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The fauteuils, or armchairs, were larger and designed for comfort; their styles evolved during the reign of Louis XV. During the early years of the Regency (1715-23) the armchairs had short curved feet, the top of the back was slightly curved, while the supports of the back and the arms were straight.
An architectural drawing or architect's drawing is a technical drawing of a building (or building project) that falls within the definition of architecture.Architectural drawings are used by architects and others for a number of purposes: to develop a design idea into a coherent proposal, to communicate ideas and concepts, to convince clients of the merits of a design, to assist a building ...
It is also called a plan which is a measured plane typically projected at the floor height of 4 ft (1.2 m), as opposed to an elevation which is a measured plane projected from the side of a building, along its height, or a section or cross section where a building is cut along an axis to reveal the interior structure.
With the death of Louis XV on May 10, 1774, his grandson Louis XVI became King of France at age twenty. The new king had little interest in the arts, but his wife, Marie-Antoinette, and her brothers-in-law, the Comte de Provence (the future Louis XVIII) and the Comte d'Artois (the future Charles X), were deeply interested in the arts, gave their protection to artists, and ordered large amounts ...
The material of the chair, Zenaloy, which is polyester reinforced with fiberglass, was first developed by the US Army during World War II. [4] Using this material, Ray and Charles Eames designed a prototype chair for the 1948 ‘International Competition of Low-Cost Furniture Design’ held by the Museum of Modern Art.
An elevation is a common method of depicting the external configuration and detailing of a 3-dimensional object in two dimensions. Building façades are shown as elevations in architectural drawings and technical drawings. Elevations are the most common orthographic projection for conveying the appearance of a building from the exterior.
The chair embodies one of the principles of machine aesthetic, the erasing of distinctions between the load and support through a set of interlocking elements: the (red) back plays the role of the load (supported by a crossbar underneath the seat) and provides support for the arms at the same time.