S chair by Phillippe Starck for Kartell
ALPHA ROMEO 1951
Henry Ford, of all people, used to raise his hat every time he saw an Alpha Romea

The B of Bang, Manchester UK 2005
By Architect Thomas Heatherwick (b 1970)
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Art of Seating                                                       A note on Good Design Part II




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