Alexander Steel Table Mobile

Alexander Steel Table Mobile

Named "Alexander", this is truly a small piece of Art! This beautiful colorful hand made table top Mobile makes elaborate, airy hanging structures. With it's forms inspired by the famous Alexander Calder mobiles, this will be the centerpiece of any living room. Imagine your own private Museum of Modern Art collection! This mobile was entirely made out of light weight sheet metal. This mobile maintains a harmonic balance. Watching the slow motion of a mobile is a remedy against stress. Each mobile is carefully produced, and balanced by skilful hands.

Material: Metal.
Size: 8" h x 12" l (fully extended).

Available online from:

Miami Modern Architecture

Miami Bauhaus Modern Architecture

Your Name Here
1292 Biscaya Drive
Miami, FL 33140

Brand new Bauhaus Contempo, 25’ entry of stainless steel vertebrae staircase, Turkish white marble & limestone flrs; ct-yard, fountains; Italian wood flooring of African Panga Panga; 7 BR/7.5BAs, unparalleled attention to detail, edge pool.

On the market for: $5,750,000

Listing Agent:
Coldwell Banker Residential RE, Inc.
1055 Kane Concourse Miami Beach, FL 33154
phone: (786) 290-9767
fax: (305) 861-8983

Mid Century Modern Phoenix

Mid Century Modern Phoenix

We love this home located at 2235 E. Marshall Ave in Phoenix!

Classic Mid-Century Modern architectural beauty. Just steps from Biltmore. Prestigious Urban Location. Rural/Private Setting. Spectacular curved Glass Entry. Terrazzo Flooring. Twin Fireplaces in Living and Family Room.3/4 "plus" acre home site. Newly Remodeled Free-form Diving Pool&Sap. Park-like grounds. Lush&Private Desert Landscaping hugs the circular drive. Custom Cabinetry. Dramatic Lighting(inside/out). A timeless and sophisticated example of a Modern Architectural Classic.

2956 Sq. ft. +-
2 Car Garage, and 2 Car Carport
Lot Size: 37000 Sq Ft +-
Age: 1957
Architect: Unknown

On the market for: $1,195,000.

Listing Agents:
Scott & Debbie Jarson
3707 N. Marshall Way #5
Scottsdale, Arizona 85251
Telephone 480-425-9300
Facsimile 480-425-9301

Osvaldo Borsani P40 Relaxer

Osvaldo Borsani P40 Relaxer

Italian design classic. Official authorized version, produced by Tecno Italy. This is the most luxurious classic design chair that was ever made. Authentic P40, designed by Osvaldo Borsani in 1954, manufactured by Tecno Italia. Surprisingly comfortable design classic! The P40 received the Triennale Diploma D'onore, Milan in 1954. Structure: metal structure, black or chrome lacquered base. Upholstery: polyurethane foam with interchangeable upholstery.

Available online from:

Atomium Brussels Belgium

Atomium Brussels Belgium

The most astonishing building in the world recently reopened.
Visitors are allowed to go all the way to the top!

After more than a year of renovation work the Atomium has a new face and will give visitors a brand new aesthetic experience by taking them on a very special journey through its spheres.

Designed by the engineer André Waterkeyn for the International Exhibition of Brussels, that took place here in 1958, the Atomium is a structure that is half way between sculpture and architecture, symbolising a crystallised molecule of iron by the scale of its atoms, magnified 150 thousand million times. Throughout the ages, man has sought to give architectural expression to his desire for height; towers, pyramids, belfries, cathedrals,… The Atomium, in particular, embodies the audacity of an epoch that seeks to confront the destiny of man with scientific discovery.

The nine large spheres joined by tubes which comprise the Atomium, are arranged in the configuration of a central cubic system. These spheres, with a diameter of 18 metres, were fitted out by the architects André and Jean Polak. Made entirely of steel clad with aluminium, the structure, at a hight of 102 metres and standing on three enormous bipods, dominates the Heysel plateau. The Atomium was not intended to survive the Exhibition of 1958. Its popularity and success, however, ensured its place as a major landmark on the Brussels skyline.

Atomium Square
1020 Brussels
Phone: +32-2 475 47 77
Fax: +32-2-475 47 79

Links of Interest:

Evoluon Eindhoven Netherlands

Evoluon Eindhoven Netherlands

We thought it was interesting to feature one of the finest modernist buildings that was ever created in Europe. The building's name was Evoluon and was located in the city of Eindhoven in the Netherlands. It housed a "Logan's Run" type public exhibit of the wonders of technology. Very space age. A similar concept to the Atomium that they build in Brussels in 1958. I remember my parents took me there when I was about 8 years old. It left an incredible inpact on me. Unfortunately the Evoluon exhibit inside the building was closed down in 1989. Yet, the building itself still stands, although in altered form.

History of the Evoluon:

To celebrate the 75th birthday of the Philips company in Eindhoven in 1966, a special exhibit on science and technology was opened in the Evoluon, a futuristic building designed by L. Ch. Kalff. It was built for this purpose on a piece of land at a prime location, a triangular terrain at the crossing of three main roads, donated by the city of Eindhoven. The Evoluon was an idea of Frits Philips himself, a very idealistic man who wanted to give the people a beautiful and educational gift to celebrate the birthday of the company that bears his name. The exhibition was designed by the British designer James Gardner. It was not a display of Philips products, but a museum with a message. Shown was how mechanisation and automating had increased production and made life more comfortable. You could see how modern society had its problems, from environmental pollution, depletion of natural resources to over population, but also how technology could offer solutions to these problems. Lots of science and its technical application could be seen. The computer was an early part of the exhibition. Very special was that the visitor was encouraged to touch everything and try things to see how they worked. The building could hold 1500 visitors, and later 2000. Many technically minded people have found the path to their later hobby or profession by visiting this wonderful exhibition.

James Gardner (1908-1995) was the most important British post-war museum- and exhibiton-designer. Many important events of British government and large firms were designed by him. He did not only design the Evoluon exhibition of 1966, but also the additions of 1985.

