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Tower typewriter and trademark: Arc...

Lange, Alexandra.

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Tower typewriter and trademark: Architects, designers and the corporate utopia, 1956--1964 (Gordon Bunshaft, Eero Saarinen, Henry Dreyfuss, Florence Knoll, Eliot Noyes).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Tower typewriter and trademark: Architects, designers and the corporate utopia, 1956--1964 (Gordon Bunshaft, Eero Saarinen, Henry Dreyfuss, Florence Knoll, Eliot Noyes)./
作者:	Lange, Alexandra.
面頁冊數:	395 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-04, Section: A, page: 1196.
Contained By:	Dissertation Abstracts International66-04A.
標題:	Architecture. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3170848
ISBN:	0542071800

Tower typewriter and trademark: Architects, designers and the corporate utopia, 1956--1964 (Gordon Bunshaft, Eero Saarinen, Henry Dreyfuss, Florence Knoll, Eliot Noyes).
Lange, Alexandra.

Tower typewriter and trademark: Architects, designers and the corporate utopia, 1956--1964 (Gordon Bunshaft, Eero Saarinen, Henry Dreyfuss, Florence Knoll, Eliot Noyes). - 395 p.

Source: Dissertation Abstracts International, Volume: 66-04, Section: A, page: 1196.

Thesis (Ph.D.)--New York University, 2005.

Tower typewriter and trademark. These three items stand for three design fields---architecture, product design, and graphic design---in which American corporations invested heavily after World War II. To explore this phenomenon, which reached its aesthetic and economic peak between 1956 and 1964, this dissertation studies four corporations---CBS, Connecticut General, Deere & Company, and IBM---that hired constellations of designers to remake their image at multiple scales. Gordon Bunshaft, Henry Dreyfuss, Florence Knoll, Eliot Noyes and Eero Saarinen were nodes in a relatively closed network that dominated the design of academic, cultural and corporate institutions. Linking these case studies is not only a cast of characters, but a series of preoccupations. The theme of the first chapter, on Connecticut General, is utopia. It replays the planning process of CG as a realization of the Taylorist aesthetic fetishized by interwar architects: an architecture based on the route of the insurance policies assembled, desk by desk, across the building. The exurban utopia continues at Deere & Company, but with a harder edge. Rather than the Easter-egg hues of CG, Deere's Saarinen-designed headquarters translates the company's identity into a masculine, woodsy, and monochromatic corporate villa, both as "thoroughly modern" and as "down to earth" as Deere chairman William A. Hewitt intended. In the close quarters of Manhattan, identity became competitive, and the CBS Building reflects the jostling that occurred along the avenues. Critic Lewis Mumford wrote of Lever House, "in its very avoidance of vulgar forms of publicity, it has become one of the most valuable pieces of advertising a big commercial enterprise could conceive." Saarinen studied such rivals, and developed a skyscraper statement for CBS that, in its strictness, one-upped even Mies van der Rohe. While the first three chapters focus on single headquarters, IBM built 150 structures across the globe during the postwar period. Their search for modernity became a model of design organization, headed by Noyes, the first "curator of corporate character." There remains a lesson in the way the best of these projects transformed business necessity into philanthropic enterprise. Good design became good business and good will.

ISBN: 0542071800Subjects--Topical Terms:

523581
Architecture.

Tower typewriter and trademark: Architects, designers and the corporate utopia, 1956--1964 (Gordon Bunshaft, Eero Saarinen, Henry Dreyfuss, Florence Knoll, Eliot Noyes).
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