M11 chapters 56-57-58

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Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 58

Late Modern – 2

Mid 1980s – 2000s

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Late Modern – Two

Continues design language of Geometric Modern & Late Modern – 1

No single look dominates

Design plurality even more common

Experimentation with form, shape, construction methods, new materials

Attempt to express information age, consumerism, global economy of the day

Architecture, interiors, furniture more complex than ever

Technology & other means permit designers to create whatever they can imagine

Concepts

Architects, designers continue to explore what it means to be modern in post-industrial age

Experiment with new approaches, methods, means for vision of information age, new technologies, global economy

Alternative styles, expressions more acceptable than ever

New materials, construction methods, digital technology allow designers to create their ideas

Typologies, monumentality, image debated—how to express power, authority, respectability in international context

Individuality continues to drive concepts along with image, branding, research; codes, environmental, & user considerations

Architecture, interior design more important than ever

Characteristics and Motifs

More variations than ever as designers experiment & expand design language

Innovation, individualism fueled by new materials & digital technology combines with existing ones

Exaggeration of Modern characteristics; form & shape even more important; few visible ties to past

High Tech—extreme, complex technology; building as machine; limits of materials, construction pushed

Minimalism—more extreme simplicity, repetition, articulation, greater flexibility; more emphasis on form, shape

Expressionism—revival earlier to depict spiritual, functional, programmatic aspects of design; design as sculpture

Motifs—none common to period

Architecture

Continues geometry & modularity of Geometric Modern & Late Modern – 1 but pushed to extremes

Modules, grids, skeletons more complicated, unusual, individual than ever

High tech image, slick skin, extreme repetition, visual layering, dynamic abstraction

Separation of contiguous parts, large spaces demand attention

Aided by computer, new materials, structural analysis, environmental control systems

Mega buildings that are instantly recognized by global communication

Design teams & offices around the globe

58.1

State of Illinois Center (now James R. Thompson Center) 1980-1985; Chicago Illinois, Helmut Jahn. Late Modern – 2.

Long Description:

The building has a rectangular portico supported by columns. It has a large and tall multiple stories rounded building. The rounded building has three layers. The layers initiate with the protrusion from the bottom layer. The rounded building has grandly decorated glass walls. The glass walls are decorated with stripes of different colors.

*58.2

Lloyd’s Building and interior, 1978-1986; London, England. Richard Rogers and Partners. Late Modern – 2.

*Substitute image.

Long Description 1:

The building has flat roofs that add diversity. The towers help express form. The building has exposed mechanical systems. The stairs are placed on the building perimeter from pierced cylinders clad in stainless steel. The facade has a repetitive grid. It has extreme articulation and exaggerated structure and asymmetry. The building is surrounded by medieval streets, traditional-style buildings, and many low structures, so it stands out.

Long Description 2:

The multistory building has glass walls. The floors have balustrades and are secured by a series of columns. The roofs are decorated with numerous lamps. The buildings are on the left and the right. A Series of elevator ramps connect the left and right floors.

58.3

Institut de Monde Arab, 198-1987; Paris, France; Jean Nouvel. Late Modern – 2.

58.5 (1 of 2)

Pyramide du Louvre, Louvre Museum, 1984-1989; Paris, France; I. M Pei. Late Modern – 2.

Long Description:

The front and rear facades of the pyramid are parallel, and transparent and allow the visibility of the large building located behind the pyramid. The pyramid has numerous diagonal lines.

58.5 (2 of 2)

San Francisco Museum of Modern Art, 1989-1995; San Francisco, California; Mario Botta. Late Modern – 2.

Long Description:

The facade depicts the multiple units of ascending brick constructions on the left and the right. A cylindrical construction between the groove of the multiple units building has a slanting concentric circular top. The cylindrical construction is decorated with stripes.

58.6

Neurosciences Institute, 1995; La Jolla, California; Tod Williams and Billie Tsien. Late Modern – 2.

58.7

Getty Museum, 1985-1997; Los Angeles, California; Richard Meier. Late Modern – 2.

58.8

London City Hall, 1998-2002; London, England; Sir Norman Foster. Late Modern – 2.

Long Description:

The hall has a viewing gallery on the top floor. The asymmetrical shape reduces the surface for energy consumption. The facade has a steel skeletal framework with transparent glass skin. The stepped effect on the side contrasts with the rounded shape on the other side. The unusual form makes the building stand out. A fountain is in front of the building. People are roaming around.

58.9

Swiss Re Tower (30 S. Mary Axe), 1997-2004; London England; Sir Norman Foster. Late Modern – 2.

Long Description:

The building has multiple stories with glass walls. The top of the building is sharp. The building ascends with decreasing diameter. The glass walls on the floors are fixed such that a spiral design is achieved. The glasses are stained dark and light. Two light glass walls alternate on a single dark glass wall in a spiral manner.

58.10

Museum of Modern Art, 2004; Fort Worth, Texas; Tadao Ando. Late Modern – 2.

58.11

Apple Store, 2006; New York, New York; Bohlin, Cywinski, Jackson. Late Modern – 2.