The designer, L. Ch. Kalff, was the artistic director of Philips at the time. He also designed the look of appliances like radios, and designed the well-known Philips brand image. Another unique building he designed is the dr. A. F. Philips observatorium. For the Evoluon he was assisted by architect L. L. C. de Bever, who had just graduated, the Evoluon was his first big project. Designer Kalff decided how he wanted things to look, and architect De Bever took care of the technical stuff and put the drawings to paper. The N. V. Hollandse Beton Maatschappij from Den Haag was consulted for the construction possibilities, did the calculations and built the Evoluon. For the calculations there was a lot of assistance from the T.N.O. Delft. For the Evoluon a triangular piece of land of about 5.8 ha. was available. Three busy main roads surround it. Because the building would be visible to all this traffic, a round form was chosen. It was to be a new landmark for the city, that was to arouse curiosity and associations with modern technology and space travel. The dome has a diameter of 77 m. and rests on 12 V-shaped columns. There is a round pond of about the same size in front of it, and a large parking lot. In the dome there are three concentric walkabouts, about 10 m. wide, with a total size of 4700 sq.m. Next to the dome is a radar tower with a height of 60 m. and a diameter of 3 m. West of the dome is the service building with a restaurant, toilets etc. In the cellar of this building was another exhibition and a small movie theatre.

Every year about half a million people visited the Evoluon. But in 1989 the exhibit was closed because of a declining number of visitors. At that time the buildings surrounding the dome were adapted and expanded so that the complex could be used as a conference centre. From 1993 to 1998 there was a big exhibit in the building, but it was focused only on Philips products. Only people who were invited could visit it. Those were business relations of Philips, but also schools and other organisations.

In 1994 a large building was put up in front of the evoluon that has an auditorium and movie theatre that can hold 440 persons.

Today the Evoluon building complex is used as a high class business conference centre. It is still busy in there, but there is nothing to see for the general public anymore.

Link of Interest:

Joe Colombo Superleggera Chair

Joe Colombo Superleggera Chair

After the world rediscovered the incredible design from Danish-Swiss Designer Verner Panton, renewed and much deserved attention is now also going towards the works from Italian designer Joe Colombo. This Superleggera chiar is available through The comfortable Superleggera will welcome you like an old friend. It is a true luxury "seating machine" which was designed so that the weight of a person can be fully dispersed. Superleggera is a sophisticated armchair composed of a curved multilayer walnut structure and a padded cushion with leather upholstery. Some of the many features that make Superleggera unique in its genre are: the absence of any joining elements between the various parts of the structure, the anatomical shape of the cushion and e craftsmanship that goes into making it with a large number of seams sewn by hand.

Permanent collections: Triennale di Milano Vitra Design Museum, Germany.

The Triennale di Milano, together with the Joe Colombo Studio and Vitra is organizing traveling exhibitions throughout Europe on the works of Joe Colombo. The Triennalie Di Milano also released a new catalogue raisonne on Joe Colombo which is already available through Amazon.

Available online from:

Marcio Kogan BR House, Brazil

Marcio Kogan BR House, Brazil

In the Brazilian jungle, Marcio Kogan creates the elegantly Minimalist, wood-screened BR House

By the time a wealthy Rio couple hired architect Marcio Kogan and his associates to dream up a summer retreat for them, their house was already taking form. There’s a certain template that any right-minded architect would follow when building in the mountains north of Rio, where only rounded granite peaks interrupt the thick weave of rain forest. The landscape—rife with ferns and high, thin trunks—resembles Rio’s site when it was still wild and undeveloped. Part of the Atlantic Rain forest, this area rivals the Amazon in density and diversity of vegetation. Given the lushness and the privacy it affords, it’s best to let jungle be jungle: Build a terrarium in reverse—a viewing platform raised on stilts and nestled into the tree canopy’s green shadows.

On top of these unspoken assumptions, Kogan had to contend with the partially completed work of a previous architect the client had fired: BR House’s steel skeleton already stood on a long, narrow strip of cleared and graded land, with a heavy steel entrance bridge leading over the creek that cuts through two edges of the secluded, 1.5-acre property. Kogan had no choice but to incorporate these elements.

Much as the architect appreciated the site, he was not so pleased to see the building’s skeleton. Its steel pillars, raising the house above the jungle floor, lacked perfect symmetry in plan—a condition unsettling to his orderly instincts. But although constraints imposed by the existing structure dictated its overall form, the elongated box ended up suiting Kogan’s sensibilities. Brazilian Minimalists such as Kogan see no need to explain or excuse a simple box. But the team did expand this one, by 1,000 square feet, to 4,900 square feet. Where the original scheme would have brought the edges of the envelope only to the pillars, the adapted design cantilevers the main level’s floor and ceiling slabs several feet beyond the columns—diminishing their importance visually and turning a potentially inert treehouse-on-stilts into a seemingly weightless volume.

Source: David S. Morton

Marcio Kogan

Born in 1952. Graduated from Mackenzie School of Architecture in 1976. Received an IAB award for the Rubens Sverner Day-Care Center in 1983, and in 1994 an award for the facade for the Larmod Store, organized by the Magazine of the newspaper Folha and CCSP (Creation Club of São Paulo). Realized an exhibit of small-scale models entitled “Architecture and Humor”, a critical view of the architectural and urbanistic problems of the city of Sao Paulo, which had great repercussions throughout the city. Participated in the IV Architecture Biennial with these projects: UMA Store, Strumpf Residence and the MRA-2 commercial building in 1999. Awarded Architectural Record House 2004 for Du Plessis Residence – Laranjeiras / Paraty / Brazil.

Marcio Kogan
Al. Tietê, 505
São Paulo – Sp
Cep 04616-001 – Brazil
Tel ; 55 11 30813522
Fax; 55 11 30633424

Pictures by:
Nelson Kon
Rua General Jardim 645 cj. 31
Sao Paulo SP
Tel; 55 11 32314868

Bruno Mathsson Exhibition

Bruno Mathsson Exhibition

Bruno Mathsson (1907-1988) developed modernism in furniture design and architecture, addressing both general and special problems in the design of furniture, interiors and buildings. The furniture designer is well known, but the architect will be a new acquaintance to most people.

Iit is 70 years since Bruno Mathsson had his first separate exhibition at the RoehssMuseum of Design and Crafts in Gothenburg (Göteborg). Mathsson’s furniture caught both European and American eyes followingits international breakthrough at the 1937 International Exposition in Paris. One of the first commissions came from the Museum of Modern Art, New York, which needed furniture for the public rooms in its new extension.

