Compares the architectural designs and ideas of William Morris and Marcel Breuer.
Written in 2004; 1,848 words; 7 sources; MLA; $ 59.95
Paper Summary:
William Morris and Marcel Breuer were architects that took two different physical approaches in removing worthwhile design out of palaces and putting it into the homes of ordinary people. Both brought to their design philosophy a substantial political agenda and, in fact, a substantially similar political agenda. The paper shows that Morris's politics had the gentle color of his native England in the second half of the 19th century and of one of its great philosophers, John Ruskin. In comparison, the paper shows that Breuer's political inspiration came, not from his native Hungary, but a post-WWI Germany and its socialist leanings and, later, from American abundance and willingness to experiment. The paper shows that where Morris's ideas reflected the natural life of a still somewhat pastoral England that surrounded him (especially as he had the means to choose his locale), Breuer's ideas reflected a more muscular, sinewy, hardened landscape of assembly lines and relentlessly turning crankshafts and gears. Where Morris was organic and 'green,' Breuer was skeletal and 'steely gray'.
From the Paper:
"Despite the intent of both men to bring good design down to earth, the results could not have been more different. Morris, because of the time in which he worked, was limited to traditional furniture materials, mainly wood and metal used only in joinery and sometimes in decoration. In fact, it was in decoration that Morris excelled. His use of curvilinear carving in his wallpapers and furniture, especially his dining chairs, makes clear his connection to the pastoral settings so familiar to educated Englishmen. In addition, because his belief demanded that the overburdened workingman have a respite from the world of shoddy utilitarian objects, (or ugly goods, as he might put it), embellishment suitable to the object and its use was essential."
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