58.12

Feinstein House, 2003; Malibu, California; Stephen Kanner, Kanner Architects. Late Modern – 2.

Long Description:

The entrance has a portico with metal roofs supported by columns. The portico extends to the top story. The façade has glass walls inside a concrete wall. The walls have glass windows and concrete walls with dependency buildings. In front of the house, there are many stones.

Interiors

Interiors by architects continue design language of exterior; often only public spaces; work by interior designers, space planners, other professionals relates to exterior

Function, industrial technology, repetition of modules, solid/void relationships, spatial layering, construction & structure as ornament

High Tech & Minimalism more individual & experimental

Grids continue but may have more than one axis

Global context so fewer regional difference

New technologies radically change way people work & live

Emphasis on ideas, knowledge—interaction, teaming, collaboration—alternative & electronic offices

58.13

Interior and passageway, O’Hare International Airport, United States Terminal Building, 1984-1988; Chicago, Illinois, Helmut Jahn. Late Modern – 2.

Long Description 1:

The roof is slanting joined by curved glass walls supported by metal frames. The floors are decorated with checkers pattern. The side has metal columns. The display boards are mounted on the side walls and columns.

Long Description 2:

The ceiling has a slanting glass roof with metal frames in wavy shapes. The handrail is made of metal. The roof of the pathway has interconnected wavy wires.

58.14

Dupont Antron Showroom interior, 1991; Los Angeles, California; Eva Maddox at Perkins Will. Late Modern – 2.

58.15

Reception area, Swiss Re Financial Services, 1996-1997; New York City; Gensler. Late Modern – 2.

58.16

Floor plan, Baron Capital, 1997-1998; New York, New York; Gensler. Late Modern – 2.

58.17

Work area, Temerlin McClain Offices, 2002; Irving, Texas; Staffelbach Design Associates. Late Modern – 2.

Long Description:

The ceiling has repeating fluorescent lights on metal bars. The heating, ventilation, and air conditioning system in metal tubes suspended from the ceiling. The floating rectangular acoustic ceiling enhances spatial layering and the effect of intimacy. The rectangular openings connect spaces. The task lights are on the work surfaces. The low partition enhances communication. The L shaped work surface is typical. The portable round table supports flexibility and communication. The low stool provides a seating option and can be hidden easily.

58.18

Entry area, Joseph (retail store), 1998; London, England; Eva Jiricna Architects. Late Modern – 2.

Long Description:

The entry area has a semicircular table and large circular columns support the ceiling. The ceiling is plain with lamps. The wall has shelves with decorative articles. The stairs are transparent glass steps with a glass handrail bordered by a metal frame.

58.19

Interiors, J S M Music Studios, 1991; New York, New York; Hariri and Hariri Architecture. Late Modern – 2.

Long Description:

The columns are in series throughout the passageway. The ceiling has a diamond pattern and large lamps. The sofa, table, and chairs are arranged. A spiral metal handrail extends from the column and rises along with the stairs.

58.21

Textiles: Upholstery fabrics, from left: Cipher, Gradual, Ply Mesh (top) and Tweed Stripe (bottom); c. 2000s; United States; Maharam. Late Modern – 2.

58.22

Lighting: Icaro, 1985; Carlo Forcolini and Mikado Track System, 1991; F. Porsche; Artemide. Late Modern – 2.

Furnishings and Decorative Arts

Machine-made appearance with no applied ornament

High Tech, Minimalism, many other choices including individual avant-garde, one-of-a-kind pieces

Furniture as art—unique, creative, experimental

Commercial furniture market expands to create corporate identity, increase productivity & employee satisfaction

Emphasis on ergonomics, cost effectiveness, aesthetics

Function, rationalism, durability, craftsmanship still important design considerations

Designs often complex—advancements in technology, new materials, construction methods

Multifunctional furniture addresses specific requirements & new ways to use furniture

58.23

How High the Moon armchair, 1986; Germany; Shiro Kuramata for Kurosaki in Japan; later reissued by Vitra. Late Modern – 2.

58.24

Aeron Chair, 1992; United States; Don Chadwick and Bill Stumpf for Herman Miller. Late Modern – 2.

Long Description:

The chair has open pellicle mesh upholstery, and a recycled fiberglass and aluminum frame. It has an adjustable arm with a pad, an ergonomically engineered seat, and a back that adjust to individual users, the seat swivels and back tilts. The adjustable controls throughout support user function and flexibility. The bottom has five prongs based on the casters that support the movement.

58.25

Tom Vac chair, 1997; Germany; Ron Arad for Vitra. Late Modern – 2.

58.26

Nomos table; 1989; Italy; Sir Norman Foster for Tecno. Late Modern – 2.

58.27

Personal Harbor office furniture, c. 1992; United States; Paul Siebert, Mark Baloga and Steve Eriksson for Steelcase. Late Modern – 2.

58.28

Resolve office system, c. 2006; United States; Douglas Ball for Herman Miller. Late Modern – 2.

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M11 chapters 56-57-58

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