Full Download PDF of (Ebook PDF) Architecture and Interior Design: An Integrated History To The Present All Chapter

(eBook PDF) Architecture and Interior
Design: An Integrated History to the

Present
Go to download the full and correct content document:
https://ebooksecure.com/product/ebook-pdf-architecture-and-interior-design-an-integr
ated-history-to-the-present/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
(eBook PDF) Interior Design Materials and

Specifications 3rd Edition
http://ebooksecure.com/product/ebook-pdf-interior-design-
materials-and-specifications-3rd-edition/
(eBook PDF) Japan: A Documentary History: Vol 2: The

Late Tokugawa Period to the Present
http://ebooksecure.com/product/ebook-pdf-japan-a-documentary-
history-vol-2-the-late-tokugawa-period-to-the-present/
(eBook PDF) A Modern History of Japan: From Tokugawa

Times to the Present 3rd Edition
http://ebooksecure.com/product/ebook-pdf-a-modern-history-of-
japan-from-tokugawa-times-to-the-present-3rd-edition/
(Original PDF) A Concise Economic History of the World:

From Paleolithic Times to the Present 5th Edition
http://ebooksecure.com/product/original-pdf-a-concise-economic-
history-of-the-world-from-paleolithic-times-to-the-present-5th-
edition/
Cardiology-An Integrated Approach (Human Organ Systems)
(Dec 29, 2017)_(007179154X)_(McGraw-Hill) 1st Edition
Elmoselhi - eBook PDF
https://ebooksecure.com/download/cardiology-an-integrated-
approach-human-organ-systems-dec-29-2017_007179154x_mcgraw-hill-
ebook-pdf/
(eBook PDF) Worlds Together, Worlds Apart: A History of

the World: From the Beginnings of Humankind to the
Present
http://ebooksecure.com/product/ebook-pdf-worlds-together-worlds-
apart-a-history-of-the-world-from-the-beginnings-of-humankind-to-
the-present/
(eBook PDF) Design Portfolios: Presentation and

Marketing for Interior Designers 3rd Edition
http://ebooksecure.com/product/ebook-pdf-design-portfolios-
presentation-and-marketing-for-interior-designers-3rd-edition/
(eBook PDF) The Complete Musician: An Integrated

Approach to Theory, Analysis, and Listening 4th Edition
http://ebooksecure.com/product/ebook-pdf-the-complete-musician-
an-integrated-approach-to-theory-analysis-and-listening-4th-
edition/
(eBook PDF) The Complete Musician: An Integrated

Approach to Theory, Analysis, and Listening 4th Edition
http://ebooksecure.com/product/ebook-pdf-the-complete-musician-
an-integrated-approach-to-theory-analysis-and-listening-4th-
edition-2/
Contents
Preface xv C. ANTIQUITY 35
Acknowledgments xvi
Chapter 4
About the Authors xvii Egypt 36
Introduction xix Historical and Social 36
Concepts 37
Motifs 37
Architecture 37
PART ONE 1 Interiors 40
Furnishings and Decorative Arts 43
A. PRECEDENTS 3
Chapter 1 Chapter 5
Cultural Precedents 4 Greece 46
Historical and Social 4 Historical and Social 46
Concepts 5 Concepts 47
Motifs 5 Characteristics and Motifs 47
Architecture 6 Architecture 48
Interiors 8 Interiors 56
Furnishings and Decorative Arts 10 Furnishings and Decorative Arts 56
Chapter 6
B. EAST ASIA 13 Rome 59
Chapter 2 Historical and Social 59

Concepts 60
China 14
Characteristics and Motifs 60
Historical and Social 14 Architecture 61
Concepts 15 Interiors 69
Motifs 15 Furnishings and Decorative Arts 71
Architecture 15
Interiors 19
D. MIDDLE AGES 73
Chapter 3 Chapter 7
Japan 24 Early Christian 74
Motifs 25 Motifs 75
Furnishings and Decorative Arts 32 Furniture 80
vii
viii CONTENTS
Chapter 8 Chapter 13
Byzantine 81 Spanish Renaissance 137
Motifs 82 Characteristics and Motifs 138
Islamic 90 French Renaissance 147

