APPENDIX 1: NOTABLE ARCHITECTS AND
DESIGNERS
Alvar
Aalto,
1898–1976
• Villa Mairea, Noormarkku, Finland, 1939
• Nordic House, Reykjavik, Iceland, 1968
• Seinajoki Town Hall, Seinajoki, Finland, 1965
• Riola Parish Church, Riola, Italy, 1978
Peter
Behrens,
1868–1940
• Behrens House, Darmstadt, Germany, 1901
• A.E.G. High Tension Factory, Berlin, 1910
• I.G. Farben Offices, Frankfurt-am-Main, Germany, 1925
• Apartments at Weissenhofsiedlung, Stuttgart, Germany, 1927
Marianne
Brandt,
1893–1983
German painter, sculptor, photographer, and designer who studied at the Bauhaus school
and became head of the metal workshop in 1928. Brandt created some of the most iconic
works of the Bauhaus.
• Model No. MT49 teapot, 1924
• Bauhaus Pendant Lamp,1926
• Bauhaus Pendant Lamp With Chains, 1928
Marcel
Breuer,
1902–1981
• Wassily Chair, 1925–1927
• Campus Center and Garage, University of Massachusetts Amherst, 1965–69
• The Whitney Museum of American Art, New York, 1966
Santiago
Calatrava,
1951
• Stadelhofen Railway Station, Zurich, Switzerland, 1984
• Alamillo Bridge and La Cartuja Viaduct, Seville, Spain, 1992
• Alameda Bridge and Underground Station, Valencia, Spain, 1995
• Campo Volantin Footbridge, Bilbao, Spain, 1998
• Oriente Station, Lisbon, Portugal, 1998
• Sondica Airport, Bilbao, Spain, 1999
• City of the Arts and the Sciences Planetarium, Valencia, Spain, 1996–2005
• Palace of the Arts, Valencia, Spain, 2001
• Milwaukee Art Museum, Milwaukee, Wisconsin, 2001
• Sundial Bridge, Turtle Bay, California, 2004
• Peace Bridge, Calgary, Canada, 2012
Coco
Chanel,
1883–1971
“Coco Chanel wasn’t just ahead of her time. She was ahead of herself. If you look at the work
of contemporary fashion designers as different from one another as Tom Ford, Helmut Lang,
Miuccia Prada, Jil Sander, and Donatella Versace, you see that many of their strategies echo
Chanel. The way she mixed up the vocabulary of male and female clothes and created
fashion that offered the wearer a feeling of hidden luxury rather than ostentation are just two
examples of how her taste and sense of style overlap with today’s fashion.” —Time, June 8,
1998
Le
Corbusier
(Charles-‐ÉDouard
Jeanneret-‐
Gris),
1887–1965
• Villa Savoye, Poissy-sur-Seine, France, 1929
• United Nations Headquarters, New York, finished 1953
• Chapelle Notre-Dame-du-Haut, Ronchamp, France, 1955
• Carpenter Center, Cambridge, Massachusetts, 1962
• Centre Le Corbusier, Zurich, Switzerland, 1967
Pierre
De
Meuron,
1950,
and
Jacques
Herzog,
1950
“A building is a building. It cannot be read like a book; it doesn’t have any credits, subtitles, or
labels like pictures in a gallery. In that sense, we are absolutely antirepresentational. The
strength of our buildings is the immediate, visceral impact they have on a visitor.” —Jacques
Herzog
• Dominus Winery, Yountville, California, 1998
• Gallery of Modern Art for the Tate Museum, London, 2000
• Pritzker Architecture Prize Laureates, 2001
• Walker Art Center Expansion, Minneapolis, Minnesota, 2005
Christian
Dior,
1905–1957
Dior presented what would be called “The New Look” in women’s fashions in 1947, bringing
back elegance and femininity after the fashion-starved years of World War II and affirming
Paris as the center of haute couture fashion. He began the practice of licensing agreements
in the fashion industry.
