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Karmi","Fagus Factory","J. J. P. Oud","Philip Johnson","Alfred Barr","Eileen Gray","Walter Gropius",[12103,12104,12105,12106,12107,12108,12109,12110,12111,12112,12113,12114,12115,12116,12117,12118,12119],"Mikhail Okhitovich","Ernst May","Derzhprom","Narkomfin Building","Club Roussakov","Usine Van Nelle","Constantin Melnikov","Vesnin brothers","A. Aalto","Imre Makovecz","John Lautner","LLOYD WRIGHT","Nari Gandhi","Musée Rupertinum","Toyo Ito","Skogskyrkogården","Ricardo Porro",[12121],"To me, architecture is an art, naturally, and it isn’t architecture unless it’s alive. Alive is what art is. If it’s not alive, it’s dead, and it’s not art.\nJohn Lautner",[12123,12124,12125],"Organic Architecture is a term that American architect Frank Lloyd Wright (1867-1959) used to describe his environmentally integrated approach to architectural design. The philosophy grew from the ideas of Wright’s mentor, Louis Sullivan, who believed that “form follows function.” Wright argued that “form and function are one.” Author Jósean Figueroa argues that Wright’s philosophy grew from the American Transcendentalism of Ralph Waldo Emerson. Organic architecture strives to unify space, to blend interiors and exteriors, and create a harmonic built environment not separate or dominant from nature but as a unified whole. Frank Lloyd Wright’s own homes, Taliesin in Spring Green, Wisconsin and Taliesin West in Arizona, exemplify the architect’s theories of organic architecture and lifestyle. Wright was not concerned with architectural style, because he believed that every building should grow naturally from its environment. Nevertheless, Wright’s architectural elements found in the “prairie house” overhanging eaves, clerestory windows, one-story rambling open floor plans are elements found in many of Wright’s designs. In Spring Green, the structure Wright designed that is now the Taliesin Visitor’s Center is like a bridge or a dock on the Wisconsin River: the roofline of Taliesin West follows the Arizona hills, stepping in downward paths toward pools of liquid desert. Wright’s architecture seeks harmony with the land, be it desert or prairie. Definition of Organic Architecture\n“A philosophy of architectural design, emerging in the early 20th cent., asserting that in structure and appearance a building should be based on organic forms and should harmonize with its natural environment.” Dictionary of Architecture and Construction. Modernist Approaches to Organic Design\nIn the last half of the twentieth century, Modernist architects took the concept of organic architecture to new heights. By using new forms of concrete and cantilever trusses, architects could create swooping arches without visible beams or pillars. Parque Güell and many other works by the Spanish Antoni Gaudí have been called organic.\n\n\nModern organic buildings are never linear or rigidly geometric. Instead, wavy lines and curved shapes suggest natural forms. Classic examples of modernist approaches to organic architecture include the Sydney Opera House by Danish architect Jørn Utzon and the Dulles International Airport with its swooping, wing-like roofs by Finnish architect Eero Saarinen.\nModern approaches are less concerned with integrating architecture within the surrounding environment as did Frank Lloyd Wright. The World Trade Center Transportation Hub by Spanish architect Santiago Calatrava may well represent a modernist approach to organic architecture. “The white-winged Oculus is an organic form in the center of a new complex of towers, and memorial pools,” is how Architectural Digest described it, “at the sites of the two that fell in 2001.” Organic Architecture is a term that American architect Frank Lloyd Wright (1867-1959) used to describe his environmentally integrated approach to architectural design. The philosophy grew from the ideas of Wright’s mentor, Louis Sullivan, who believed that “form follows function.” Wright argued that “form and function are one.” Author Jósean Figueroa argues that Wright’s philosophy grew from the American Transcendentalism of Ralph Waldo Emerson. Organic architecture strives to unify space, to blend interiors and exteriors, and create a harmonic built environment not separate or dominant from nature but as a unified whole. Frank Lloyd Wright’s own homes, Taliesin in Spring Green, Wisconsin and Taliesin West in Arizona, exemplify the architect’s theories of organic architecture