Motifs 92 Motifs 148
Chapter 15
Chapter 10 English Renaissance 156
Romanesque 101
Historical and Social 156
Historical and Social 101 Concepts 157
Concepts 102 Characteristics and Motifs 157
Motifs 102 Architecture 158
Architecture 102 Interiors 163
Interiors 105 Furnishings and Decorative Arts 166
Chapter 16
Chapter 11 American Colonial: England, Spain, France, Germany,
Gothic 109 and Holland 169
Historical and Social 109 England: 1608-1720 169
Concepts 109 Historical and Social 169
Motifs 110 Concepts and Motifs 170
Spain: 1600-1840s 175
Concepts and Motifs 175
E. RENAISSANCE 123 Architecture 175
Interiors 177
Chapter 12 Furnishings and Decorative Arts 178
France: 17th-Late 19th Centuries 179
Italian Renaissance 124
Historical and Social 124 Concepts and Motifs 179
Concepts 125 Architecture 179
Motifs 125 Interiors and Furniture 181
Architecture 126 Germany: 17th-19th Centuries 181
Interiors 129 Historical and Social 181
Furnishings and Decorative Arts 135 Concepts 181
CONTENTS ix
Architecture 181 Chapter 21

Interiors, Furniture, and Decorative Arts 181 English Neo-Palladian and Georgian 232
Holland: 17th-19th Centuries 182
Concepts and Motifs 183 Concepts 233
Architecture 183 Motifs 236
Interiors, Furniture, and Decorative Arts 184 Architecture 236
Interiors 240
F. BAROQUE 185 Chapter 22

American Georgian 248
Chapter 17
European Baroque 186 Historical and Social 248
Concepts 249
Historical and Social 186 Motifs 249
Characteristics and Motifs 186 Interiors 253
Architecture 187 Furnishings and Decorative Arts 258
Interiors 192
H. EARLY NEOCLASSICAL 261

Chapter 18
Louis XIV 195 Chapter 23
Louis XVI and French Provincial 262
Motifs 196 Concepts 263
Architecture 196 Characteristics and Motifs 263
Interiors 197 Architecture 263
Furnishings and Decorative Arts 204 Interiors 264
French Provincial 271
English Restoration 207 Motifs 271
Architecture 271
Historical and Social 207 Interiors 271
Concepts 207 Furniture 273
Motifs 208
Architecture 208
Interiors 211 Chapter 24
Furnishings and Decorative Arts 217 Late English Georgian 275
Concepts 275
Motifs 276
G. ROCOCO 221 Architecture 276
Interiors 277
Le Régence and Louis XV (Rococo) 222
Chapter 25
Concepts 222
American Federal 287
Motifs 223
Architecture 223 Historical and Social 287
Interiors 224 Concepts 288
Furnishings and Decorative Arts 228 Characteristics and Motifs 288
x CONTENTS

Interiors 292 American Greek Revival, American Empire 348
Concepts 349
Motifs 349
PART TWO 299 Architecture 350
Interiors 354
I. REVOLUTION 301 Furnishings and Decorative Arts 358
Chapter 26
Industrial Revolution 302
K. VICTORIAN REVIVALS 363
Concepts 303 Chapter 31
Motifs 303
Gothic Revival 365
Architecture 303
Interiors 308 Historical and Social 365
Furnishings and Decorative Arts 313 Concepts 366
Motifs 367
Architecture 368
Interiors 372
J. LATE NEOCLASSICAL 315 Furnishings and Decorative Arts 377
Chapter 27
Directoire, French Empire 316 Chapter 32
Italianate, Renaissance Revival 381
Motifs 317 Concepts 382
Architecture 317 Motifs 382
Interiors 319 Architecture 383
Furnishings and Decorative Arts 324 Interiors 387
German Greek Revival, Biedermeier 328 Second Empire, Rococo Revival 395
Furnishings and Decorative Art 332 Furnishings and Decorative Arts 407
English Regency, British Greek Revival 335 Exoticism 411
CONTENTS xi
Chapter 35 M. REFORMS 501

Stick, Queen Anne 425
Chapter 40
Concepts 426 Shakers 502
Motifs 426 Historical and Social 502
Architecture 426 Concepts 503
Interiors 433 Motifs 503
Furnishings and Decorative Arts 436 Architecture 504
Interiors 508
L. ACADEMIC HISTORICISM 439

