Friday, August 14, 2015

Erich Mendelsohn: synagogue architecture — an expression of purpose


Erich Mendelsohn, architect, (1887–1953).
Temple Emanuel, Grand Rapids, Michigan, (1948–1952).
View from the southeast. The automobile canopy was added sometime later. Photography by versluis unless otherwise indicated, ©2015.

Temple Emanuel in Grand Rapids, Michigan was one of the last buildings designed by one of the great twentieth century architects, Erich Mendelsohn. A distinguishing feature is how the architect situated the building to take advantage of a southern exposure so that generous light fills the interior space. Inundating the sanctuary with light becomes a celebration of life. As stated in Temple Emanuel’s website: “He [Mendelsohn] visualized a different approach when designing our synagogue. The tall clerestory windows high in the sanctuary allow natural light to flow in, and the movable walls permit us to divide the space as needed.”

The site rests on a gentle rise, which is elevated from the street level. The rhythms and proportions of architectural forms result in a building that harmonizes beautifully with the relative horizontal flatness of the site and verticality and energy of the trees.

Writer Arnold Whittick, in his piece about Mendelsohn for the Encyclopedia of Modern Architecture states that: “Mendelsohn’s work was characterized by a sympathetic and original use of materials, steel, concrete and glass, and by an expression of purpose through the forms of his building, .... His designs were always actuated by the principles of organic unity, so that each part by its character denotes it relation to the whole, and each building is closely wedded to its site.” (1)

  1. Whittick, Arnold. “Mendelsohn.” Encyclopedia of Modern Architecture. Ed. Gerd Hatje. 1964. 183-86. Print.

The 1000 sq. ft. sanctuary wall mural that celebrates Light of Creation (recently restored) is the work of Lucienne Bloch Dimitroff (1909–1999), 1953. Casein paint on plywood panels. The mural creates a wonderful golden glow in both daylight and with artificial lighting. Photograph courtesy of The Conservation Center, Chicago. 


View from the southeast and taken through the garden courtyard.


Calvin Albert (1918–2007), “The Burning Bush,” Bronze, 1973.
The sculpture is located between the front entry doors.

Read More......

Thursday, July 30, 2015

“Streamline Moderne” — Kem Weber’s style


Kem (Karl Emmanuel Martin) Weber American (born Germany), 1889–1963
Skyscraper” night table, 1928–1929
Mirror, burl walnut, glass, painted and silvered wood, chrome-plated metal, cedar
The Modernism Collection, Minneapolis Institute of Art
photograph by ©versluis 2015
Modes and Manners

Read More......

Thursday, July 23, 2015

Carl Milles: “The Vision of Peace” at the Saint Paul City Hall – Ramsey County Courthouse


The Vision of Peace (God of Peace)
Memorial Hall, Saint Paul City Hall / Ramsey County Courthouse
View from the third floor. All photographs ©versluis 2015

Sculptor: Carl Milles
Material: Mexican Onyx
Height: 36 feet, Weight: 60 tons

For Native Americans the ascending smoke from a ceremonial fire or the peace pipe signify prayers being lifted up. The following is from the label/didactics that identifies the monument:

This statue depicts five Native Americans [at the base] in a spiritual ceremony with their sacred pipes. From the smoke arises a Vision of Peace. One hand of the statue holds the sacred pipe, the other extends in a gesture of friendship—symbolic of the idea that with meeting and understanding comes the hope for world peace.

The figure [unnoticeably] rotates 132 degrees on its base (66 degrees in each direction).

Building dedicated in 1932
Building Architects: Holabird and Root
Construction: Ellerbe & Company


The left-handed God of Peace (right-handed in final version)
Plaster maquette made to scale by Carl Milles, 1930
The first three designs were not accepted. The image above is the fourth maquette submitted, which was finally approved by the commission.
From the collection of the Minnesota Museum of Art

Read More......

Saturday, July 18, 2015

Henry Dreyfuss: design based on human factors


Design by Henry Dreyfuss (American, 1904–1972)
Drawing by Alvin R. Tilley (American, 1914–1993)

Designer Henry Dreyfuss’s suggestions for functional industrial design were based on human factors and ergonomics. As the graphic above indicates Dreyfuss carefully studied the proportions found in the human body when correlating product design and the user experience. The image above is taken from the exhibition Revealing the Body: The Art of Anatomy currently at the Minneapolis Institute of Art.

The label for this piece states:

Three Basic Human Body Types—Profile, 1966
Black marker over graphite on gray linen

Anthropometry: in Greek, the word means the measure of man, but not only—it is the foundation of an entire philosophy that connects the human body, its proportions and movements, with the social and natural environment, and ultimately with the Universe. Henry Dreyfuss, the prominent American industrial designer, used the proportions of the body as a point off departure for his creations—for instance, he created the “Princess” telephone to fit the hands of teenage girls. His principles are deeply rooted in the core of 15th-century Renaissance thought—man is the measure of all things. 

Read More......

Wednesday, July 15, 2015

Dürer’s systems


Albrecht Dürer (German, 1471–1528)

Dürer’s suggestions for classical proportions in visual design were based on the ratios he found in the human body. The image above is taken from the exhibition Revealing the Body: The Art of Anatomy currently at the Minneapolis Institute of Art. The label for this piece states:

Hjerin sind begriffen vier Bücher von menschlichen Proportion 
(Four books on human proportion)
Nürenberg: Hieronymus Formschneyder, 1528

Dürer’s systems were mathematical: Single parts of the body were measured and a ratio obtained, relating each of them to the total height. Another method was to divide the figure’s height into six parts, which could be used as modules for the construction of the whole being. Dürer’s manuscripts, published only after his death, set a trend and were imitated throughout the 16th century.

Read More......

Friday, July 10, 2015

Speed and motion: a Piet Zwart photograph


Piet (Pieter) Zwart (Dutch, 1885-1977)
Locomotie, 1928
Gelatin silver print

This is just one of the wonderful photographic prints in the 100+ photography exhibition at the Minneapolis Institute of Art. The show is one of the events which commemorates the 100th anniversary of the MIA this year.

Read More......

Thursday, July 9, 2015

Alvar Aalto’s “Paimio” chair: a chair with just the essential parts


Alvar Aalto (Finnish, 1898-1976)
“Paimio” chair, c. 1932
Laminated birch, bent plywood
Collection of the Minneapolis Art Institute

The following information is taken from the MIA exhibition label:

“A Finnish architect and designer, Alvar Aalto is best known today for his furniture design. This chair, one of his earliest designs, was made for the Paimio Tuberculosis Sanatorium in southwest Finland, constructed between 1929 and 1937. Using laminated birch, a material previously used only in the construction of skis, Aalto produced a chair that was extremely strong, comfortable and attractive, and could be cheaply and easily manufactured.”

Read More......