Charles
Eames,
1907–1978
and
Ray
Kaiser
Eames,
1912–1988
• Eames Lounge Chair, 1956
• Aluminum Group, 1958
• Molded Plastic Chair, 1971
• “Powers of Ten” installation and film, 1977
Peter
Eisenman,
1932
• Wexner Center, Ohio State University, Columbus, Ohio, 1983–1989
• Bruges Concert Hall, Bruges, Belgium, 1999
• Memorial to the murdered Jews of Europe, Berlin, 1998–2005
Norman
Foster,
1935
• Hongkong and Shanghai Bank, Hong Kong, 1986
• Millennium Bridge, London, England, 2000
• 30 St. Mary Axe (“The Gherkin”), London, said to be London’s first environmentally
sustainable skyscraper, 2004
Frank
Gehry,
1929
• Gehry House, Santa Monica, California, 1979 and 1987
• Guggenheim Museum Bilbao, Bilbao, Spain, 1997
• Experience Music Project, Seattle, Washington, 2000
• Walt Disney Concert Hall, Los Angeles, 2004
• New York by Gehry at Eight Spruce Street, New York, 2011
Milton
Glaser,
1929
Glaser’s graphic and architectural commissions include the “I (heart) NY” logo, which has
been described as “the most frequently imitated logo design in human history,” commissioned
by the state of New York in 1976.
Eileen
Gray,
1878–1976
• E-1027 (a house planned for her own use) Roquebrune-Cap-Martin, near Monaco,
France, 1929
• Tempe à Pailla, Castellar, Spain, 1934
Michael
Graves,
1934
• The Humana Building, Louisville, Kentucky, 1982
• Team Disney Building, Burbank, California, 1986
• Ministry of Health, Welfare and Sport, The Hague, The Netherlands, 1993
• Resorts World, Sentosa, Singapore, 2010
• Louwman Museum (National Automobile Museum), The Hague, The Netherlands,
2010
Walter
Gropius,
1883–1969
Director of the Bauhaus, Weimar, Dessau, Germany, 1925
• Gropius House, Lincoln, Massachusetts, 1937
• Harvard Graduate Center, Cambridge, Massachusetts, 1950
Zaha
Hadid,
1950
• Vitra Fire Station, Weil am Rhein, Germany, 1993
• Bergisel Ski Jump, Innsbruck, Austria, 2002
• Rosenthal Center for Contemporary Art, Cincinnati, Ohio, 2004
Jacques
Herzog,
1950
And
Pierre
De
Meuron,
1950
• Dominus Winery, Yountville, California, 1998
• Gallery of Modern Art for the Tate Museum, London, 2000
• Pritzker Architecture Prize Laureates, 2001
• Walker Art Center Expansion, Minneapolis, Minnesota, 2005
“A building is a building. It cannot be read like a book; it doesn’t have any credits, subtitles, or
labels like pictures in a gallery. In that sense, we are absolutely antirepresentational. The
strength of our buildings is the immediate, visceral impact they have on a visitor.” —Jacques
Herzog
Victor
Horta,
1861–1947
• Hôtel Tassel, Brussels, Belgium, 1893
• Hôtel van Eetvelde, Brussels, Belgium, 1898
• Maison du Peuple, Place Émile van de Velde, Brussels, Belgium, 1898
• Horta House (now Musée Horta), Brussels, Belgium, 1898
Alec
Issigonis,
1906–1988
• The Morris Mini, 1957–1959
Jonathan
Ive,
1966
Vice president of Apple Computer’s Industrial Design Group from 1992
• iMac, 1998–2002
• G4 Cube, 2000
• iPod, 2001
• Designer of the Year, London Design Museum, 2003
Arne
Jacobsen,
1902–1971
• Søholm Housing Estate, Klampenborg, Gentofte, Denmark, 1950
• Series 7 chair, 1955
• Munkegaards School, Copenhagen, Denmark, 1956
• Grand Prix Internationale d’Architecture et d’Art, Paris, 1960
Jacob
Jensen,
1926
• The Margrethe Bowl, 1955
• Kirk E76 Telephone, 1976
• Beocenter 9000, 1987
• Beosystem 4500, 1989
Philip
Johnson,
1906–2005
• Johnson House, aka “The Glass House,” New Caanan, Connecticut, 1949
• Seagram Building (with Ludwig Mies van der Rohe), New York, 1958
• Pennzoil Place, Houston, Texas, 1975
• Garden Grove Church, Garden Grove, Los Angeles, 1980
• AT&T Building, New York, 1984
Tibor
Kalman,
1949–1999
“Kalman was best known for the groundbreaking work he created with his New York design
firm, M&Co, and his brief yet influential editorship of [Benetton’s] Colors magazine.