Chapter 41
Chapter 36 Aesthetic Movement 513
Romanesque Revival, Richardsonian Romanesque 440 Historical and Social 513
Concepts 515
Motifs 515
Concepts 442
Architecture 515
Motifs 442
Interiors 516
Architecture 442
Interiors 449
Chapter 42
English Arts and Crafts 530
Chapter 37
Classical Eclecticism 452
Concepts 531
Historical and Social 452 Characteristics and Motifs 533
Motifs 454 Interiors 536
Architecture 455 Furnishings and Decorative Arts 539
Interiors 462
Chapter 43
Shingle Style and American Arts and Crafts 544
Colonial Revival 469 Concepts 545
Architecture • Shingle Style 547
Concepts 471
Architecture • American Arts and Crafts 549
Interiors 551
Architecture 471
Furnishings and Decorative Arts • American Arts and
Interiors 476
Crafts 555
Chapter 39 N. INNOVATION 559

Spanish Colonial Revival 484
Chapter 44
Art Nouveau 560
Concepts 486
Characteristics and Motifs 487 Historical and Social 560
Architecture 487 Concepts 563
Interiors 494 Characteristics and Motifs 564
Furnishings and Decorative Arts 497 Architecture 564
xii CONTENTS
Interiors 565 O. MODERNISM 637

Chapter 50
Chapter 45 International Style 638
Vienna Secession 577 Historical and Social 638
Characteristics and Motifs 578 Architecture 640
Chapter 51
Chapter 46 Art Deco, Art Moderne 649
Chicago School 590
Characteristics and Motifs 592 Architecture 653
Chapter 52
Chapter 47 Scandinavian Modern 669
Modern Forerunners 603
Motifs 605 Architecture 672
De Stijl 614 Geometric Modern 684

Characteristics and Motifs 618 Characteristics and Motifs 687
The Bauhaus 623 Organic and Sculptural Modern 702
Characteristics and Motifs 625 Characteristics and Motifs 703
CONTENTS xiii
Chapter 55 Characteristics and Motifs 774

