Furniture & Product Design by Famous Architects
Posted: January 5, 2018 Filed under: Architecture, Design, More FC3 | Tags: Architect, Architecture, Art, Art Deco, Artemide, Ball Chair, Barcelona Chair, Daniel Libeskind, Design, Eero Aarnio, Ettore Sottsass, Frank Gehry, Furniture, Industrial Design, Kettle Tea Rex, Koolhaas, Le Corbusier, Libeskind, Michael Graves, Mies, Mies van der Rohe, Moderism, Modern, Paragon Lamp, Portfolio, Post-Modernism, Products, Rem Koolhaas, Target, Technology, ZAHA HADID 1 Comment
Ludwig Mies van der Rohe – “Barcelona Chair”
Le Corbusier – “The LC4” (a chaise lounge)
Rem Koolhaas – “Edge of the Seat”
Eero Aarnio – “Ball Chair”
Ettore Sottsass – Art Deco Post-Modernism
Frank Gehry – “Rocking Chaise”
Zaha Hadid – “Mesa” Glass Table
Rem Koolhaas – “Paradigm Shift”
Michael Graves – “Kettle Tea Rex” tea kettle
Daniel Libeskind – “Paragon Lamp” for Artemide
Cachalotes House by Gonzalez Moix Arquitectura
Posted: January 15, 2014 Filed under: Architecture | Tags: Architect, Architecture, Cachalotes House, Design, FC3, Glass, Gonzalez Moix Arquitectura, House, Lima, Minimal, Modern, Peru, Portfolio, Residential, South America Leave a comment
Cachalotes House
Location: Lima, Peru
Firm: Gonzalez Moix Arquitectura
Residential › Private House
Year: 2010
Photographs: Juan Solano Ojasi
ILMA of the Week: Peter Eisenman
Posted: July 28, 2013 Filed under: Architecture, ILMA Architect of the Week | Tags: Architect, Architecture, Decon, Deconstructivism, Deconstructivist, Eisenman, Fantastic, ILMA, Modern, New Jersey, New York City, NY Five, Theory 1 Comment
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Frank Cunha III
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FC3 ARCHITECTURE+DESIGN, LLC
P.O. Box 335, Hamburg, NJ 07419
e-mail: fcunha@fc3arch.com
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ILMA of the Week: Bruce A. Goff
Posted: July 18, 2013 Filed under: Architecture, ILMA Architect of the Week, JustArch | Tags: Architect, Architecture, Bruce Goff, Design, ILMA, Modern, Organic 2 Comments
Bruce Alonzo Goff (June 8, 1904 – August 4, 1982) was an American Architect distinguished by his organic, eclectic, and often flamboyant designs for houses and other buildings in Oklahoma and elsewhere.
Born in Alton, Kansas, Goff was a child prodigy who apprenticed at the age of twelve to Rush, Endacott and Rush of Tulsa, Oklahoma. Goff became a partner with the firm in 1930. He is credited, along with his high-school art teacher Adah Robinson, with the design of Boston Avenue Methodist Church in Tulsa, one of the finest examples of Art Deco architecture in the United States.
Goff accepted a teaching position with the School of Architecture at the University of Oklahoma in 1942. Despite being largely self-taught, Goff became chair of the school. This was his most productive period. In his private practice, Goff built an impressive number of residences in the American Midwest, developing his singular style of organic architecture that was client- and site-specific.
Goff’s accumulated design portfolio of 500 projects (about one quarter of them built) demonstrates a restless, sped-up evolution through conventional styles and forms at a young age, through the Prairie Style of his heroes and correspondents Frank Lloyd Wright and Louis Sullivan, then into original design. Finding inspiration in sources as varied as Antoni Gaudi, Balinese music, Claude Debussy, Japanese ukiyo-e prints, and seashells, Goff’s mature work had no precedent and he has few heirs other than his former assistant, New Mexico architect Bart Prince, and former student, Herb Greene. His contemporaries primarily followed tight functional floor plans with flat roofs and no ornament. Goff’s idiosyncratic floorplans, attention to spatial effect, and use of recycled and/or unconventional materials such as gilded zebrawood, cellophane strips, cake pans, glass cullet, Quonset Hut ribs, ashtrays, and white turkey feathers, challenge conventional distinctions between order and disorder. The Bavinger House was awarded the Twenty-five Year Award from the American Institute of Architects in 1987, and Boston Avenue Methodist Church was designated a National Historic Landmark in 1999.
Selected works by Bruce Goff
Goff was active from about 1926 until his death, with several of his projects completed by associates after his death. A number of his works were considered for listing on the U.S. National Register of Historic Places.
1926: Boston Avenue Methodist Church, Tulsa, Oklahoma
1938: Turzak House, Chicago, Illinois
1947: Ledbetter House, Norman, Oklahoma
1950: Bavinger House, Norman, Oklahoma (featured above)
1955: John Frank House, Sapulpa, Oklahoma
1978: Pavilion for Japanese Art at the Los Angeles County Museum of Art, Los Angeles, California
Today, Goff’s contributions to the history of 20th-century architecture are widely praised. His extant archive—including architectural drawings, paintings, musical compositions, photographs, project files, and personal and professional papers—is held by the Ryerson & Burnham Libraries at the Art Institute of Chicago.
Some Drawings by Goff:
Goff died in Tyler, Smith County, TX on August 4, 1982 (TX Death Records). His cremated remains are interred in Graceland Cemetery, Chicago, Illinois, with a marker designed by Grant Gustafson (one of Goff’s students) that incorporates a glass cullet fragment salvaged from the ruins of the Joe D. Price House and Studio.
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HOT & Sensational “Sentosa House” with COOL Design Details by Nicholas Burns
Posted: July 12, 2013 Filed under: Architecture, JustArch, More FC3, Repost | Tags: archdaily, Architecture, Contemperary, Design, Modern, Nicholas Burns, Portfolio, Repost, Residence, Residential, Residential Architecture 1 Comment
Photo © Patrick Bingham-Hall
Location: Sentosa Island, Singapore Year: 2012
All Photographs: Patrick Bingham-Hall
Content/Article/Photo Source: “Sentosa House / Nicholas Burns” 04 Dec 2012. ArchDaily.
A series of open spaces clustered against the core. The core provides, structure, vertical circulation, services and adjacent has all baths and the kitchen maximising efficiency.
Adaptable space, these open spaces and freed from pre determined function, the structure is designed to allow reconfiguration to future needs, walls can be erected where required.
Materials are chosen for their inherent qualities. Recycled golden teak, fair faced concrete, stone and steel all offer duality of function. Their richness and texture provides the decorative element.
Structure, the bones of the house are on display creating clear open space with a sense of seamlessness interconnecting with the gardens and landscape, framing views. The structural grid provides a logic, an order with which every element and detail diminishing in scale relates to and relies on.
Detail, details are painstakingly distilled and resolved, nothing is left undone. The intention is the create an ease, a wholeness, a stillness…a sense of timelessness….
Experience, the journey through the house is one of wholeness with distinct parts offering a layered and complex series of experiences. Enclosure and compression expands to openness, the contrasts emphasis the feeling of space. Views are framed, and vary in scale, sometimes intimate and close into a court, other times expanding into borrowed landscape of the jungle and out to distant vistas.
Environment, the house is designed for the tropical climate. The recycled teak screen and desk fits over the concrete structure and glazing protecting it from the sun allowing the thermal mass of the concrete to stabilise the internal temperature. Cross ventilation, the other critical element of tropical design is maximises, the glass openness allowing even slight breezes to freely flow throughout he house creating a level of comfort. On the mechanical side, the climate control is the energy efficient aided by double glazing. The hot water is heated using a heat pump, utilising the free heat form the air and then circulated so hot water is available at taps with wasting water. Materials are reduced, the structure is exposed. The structural design using flat slabs reduces concrete usage by 25%. All of the timber is recycled. All of the materials are chosen to minimise surface treatments and unnecessary materials.
Landscape, the landscape uses species that suit the climate, that thrive with minimal intervention. The rear area merges with the jungle enhancing the element of borrowed landscape
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We would love to hear from you on what you think about this post. We sincerely appreciate all your comments.If you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!
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Frank Cunha III
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FC3 ARCHITECTURE+DESIGN, LLC
P.O. Box 335, Hamburg, NJ 07419
e-mail: fcunha@fc3arch.com
mobile: 201.681.3551
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ILMA of the Week: Eero Saarinen
Posted: July 2, 2013 Filed under: Architecture, ILMA Architect of the Week, JustArch, More FC3 | Tags: Architect, Architecture, Eero Saarinen, ILMA, Modern Leave a comment
Eero Saarinen (August 20, 1910 – September 1, 1961) was a Finnish American Architect and industrial designer of the 20th century famous for varying his style according to the demands of the project: simple, sweeping, arching structural curves or machine-like rationalism.
One of Saarinen’s earliest works to receive international acclaim is the Crow Island School in Winnetka, Illinois (1940). The first major work by Saarinen, in collaboration with his father, was the General Motors Technical Center in Warren, Michigan. It follows the rationalist design Miesian style: incorporating steel and glass, but with the added accent of panels in two shades of blue. The GM technical center was constructed in 1956, with Saarinen using models. These models allowed him to share his ideas with others, and gather input from other professionals. With the success of the scheme, Saarinen was then invited by other major American corporations to design their new headquarters: these included John Deere, IBM, and CBS. Despite their rationality, however, the interiors usually contained more dramatic sweeping staircases, as well as furniture designed by Saarinen, such as the Pedestal Series. In the 1950s he began to receive more commissions from American universities for campus designs and individual buildings; these include the Noyes dormitory at Vassar, as well as an ice rink, Ingalls Rink, and Ezra Stiles & Morse Colleges at Yale University.
He served on the jury for the Sydney Opera House commission and was crucial in the selection of the now internationally known design by Jørn Utzon. A jury which did not include Saarinen had discarded Utzon’s design in the first round. Saarinen reviewed the discarded designs, recognized a quality in Utzon’s design which had eluded the rest of the jury and ultimately assured the commission of Utzon.
Eero Saarinen and Associates was Saarinen’s architectural firm; he was the principal partner from 1950 until his death in 1961. The firm was initially known as “Saarinen, Swansen and Associates”, headed by Eliel Saarinen and Robert Swansen from the late 1930s until Eliel’s death in 1950. The firm was located in Bloomfield Hills, Michigan until 1961 when the practice was moved to Hamden, Connecticut. Under Eero Saarinen, the firm carried out many of its most important works, including the Jefferson National Expansion Memorial (Gateway Arch) in St. Louis, Missouri, the Miller House in Columbus, Indiana, the TWA Flight Center at John F. Kennedy International Airport that he worked on with Charles J. Parise, and the main terminal of Dulles International Airport near Washington, D.C.. Many of these projects use catenary curves in their structural designs. One of the best-known thin-shell concrete structures in America is the Kresge Auditorium (MIT), which was designed by Saarinen. Another thin-shell structure that he created is the Ingalls Rink (Yale University), which has suspension cables connected to a single concrete backbone and is nicknamed “the whale.” Undoubtedly, his most famous work is the TWA Flight Center, which represents the culmination of his previous designs and demonstrates his expressionism and the technical marvel in concrete shells.