He always viewed his individual furniture designs in a broader context –that of interaction with the room and with architecture. The living room of his own weekend cottage at Frösakull –shown in the exhibition as a full-scale model – is a précis of his ideas onhousing and furnishing.

Mathsson’s ideal room has large expanses of glazing, so as to make the landscape outside part of the dwelling environment. His slender, organic furniture shapes interact with nature.

As a designer and architect he was self-taught, in that his learning and ideas came from books and periodicals. The links between design and nature – ergonomic solutions, spatial thinking and architecture – were self-evident.

Bruno Mathsson’s ideas and his development of “ultimate sitting” were motive forces of his furniture design, reflected in both sitting curves and table heights. He also took an interest in designing the workplaces of tomorrow, his thesis being that people in office environments would work more comfortably and think more efficiently in positions of repose.

In 1948 Bruno Mathsson and his wife Karin Mathsson made a journey to USA where they met many of the architects and designers he had read about: Frank Lloyd Right, Eliel and Eero Saarinen, Charles and Ray Eames amongst others.

International and, in particular, American discussion of housing during the 1930s and 1940s inspired Bruno Mathsson to address the conditions of future living. Bruno Mathsson designed a large number of single-family dwellings, terrace houses, schools, crèches, factories and exhibition galleries. His theme was brightly lit, airy structures with large expanses of glazing, built to a rational modular system. Some 50 houses of his were built in Sweden and abroad.

The interest for Bruno Mathsson’s design was renewd due to his succes at the exhbition Interbau in Berlin 1957. In the 60:s Bruno Mathsson created the chairs ”Jetson”, ”Karin”, ”Ingrid”, the bed ”Ulla” and, together with Piet Hein, the superellips table.

The exhibition will take place until the 27th of August, 2006.

SE-111 49 Stockholm
Telephone: +46 8 587 270 00
Fax: +46 8 587 270 70

Links of Interest:

Jean Prouvé Travelling Exhibition

Jean Prouvé Travelling Exhibition:
Jean Prouvé : The Poetics of Technical Objects

This is the first comprehensive and systematic travelling exhibition of furniture and architecture which Jean Prouvé (1901-1984) developed and produced from 1924 until the mid 1970's. Its curatorial concept, developed by guest-curator Prof. Bruno Reichlin, is structured along Prouvé's own ideas, explained in the famous courses he gave at the Paris CNAM (Conservatoire National des Arts et Métiers) between 1957 and 1970.

The exhibition contains approximately 50 original pieces of furniture, 10 original architectural units (including a complete "Maison de Sinistrés") and numerous architectural models as well as photographs and reproductions of Prouvé's architecture- and furniture-related drawings.

While most of the objects belong to the Vitra Design Museum's own collection, important loans stem from the Paris art dealers Philippe Jousse and Patrick Seguin, the Archives Départementales de Meurthe et Moselle in Nancy and the Prouvé family.

The exhibition is organized in cooperation with the prestigious Keio University of Tokyo.

Exhibition Tour

* 23.09.2006 - 25.03.2007, Vitra Design Museum, Weil am Rhein
* 12.05.2006 - 23.07.2006, Deutsches Architekturmuseum, Frankfurt
* 04.11.2005 - 22.01.2006, Toyota Museum of Industry and Technology, Nagoya
* 06.09.2005 - 23.10.2005, Rensei Junior High School, Tokyo
* 06.08.2005 - 24.08.2005, Sendai Mediatheque, Sendai
* 30.04.2004 - 16.01.2005, Kamakura Museum of Modern Art, Kamak

Links of Interest:

Jean Prouve Furniture available online from:

Frank Lloyd Wright Taliesin Lamps

Frank Lloyd Wright Taliesin Lamps

These beautiful Taliesin lamps are truly works of art and a classics in the history of 20th century design. When Frank Lloyd Wright converted the original gymnasium of his Hillside Home School (1902) into a theater in 1933, he designed lighting pendants made up of square boxes and plywood shields to be suspended from the tall ceiling. These fixtures proved to be a lighting innovation, providing comfortable indirect lighting without the use of glass or shades. In 1952, when the theater was rebuilt following a fire, Wright modified the design of the original fixtures for use in the dining room, attaching them to the oak beams overhead. He found their soft indirect light so pleasing that he had a standing floor lamp version of the same design fabricated for use in his own home, Taliesin. This lamp was made with the highest attention for details by the Japanese company Yamagiwa.

Available online through:

Rick Joy Nomad House Tour

Rick Joy Nomad House by Rick Joy Architect

Modern and Contemporary
Architecture and Landscape
in Arizona's High Sonoran Desert

Thursday April 7th, 2006

Rick Joy will lead a tour of his Desert Nomad House (formerly Casa Jax) and the experimental Tucson Mountain House. These two homes are on either side of a small hill, nestled in the mountains. We’ll start at the Nomad House, walk through the desert and over the hill to the Tucson Mountain House (and pottery studio), and then walk back to relax and have a drink and watch the sunset around the fire pit at the Nomad House.

Based in Tucson, Arizona, Rick Joy not only responds to the desert landscape, but sensitively and carefully situates his buildings in their surroundings. Believing in formal simplicity and technical sophistication, Joy’s work reflects his early training as a finish carpenter. His work includes the Desert Nomad House and the Tubac House, recognized by Architectural Record (April 2005) as Record Houses of 2005.

REGISTRATION (PDF- print and return)

This tour is limited to 40 participants.

For more information contact:

Laura Allebach Nichols
Events and Stewardship Coordinator
Development & Alumni/ae Relations
Harvard University Graduate School of Design
Fax: 617.495.5967

Link of Interest and Sources:

Rick Joy:
Architect Rick Joy, originally from Maine, has lived and worked in the desert landscape of Arizona for over a decade. Guided by an abiding fascination with the desert’s capacity for sensory stimulation, and a commitment to functionality and craft that survives from his training and work as a contractor, Joy has developed a modern architecture that cultivates sensory experience, harmonizes with the landscape, and eschews formal pretense. On April 24, The Architectural League and the Cooper Hewitt National Design Museum welcomed Joy to discuss his ideas, his work, and the desert which has nurtured both.

“The desert,” said Joy showing slides of the richly colored Sonoran desert, “is a fantastic place in the most correct meaning of the word; it is at times a dreamlike fantasy of a landscape. . . . the desert’s beauty extends beyond objects and things to an atmosphere of place that is defined by quality of light and other sensory kinds of input.”

