The bed with in a buidling

The artifact that is located in the first bed room to the left is the wooden bed that appears to be unfinished. The room where this bed is located it plain just like the bed. That bedroom could be used to a set of siblings around the same age because the bed is a bunk bed which holds two people. This house could be occupied by a family of that just got married and is starting a family. The house consists of two bed rooms and one full bath room, and a garage along with a dining room. The bunk bed could be used for the children; it helps keep the room more organized and clean. This house could possibly contrast the bunk beds because the beds have more of a simple look and touch to them, and if the owner adds decorations to the bed rooms the bed would not be as simple. The order furniture in the room would also not correspond to the design of the bed because the furniture would be more modern and have more decorations to it.

My Artifact

The artifact that I have been given is the lava lamp. This is a lamp that came out around 1968 that represented that day and age. It is mostly reflects the hippie like movement. It is shaped like a rocket and has a metal top and bottom with glass in between. The glass is filled with liquid that has wax floating around in side of it. When that lamp is turned on the wax heats up and flows freely with looks a lot like lava giving it the name lava lamp. But it was not always called a lava lamp. Edward Walker took it to a Brussels trade show in 1965, where he called it an Astro. The lamp was then brought over by an Americans company and made it extremely popular in the US throughout the 60s and 70s. The lamps are still being produced and sold because of their very different shapes and colors that you can get. The cool design that cannot be replicated by any other type of lamp or anything that is around today gives the lamp a unique place in the world. The reason for getting a lava lamp is used not to light up the room but dim it down a little. It is to set the mood and give the room a little life and decoration. The different wax blobs give you a com affect and make you feel good, which is why it is known to be hippiesh.

Rookwood Vase in a space

The Rookwood vase by Rookwood Pottery (designer Lawrence) is shown here in an imagined contemporary residential space. The architectural style of this home is modern with emphasis placed on clean, geometric forms, open spaces, and large windows that being the outside in. The interior furnishings and decorative objects are minimal but carefully selected. It could be inferred that this is the home of someone with considerable economic means and a knowledge and appreciation of the history of modernism. Homes with strong modern features like this are often custom designs that are more expensive than the typical middle class house. The collection of furniture and artifacts ranges in time frame of design but shares a connection to modernism and general design significance. The sofa is a Stickley sofa, an important designer and manufacturer of the American Arts and Crafts movement. The chairs are Le Corbusier LC1 or Basculant chairs, designed in 1928 and currently produced by Cassina. Le Corbusier was a significant architect and designer of the early modernism movement. The vessel that shares the hearth with the Rookwood vase is Canoa, designed by Ludovico Diaz de Santillana and Tobia Scarpa and manufactured by Venini. Venini is an Italian company from the glass blowing island of Murano. It is significant to modernism and similar to Rookwood pottery because of the use of simple modern forms and the practice of inviting designers, architects, and artists from outside the company to produce designs for them. On the wall hang two felt pieces, called Yard, by Italian rug and furniture manufacturer Paola Lenti. The Stickley sofa, Rookwood vase, Venini glass vessel, and Paola Lenti hangings are all pieces that are hand made. The Corbusier chairs are machine made but are born out of a similar focus on being well made. Everything within the space as well as the space itself embody ideas first born out of the Arts and Crafts movement and then continued in modernism such as clean geometric forms, quality of construction, and blurring of the lines between inside and out.

Laura Snoderly

sources:
www.artsmia.org/modernism/Ointro
www.cassinausa.com
www.paolalenti.com
www.venini.com
www.stickley.com

Ray Hollis Ashtray [my attempt for the 2nd time]

The Ray Hollis ashtray was designed by Philippe Starck in 1986. This simple artifact is ten centimeters tall, seven and a half centimeters wide and eleven and a half centimeters long. The material that the ashtray is made out of is aluminum. This ashtray was a gift of Clotilde Bacri. To describe this piece is quite difficult due to the simplicity. Basically, it is a slightly flaring rectangular box with a slab-like, pivoting flip-top lid. The lid’s thin edge projects beyond one side of the box. Even though the design is so simple, describing it is a challenge. The shape of the Ray Hollis ashtray is very different from any other typical ashtray—the typical ashtray’s shape is round and there’s a distinct place to put your cigarette. The materials are also different. A typical ashtray is made out of plastic or glass, rather than polished aluminum. The aluminum ashtray’s sense of symmetry and shape expresses a sophisticated and modern look. Lids on an ashtray are unusual; however, there is one on this particular ashtray making it unique. Who knew that ashtrays could be so appealing?