and lifestyle. Wright was not concerned with architectural style, because he believed that every building should grow naturally from its environment. Nevertheless, Wright’s architectural elements found in the “prairie house” overhanging eaves, clerestory windows, one-story rambling open floor plans are elements found in many of Wright’s designs. In Spring Green, the structure Wright designed that is now the Taliesin Visitor’s Center is like a bridge or a dock on the Wisconsin River: the roofline of Taliesin West follows the Arizona hills, stepping in downward paths toward pools of liquid desert. Wright’s architecture seeks harmony with the land, be it desert or prairie. Definition of Organic Architecture\n“A philosophy of architectural design, emerging in the early 20th cent., asserting that in structure and appearance a building should be based on organic forms and should harmonize with its natural environment.” Dictionary of Architecture and Construction. Modernist Approaches to Organic Design\nIn the last half of the twentieth century, Modernist architects took the concept of organic architecture to new heights. By using new forms of concrete and cantilever trusses, architects could create swooping arches without visible beams or pillars. Parque Güell and many other works by the Spanish Antoni Gaudí have been called organic.\n\n\nModern organic buildings are never linear or rigidly geometric. Instead, wavy lines and curved shapes suggest natural forms. Classic examples of modernist approaches to organic architecture include the Sydney Opera House by Danish architect Jørn Utzon and the Dulles International Airport with its swooping, wing-like roofs by Finnish architect Eero Saarinen.\nModern approaches are less concerned with integrating architecture within the surrounding environment as did Frank Lloyd Wright. The World Trade Center Transportation Hub by Spanish architect Santiago Calatrava may well represent a modernist approach to organic architecture. “The white-winged Oculus is an organic form in the center of a new complex of towers, and memorial pools,” is how Architectural Digest described it, “at the sites of the two that fell in 2001.”","Biomorphism models artistic design elements on naturally occurring patterns or shapes reminiscent of nature and living organisms. Taken to its extreme it attempts to force naturally occurring shapes onto functional devices.\n\nWithin the context of modern art, the term was coined by the British writer Geoffrey Grigson in 1935 and subsequently used by Alfred H. Barr in the context of his 1936 exhibition Cubism and Abstract Art. Biomorphist art focuses on the power of natural life and uses organic shapes, with shapeless and vaguely spherical hints of the forms of biology. Biomorphism has connections with Surrealism and Art Nouveau.\n\nThe Tate Gallery’s online glossary article on biomorphic form specifies that while these forms are abstract, they “refer to, or evoke, living forms...”. The article goes on to list Joan Miró, Jean Arp, Henry Moore, and Barbara Hepworth as examples of artists whose work epitomises the use of biomorphic form.\n\nIn July 2015 a Facebook Group was set up by British artist Andrew Charles. The group morphed into a movement over the following year and was described in a Manifesto by Charles on 16 July 2016, breaking down the Sculptural Genrea into specific patterns of creation forming no less than 8 necessary protocols for a work to conform to the term biomorphism.\n\nThe paintings of Yves Tanguy and Roberto Matta are also often cited as exemplifying the use of biomorphic form. During and after World War II, Yves Tanguy’s landscapes became emptier, which has been seen as a psychological portrait of wartime Europe.\n\nThe use of metamorphosis through Picasso influenced Surrealism in the 1920s, and it appeared both as subject matter and as procedure in the figurative paintings of Leonora Carrington and in the more abstract, automatic works of André Masson.\n\nDesmond Morris is a biomorphic painter of note.\n\nThe Sagrada Família church by Antoni Gaudí in Barcelona contains many features inspired by nature, such as branching columns intended to reflect trees.\n\nOther well known examples of biomorphism in architecture can be found in the Lotus Temple in New Delhi, by Fariborz Sahba, based on a lotus flower, and the TWA Flight Center building in New York City, by Eero Saarinen, inspired by the form of a bird’s wing.