After graduating from architecture school at the University of Arizona and working several years for Will Bruder, Joy founded his own practice in Tuscon in 1993. His first significant project, for a Canadian developer, was the design of three houses on an abandoned lot in Tuscon’s Barrio Historico. Joy resisted calls to construct “false relics” on the site, instead developing simple modernist rammed-earth one-bedroom loft dwellings that reflect the aesthetic heritage of the site without directly copying it. In the areas around the buildings Joy included features—gravel courtyards, fragrant trees, a fountain sculpture—that stimulate the various senses.

Attention to sensory stimulation, what Joy calls “ethereal, visceral experiences,” guides his design work to such an extent that it often “preempts consideration of the formal aspects of a project. Sounds, smells and tactile qualities are often more important than the shape of the object itself.” Owing to this focus on sensory experience Joy’s architecture, while undeniably rooted in Modernism, avoids the coldness sometimes associated with the style. “To this day,” Joy said proudly, “several of my clients don’t believe they have modern architecture projects.”

Joy’s 1998 Palmer House (featured in the League’s Ten Shades of Green exhibition) is a 2,500 square foot one-bedroom dwelling just north of Tucson that is oriented to provide breathtaking views of the surrounding Catalina Mountains. The rectangular living room wing, an open and airy pavilion-like space, faces the mountains with a broad, full height glass wall. The bedroom wing, also a rectangle, is offset slightly from the living room to allow morning sunlight to enter. The whole project is characterized by attention to environmental detail. A butterfly roof was used to minimize erosion caused by run-off, and the home, set 25 feet below the level of the access road, is almost entirely concealed from view.

It is crucially important to Joy that his projects rest lightly upon, or within, the landscape. The plan of his 2000 Tubac House in Tubac, Arizona, for example, is defined by two U-shaped retaining walls set into a hillside that gently slopes away from the approach road. Seen from the road, the house’s presence is indicated only by the few portions of the roof that angle up above grade. The entry sequence is carefully choreographed so that the frank rust-colored volumes of the home unfold gradually. One crunches through the gravel driveway above the house, passes through an “army” of barrel cactus, and descends into a courtyard that separates the two main volumes of the house. How the landscape looks from within the house is as important as how the house looks from without. Windows puncture, and in places protrude from, the weathered steel and wooden volumes to capture and frame the surrounding views. “It’s really about taking these enormous panorama views and kind of reframing them and revealing them slowly for different parts of the experience,” Joy explained.

Joy designed his own studio on land left over from the Barrio Historico project. The structure, as he describes it, is “one big monolithic block, a building primarily of walls.” The interior is simple--one large space, divided from an outdoor courtyard by a glass wall, features a drafting area and a conference area. A bathroom is tucked into the thickness of the wall. The ceiling is of galvanized metal with slots for HVAC and sound equipment, and it “floats between the walls like the blue sky does outside.”

Construction is currently nearly complete on Casa Jax, a set of three rusted steel cubes nestled “like hunter’s blinds” in the brush of the Sonoran desert. The domestic program is divided among the three cubes—one contains living, dining, and kitchen space, another the master bedroom, and the third den/guest quarters. Each is positioned to afford the best views and lighting for its program. The bedroom cube faces west towards a mountain that glows bright orange as the morning sunlight creeps down its rocky face. The living and dining cube faces southeast to frame a rocky hill that is similarly illuminated by the setting sun. The den’s main window frames a desert “still life”—a rocky outcropping. The boxes are clad in a rusted steel skin that is separated from the insulation layers and structure by a space that allows for natural ventilation by convection. “This project,” Joy recalled, “was about doing the right thing in this fragile landscape. It has the most dense forest of saguaro cactus in the world, so the buildings needed to be soft little objects plopped down.”

Pima Canyon House, also in construction, is set on a one-acre site in a gated desert community. This house, with its high, largely unfenestrated exterior walls, focuses in on itself around a walled interior courtyard that opens to the mountains. One enters the house through a revolving steel gate set into the southeast corner of the building, passes through a dark chamber with a small skylight and dripping water --what Joy called a “sensory decompression chamber”— and then ascends a terraced hall to a formal entrance of sandblasted glass.

Currently Joy is collaborating with architects Marwan al-Sayed and Wendell Burnett, to design a 36-room luxury resort hotel in southern Utah. Though planning is in early stages still, Joy envisions a V-shaped plan embracing a wide, craggy, desert “piazza.” Joy is also working on houses for a prominent film director and his daughter in Napa, California.

“I think I can read a place pretty well, because of my experience in the desert,” said Joy who suggested that he may some day return to his native Maine. “For now I promise to keep it up and to really make this work worth it and to do great projects in the future. It’s really just about loving life.”


Oscar Niemeyer Casa das Canoas

Oscar Niemeyer Casa das Canoas

The private residence that Oscar Niemeyer created for himself is the House the Canoes (Casa das Canoas), which would later become the headquarters of the Oscar Niemeyer Foundation. The Casa das Canoas is open for visitors each day in the afternoon. Please make sure to give them a call prior to visiting.

Oscar Niemeyer Casa das Canoas
Estrada das Canoas, 2.310- São Conrado
Rio de Janeiro, RJ - Brasil
CEP: 22610-210
Tel/Fax- 55 21 3322 3581

Horário de visitas: de 3ª feira a 6ª feira, das 13:00 às 17:00 horas.
Grupos e horários excepcionais mediante agendamento com antecipacao mínima de 72 horas.

Preço do ingresso:
R$ 8,00 por pessoa
R$ 4,00 estudantes
Grátis: menores de 10 anos, idosos acima de 65 anos e grupos de alunos de escolas públicas de 1º e 2º graus.

Link of Interest:

About Oscar Niemeyer:
Oscar Niemeyer Soares Filho (born December 15, 1907) is a Jewish Brazilian architect who is considered one of the most important names in international modern architecture. was a pioneer in the exploration of the constructive possibilities of reinforced concrete. insurance rate, insurance comparison, auto insurance

Although was a defender of utilitarianism, 's creations did not have the blocky coldness frequently criticized by post-moderns. 's buildings have forms so dynamic and curves so sensual that many admirers say that is more monumental as a sculptor than as an architect. Some critics consider the same to be a defect. insurance comparison

Oscar Niemeyer and 's contribution to the construction of the city of Brasilia is portrayed and somewhat parodied in the 1964 French movie L'homme de Rio (That Man From Rio), starring Jean-Paul Belmondo.