The umbrella holder has many contrasts towards the ashtray. Even though they both hold things, there are many differences—mainly being the shape and material. The shape of the umbrella holder is round and cylinder like. Materials used in the holder are porcelain, which contrasts the ashtray.

Compared to the Le Corbusier Petit Loveseat, many similarities arise. Both are modern with simple shapes, in this case, rectangular. These simple shapes really help make the pieces different from the other artifacts.

Chocolate Pot

This is a Chocolate Pot designed by Lucien Bonvallet in 1900. The Silver pot with Ivory Handle was used to make a Chocolate drink... Hot Chocolate. Chocolate was discovered in Mexico by the Spanish and brough back to Spain in 1528. Arriving on the scene in Europe 100 years before Coffee or tea it quickly gained popularity. Chocolate pots were designed from the simple to the ornate. Silver and pewter were embossed and decorated. The lid was hinged with decrative top and a hole for the stirrer to be inserted without loosing the heat from the drink.

The Chocolate Pot was introduced into the movies throughtout the early 1900's and was even put into opera.

Notes from New York Times September 26 2008

Jayson Parker - Library Table

My Artifact
The Herter brothers’ rosewood and mother of pearl library table was designed in 1882 for William Henry Vanderbilt, for whom they also designed and decorated a mansion on 5th avenue in Manhattan. The table itself was encompassed within the mansion and centrally located as a hierarchical landmark within the library. However, the presence of this table is not limited to its location. The Metropolitan Museum of Art explains that the sole purpose of the table was not to be functional, (though it had the ability to), but rather was to be the embodiment of power and prestige as a piece of sculpture to Vanderbilt himself (The Metropolitan Museum of Art, 1). In class, we have discussed the fact that, throughout history, people have been alluding to and pulling design elements from the past and incorporating them into design today. The library tables’ lion-paw shaped feet, overall shape, and stylized palmettes are all elements reminiscent of the Roman Empire. Furthermore, the wreaths enclosing a star in each corner of the tabletop parallel designs from the Napoleanic era. It can be clearly seen that this table served as a powerful symbol for Mr. Vanderbilt during his time, as well as a symbol that draws heavily on the past.

Similar Artifact
A similar artifact, a center table, was also designed by the Herter Brothers in the late 1800’s. As with the library table, the center table is very ornate with carved, ebonized, inlaid and gilded maple as well as gilded bronze fittings. Some may say that this table could have easily had just as prominent a place as the library table had, since the Herter brothers often designed for prominent clients within the U.S. including the White House.

Contrasting Artifact
Contrary to the library table is the lava lamp. Though not primarily used for illumination the lava lamp was a symbol of modernity fundamentally used for decoration. It was also associated with the drug culture of the 1960’s because of its aesthetic similarities to hallucinations commonly associated with certain drugs. In light of this information one can see that the lava lamp served an entirely different purpose than that of the library table. The table symbolized power and prestige for one man, while the ubiquity of the lava lamp represents a culture that is self-destructing.

Source: The Metropolitan Museum of Art. “American Decorative Arts.” 2008. Sept. 21, 2008.

Sewing Machine Patent Model, Isaac Singer

The first practical sewing machine was designed by Elias Howe in 1846 and provided a new way to make clothes. Previously, clothes had been made by hand using a needle and thread. This invention allowed for mass production of clothing.

In 1851 Isaac Singer introduced a commercial sewing machine and three years later a domestic model. Singer developed this design whilst working in a machine shop in Boston, Massachusetts, where he repaired a Lerow sewing machine. Together with Edward Clark he founded the I.M.Singer Company, marketed it and became one of the wealthiest Americans of the century. One difference between Singers model and earlier ones was its continuous-feed feature. This method of cloth feeding regulated the tension on the needle thread, and lubricated the needle so leather could be sewn. Previous machines had an overhanging arm, which held a needle directly and vibrated with it. According to Holmes, Singers improved sewing machine included such assets as a table supporting the cloth horizontally (instead of a feed bar); "a vertical presser foot to hold the cloth down against the upward stroke of the needle, and an arm to hold the presser foot and the vertical needle-holding bar in position over the table. A real breakthrough was his invention of a foot treadle instead of a hand crank." (http://www.moah.org/exhibits/virtual/sewing.html)

Three years after the introduction of his sewing machine, Elias Howe sued Singer, however his machines continued to be manufactured and continued to be improved. Singers Company had become the world's largest manufacturer of sewing machines by 1860.

Opdkye was one of the first American merchants to manufacture a small-scale line of ready-made clothing. After the sewing machine was invented ready-made clothing took off. Ready-mades are considered to be commercially made, mass-produced objects created for purchase and immediate use. Singers sewing machine was not only used for clothes, but also adopted by shoe makers, as it was strong enough to sew leather.
A comparison to the sewing machine is the Macintosh 512K because it too was a functional device. Isaac Singers sewing machine was not the first to be invented but a developed and improved version of previous ones which allowed for a greater production of clothing etc. The Macintosh 512K was the second apple computer design who's improvements allowed for increasing communication within societies.
The Rookwood vase contrasts to the sewing machine as it does not serve a particularly important or useful function other then holding flowers. The individuality and design of the hand crafted vase contrasts to the ability of the sewing machine to produce mass production of clothes.

center table-herter brothers

The Herter Brothers (Gustave /Christian Herter) became leading interior designers and furniture makers in later 19th century. The Center Table (1878-1888) a decorative piece showing mixed materials and hand carvings. The basic form of the table is post and lentil with incise ornament and gilding. The legs taper down and flair out at the bottom giving the legs feet. All of the legs are connected either by supports from front to back or by the stretcher helping stable the table. Detailed pieces are carved and added to the side of the table between the legs. The voids help lighten the table keeping it from looking chunky. Medallions are added below the top encouraging the amount of detailed carvings. The top is an elaborate inlay of wood with motifs of classical origin. The dimensions of the table are 30.75” x 56” x 35”

convex mirror

This mirror is a convex one that was once very popular during the 19th century in England; although, no convex mirror was produced of this size until 1795. This particular mirror was made in the year 1800 in England. The designer is unknown. This artifact represents the Regency style. This era can be noted by elegant furniture, boldness and a white stucco façade with columns. This mirror has carved pediments with an eagle at the top. Hung mirrors are used to reflect objects in the room, however convex mirrors have the ability to reflect the whole interior. Usually one would hang such artifact at the end of the room in a place where it could do so. This object is an additive object to a building and has the ability to repeat elements within the space. According to Wikipedia, these mirrors can be very helpful because the image is always virtual, diminished and upright. Images reflected in these artifacts are always look smaller than they really are so that they can show more than a plane mirror. Mirrors capture light and reflects them into the space making good use of natural and artificial light. Today you can find convex mirrors in cars, security features, computer monitors, camera phones, Christmas ornaments, and thumb tacks.

Compare: One could compare this convex mirror to Jayson Parkers artifact, the library table. This table is embellished with carvings, and plated with bronze. This table is not functional, however it is seen as a symbol of power.

Contrast: In comparison to Sara Zales post on the Ray Hollis ashtray, this artifact is much different than the convext mirror. Designed also 100 years later and for a much different purpose the ashtray was made as a gift and is characterized but is strait edges and lines.

Le Corbusier's Petite Love Seat

Le Corbusier said that a house is a machine for living; this means that the furniture inside of that house would be its working parts. Le Corbusier’s Petite Loveseat is a stylish and luxurious, yet modern and practical. It is very difficult to streamline such a product so that it inherits all of these qualities, but Le Corbusier was successful in this with his LC2 collection, which includes the petite loveseat featured in the image above. The collection is luxurious in that fine leather and stainless steal were used as the materials and the scale of the arms and cushions in the collection are highly padded and thick. The thickness of the cushions provides comfort and a luxurious design aesthetic. The petite loveseat has a very low back cushion and the arms are the same height as the back. This part of the design relates to Le Corbusier’s minimalist approach. The love seat also seems to have a good amount of weight and sturdiness to it, which contributes to the fact that working parts of a home (furniture) must be sturdy and usable. The stainless steal frame is sincerely minimal in that the placement of the bars is for structure only. Le Corbusier’s collection is almost like an exoskeleton in that it’s ‘bones’ are on the outside of the piece and it’s outer cushions become the inner workings. Le Corbusier’s Petite Love Seat and his LC2 collection is a far stretch from the traditional furniture of the time and can be viewed as a home’s most successful working parts.

Murphy's bed

eMurphy's bed is an ingenious design when you are designing for small spaces. It was patented in 1916 by William Murphy. It was designed for small spaces. This design was becoming more necessary since more people were moving to cities and living in small apartments. It is a very easy design to use. The thick bars indicate where to pull and what to fold down. It also helps with multi-use for a space. You could have the space function as a living room during the day and then fold out the bed and have it be a bedroom at night. The matress is hidden away in a closet or cabinet. You open the doors and pull the matress down. A support bar flips down at the bottom to provide support. This reveals the subtractive part of the design. There is a hole where the bed used to be. The matress is fastened at each corner by a bolt. There is no room for a box spring matress, so the matress lies on a wire mesh. It is made out of steel bars and then the material for the matress, and wood for the cabinet it sits in. This design I would consider to be more vernacular than high design. It was designed more for function. Over the years Murphy's bed has evolved to include mirrors, lights, and pictures. The cabinets on the side can be used for storage and are usually symmetrical. Murphy's bed is a very practical design and over the years it has been adopted into our culture. It's Multi- function design makes it stilll relevant today and it continues to change as out need for it stays the same.

Contrast: Model for east building Mobile
IN contrast to Murphy's bed this seems to be solely for decoration. It has a flow and a beauty ot it that Murphy's bed does not. It also seems organic. They are made out of different materials and are diaplyed in different ways. The mobile hangs down from the cielng whereas Murphy's bed is attached to the wall. They are also found in different places. The mobile woulld be found in a muesem. Murphy's bed would most likely be found in a samll apartment. There is more of a use for the bed that the mobile, which makes it more functionable.

Comparison: Waterbed
Both of these beds serve the same purpose; something to sleep on. But further than that I feel that they were both designed out of function and not beauty. They take on the same shape and are amde out of similar materials. They have both been adopted by the culture and can be found in every day homes.

The "Patriot" radio, 1939

Norman Bel Geddes (American, 1893–1958)


The years throughout the Great Depression were overwhelming and very painful for all that had to suffer through them. Therefore, designers of this time period focused mainly on things that were optimistic, to take people’s minds of what was happening around them.
Norman Bel Geddes was one of America’s most prolific and influential industrial designers of the 1930’s and early ‘40s. Geddes wanted to promote both American technology and culture, thereby helping to bolster national pride during the difficult years of the Great Depression. He designed the “Patriot” radio of 1939 that is encased with a patriotic stars-and-stripes motif that is meant to be an optimistic and useful emblem of American technology, industry, and identity.
The “Patriot” radio is a very simplistic design. It’s a rectangular form with geometrical features for the station and volume controls. Either side of the radio is not identical, but there is visual symmetry and balance when you look at it. The patriotic lines make up one side of the radio for the speaker, and the circular dials and controls make up the other side, making visual weight balance between either side.
Geddes’s design can be compared to many geometrical designs, but I thought a good comparison would be Le Corbusier’s Petit Loveseat LC2. Other than this structure being a couch and not a radio, there are many similarities between the two. Both of these forms are very geometrical. The main form of the love seat is a rectangle with about the same proportions as the radio. The stainless steel frame that holds up the couch is also very geometrical. The frame can be compared to the geometrical controls on the radio. Other than geometry, both of these designs are very simple. There is no extra décor; it is simply for function, not aesthetics.
In contrast to Gedde’s geometrical, simplistic design of the “Patriot” radio, John H. Belter’s Sofa from 1850-1860 is the complete opposite. Belter is known for his high-style furnishings and luxury market in the 19th century. Belter’s sofa is made from richly carved rosewood and naturalistic blooms. This form has been intricately carved and has become this beautiful piece of furniture; it is anything but simplistic. The radio is similar to Corbusier’s loveseat in that they both have smooth textures. Belter’s sofa definitely has texture to it. The carved wood adds a rough texture to the soft velvet cushions on the seat.
In all of these artifacts you can see similarities and differences, but some are stronger and easier to see than others. When thinking about it, each of these designs has been inspired by one another in some way.

Sources:
-http://www.metmuseum.org/toah/ho/11/na/ho_2001.722.11.htm
-http://stores.advancedinteriordesigns.com/-strse-173/Le-Corbusier-Petit-Loveseat/Detail.bok
-http://www.metmuseum.org/toah/ho/10/na/ho_1999.396.htm

Lily Glover- fire screen

The fire screen was designed by William Arthur Smith Benson in 1891 in England. He was considered a master of metalwork, the fire screen being made of a combination of bronze and copper creating leaf like parts that fanned to cover the fireplace. Unlike many other designers during the arts and crafts movement, Benson wanted his designs to be used for mass production and really embraced the industrial movement.
This approach to design is a stark contrast to the John H. Belter sofa which is a very intricately crafted piece of furniture. He creates overly embellished woodwork, that is a Rococo Revival and a very high style look. This sofa is in no way appropriate for mass production. Belter's approach to design is one of a kind pieces. He is especially known for his work with carving rosewood, which is a very organic material, as opposed to the bronze and copper pieces that Benson is known for. Benson's work is much more streamlined and focused on form, rather than the embellishments of Belter's woodworking.
However WAS Benson worked similarly to Isaac Merritt Singer who created the Singer sewing machine. Singer was quick to embrace the industrial world as well by creating a sewing machine for commercial use. His design was much more practical than those that had already been invented. He made several improvements such as switching from a curved needle to a straight one. Once he started his own company he began to target sewing machines for people’s homes. Benson's fire screen is much like this in that he was able to bring a part of industry into peoples homes, just as Isaac Singer did with his home sewing machine.

The Mechanical Game Table--Josie McKinney

The Mechanical Game Table

This table consists of a beautiful assortment of materials, some of which include maple, mahogany, brass, and iron and steel fittings. At first glance it is merely a table, yet when one takes a second, closer look, they will see that the table transforms into a game table. The top of the table has hinges on one side to allow it to swing open. There are attachable legs that can be placed to hold the now "game board" up. Under two more mock table tops (which allow for card and chess games,) is a backgammon box that is set into the table and rigged on springs to allow it to pop up. The Mechanical Game Table made for great entertainment and was a good space saver when not in use. (http://www.metmuseum.com/)

comparisons:

Manxman Piano

The Manxman piano and Mechanical Game Table are alike in a very obvious way. They both conceal entertaining mechanisms within their confines. When all of its doors are closed, this piano resembles a cabinet or hutch that is up on stilts. One would not know it is a piano, just like one would not know the Mechanical Game Table houses a backgammon box and chess board.

Contrasts:

Conference table (1975)

The Mechanical game table is multifunctional--multifaceted. The function of the conference table is pretty clear. It has one function; People are meant to sit around it and eat, talk, read, and any other thing people regularly do at tables. It does not open or there are no suprises like there are in the other artifact.