Throughout his 30-year career, Kalman brought his restless intellectual curiosity and
subversive wit to everything he worked on—from album covers for Talking Heads to the
redevelopment of Times Square. Kalman incorporated visual elements other designers had
never associated with successful design and used his work to promote his radical politics.
The influence of his experiments in typography and images can be seen everywhere, from
music videos to the design of magazines such as Wired and Ray Gun.”
(From the obituary for Tibor Kalman on Salon.com, May 19th,
1999, http://www.salon.com/1999/05/19/kalman/)
Rei
Kawakubo,
1942
Fashion designer Rei Kawakubo, founder of Comme des Garçons (1973, menswear in 1978),
was born in Tokyo in 1942. Being untrained as a fashion designer, but having studied fine
arts and literature, she conveys her ideas verbally to her patternmakers. The Fashion Institute
of Technology honored her in 1987 as one of the leading women in 20th-century design.
Erwin
Komenda,
1904–1966
• VW “Beetle” body, 1936
• Porsche 550 “Spyder,” 1954
Rem
Koolhaas,
1944
• Netherlands Dance Theater, The Hague, The Netherlands, 1988
• Kunsthal Rotterdam, Rotterdam, The Netherlands, 1993
• Recipient of the Pritzker Architecture Prize, 2000
• Seattle Public Library, Seattle, Washington, 2004
• Casa da Musica, Oporto, Portugal, 2005
• China Central Television (CCTV) headquarters, Beijing, China, 2009
Helmut
Lang,
1956
Lang is synonymous with the cool minimalism that defined the fashion world in the 1980s.
Daniel
Liebeskind,
1946
• Jewish Museum Berlin, Berlin, 2001
• Food Theater Café, London, 2001
• World Trade Center Reconstruction Competition, New York, 2003
Maya
Lin,
1959
• Vietnam Veterans Memorial, Washington, DC, 1982
• Civil Rights Memorial, Montgomery, Alabama, 1989
• Groundswell, commissioned by the Wexner Center for the Arts, Ohio State
University, Columbus, Ohio, 1993
• “The Wave Field,” University of Michigan, Ann Arbor, Michigan, 1995
• Langston Hughes Library, Clinton, Tennessee, 1999
• “Ecliptic” Ice Rink in Grand Rapids, Michigan, 2001
Raymond
Loewy,
1893–1986
• Lucky Strike packaging, 1939
• Greyhound bus, 1954
• Shell logo, 1962
• In 1975, the Smithsonian Institution opened the Designs of Raymond Loewy, a four-
month exhibit dedicated to “the man who changed the face of industrial design.”
Charles
Rennie
Mackintosh,
1868–1928
• Glasgow School of Art, Glasgow, Scotland, 1897–1899 and 1907–1909
• Hill House and the Hill House Chair, Helensburgh, Scotland, 1908
Alexander
Mcqueen,
1969–2010
Since leaving St. Martins School of Design in London in 1994, McQueen has become one of
the most famous and respected international fashion designers in the world. He was named
British Designer of the Year four times in 1996, 1997, 2001, and 2003. In October 1996, he
was appointed Chief Designer at the French Haute Couture House Givenchy, where he
worked until March 2001. He headed his own brand (of which the Gucci group owned 51
percent after 2000) until his death in 2010.
William
Morris,
1834–1896
• Creation window (design by Morris and Philip Webb) at Church of All Saints, Selsley,
Gloucestershire, England, 1863
• Sussex Chair, 1865
• Marigold Wallpaper, 1875
Jasper
Morrison,
1959
• Hanover Tram, Hanover, Germany, 1997
• The largest European light rail in production; it was the first vehicle to be awarded the
IF Transportation Design Prize and the Ecology Award
• Air Chair, 1999
• Furniture for the Tate Modern Museum, London, 2000
I.
M.
(IEOH
MING)
PEI,
1917
• John Hancock Tower, Boston, 1977
• Pyramide du Louvre, Paris, 1989
• Bank of China Tower, Hong Kong, 1990
• Rock and Roll Hall of Fame, Cleveland Ohio, 1995
Renzo
Piano,
1937
• Centre Pompidou, Paris, 1976
• Kansai Airport Terminal, Osaka, Japan, 1994
Paul
Poiret,
1879–1944
Poiret broke the mold of 19th century high fashion by introducing loose, corsetless dresses
and oriental influences in bright colors. His collaboration with illustrators created iconic
images, but his lack of business sense made him the first star designer to be ousted from his
own label.
Gio
Ponti,
1891–1979
• La Pavoni coffee machine, 1946
• Superleggera Chair, 1955–1957
• Villa Planchart, Caracas, Venezuela, 1955
• Pirelli Tower, Milan, 1956
• Taranto Cathedral, Taranto, Italy, 1970
• Denver Museum of Art, Denver, 1972
Karim
Rashid,
1960
• Morimoto Restaurant, Philadelphia, 2001
• Foscarini Blob lamp, 2002
• Semiramis Hotel, Athens, 2004
Gerrit
Rietveld,
1888–1964
• Red and Blue Armchair, 1918
• Rietveld Schröder House, Utrecht, the Netherlands 1924
Richard
Rogers,
1933
• Centre Pompidou, Paris, 1976
• Lloyds Building, London, 1984
• Millennium Dome, London, 1999
Eero
Saarinen,
1910–1961
• Kresge Auditorium, Cambridge, Massachusetts, 1950–1955
• Yale Hockey Rink, New Haven, Connecticut, 1961
• TWA terminal, New York, 1962
• Dulles Airport, Chantilly, Virginia, 1962
• John Deere and Company, Moline, Illinois, 1963
• Gateway Arch, Saint Louis, Missouri, 1966
Yves
Saint
Laurent,
1936–2008
After “rescuing French fashion” as Christian Dior’s successor, Saint Laurent went on to turn
haute couture upside down by seeking inspiration from beatniks in Paris and subsequently
opening “Rive Gauche,” a ready-to-wear line.
Elsa
Schiaparelli,
1890–1973
A leading fashion designer in the 1920s and 1930s, she worked with many surrealist artists,
including Salvador Dali, Jean Cocteau, and Alberto Giacometti, between 1936 and 1939. Her
innovations included her use of color: notably “shocking pink,” animal print fabrics, and
zippers dyed the same colors as the fabrics.
Paul
Smith,
1947
Presenting his first Paul Smith menswear collection in 1976, Paul Smith has established
himself as the preeminent British designer. His numerous collections of apparel and
accessories consistently inspire and anticipate trends.
• “Mondo” collection of furniture, in collaboration with Italian furniture manufacturer
Cappellini, 2002
• “Bespoke” upholstery textile, in partnership with textile manufacturer Maharam, 2003
Ettore
Sottsass,
1917–2007
• Carlton Sideboard (Mobile diviorio), 1980
• Wolf House, Ridgway, Colorado, 1989
• Cofounder of the Memphis Group, 1980
Philippe
Starck,
1949
• Costes chair, 1982
• Royalton Hotel, New York, 1988
• Juicy Salif juicer, Alessi, 1990
• Paramount Hotel, New York, 1990
• Kong restaurant, Paris, 2003
Gunta
Stölzl,
1897–1983
A textile artist and weaver who became the only female master at the Bauhaus. She ran the
Weaving Workshop there from 1927 to 1931. It was the most financially successful workshop
of the school. Stölzl moved the art and design of weaving into the realm of modern art and
design and worked on incorporating new techniques and materials. Her work can now be
seen, among other places, in the Museum of Modern Art in New York and the Vicotria and
Albert Museum in London.