Early Life
Oscar Niemeyer, whose father is of German descent, was born in the city of Rio de Janeiro in 1907, on a street that later would receive the name of 's grandfather Ribeiro de Almeida. spent 's youth as a typical young Carioca of the time: bohemian and relatively unconcerned with 's future. concluded 's secondary education at age 21. The same year, married Annita Baldo, daughter of Italian immigrants from Venice. Marriage gave 's a sense of responsibility: decided to work and enter university.

He started to work in 's father's typography house and entered the Escola de Belas Artes, from which graduated as engineer architect in 1934. At the time had financial difficulties but decided to work without fee anyway, in the architecture studio of Lucio Costa and Carlos Leao. felt unsatisfied with the architecture that saw in the streets and believed could find a career there.

In 1945, already an architect of some repute, joined the Brazilian Communist Party. Niemeyer was a boy at the time of the Russian Revolution, a young idealist during the Second World War and lived most of 's life during the Cold War. was enthusiastically communist, a position which would cost 's much later in 's life. During the military dictatorship of Brazil 's office was raided and was forced into exile in Europe. The Minister of Aeronautics of the time reportedly said that "the place for a communist architect is Moscow." visited the USSR, met with diverse socialist leaders and became a personal friend of some of them. Fidel Castro once said: "Niemeyer and I are the last Communists of this planet."

First works:
In 1937, the architecture studio of Lucio Costa and Carlos Leao, where worked, won the bid to design the new building of the Ministry of Education in Rio De Janeiro. This project should be seen in the political context of the new Republic: Getulio Vargas, president of Brazil, wanted to use architecture and urbanism to illustrate the country's transformation from an agricultural coffee-exporting power into an industrialized country.

The project, named the Capanema palace, was extremely bold for the time. It was one of the first large buildings rigorously following modernist standards. The studio even asked for help from the main modernist theoretician, the Swiss architect Le Corbusier. Although had written diverse books, had never had the chance to put 's ideas into practice, save in some European summer houses, and so soon became a great friend of Lucio Costa and Niemeyer. Le Corbusier described Niemeyer as a boy prodigy. The palace, finished in 1943, is raised above the street, supporting itself only with columns of concrete that leave the space below free as a public passway. The building joined the biggest names of the Brazilian modernist movement, alongside the tiles of Di Cavalcanti and gardens of Burle Marx .

In 1939 Niemeyer traveled with Lucio Costa to design the Brazilian pavilion in the New York World's Fair. At a time when Europe and the United States were concentrating their industrial powers on World War II, Brazil was investing in architecture. The country placed itself in the vanguard of international modernist architecture, where it remained until decades later, in large part thanks to the talent of Niemeyer.

The Pampulha project:
In 1940 Niemeyer met Juscelino Kubitschek, who was at the time the mayor of Belo Horizonte, capital of the state of Minas Gerais. wanted to develop an area to the north of the city called Pampulha, and called Niemeyer to design a series of buildings to be known as the "Pampulha group". This would be Niemeyer's first solo work, at 33 years old.

The building was completed in 1943, and provoked some controversy --- which also meant that Niemeyer would come to the attention of the world for the first time. The Catholic Church refused to bless the Church of Saint Francis of Assisi, in part due to its unorthodox form, in part due to the modern mural painted by Candido Portinari. The mural was abstract and its only recognizable form was that of a dog, possibly representing Saint Francis of Assisi.

In Pampulha, Niemeyer started to mark 's style: used the structural properties of the armed concrete to give sinuous forms to the building. When Niemeyer draws a building makes it with the minimum of possible traces, as organic and trembling as a gesture of the hand. However, denies that 's buildings have an aesthetic more important than function: often wrote elaborate justifications of the details of 's projects, wherein described the function of each curve of the building. said that if could not justify an idea in one paragraph, gave it up. Also later would say that a form that conveys beauty is useful in itself.

The 1940s and 1950s
In 1947, 's world-wide recognition was confirmed when Niemeyer traveled to the United States to design the headquarters of the United Nations in New York. In the previous year had received an invitation to teach at Yale University; however, 's visa was denied because of 's socialist beliefs. In 1950 the first book about 's work was published in the USA by Stamo Papadaki.

In Brazil, designed Sao Paulo's Ibirapuera (an exposition pavilion) and in 1951 the COPAN. In 1952 built 's own house in Rio De Janeiro, the House the Canoes (casa das canoas), which would later become the headquarters of the Oscar Niemeyer Foundation.

Then Juscelino Kubitschek, elected president of Brazil in 1956, once again came in contact with Niemeyer. This time 's plans were far more ambitious: put Niemeyer in the head of Novacap, a project to move the national capital to a depopulated region in the center of the country.

Niemeyer organized a competition for the urbanistic lay-out of Brasilia, the new capital, and the winner was the project of 's old master and great friend, Lucio Costa. Niemeyer would design the buildings and Lucio the plan of the city.

In the space of a few months, Niemeyer designed a large number of residential, commercial and government buildings. Among them were the residence of the President (Palacio da Alvorada), the House of the deputy, the National Congress, the Cathedral of Brasilia, diverse ministries, not to mention residential buildings. Viewed from above, the city can be seen to have elements that repeat themselves in every building, giving it a formal unity. The cathedral of Brasilia is especially beautiful, with diverse modern symbolism. Its entrance is a dimly-lit corridor that contrasts with the bright, naturally illuminated hall.

Behind the construction of Brasilia lay a monumental campaign to construct an entire city in the barren center of the country, thousands of kilometers from any major city. The brainchild of Kubitschek, 's aims included stimulating the national industry, integrating the country's distant areas, populating inhospitable regions, and bringing progress to a region where only cattle ranching had a foothold (many historians compare the construction of Brasilia with the American colonization of its west). Niemeyer and Lucio Costa used it to test new concepts of city planning: streets without transit (Niemeyer would say that it is a disrespect to the human being that it takes more than 20 minutes in the transport of a region to another one), buildings floating off the ground supported by columns and allowing the space underneath to be free and integrated with nature.

