6 Pedreschi, Remo. Eladio Dieste (The Engineer’s Contribution to Contemporary Architecture). Nashville: Thomas Telford Ltd, 2000: 66. 7 Blundell-Jones, Peter. Hugo Häring the organic versus the geometric. Stuttgart: Ed. Axel Menges, 1999: 85. 8 Forty, Adrian. “Form.” Words and Buildings A Vocabulary of Modern Architecture. London: Thames & Hudson, 2004: 161. 9 Velde, Henry van de. “Animation of Materials as a Principle of Beauty.” Trans. Kathryn Schoefert and Spyros Papapetros. Essays (Leipzig, 1910): 238. 10 Blundell-Jones, Peter. Hugo Häring the organic versus the geometric. Stuttgart: Ed. Axel Menges, 1999: 78 11 Haring, Hugo “Approaches To Form.” Form and Function, New York, Granada, 1980: 103 12 Le Corbusier “American Prologue.” Precisions, 1991: 5. 13 Filler, Martin “Building Organic form.” Vital Forms American Art and Design in the Atomic Age, 1940-1960. By Rapaport Brooke Kamin. New York: Harry N. Abrams, 2001: 134 14 Rietveld, Gerrit Thomas. Gerrit Th. Rietveld, 1888-1964 the complete works : Centraal Museum, Utrecht, 1992. Utrecht: Centraal Museum, Distributed by Princeton Architectural, 1992: 74 15 Eidelberg, Martin. “Charting the Iconic Chair.” The Eames Lounge Chair An Icon of Modern Design. London: Merrell, 2006: 12. 16 Cadwell, Michael. Strange Details (Writing Architecture). New York: MIT, 2007: 114. 17 Vegesack, Alexander Von. Thonet classic furniture in bent wood and tubular steel. London: Hazar Pub., 1996: 61. 18 Neuhart, John. Eames design the work of the Office of Charles and Ray Eames. New York: H.N. Abrams, 1989: 53. 19 Kevin, Stayton L. “Introduction.” Vital Forms American Art and Design in the Atomic Age, 1940-1960. By Rapaport Brooke Kamin. New York: Harry N. Abrams, 2001: 27-28.
17