Modern Historicism 718 Architecture 774
Interiors 779
Historical and Social 718 Furnishings and Decorative Arts 785
Concepts 720
Interiors 727 Environmental Modern 789
Concepts 793
P. EXPERIMENTATION 739 Architecture 795
Interiors 799
Late Modern • 1 740
Historical and Social 740 Chapter 60
Concepts 742 Neo-Modern 808
Architecture 743
Concepts 810
Interiors 747
Architecture 812
Interiors 816
Post Modern 757
Historical and Social 757 Glossary 823
Concepts 758
Characteristics and Motifs 759 Bibliography 839
Architecture 760 Index 851
Interiors 763
Furnishings and Decorative Arts 766 Illustration Credits 877
Chapter 58
Late Modern • 2 771
Concepts 772
This page intentionally left blank
Preface
This book will be of use to students of interior design, interior de- Our previous two publications evolved over a number of years
sign practitioners, furniture designers, design consultants, design and developed from our university teaching experiences. We and
manufacturers, and theater/film set designers, as well as students our colleagues were continually frustrated by the lack of adequate
and professionals in the related fields of art history, architecture, resources to support the desired content, context, and compre-
material culture, museum studies, and history. It will also be of in- hensiveness of interior design history. Many of our shared ideas
terest to historical/preservation societies, craftspeople, design have been realized in this condensed volume as we worked on the
journalists, and anyone with an interest in design history. organization and presentation of the material. We hope that this
As a condensed volume of our two earlier publications, effort fulfills a need for you and future generations who find the
Architecture and Interior Design through the 18th Century: An Inte- study of design history exciting.
grated History (2002) and Architecture and Interior Design from the
19th Century: An Integrated History (2009), it is intended to fulfill
a need in interior design education. Like the others, this book al-
ONLINE RESOURCES
lows the reader to compare and contrast architecture, interiors,
To access supplementary materials online, instructors need to re-
furniture, and decorative arts from the past to the present. We
quest an instructor access code. Go to www.pearsonhighered
have tried to interweave a design analysis language with that of
.com/irc, where you can register for an instructor access code.
art and architectural history. Our intent is to provide a flexible,
Within 48 hours after registering, you will receive a confirming e-
easy-to-use, and well-organized resource for those with a variety
mail, including an instructor access code. Once you have received
of interests. Included also are a glossary, an extensive reference
your code, go to the site and log on for full instructions on down-
list, and an index.
loading the materials you wish to use.
xv
Acknowledgments
This book has been an enormous undertaking. We would like to To the educational institutions who supported our efforts: Vir-
gratefully acknowledge those who provided valuable assistance ginia Commonwealth University and Marymount University.
through its development. Special thanks to each of you for all of To our friends who offered their expertise, support, resources,
your wonderful contributions! interest, and listening ears.
To our Prentice Hall/Pearson Education support team who had To our special library resource friends: Suzanne Freeman at the
faith in us and made the book happen: Vern Anthony, Jill Jones- Virginia Museum of Fine Arts in Richmond, who provided a
Renger, Sara Eilert, Christine Buckendahl, Louise Sette, Alicia wealth of information; Carl Vuncannon and his staff at the Ber-
Ritchey, Linda Zuk, Susan Watkins, Janet Portisch, Jeanne Mole- nice Bienenstock Furniture Library in High Point, North Car-
nar, Ann Brunner, Michelle Churma, ReeAnne Davies, and Ju- olina; and Ray Bonis in Special Collections, Cabell Library at
dith Casillo. Virginia Commonwealth University.
To our many students who inspired us to undertake this proj- To our family members who offered ongoing support.
ect: those who had courses with Buie at Virginia Commonwealth To the illustrators and photographers who recorded their envi-
University, the University of Texas at Austin, and North Texas ronments, particularly from the 16th century through the present.
State University; with Bridget at Marymount University, the As shown herein, their depictions of architecture, interiors, fur-
University of Georgia at Athens, and Mississippi University for nishings, and decorative arts were of enormous value in providing
Woman; and with Curt at Winthrop University, San Diego State a resource archive.
University, and Washington State University. To our wonderful and talented artist and former interior design
student, Chris Good.
xvi
About the Authors
Buie Harwood, FIDEC, Honorary FASID, Certified Interior De- in American Women. She has had many presentations, publica-
signer in Virginia; Professor Emeritus and past Department Chair, tions, and grants related to historic interiors, including one for a
Department of Interior Design, School of the Arts, Virginia Com- furnishings plan for a National Trust for Historic Preservation
monwealth University (for programs in Richmond and Doha, house as well as a 2008 IDEC Special Projects Grant for a design
Qatar). Ms. Harwood has held officership and committee respon- history symposium (with John Turpin). She is co-author (with B.
sibilities in the Interior Design Educators Council (IDEC), Na- Harwood and C. Sherman) of Architecture and Interior Design
tional Council for Interior Design Qualification (NCIDQ), through the 18th Century: An Integrated History, which won the
American Society of Interior Designers (ASID), and Foundation prestigious ASID Education Foundation/Joel Polsky award in
for Interior Design Education Research (FIDER; now called the 2009, and their second volume, Architecture and Interior design
Council for Interior Design Accreditation/CIDA) Among her from the 19th Century: An Integrated History, published in June
many honors, she is an IDEC Fellow, received the first ASID Ed- 2008. She has studied at the Victorian Society Summer School in
ucator of Distinction Award in 2003, and is listed in Who’s Who Rhode Island and at the Winterthur Summer Institute in
in Interior Design, the International Directory of Distinguished Lead- Delaware.
ership, and Who’s Who Among America’s Teachers. She has re- Curt Sherman, FIDEC, ASID; Professor Emeritus, Depart-
ceived numerous grants, published articles, and implemented ment of Art and Design, College of Visual and Performing Arts,
research projects related to her historic research and the interior Winthrop University. Mr. Sherman has held officership/commit-
design career path. She is co-author (with B. May and C. Sher- tee responsibilities in the Interior Design Educators Council
man) of Architecture and Interior Design through the 18th Century: (IDEC), American Society of Interior Designers (ASID), and
An Integrated History, which won the prestigious ASID Education Foundation for Interior Design Education Research (FIDER; now
Foundation/Joel Polsky award in 2002, and their second volume, called the Council for Interior Design Accreditation/CIDA), and
Architecture and Interior Design from the 19th Century: An Integrated has given numerous ASID and IDEC workshops. Three interior
History, published in June 2009. Her book, Decorating Texas: Dec- design programs in universities were accredited under his chair-
orative Painting in the Lone Star State from the 1850s to the 1950s, manship. Among his many honors, he is an IDEC Fellow and is
won awards from the American Association of State and Local listed in Who’s Who in Interior Design. He has won prestigious
History and the San Antonio Conservation Society. She has stud- awards for his photography and furniture design, and has had his
ied in the Victorian Society Summer Schools at both Rhode Is- photography work included in several publications, including
land and England. books on historic interiors. He is co-author (with B. Harwood and
Bridget May, Ph.D., IDEC, ASID: Professor and former Chair B. May) of Architecture and Interior Design through the 18th Century:
of Interior Design, School of Arts and Sciences, Marymount Uni- An Integrated History, which won the prestigious ASID Education
versity. Dr. May has held office and committee responsibilities in Foundation/Joel Polsky award in 2002, and their second volume,
the Interior Design Educators Council (IDEC) and has been ac- Architecture and Interior design from the 19th Century: An Integrated
tive in the American Society of Interior Designers (ASID). Her History, published in June 2009. He has also worked on several
many honors include a Benno M. Forman Fellowship for Re- historic interiors projects and studied at the Attingham Summer
search in American Material Culture at Winterthur Museum and School in England as well as programs sponsored by the National
Library and a one-semester sabbatical at Marymount University. Trust for Historic Preservation and the Smithsonian Institute.
She has been listed in Who’s Who in Interior Design and Who’s Who
xvii
This page intentionally left blank
Introduction
The true poets of the twentieth century are the designers, the within a site, structures that form shelter, forms articulating a design
architects and engineers who glimpse some inner vision and language—a macro view of space. The study of interior design par-
then translate it into valid actuality for the world to enjoy. allels this concept but focuses on interior environments where peo-
“The Lost Worlds of the Fair,” from Official Guide Book, 1939, p. 169. ple go about their daily activities—areas within the building, rooms
and their relationship in a structure, envelopes displaying a design
We shape our buildings, thereafter they shape us. vocabulary—a micro view of space. The study of furniture and dec-
Winston Churchill, as quoted in Time magazine, 1960
orative arts offers a more detailed view of the objects and materials
INTEGRATING ARCHITECTURE,
INTERIOR DESIGN, FURNITURE,
AND DECORATIVE ARTS
This book is a combined and edited version of our previously pub-
lished Architecture and Interior Design through the 18th Century: An
Integrated History (Vol. 1, 2002; Prentice Hall) and Architecture
and Interior Design from the 19th Century: An Integrated History
(Vol. 2, 2009; Prentice Hall). It provides a survey of architecture,
interiors, furniture, and decorative arts from early cultural prece-
dents and antiquity to the present. As with the other books, our
intent in this edited version is to provide a completely integrated
and interdisciplinary reference for studying the built environ-
ment, interior design, interior architectural features, design de-
tails, motifs, furniture, space planning, color, lighting, textiles,
interior surface treatments, and decorative accessories. Each pe- 䉱 I-1. Galerie des Glaces (Hall of Mirrors), Palais de Versailles,
riod is placed within a cultural, historical, social, and conceptual 1678–1687; near Paris, France; begun by Charles Le Brun and completed
context so that the reader can make connections among all as- by Jules Hardouin-Mansart. Louis XIV.
pects of the aesthetic development. Examples depict buildings,
interiors, and furnishings from residential, commercial, and insti-
tutional projects, such as the 17th-century high-style Galerie des
Glaces (Hall of Mirrors; Fig. I-1) at the Palais de Versailles and the
early 20th-century vernacular American interiors of Gustav
Stickley (Fig. I-2). Later interpretations illustrate the application
of each stylistic influence during later periods, including products
currently available and projects recently completed, such as the
late 20th-century Gothic-inspired Thorncrown Chapel by Fay
Jones (Fig. I-3).
People provide our travelogue through history and our under-
standing of architecture and design. They shape and define our ar-
chitecture, interiors, furniture, and decorative arts. Their tastes,
ideas, knowledge, activities, and perceptions define the macro and
micro environments. The environments discussed herein empha-
size aesthetic and functional considerations—spaces that have 䉱 I-2. Living room; published in The Craftsman, 1905–1906; United
been made by people in which to live, work, and play. The study of States; Gustav Stickley and Harvey Ellis. American Arts and
architecture stresses the exterior built environment—buildings Crafts/Craftsman Style.
xix
xx INTRODUCTION
within interiors. This aesthetic and functional language and vocab-

ulary become our road map for understanding design history.
APPROACHES TO DESIGN HISTORY

There are various approaches to the study of design history,
whether architecture, interior design and furniture, or a combina-
tion. Art history uses works of art such as painting, sculpture, ar-
chitecture, furniture, ceramics, and metals to study the past. Its
formalistic method follows chronology and stylistic development
to grasp the meaning of works of art and, by extension, a society
or people. Architectural history follows a similar pattern through
its study of buildings. Its method addresses buildings primarily
through their individual histories, functions, owners, architects,
styles, sitings, materials, construction methods, and contextual
environments. Material culture looks specifically at human-made
objects as transmitters of ideas and values of a society or group.
Objects made and used by a society may include tools, furniture,
textiles, and lighting that may be high-style or vernacular. Design
history studies artifacts and their contexts with a focus on their
design and designers, materials, form, and function. Interior de-
sign historians bring a unique approach to design history by inte-
grating the relationship of architecture and interiors in the
context of history and design analysis. To accomplish this, the art
history, architectural history, material culture, and design history
approaches are merged and used as they relate to considerations
䉱 I-4. Central nave crossing with dome, S. Geneviève (Panthéon),
1757–1790; Paris, France; Jacques-Germain Soufflot. Louis XVI.
of research, programming, concept, function, overall aesthetic,

principles, and elements, as well as meaning and intent. As inte-
rior design educators, we have taken this last approach.
A stylistic approach to design history identifies forms, func-
tion, and visual features. This method, which is typically chrono-
logical, can be as simple as codifying visual characteristics with
little definition of the roles of form and/or function. In a broader
view, such as that of art history or material culture, style can as-
sume that groups of people during particular times prefer particu-
lar forms and motifs as a reflection of their cultural and social
qualities or particular design theories, as in the case of many mod-
ern designers. Therefore, objects, such as architecture, interiors,
furnishings, and decorative arts can embody the values and/or be-
liefs of a society, group, or individual. In this sense, objects be-
come historical documents or visual records. As primary
documents, they can tell us much about an individual or group.
Objects survive much longer than written records do and often
come from a broader spectrum of society. But the most complete
picture exists when objects and written records are integrated.
Styles evolve from social, cultural, economic, and/or political
factors of a given time. Available materials, climate, location,
technology, and historical events affect the visual image. Until
the middle of the 19th century, styles originate with political or re-
ligious leaders, the wealthy, other important people, or the design
䉱 I-3. Thorncrown Chapel, 1978–1980; Eureka Springs, Arkansas; Fay elite, and then filter to the middle class through an increasing
Jones and Maurice Jennings. Environmental Modern. range of media as time passes. With the Industrial Revolution,
INTRODUCTION xxi
mass production and communication make it possible for many to spaces that penetrate from one to another with a few walls, pan-
emulate high-style design. Style or movement beginnings and els, and marble screens carefully positioned in an ordered, asym-
endings vary. Consequently, dates provided herein should be con- metrical relationship. Behavioral design specialists also refer to
sidered guidelines because resources deviate in identifying exact personal and social space related to the concept of proxemics (the
dates, and transitions are common as stylistic periods change. Ad- physical distance between people in space). These considerations
ditionally, personal preferences affect or determine the form and can define the experience of space as being confined, tight, and
appearance of buildings and objects. Some people choose older restricted or spacious, expanding, and flexible, as illustrated in the
styles over newer ones, especially in early periods when fashion is design of the 1960s Action Office furniture system (Fig. I-6).
less important and visual resources, such as books, periodicals, or Proportion recognizes dimensions and relationships within ob-
photographs, are limited. jects. The Greeks codify the Golden Section (Fig. I-7), clarifying the
specific relationship between the whole and its parts. In the 16th
century, Andrea Palladio incorporates mathematical proportions
USING DESIGN ANALYSIS based on divisions of the octave in the Villa Rotunda (Fig. I-8) with
rooms in square, circular, and rectangular shapes creating cross axial
An important skill for architects and interior designers is the abil- symmetry and heights in a harmonious ratio. In the 18th century,
ity to read and understand existing exterior and interior environ- Robert Adam utilizes Palladian principles in the library at Kenwood
ments. This is accomplished through design analysis—a visual House (Fig. I-9) in London, where a rectangular plan with apsidal
language of design evaluation. This process affects aesthetic deci-
sions and functional considerations and is most critical when
evaluating historical structures and interiors and their contents.
Studying these structures and interiors as historical records helps
designers understand the evolution of a building, build visual lit-
eracy, and assess the appropriate design direction. Understanding
historical design can also provide a wealth of design ideas for con-
temporary projects. A designer may enhance the original visual
image, choose to reproduce it, or provide an adaptation.
Design analysis incorporates a specific language based on inte-
grating the principles and elements of design and the architectural
and interior components of a building. The principles of design in-
clude proportion, scale, balance; harmony, unity/variety/contrast;
rhythm; and emphasis. The elements of design are size/space, line,
color, light, texture, and shape/form (see Principles and Elements
of Design definitions, page xxvi). As identified in this book, archi-
tectural components of a building embrace site orientation, floor 䉱 I-5. Interiors, German Pavilion, International Exposition, 1929;
plan, materials, construction systems, color, façades, windows, Barcelona, Spain; Ludwig Mies van der Rohe. The Bauhaus.
doors, roof, architectural details, and unique features. Interior com-
ponents generally encompass the relationship of the interior to the
exterior, materials, color, floors, walls, windows, doors, ceilings, tex-
tiles, lighting, interior details, special treatments, and unique fea-
tures. Furnishings and decorative arts address specific relationships;
furniture arrangements; materials; seating; tables; storage; beds;
special decorative arts such as ceramics, metalwork, or mirrors; and
unique features. The appearance of the exterior and interior derives
from the integration of this design analysis language as applied to a
three-dimensional form.
Design analysis also addresses ordering systems used to articu-
late buildings and interiors. The most common ordering systems
are spatial definition, proportion, geometry, scale, and visual per-
ception. Spatial definition involves wall planes enclosing space
and the spatial elasticity of the surrounding space. During the
18th century, Jacques-Germain Soufflot interprets Roman influ-
ences in the S. Geneviève (The Panthéon; Fig. I-4), Paris, where he
experiments with geometric shapes, spatial interplay, vaults and
curved ceiling surfaces, and lighting to accentuate form. In 1929, 䉱 I-6. Action Office systems furniture in polished cast aluminum,
Ludwig Mies van der Rohe creates the German Pavilion (Fig. I-5) 1964–1968; United States; Robert Probst with details by George
at the International Exposition in Barcelona with open, flowing Nelson, manufactured by Herman Miller. Late Modern • 1.
xxii INTRODUCTION
e f g h composed of panel partitions, work surfaces, storage areas, filing

components, and integrated lighting.
Scale refers to the size relationship of one thing to another,
such as a building to its site or a piece of furniture to an interior,
based on a comparison and human dimensions. The Cathedral of
the Notre Dame (Fig. I-14), a 12th- to 13th-century Gothic
church in Paris, dominates it site, displays monumental interiors,
and has human-scaled details on exterior and interior surfaces.
Similarly, the 19th-century New Palace of Westminster (Houses
of Parliament; Fig. I-15) in London, designed by Sir Charles Barry
and Augustus W. N. Pugin, unites British history and heritage
with Gothic design to create an imposing, grand-scaled complex
along the Thames River. In 1949, Philip Johnson conceives his fa-
mous Glass House (Fig. I-16) in Connecticut as a small building
a b c d placed in a natural environment, one that emphasizes the inter-
play of exterior and interior space and the relationship of interior
䉱 I-7. Golden Section: aceg ