Jean-Henri Jansen (1854-1928)
Dutch designer, Jean-Henri Jansen, launched one of the first ever international interior design companies ‘Maison Jansen’ (House of Jansen) in 1880, which became renowned for designing and creating exceptionally beautiful and high quality furniture which would be utilized in a multitude of interior decoration projects. House of Jansen opened branches in 8 of the major cities of the world. Jansen worked closely with the talented interior designer Stephane Boudin whom he made director of the company. The clients of House of Jansen included Royalty and the rich and famous.
Elsie de Wolfe (1865-1950)
The first lady of interior decoration, Elsie de Wolfe considered herself an ‘ugly child’. This Victorian stage actress was a rebel of her times and was credited by many to be the inventor of the modern profession of interior design, even though there were already established interior designers in her time. Elsie disliked Victorian tastes altogether, her designs were therefore generally made up of light and bright colors, contrary to the drab and gloomy Victorian décor coupled with unnecessary excesses such as heavy velvet draperies. This was a pioneering departure from the contemporary designs of the time. Elsie’s influence continues to be felt in the modern world of interior design.
Ogden Codman (1863-1951)
American interior decorator and architect, Ogden Codman spent his childhood in his birthplace of Boston before heading to France in his youth for a period of time. Codman had two uncles who influenced him tremendously - architect John Hubbard and decorator Richard Ogden. Some of Ogden Codman’s works include Edith Wharton’s Newport home, Land’s End, the Rockefeller family estate of New York client John D. Rockefeller, Jr. and the Newport summer home of Cornelius Vanderbilt II. Along with novelist Edith Wharton, Codman co-authored a guidepost of American interior design, ‘The Decoration of Houses’ in 1897.
Frances Elkins (1888-1953)
Born in Milwaukee, Frances Adler Elkins was one of the most prominent interior decorator and designer of the previous century. Sister of the famed Chicago architect David Adler, Elkins was known for her futuristic designs that brought together different styles and elements from various periods. They included country French styles, chinoiserie and art deco. The furnishings featured in her designs included designers such as Jean-Michel Frank and Alberto Giacometti. The career of Elkins that spanned over three decades is glittered with many high profile commissions in Hawaii, the Midwest and northern and southern California, none more interesting than the restoration of the 1830s structure, Casa Amesti in Monterrey, California.
Frank Lloyd Wright (1867-1959)
Frank Lloyd Wright was an interior designer and architect whose career included more than 1000 projects, 500 of them that have been complete. Wright was known for his promotion of organic architecture, an example of which is Fallingwater. The Robie House is an example of Wright’s leadership of the Prairie School architectural movement, while the Rosenbaum House depicts Wright’s Usonian home concept. Wright also had refreshing ideas for every kind of building, be it church, office, school, hotel or museum. Along with excellent architectural renderings, Wright also designed much of the interiors of his buildings including the Décor, layout and furniture.
Modern interior decorators offer services such as Home Remodeling to improve the chances of selling your house. This process is also known as Home Staging and is designed to make the house more appealing to a wider demographic.
Review: Le Corbusier: The Art of Architecture in Liverpool
Ellis Woodman on Le Corbusier: The Art of Architecture in The Crypt, Liverpool Metropolitan Cathedral.
There is a moment early on in Liverpool’s new Le Corbusier retrospective which perfectly encapsulates its subject’s public persona.
It is a short film, from 1925, showing the man known to his mother as Charles Édouard-Jeanneret peering out from behind those fearsome thick-rimmed, circular spectacles that he invariably wore.
He is explaining his proposal for the construction of the Plan Voisin, a modest scheme to bulldoze much of central Paris and replace it with a series of 60-storey cruciform towers laid out on a grid.
As he turns to the map behind him, draws a large rectangle around the proposed site and calmly proceeds to black out the medieval street pattern, you can’t help thinking what a magnificent Bond villain he would have made.
Such moments of provocation proved wildly effective in promoting Le Corbusier to international fame. They also, however, served to caricature him as a deranged technocrat, an image that the work of his lesser post-war followers did much to reinforce.
And yet the exhibition powerfully conveys that this is only a fraction of the story. Yes, the urban plans still look absolutely barmy – thankfully, very few of his large-scale projects were realised – but Le Corbusier was also a painter, sculptor, furniture designer and, of course, an architect of some of the greatest buildings of the 20th century.
At Liverpool, all these aspects of his output are brought together, giving an indication of how developments in art – notably Cubism and Surrealism – played as large a role in shaping his architectural imagination as did developments in reinforced concrete technology and the growth of motor car use.
The show also describes a figure who was Picasso-like in his quest for reinvention. His early work draws on both classical architecture and the vernacular buildings of his native Switzerland.
It is only when he arrives in Paris in the 1920s that he adopts his pseudonym — which can be translated as “the crow-like one” — and begins to produce the series of highly abstract, spatially complex houses that bring him to the world’s attention.
The post-war work is as different again: muscularly sculptural, where the earlier work had been composed of thin planes; and in rough, exposed concrete and brick where it had previously been painted a pristine white.
One wall of the exhibition is devoted to Le Corbusier’s very substantial influence on the British architecture of the Fifties and Sixties. However, he never built here, and visiting much of his greatest work — the church at Ronchamp, the La Tourette monastery, the string of major buildings that he realised in India in the 1950s — demands a considerable trek.
The Liverpool show represents the next best thing, offering an Aladdin’s Cave of original models and drawings. As a bonus, it offers a rare opportunity to see inside the crypt of Liverpool’s Metropolitan Cathedral, the only part of Lutyens’s original design for the building to be built.
However, quite what Lutyens would have made of the show being staged here, I dread to think. On admission to his office, new staff members were notified that ownership of Le Corbusier’s books was considered a sacking offence.
There is a moment early on in Liverpool’s new Le Corbusier retrospective which perfectly encapsulates its subject’s public persona.
It is a short film, from 1925, showing the man known to his mother as Charles Édouard-Jeanneret peering out from behind those fearsome thick-rimmed, circular spectacles that he invariably wore.
He is explaining his proposal for the construction of the Plan Voisin, a modest scheme to bulldoze much of central Paris and replace it with a series of 60-storey cruciform towers laid out on a grid.
As he turns to the map behind him, draws a large rectangle around the proposed site and calmly proceeds to black out the medieval street pattern, you can’t help thinking what a magnificent Bond villain he would have made.
Such moments of provocation proved wildly effective in promoting Le Corbusier to international fame. They also, however, served to caricature him as a deranged technocrat, an image that the work of his lesser post-war followers did much to reinforce.
And yet the exhibition powerfully conveys that this is only a fraction of the story. Yes, the urban plans still look absolutely barmy – thankfully, very few of his large-scale projects were realised – but Le Corbusier was also a painter, sculptor, furniture designer and, of course, an architect of some of the greatest buildings of the 20th century.
At Liverpool, all these aspects of his output are brought together, giving an indication of how developments in art – notably Cubism and Surrealism – played as large a role in shaping his architectural imagination as did developments in reinforced concrete technology and the growth of motor car use.
The show also describes a figure who was Picasso-like in his quest for reinvention. His early work draws on both classical architecture and the vernacular buildings of his native Switzerland.
It is only when he arrives in Paris in the 1920s that he adopts his pseudonym — which can be translated as “the crow-like one” — and begins to produce the series of highly abstract, spatially complex houses that bring him to the world’s attention.
The post-war work is as different again: muscularly sculptural, where the earlier work had been composed of thin planes; and in rough, exposed concrete and brick where it had previously been painted a pristine white.
One wall of the exhibition is devoted to Le Corbusier’s very substantial influence on the British architecture of the Fifties and Sixties. However, he never built here, and visiting much of his greatest work — the church at Ronchamp, the La Tourette monastery, the string of major buildings that he realised in India in the 1950s — demands a considerable trek.
The Liverpool show represents the next best thing, offering an Aladdin’s Cave of original models and drawings. As a bonus, it offers a rare opportunity to see inside the crypt of Liverpool’s Metropolitan Cathedral, the only part of Lutyens’s original design for the building to be built.
However, quite what Lutyens would have made of the show being staged here, I dread to think. On admission to his office, new staff members were notified that ownership of Le Corbusier’s books was considered a sacking offence.
Futuristic architecture goes beyond green building
Architect David Fisher has taken the charming notion of revolving floor penthouse restaurants and turned it into something much, much bigger: a skyscraper in which every floor revolves, resulting in the first building which constantly changes its architectural shape.
The first two such skyscrapers are planned for Dubai and Moscow. The Dubai building already has 1000 reservation requests.
The building isn't just compelling because it looks really cool, either: it is an environmentally revolutionary concept.
The Dynamic Tower, the world’s first building in motion, takes the concept of green buildings to the next level: the Dynamic Tower will generate electricity for itself as well as other buildings nearby, making it the first skyscraper designed to be self-powered.
The building generates electricity from wind turbines mounted horizontally between each floor. For example, an 80-story building will have up to 79 wind turbines, making it a true green power plant. While traditional vertical wind turbines have some environmental negative impact, including obstruction of views and the need for roads to build and maintain them, The Dynamic Tower’s wind turbines are practically invisible. The Dynamic Tower turbines are also extremely quiet due to their special shape and the carbon fiber material they are constructed from.
Another environmentally green element of the Dynamic Tower is the photovoltaic cells that will be placed on the roof of each rotating floor to produce solar energy. At any time of the day, approximately 20 percent of each roof will be exposed to the sun, so a building that has 80 floors will equal the roofing area of 10 similar sized buildings.
In addition, natural, recyclable materials including stone, marble, glass and wood will be used for the interior finishing. To further improve the energy efficiency of the Dynamic Tower, insulated glass and structural insulating panels will be employed.
Article courtesy : Michele Lerner
The first two such skyscrapers are planned for Dubai and Moscow. The Dubai building already has 1000 reservation requests.
The building isn't just compelling because it looks really cool, either: it is an environmentally revolutionary concept.
The Dynamic Tower, the world’s first building in motion, takes the concept of green buildings to the next level: the Dynamic Tower will generate electricity for itself as well as other buildings nearby, making it the first skyscraper designed to be self-powered.
The building generates electricity from wind turbines mounted horizontally between each floor. For example, an 80-story building will have up to 79 wind turbines, making it a true green power plant. While traditional vertical wind turbines have some environmental negative impact, including obstruction of views and the need for roads to build and maintain them, The Dynamic Tower’s wind turbines are practically invisible. The Dynamic Tower turbines are also extremely quiet due to their special shape and the carbon fiber material they are constructed from.
Another environmentally green element of the Dynamic Tower is the photovoltaic cells that will be placed on the roof of each rotating floor to produce solar energy. At any time of the day, approximately 20 percent of each roof will be exposed to the sun, so a building that has 80 floors will equal the roofing area of 10 similar sized buildings.
In addition, natural, recyclable materials including stone, marble, glass and wood will be used for the interior finishing. To further improve the energy efficiency of the Dynamic Tower, insulated glass and structural insulating panels will be employed.
Article courtesy : Michele Lerner
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