\n\nOne of the leading contemporary architects that uses biomorphism in his work is Basil Al Bayati, a leading proponent of the school of Metaphoric architecture whose designs have been inspired by trees and plants, snails, whales and insects such as the Palm Mosque at the King Saud University in Riyadh, or the Al-Nakhlah Palm Telecommunications Tower, which are based upon the form of a palm tree, or the Oriental Village by the Sea, in the Dominican Republic that is based upon the segmented body of a dragonfly.\n\nBiomorphism is also seen in modern industrial design, such as the work of Alvar Aalto, and Isamu Noguchi, whose Noguchi table is considered an icon of industrial design. Presently, the effect of the influence of nature is less obvious: instead of designed objects looking exactly like the natural form, they use only slight characteristics to remind us of nature.\n\nVictor J. Papanek, 1923-1999 was one of the first American industrial designers to use biomorphic analysis is his design assignments. He reached international prominence while at Purdue University 1964-1970. Student work and his own work is illustrated in his book Design for the Real World, published in 1970, which challenges the industrial design establishment to design for the handicapped and disadvantaged throughout the world. First published in 1970 by Bonnier in Swedish, it was published in English in 1971 by Pantheon, and eventually translated and published in 23 languages. It is perhaps the most widely read book on design.\n\nAmidst a societal hangover from World War I, many European artists were going inward to mine what lies beneath. Many took part in the burgeoning interest in psychology and the physical sciences, finding inspiration in both the invisible signs and symbols that bubbled up from the subconscious and the visible internal cellular structures and life forms that make up the body. With roots deeply connected to Dada and Surrealism, an intuitive mode of expression coined “Biomorphism” emerged, in which an artwork’s elements became modeled on naturally occurring patterns, biological forms, and shapes. This fluid way of creating art from emotion and its resulting curvilinear aesthetic infiltrated all parts of society from painting and sculpture to decorative arts and interior design.\n\nUncapitalized, the term “biomorphic” was used to describe earlier treatments in art history, such as Rococo’s common decorative motif resembling shells and acanthus leafs or Art Nouveau’s serpentine arabesques, as well as in Islamic art’s motifs evoking plant forms. It is also applied to organic-like forms used in various subsequent art movements.\n\nBiomorphism lent itself perfectly to the Surrealist impetus to portray the internal unconscious through automatic, stream-of-consciousness art. Even with sculpture, the practice of direct carving and using the material’s grain, texture, and density to energetically shape the artwork, carried the mark of automatism. By allowing the art medium and material to inform an intuitive flow of expression, the artist brought forth a connection between the viewer and his or her own inner spirit - an artistic bridge between the human subconscious and reality.\nMany biomorphic forms were seen as abstracted derivations of reality, both slightly recognizable and non-identifiable simultaneously. A common motif emphasizing this relationship between familiarity and ambiguity was in the visual correspondence between the human body and the natural landscape.\nTo create biomorphic images and textures, artists employed a slew of innovative painting techniques including decalcomania, where a piece of glass or paper was placed over a painted surface then removed; grattage in which an object was placed beneath paper and then painted over; and frottage, laying paper over an object and then rubbing with charcoal to create an imprint.\nMany Biomorphic artists believed that the intuitive process of organic abstraction in art was an essential vehicle, via which one could arrive at the great elemental truths of existence, fortify their own spiritual aspirations, and reveal visions and messages about the future.","Zoomorphic architecture is the practice of using animal forms as the inspirational basis and blueprint for architectural design. “While animal forms have always played a role adding some of the deepest layers of meaning in architecture, it is now becoming evident that a new strand of biomorphism is emerging where the meaning derives not from any specific representation but from a more general allusion to biological processes.”\n\nThe practice is said by some to be a reaction against some of the modern schools of architecture, such as Modernism and their apparent opposition to nature and organic form. Commenting on the movement away from these rigid and artificial design trends, Susannah Hagan, in her book Taking Shape, has this to say: “The oppositions between culture and nature, so importantly and brutally drawn up by modernism, are dissolving again, not in a return to what was, but a transformation of it...The division between the living organism and the machine continues to collapse”.\n\nSome well-known examples of Zoomorphic architecture can be found in the TWA Flight Center building in New York City, by Eero Saarinen, or the Milwaukee Art Museum by Santiago Calatrava, both inspired by the form of a bird’s wings.\n\nIn the latter half of the 20th century, the museum came to include the War Memorial Center in 1957 as well as the brutalist Kahler Building (1975) designed by David Kahler and the Quadracci Pavilion (2001) created by Spanish architect Santiago Calatrava.\n\nThe Quadracci Pavilion contains a movable, wing-like brise soleil that opens up for a wingspan of 217 feet (66 m) during the day, folding over the tall, arched structure at night or during inclement weather. The pavilion received the 2004 Outstanding Structure Award from the International Association for Bridge and Structural Engineering. This iconic building, often referred to as “the Calatrava”, is used in the museum logo.\n\nIn November 2015, the museum opened a $34 million expansion funded jointly by a museum capital campaign and by Milwaukee County. The new building, the Shields Building, designed by Milwaukee architect James Shields of HGA, provides an additional 30,000 square feet for art, including a section devoted to light-based media, photography, and video installation. The building includes a new atrium and lakefront-facing entry point for visitors and was designed with cantilevered elements and concrete columns to complement, respectively, the existing Calatrava and Kahler structures on the site. The final design emerged after a lengthy process that included the main architect’s departure because of design disputes and his return to the project.\n\nAlso the Oriental village by the sea by Basil Al Bayati which “is based upon Oriental building types arranged in a plan originating in patterns of insect and plant life. The exoskeleton of a dragonfly forms the main body of the building’s layout, its triangular mouth of stairs on the waterfront leading to the creature’s circular head of the entrance lobby. The insect’s long segmented yellow body is the central corridor, dome-lit, which intertwines with a branch of a tree, its stem a road and its leaves the roofs of condominiums and leisure facilities. The colourful berries are cone-topped villas intended to be reminiscent of Chinese temples.”\n\nZoomorphic presents a startling new trend in architecture, buildings that look like animals. Animal resemblances arise for various reasons. An architect may wish to create a symbol, as architects have always done. Or, there may be a functional explanation for why a building comes to share elements of its design with that of some living creature.\n\nUntil now, the Art Nouveau was perhaps the high water mark of architecture’s attempt to embrace nature. Today, with computers and new materials, architects are able to design and build more freely so they are exploring the natural world once more.\n\nThe first architectural exhibition to be held in the V&A’s new Contemporary gallery, Zoomorphic documents a highly significant new trend in design, one that will extend and enrich the language of modern architecture for the 21st century, and that is already producing some of the world’s most exciting new buildings.\n\nFor me, this exhibition shows the growing importance of the cross-currents between the arts and the sciences. Most of my other projects have been biased towards one or the other; here, they come together. My first inkling of this merger came while I was writing The Most Beautiful Molecule. The perfect form of the buckminsterfullerene molecule has striking similarities not only with the domes of Buckminster Fuller, but also with certain viruses and delicate marine micro-organisms called radiolarians. So, here were buildings modelled after life-forms. This led me in turn to D’Arcy Thompson’s masterpiece, On Growth and Form, which explains why this similarity arises not simply because it’s a nice idea to imitate nature, but because manmade artefact and natural organism must struggle alike against the same physical forces.\n\nThis is not the only reason why buildings are starting to look like animals, however. Some architects are doing it in order to create buildings that will be popular symbols for their cities. Others are using animal form as part of their personal architectural language. Still others are creating animal form not deliberately, but as the accidental by-product of the computer programs they are using, which seem peculiarly skewed towards biomorphism.\n\n",{"credits":12127,"designers":12130,"description":12132},{"text":12128,"title":12129},"\u003Cp>Designed by Nico Schweizer and Maurice Göldner/Lineto, first released by Lineto in 1998. Font engineering and mastering by Alphabet, Berlin.\u003C/p>","Credits",{"text":12131,"title":11879},"\u003Cp>Nico Schweizer (*1969) graduated from the School of Visual Arts in New York in 1993 and set up a studio in Hoboken, NJ. Along with other typefaces, he released LL Hoboken High (1998) and LL Le Corbusier (1999). Following 2000, he taught at the Cooper Union School of Art, and in 2003, he became art director at the \u003Cem>International Design Magazine (I.D.).\u003C/em>\u003C/p>\u003Cp>In 2004, Nico moved to Tuscany, and then Switzerland with his young family. He started a line of wooden children’s toys in 2005, and later he ran a small agency for identity and website design in Zurich. He returned to the NY area in 2013, and since 2016, he has been a design director at \u003Cem>The New Yorker.\u003C/em>\u003C/p>\u003Cp>Maurice Göldner\u003C/p>\u003Cp>A 2009 graduate of Hochschule für Grafik und Buchkunst (HGB) Leipzig, Maurice Göldner (*1978) released his first typeface, Meran, with Fred Smeijers’ OurType in 2008. Two years later, he began to teach type design at Kunsthochschule Berlin Weißensee. Among his more recent typefaces are Stan and Standing Type (2012) as well as Rando and Rando Display (2016).\u003C/p>\u003Cp>Since 2012, Maurice has assisted Christian Mengelt/Team’77 with digitising LL Unica77 (2014) and with realising LL Unica77 Mono (2019), while also updating Nico Schweizer’s LL Typ 1451 (2019). In collaboration with Katharina Köhler und Wolfgang Schwärzler, Maurice launched the Leipzig-based type collective, Camelot, in 2015. Since 2017, he has been a professor of type design at Hochschule Augsburg.\u003C/p>",{"text":12133,"title":12134},"\u003Cp>LL Typ 1451 is a digital version of a standard plastic writing template, which Nico Schweizer used to label his drawings as a child. The name, borrowed from the inscription on the template, refers to the DIN number of this particular style.\u003C/p>\u003Cp>After the letters had been carefully adapted into a family of four weights for the first release in 1998, we spent our time tinkering the italics. Over the course of their development, in collaboration with Maurice Göldner, the regular cuts were redrawn as well. Some of the curves, originally modelled after the template, were updated to suit the current standards of digital type design. This also led us to reassess some of the optical corrections of the previous iteration.\u003C/p>\u003Cp>We ended up with ten new cuts, five regular and five italic, all released in 2019. These provide a formal reappraisal of the plastic template letters, translating their distinctive analog character into an age of high-res screens.\u003C/p>","LL Typ 1451",{"328":12126},{"11":11999},{"20":12092},{"allowRouteUpdates":10,"customRouteHash":41,"consideredRouteHash":41},{"octoSubMenu":41,"isOctoOpen":7,"isOctoHidden":7,"isOctoBlurred":7,"isOctoScrolling":7,"isOctoMenuHidden":7,"isOctoBarOpen":7,"isOctoBarHidden":10,"isOctoBuddyOpen":10,"isOctoPadOpen":7,"isOctoGuiHidden":7,"hasOctoTabs":7,"hasOctoSounds":10,"menuLinks":41,"preventClose":7,"menuDirection":12140,"menuBackRouteName":41,"itemSpacing":41,"fontRatio":41,"animationCounter":41,"hasVisibleItems":7,"visibleSubMenuLines":97,"maxSubMenuLines":97,"scrollableLines":97,"scrollableOffset":97,"currentSubMenuComponent":41,"nextSubMenuComponent":41,"currentBuddyComponent":41,"nextBuddyComponent":41,"octoTabsComponent":41,"octoPadComponent":41,"currentBuddyItems":41,"octoBarGroup":41,"octoBarGroupCount":97,"activeSection":41,"activeSectionLock":97,"searchTerm":41,"searchResults":12141,"isSearchActive":7},"vertical",[]]