The project also had a socialist ideology: in Brasilia all the apartments would be owned by the government and rented to its employees. Brasilia did not have "nobler" regions, meaning that top ministers and common laborers would share the same building. Of course many of these concepts were ignored or changed by other presidents with different visions in later years. Brasilia was designed, constructed, and inaugurated within four years. After it, Niemeyer was nominated head chief of the college of architecture of the University of Brasilia. In 1963, became an honorary member of the American Architects Institute of the United States; the same year, received a Soviet prize, the Lenin peace prize.

In 1964, after being invited by Abba Hushi, the mayor of Haifa, Israel, to plan the campus of the University of Haifa, came back to a completely different Brazil. In March president Joao Goulart, who succeeded president Janio Quadros in 1961, was deposed in a military coup. A General assumed command of the country, changing the lives of all Brazilians.

Exile and projects overseas
The leftist position of Niemeyer would cost 's much during the CIA-backed Cold War military dictatorship. 's office was pillaged, the headquarters of the magazine coordinated was destroyed, 's projects mysteriously began to be refused and clients disappeared.

In 1965, two hundred professors asked for 's resignation from the University of Brasilia, in protest against the government treatment of universities. In the same year traveled to France for an exhibition in the Louvre museum.

In the following year, 's work hindered in Brazil, Niemeyer moved to Paris. There started a new phase of 's life and workmanship. opened an office on the Champs Elysees, and had customers in diverse countries, especially in Algeria where, among others designed the University of Constantine. In France created the headquarters of the French Communist Party, and in Italy that of the Mondadori publishing company.

1980s to the present
The dictatorship lasted 21 years. In the 1980s it softened and gradually turned into a democracy. At this time Niemeyer decided to return to 's country. himself defines this time as the beginning of the last phase of 's life. During that decade made the Memorial Juscelino Kubitschek (1980), the Pantheon (1985) and the Latin America Memorial (1987), the last a beautiful sculpture representing the wounded hand of Jesus, whose wound bleeds in the shape of Central and South America.

In 1988 Oscar Niemeyer was awarded the Pritzker Architecture Prize, together with the American architect Gordon Bunshaft.

He designed at least two more buildings in Brasilia, small ones that are arguably among 's greatest, the Memorial dos Povos Indigenas ("Memorial for the Indigenous People") and the Catedral Militar, Igreja de N.S. da Paz.

In 1996, at 89 years old, created what many consider 's greatest work: the Niteroi Contemporary Art Museum (in the city of Niteroi, a city next to Rio de Janeiro). The building flies from a rock, giving a beautiful view of the Guanabara Bay and the city of Rio de Janeiro. Critics of the museum say the building is so exotic that it upstages the works of art inside it.

In 2003, Niemeyer was called to construct a serpentine gallery in London, a gallery that each year calls a famous architect for 's own reconstruction.

On December 10, 2004, a tombstone of Communist Carlos Marighella, in Salvador, Bahia will be inaugurated to celebrate the 35th anniversary of 's death. The tombstone was designed by Niemeyer.

Architects of Air

Architects of Air

Enter and be amazed! Architects of Air is a luminarium – a sculpture that people enter to be immersed in radiant light and color.o vivid they are almost tangible.

It’s an air-conditioned inflatable kingdom waiting to be explored. Some visitors sit or lie down and relax in the ambience of radiant color and music. Others use their maps to explore the labyrinths. Expect to be awestruck with a sense of wonder when you experience the beauty of such intense color and light!

Link of Interest:

Stanley Brown Bertus Mulder

Stanley Brown and Bertus Mulder "Het Gebouw"

A new exhibition space designed by Holland’s well-known conceptual artist Stanley Brouwn and architect Bertus Mulder has been opened on the new housing estate of Leidsche Rijn in Utrecht, Holland. It is the first time that an architectural design by this artist has been realised. Utrecht is the birthplace of "De Stijl" movement (Piet Mondriaan, Gerrit Rietveld, etc.).

Het Gebouw

‘Het Gebouw’ (The building) is constructed of a steel frame covered by panelling and consists of two rectangular spaces that lie centred, one on top of the other in the form of a cross. The dimensions of the building are derived from the so-called ‘Brouwn-foot’; instead of the metric system the artist uses the length of his own foot. Bertus Mulder, well-known for his restoration of the Rietveld-Schröder house, was the architect in charge.
‘Het Gebouw’ has been realised under the authority of BEYOND, the long-term art programme for Leidsche Rijn and is located at the future heart of this new urban development.

Stanley Brouwn

Brouwn made a name for himself in the early 1960’s with his measurement of distances. He gained international recognition with the work ‘this way brouwn’, which consists of drawings made by passers-by that serve as directions for the artist to get from one place to another. Brouwn also embarked on various journeys during which he counted the number of steps he took. The great precision and consistence of Brouwn’s work throughout decennia continue to make him one of Holland’s most important artists. Brouwn has made it a principle never to publish information about his projects. He believes that his work, as in the case of this building, is shown to best advantage without further commentary.
The pavilion is being built in the development area of Leidsche Rijn Centrum, the future center of this district. It will be located near to architect Shigeru Ban’s Paper Dome. It will remain there until 2009, after which it will finally move to a permanent location. The realization of this presentation space for visual art is the second time that the planned development of Leidsche Rijn Centrum is being preconceived.

Link of Interest:

George Nelson Sunflower Clock

George Nelson Sunflower Clock, also called the Honeycomb clock

We were browsing the George Nelson archive and found this amazing Sunflower clock which, according to the George Nelson archive, was made by Howard Miller in 1958 . This clock is among the largest clocks designed by George Nelson and Associates. The George Nelson Sunflower clock measures 30" in diameter. The clock is now back in production through Vitra from Germany and can be purchased online from If you prefer to have an original vintage Howard Miller clock, you should check with

About the George Nelson archive:
Free research on the following: information about the George Nelson Biography, learn about the history of George Nelson Associates, info on Authorship such as who designed what, an interesting production Time Line, original George Nelson Quotes , Production and Historic Facts of Interest, Original Vintage Advertising, information on Howard Miller and Herman Miller, answers to commonly asked questions, the connection with Charles and Ray Eames, a wonderful collection of Howard Miller Clocks, the new line of Vitra Clocks, as well as the complete product line including lighting, furniture, art and more. The George Nelson Archive welcomes any additional information that can be added.

Links of interest:
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Found online at:
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A. Quincy Jones Architect

Westside Los Angeles Mid Century Modern
A. Quincy Jones Architect
452 Loring Ave
Westwood, California

This Mid Century Modern architectural gem is listed at $3,425,000.

A. Qunicy Jones architect. Aesthetic style & detailing make this quiet & secluded hm a quintessential example of mid-century American architecture. This Little Holmby classic 50s modern hm has an open flr pln, crtyd grdens, atriums, high ceilings, post-and-beam construct & walls of glass creating an indoor-outdoor relationship. Plus sliding partitions for flexible rm config, original blt-in furniture, wooden rm screens, fpl, storage w/blt-in cabinetry & concealed closets. An architectural joy.

A. (Archibald) Quincy Jones: FAIA, (1913 - 1979) was a prolific Los Angeles-based architect and educator known for innovative buildings in the modernist style and for urban planning that pioneered the use of greenbelts and green design.

Archibald Quincy Jones was born in Kansas City, Missouri, in 1913. He was raised in the city of Gardena, in Southern California, but finished high school in Seattle. Afterwards he attended the University of Washington and graduated with a degree in architecture in 1936. After marrying a fellow architecture student, Jones returned to Los Angeles, working first in the offices of the modernist architects Douglas Honnold and George Vernon Russell from 1936 to 1937, and Burton A. Schutt from 1937 to 1939. From 1939 to 1940 he worked for the renowned architect Paul R. Williams. Next he worked for Allied Engineers, Inc. of San Pedro from 1940 to 1942, where he met the architect Frederick Emmons, with whom he would later partner. Jones was responsible for the development and layout of Roosevelt Base in San Pedro and the Naval Reserve Air Base in Los Alamitos.

In 1942 Jones received his California architect certification, divorced and received a commission as a lieutenant commander in the United States Navy. He was assigned to the aircraft carrier USS Lexington, which was serving in the Pacific theater. Discharged from the Navy in 1945, Jones returned to Los Angeles and opened his own architectural office in one of the two buildings of the house in Laurel Canyon he had built with his former wife. By 5:00 pm on his first day of business Jones had secured his first client.

The years after the war again saw Jones partnering with Paul R. Williams on several projects in the Palm Springs area. These include the Palm Springs Tennis Club (1947), the Town & Country restaurant (1948), and the restaurant Romanoffs On the Rocks (1950). Jones also participated in John Entenza's Case Study House program.

The December 1950 issue of the magazine Architectural Forum featured a 'Builder's House of the Year' designed by A. Quincy Jones. The same issue also awarded the innovative Palo Alto building magnate Joseph Eichler 'Subdivision of the Year.' Eichler then invited Jones to tour the Palo Alto development he had just completed where he suggested to Jones that the Builder of the Year team with the Architect of the Year. This relationship continued until Joseph Eichler's death in 1974. It was through this relationship that Jones was provided both the venue and the freedom to implement his concepts of incorporating park-like common areas in tract housing developments. His were some of the first greenbelts incorporated into moderate income tract housing in the United States.

The Eichler commission prompted Jones to form a partnership with his prewar acquaintance, the architect Frederick Emmons. The Jones and Emmons partnership lasted from the early months of 1951 until Emmons' retirement in December 1969. Their efforts and designs are reflected in some 5,000 of Eichler's homes by Emmons' estimate. Jones and Emmons were awarded national AIA Firm of the Year in 1969.

Jones was also a professor and later dean of architecture at the University of Southern California's School of Architecture from 1951 through 1967. By the 1960s Jones was designing a number of university campus buildings and larger office buildings, including the 1963 IBM Aerospace Headquarters in Westchester, California. Several University of California campuses feature significant examples of Jones' work. In 1966 Jones designed "Sunnylands," the 650 acre (2.6 km²) estate and 32,000 square foot (3,000 m²) home of Walter Annenberg in Rancho Mirage, California.

Jones raised the tract house in California from the simple stucco box to a logically designed structure integrated into the landscape and surrounded by greenbelts. He introduced new materials as well as a new way of living within the built environment and popularized an informal, outdoor-oriented open plan. More than just abstractions of the suburban ranch house, most Jones and Emmons designs incorporated a usable atrium, high ceilings, post-and-beam construction and walls of glass. For the postwar moderate-income family, his work bridged the gap between custom-built and developer-built homes. Jones often took advantage of industrial prefabricated units to provide affordable yet refined architecture. His larger buildings brought innovations to the integration of mechanical systems improving their efficiency and maximizing retrievable space. Jones' aesthetic style, precise detailing and siting make his buildings quintessential embodiments of mid-century American architecture.


Marny Maslon Sotheby's International Realty - Santa Monica Brokerage 233 Wilshire Boulevard Suite 100 Santa Monica, CA 90401 Tel: (310) 260-8200

Max Bill Junghans Watch 5500

Max Bill Junghans Watch 5500 Gold

Max Bill Junghans Watch 5500 Gold: A timeless design classic from 1962! This beautiful watch was designed by Max Bill in the 1962 and has become an Icon of Modern Design. This is an authentic edition, made by the original manufacturer Junghans. Gold plated, black dial with lines, black band.

Max Bill: Swiss-born German artist, Max Bill, was a product of the Bauhaus generation, pupil of Walter Gropius and kindred spirit of Le Corbusier and Mies Van der Rohe was. He was a virtuoso designer and creative artist, as his diverse activities as a painter, architect, sculptor, teacher, and designer amply demonstrate. His work is characterized by a clarity of design and precise proportions which are unrivalled to this day. The work of Max Bill was a continuous balancing act between free art and applied art, between severe, reduced forms and flowing natural ones, between philosophical thinking and practical application. Examining the subject of "time" was a fascinating challenge for Max Bill, and one that occupied him for decades. A remarkable example of his work is a wall clock he designed for Junghans in 1956/57.

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Dallas Texas Mid Century Modern

Dallas Texas Mid Century Modern
1434 La Senda Place
Dallas, Texas

Who said Mid Century Modern is not affordable anymore?!
This Mid Century Modern architectural gem is listed at $425000.

A unique home and setting nestled at the end of the lane on La Senda. Originally built by a structural engineer, this home features many of the outstanding design features now known as mid-century modern. Driving down a hillside onto the property, there is a motor court between the house and the creek. Floor-to-ceiling glass windows across the front of the living areas look out to tree-covered views.

The two living areas measured together are over 40-feet in length divided by a walnut bookcase. The kitchen is completely open into the main living area and both the kitchen and main living feature beautifully preserved original Terrazzo flooring. There is an enormous utility room just to the side of the kitchen with generous storage space and a separate sink.

Almost everywhere there is not floor-to-ceiling glass, there are clerestory windows, above which floats the roof. The master bath has been completely updated using marvelous, glass mosaic and Hansgrohe hardware. Both bedrooms have pivot glass door window systems. There is a detached two-car garage and office. The tall roof line for the garage was built with the idea that a second story addition could easily be retrofitted. If mid-century design and a wooded creek setting speak to you, this is a property you do not want to miss.

Unique Features:

Mid-century modern design on creek setting in the heart of Kessler Park

Terrazzo floors in main living area and kitchen

Exposed steel beams in most rooms

Kitchen features:

Kashmir white granite countertops • Sub-Zero refrigerator • Bosch dishwasher • Marvel wine cooler • Thermador 30-inch convection oven • Thermador microwave • Thermador five-burner gas cook top • Thermador vent-a-hood • Walnut veneer cabinetry crafted by Laren Marlow custom cabinetmaker • Cabinets have Melamine scrubable interiors • Built-in pantry

Built-in walnut bookcases separate the two living areas

Bedrooms feature pivot door-window system

Completely updated master bath offers:

Thermal awning-style window • Hansgrohe hardware • Glass mosaic shower surround • Glass Terrazzo floors

Throughout the home are clerestory windows and steel beam supported ceilings

Other features include:

Security system with glass-break sensors and motion detectors • Electric-eye two-car garage

Listing Agent:
David Griffin & Company Realtors
3535 Travis Street
Suite 100
Dallas, Texas 75204

Phone 214.526.5626
Fax 214.526.5803

Arne Jacobsen Seven Chair

Arne Jacobsen Seven Chair

We love these miniature chairs which were designed by Arne Jacobsen! Both the Seven Chair (pictured on right) and the Ant Chair (pictured on left) are classics in the history of 20th century modern design. These miniatures are very similar to the Vitra Miniature Chairs. They are fully authorized by the Arne Jacobsen estate and are packed in a nice gift book which contains a 16 page leaflet summarizing the architecture and design of Arne Jacobsen. Each of these miniatures is available in a variety of colors.

Links of interest:
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Verner Panton Flowerpot Lamp

Verner Panton Flowerpot Lamp

The classic Verner Panton Flowerpot lamp is back! The famous lamp, designed in 1969, was named after the happy days of Flower Power. It has become one of the most recognizable lamps of the 20th century. This lamp received numerous awards including West Germany's "Gute Form" Bundespreis in 1972. When using a large number of Flowerpot lamps you can create a large cluster. The effect in foyers, halls, restaurants and hotels is dramatic. This lamps comes packed in a beautiful silver cardboard gift box.

Links of interest:
http: //

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Enzo Mari Formosa Calendar

Enzo Mari Formosa Calendar

Iconic Formosa Wall Calendar: designed by the multi-talented Italian designer Enzo Mari in 1967 for Danese Milano, Italy . The Formosa Wall Calendar has become one of the classic icons of 20th Century Design and can be found in museum collections worldwide.

Enzo Mari was born in Novara in 1932, and is one of the most authoritative exponents on the Italian design scenario. He studied at the Academy of Fine Arts in Milan. His work was exhibited in a number of editions of the Venice Biennial and the Triennial of Milan. His work involves design with focus on research, projects in graphic design, product design and exhibition layout. In 1971, he took part in the exhibition "Italy: The New Domestic Landscape" organized by MOMA of New York. He won three Compassi d'Oro (1967, 1979, 1987). His work is on display at the National Gallery of Modern Art in Rome, at the Modern Museet in Stockholm, at the Stedeljik Museum in Amsterdam, at the Musée du Louvre in Paris, at the Kunstmuseum in Dusseldorf. He teaches at Isia in Florence and at the European Design Institute in Milan.

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Kolvisto Rune Brasilia Table

Eero Kolvisto & Ola Rune: Brasilia Table

This beautiful Brasilia table would be a great fit in your Oscar Niemeyer home in Brazil. This beautiful table was designed by ubiquitous Stockholm architects Eero Koivisto and Ola Rune. The table's highly engineered continuous loop of molded veneer layers is astonishingly executed, without visible joints, and curators at Sweden's Nationalmuseum have clearly taken notice: Brasilia has already entered the museum's permanent collection. Many modernist architects were universal designers with not only a clear understanding of designing houses, but also the interior, the furniture and almost the clothes the owners might wear. Brasilia is such a fine example.

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Paul Rudolph Cohen House

Paul Rudolph Cohen House

FOR SALE: Paul Rudolph Cohen House 1955
Bedrooms: 2
Bathrooms: 2.5
Square Footage: 2,300 s.f.
Year Built: 1955
Architect: Paul Rudolph

Sarasota's West Coast Symphony was said to be founded in the Cohen House music and conversation pit, designed for this purpose. Many feel the Cohen House is Sarasota's best Rudolph. (Sold by Martie Lieberman in 2004.)

2006 (NEW) RESTORATION INCLUDES- (see pictures) Rolling walls along east side of house, built-in furnishings rebuilt around living room pit to Rudolph's specs. Fascia, exterior overhangs and delicate posts repaired, replaced appropriately. All new screen porch off living room pit with appropriate doors, trim and screen details. Cohen's original dropped covered walkway between house and carport (Yeah, baby!) being rebuilt to Rudolph's design. Complete exterior paint with appropriate historic color. Landscaping and exterior lighting designed, installed, beautiful. Seawalls strengthened, roof updated + warranted. Kitchen counters, refrigerator and insensitive additions removed and replaced. SEE PHOTOS.

This house is a labor of love. The Vross Family and Jonathan Parks recently won a 2005 Historic Preservation Award from the National Trust for Cohen House interior work done up to 2001, while Parks was working for Seibert Architects. Parks now has his license and his own firm.

Listing Agent:
Martie Lieberman, REALTOR® (
Modern Architecture Specialist 201 Gulf of Mexico Drive, Suite 1
Longboat Key, FL 34228
Owned and Operated by NRT Incorporated
Office. (941) 383 6411
Mobile. (941) 724 1118
Toll Free. (800) 910 8728