Yoshio
Taniguchi,
1937
• Shiseido Museum of Art, Kakegawa, Japan, 1978
• The Gallery of Horyuji Treasures, Tokyo National Museum, Tokyo, 1999
• Museum of Modern Art addition, New York, 2004
• Kyoto National Museum, Kyoto, Japan, designed 1998–2000, completed in 2007
Bernard
Tschumi,
1944
• Parc de la Villette, Paris, 1983–1998
• Alfred Lerner Hall, Columbia University, New York, 1999
• Le Fresnoy Art Center, Tourcoing, France, 2004
Earl
S.
Tupper,
1907–1983
• Tupperware, 1946
Ludwig
Mies
Van
Der
Rohe,
1886–1969
• Apartments at Weissenhofsiedlungen, Stuttgart, 1927
• H. Lange House, Krefeld, Germany, 1928
• Barcelona Pavilion, Barcelona, 1929
• Villa Tugendhat, Brno, Czech Republic, 1930
• Farnsworth House, Plano, Illinois, 1950
• Lake Shore Drive Apartments, Chicago, 1951
• Crown Hall, Chicago, Illinois, 1956
• Seagram Building (with Philip Johnson), New York, 1958
• New National Gallery, Berlin, 1968
Robert
Venturi,
1925
• Ohio Center for Performing Arts, Cincinnati, Ohio, 1991
• Aronoff Center for the Arts, Cincinnati, Ohio, 1995
• Petronas Towers, Kuala Lumpur, Malaysia, 1998
• 20 River Terrace—The Solaria, New York, 2004
Hans
Wegner,
1914–2007
• Peacock Chair, 1947
• Wishbone Chair, 1949
• Flag Halyard Chair, 1950
Charles
Frederick
Worth,
1826–1895
Worth was the first to open a couture house in Paris and became the defining designer of
France’s Second Empire due to his work for the Empress Eugénie. His influence was such
that the period is often called “the age of Worth” and defined high-fashion design for over a
hundred years.
Frank
Lloyd
Wright,
1869–1959
• Fallingwater, Bear Run, Pennsylvania, 1937
• Johnson Wax Building, Racine, Wisconsin, 1939
• Boomer Residence, Phoenix, Arizona, 1953
• Guggenheim Museum, New York, New York, 1959
APPENDIX 2: RESOURCES FOR DESIGN
Online
Periodicals
Devoted
to
Design
• Applied Arts: appliedartsmag.com
• Architectural Digest: architecturaldigest.com
• Architectural Record: archrecord.construction.com
• Azure: azuremagazine.com
• Communication Arts: commarts.com
• Creative Quarterly: cqjoural.com
• Curve: curvelive.com
• Design Week: designweek.co.uk
• Dwell: dwell.com
• eVolo Magazine: evolo.us
• Foam Magazine: foammagazine.nl
• Frame Magazine: frameweb.com
• Graphic Design USA: gdusa.com
• Graphis: graphis.com
• How Magazine: howdesign.com
• Icon: icon-magazine.co.uk
• ID Magazine: id-mag.com
• IdN Magazine: idnworld.com
• Interior Design Magazine: interiordesign.net
• Metropolis Magazine: metropolismag.com
• PRINT: printmag.com
• Wallpaper:wallpaper.com
Websites
THE BAUHAUS DESSAU
The site of the iconic and influential German design school
www.bauhaus-dessau.de
BROWN UNIVERSITY’S COMPUTER SCIENCE DEPARTMENT
Apps for Color Theory
cs.brown.edu/exploratories/freeSoftware/catalogs/color_theory.html
CLEMENT GREENBERG: “MODERNIST PAINTING”
An essay on Modernism in Art from 1961 by the influential art critic Clement Greenberg
www.sharecom.ca/greenberg/modernism.html
F.T. MARINETTI (1909) “THE FUTURIST MANIFESTO”
vserver1.cscs.lsa.umich.edu/~crshalizi/T4PM/futurist-manifesto.html
INTERNATIONAL COLOR CONSORTIUM
Promoting the standardization of color-management systems
www.color.org
JESSE JAMES GARRETT ON USER EXPERIENCE
JJG was way ahead of the curve on this and wrote one of the better and more accessible
books on the topic of user experience. He comes at it from information architecture, but the
discussion applies to all design. This is his Web site.
www.jjg.net/ia/
KENT STATE UNIVERSITY, EDUCATION IN VISUAL LITERACY: LINE
www.educ.kent.edu/community/vlo/design/elements/line/index.html
NAUM GABO AND ANTOINE PEVSNER (1920) “THE REALISTIC MANIFESTO”
davidrifkind.org/fiu/library_files/gabo.the-realistic-manifesto.lib-iss.pdf
SHODOR.COM: INTERESTING PATTERN GENERATOR USING TESSELATIONS
http://www.shodor.org/interactivate/activities/Tessellate/
STANFORD ENCYCLOPEDIA OF PHILOSOPHY: ENTRY ON “POSTMODERNISM”
plato.stanford.edu/entries/postmodernism/
STANFORD ENCYCLOPEDIA OF PHILOSOPHY: ENTRY ON “THE EXPERIENCE AND
PERCEPTION OF TIME”
plato.stanford.edu/entries/time-experience/
UNIVERSAL DESIGN RESOURCE LIST (OFFICE FOR ACCESS ABILITY AT THE
NATIONAL ENDOWMENT FOR THE ARTS)
www.nea.gov/resources/accessibility/rlists/UDesResources.html
http://arts.gov/publications/design-accessibility-cultural-administrators-handbook
USABILITY.GOV (DIGITAL COMMUNICATIONS DIVISION, U.S. DEPARTMENT OF
HEALTH AND HUMAN SERVICES)
A site on best practices and guidelines for user-centered design of digital content. Includes
resources, bibliographies, and research plans
www.usability.gov
THE VKHUTEMAS SCHOOL (HIGHER ART AND TECHNICAL STUDIOS, RUSSIA)
Lesser known than the Bauhaus, but equally interesting and influential
monoskop.org/VKhUTEMAS
WALTER BENJAMIN (1936) “THE WORK OF ART IN THE AGE OF MECHANICAL
REPRODUCTION”
An essay from 1936 that can be seen to presage the position and relationship of art and
design in the years since
marxists.org/reference/subject/philosophy/works/ge/benjamin.htm
WOLFRAM MATHWORLD ON PENROSE TILING
Creating aperiodic tilings and non-repeating patterns
http://mathworld.wolfram.com/PenroseTiles.html
THE WORLD USABILITY DAY CHARTER
“Technology should enhance our lives, not add to our stress or cause danger through poor
design or poor quality.”
worldusabilityday.org/charter
Museums
Worldwide
DESIGN MUSEUM DANMARK (COPENHAGEN)
designmuseum.dk
VICTORIA AND ALBERT MUSEUM, LONDON
www.vam.ac.uk
DESIGN MUSEUM LONDON
designmuseum.org
THE RISD (RHODE ISLAND SCHOOL OF DESIGN) MUSEUM
risdmuseum.org
DESIGN MUSEUM BOSTON
designmuseumboston.org
SMITHSONIAN COOPER-HEWITT, NATIONAL DESIGN MUSEUM IN NEW YORK
www.cooperhewitt.org
VITRA DESIGN MUSEUM (GERMANY)
www.design-museum.de
MUSEUM OF MODERN ART (NEW YORK)
www.moma.org
DESIGN MUSEUM GENT (BELGIUM)
www.designmuseumgent.be
DESIGN EXCHANGE (CANADA’S DESIGN MUSEUM)
www.dx.org