Russian Day-Bed

The Russian Day-Bed was created in the first half of the 19th Century. It was created during the time of the arts and crafts movement. The headboard is tall and slightly curved around the mattress. It is completely constructed out of wood. It would be placed inside of a home, most likely in a bedroom but not necessarily because of its function as a Day Bed. The day bed has that feeling of hand crafted, with its excellent attention to detail and craft it definitely makes for a fantastic bed.

It is different to the Empress Josephine’s bed that was created in the Empire style designed by Napoleons decorators in 1810. This bed is so elaborate and rich with hangings where the Russian Day-Bed has so much more of an understated elegance to it. Also the Empress Josephine’s bed was also used for ceremonies as well as sleeping, the Russian Day-Bed was not.

The “Barcelona” daybed by Ludwig Mies Van Der Rohe in Germany 1929 is a little more similar to the Russian daybed. One for the obvious reason they are both daybeds and therefore have the same function in a household. But they are constructed of different materials both seem to have that understated elegance about them that I mentioned before. Neither bed is extremely elaborate in the details that are put into it but if you look closely enough you know that they are definitely there.


Saturn-seat 3

Washstand, 1904

Charles Rennie Mackintosh, is the scottish designer of the Washstand. The stand is made of oak, ceramic tile, colored and mirrored glass, and lead. It stands at 63 1/4 x 51 1/4 x 20 3/8 in. It was designed to be part of the furnishings for the Blue Bedroom in Hous'hill, which is an eighteenth century suburb residence. The designer is known for his unique designs based on forms and materials from his traditional Scottish background. This style of furniture can be categorized as unique through its vibrant colors combining mirrored glass, ceramic tile and oak, without which it probably would have faded out with all other similar washstands. The style portrays that of the Art Nouveau period with the simple lines and curve seen in the mirrored glass. It is balanced by its symmetry from the left to the right but if you turn it on its side you might find that its triangular posts are very assymetrical. The backdrop shows a strong gesture in the peice with the way it plays with natural light and color. This is one of the many reasons why the backdrop can now be found sold as posters for about 200 dollars, which is appropriate for this designer. He used to be part of a team who produced poster designs, watercolors, and small decorative objects before he worked for an architecture firm. The washstand is an example of this architect/designer at the peak of his creativity.

CITE SOURCE:

"Charles Rennie Mackintosh (Washstand, 1994.120)" In timeline of Art History. New York: The Metropolitan Museum of Art, 2000-.

http://www.metmuseum.org/toah/ho/11/euwb/ho_1994.120.htm%20(October 2006)

CONTRAST:

This is a City Washstand by Urban Archaelogy. As you can see, the washstand has dramatically altered it shape into a form with less mass and material. It has very clean modern lines with no space for storage except for its counter which is made of granite. Unlike Mackintosh's washstand which has plenty of storage. The modern style also contrast because it directly becomes unified with the space because it is built to connect with the wall. The traditional washstand is an element within the space which can be moved according to the owners wish. One of the most important observations is the most apparent which is that it has a functioning sink unlike the previous one which shows no indication that it is a washstand except for the ceramic tile that proves water is allowed.

www.trendir.com/archives/001001/html

Campion!

This is the Campion wool rug. It was designed by Morris and Co. Decorators Ltd. It was created in England. Surprisingly enough it is only about 48" x 34", not a very big rug, but a very ornate one. This kind of rug is known as "kidderminster" style, woven rug with one large symmetrical pattern.

The tiki lamp is like the Campion due to its intricate carvings and design. Much like this rug, I believe that lamp took a very long time to make. Both provoke alot of thought and show very much insight into their cultures such as what the Polynesians were worshipping and believed in the case of the tiki lamp and how the English valued beauty and decor.

On the other hand, the Campion and Marian Mahler's Curtain are to seperate things. While they are both forms of decor, they are bounds apart. The Victorian style of the rug does not fit well with the contemporary style of the curtain. Yes, they both have patterns but one seems to be more intricate and wel planned out while the other looks as if the pieces were just strewn across the curtain. I think these pieces show how the styles have changed and gone from organized to free form.

Macintosh 512K (earth)

My Artifact (Macintosh 512K)
The Macintosh 512K was the second line of the Apple computers (this new addition had 4 times as much memory than the original Apple). It was introduced in 1984 with the cost of $3,300 and discontinued in 1986. The device came with softwares such as MacPaint, MacWrite, MacDraw, and MacProject. Although computers were not as popular then as it is today, it still had the same implementation. People used these computers as a source of communication, recieving information, and productivity.

Similar Artifact
The Patriot radio created in 1939, was also another source of communication and recieving information. Although the radio was invented way before the computer, the two devices almost had the same purpose. Both of these artifacts are still in use today in our everyday lives. Radios and computers have become such a significant part of our lives, it is almost impossible to live without it nowadays.

Contrasting Artifact
Le Corbusier Petit Loveseat LC2 was a reproduction of the 1929 Salon d'Automne. This modern piece is not an artifact that evolved around communication, recieving information or productivity. Although this piece of furniture can be used in someone's everyday life, it does not have the same purpose or the technology like a computer or a radio. However, the style of furniture have changed through time due to technology.

The Conference Table

[artifact]
The Conference Table (1975) can be attributed to the designs of Andrew W. Palmer, John H. Norton, and Michael A. Goldfinger. This group of men was known to be a part of the 1971 Union Woodworks, of Warren, Vermont. The table is made from red oak and black walnut, standing at 29 1/2 x 120 x 42 in.

[influence]
The 1970s were a time of global change and revolution. Not unlike today, energy crisis and gasoline rations resulted in heightened economic awareness, while the costs of the Vietnam war placed a heavy burden the delicate US economy. Such social revolutions as integration and feminism reached their climax, and design was integrated with the scientific and postmodernism trends. The scientific community became fascinated with calculators, the Voyager, and Stephen Hawking's theory of black holes. Pop-art and postmodernist art was integrated with design, shedding light upon the works of such designers as Wright, Kahn, and Mies van der Rohe. The corporate culture grew, and hierarchy within the work environment was lessened, streamlining with the social revolution of the time. The Conference Table's design reflects many of the common themes of the 1970, namely scientific and post-modern ideas.

[compare]
This table shares qualities with Frank Lloyd Wright's Barrel Chair, which plays off of a rather traditional chair design. It incorporates recognizable materials (warm wood) with the rather unexpected use of circular and linear elements of an otherwise familiar object. Likewise, the Conference Table is a traditional table design which explores the relationship of sculpted curves and lines.

image courtesy of cache.wists.com

[contrast]
The Conference Table has little relation to the industrial Coupe Table Lamp (1967), designed by Joe Colombo. Its chrome and lacquer contrast with the warm wood of the Conference Table, and the mixed media nature of the lamp greatly contrasts with the sleek wood design of the table.

image courtesy of www.dwr.com

Artifact: Candlestick Telephone or "Upright"

The first rotary upright desk phones - the candlestick - were introduced in about 1900 and used extensively until about 1930. Unlike our phones of today, it is comprised of two separate but connected pieces of a transmitter and a receiver. The receivers base is made out of rubber to keep the telephone in place and from falling over. The cords that come form it are made up of silk and/or cotton. The the candle Stick phone is made up of many different types of metals ( e.g. copper, iron , and aluminum). The rim of the diaphragm is also line with rubber. In comparison to the CandleStick phone is the Improved Victor 2 Humpback Phonograph which was designed in 1904 and was so named for the metal piece that holds the wooden horn up. This piece allows for larger-sized horns, and, higher volume.both of these items coming form the same time period transmit sound through a cone shaped transmitter. In contrast mantel clock was designed by Joseph Maria Olbrich circa 1899, in Vienna, Austria. It is carved of pear wood, with metallic numerals. Olbrich was a student of Otto Wagner, a famous Austrian architect. In May of 1897, Olbrich, Wagner, and others founded the Vienna Succession, an independent artist group, after resigning from the Association of Austrian Artists. The mantel clock’s distinctive features include it’s curvaceous solid form, elegant but simple numerals, and characteristic oval shaped opening.these two items though belonging in the house hold served two very different purposes.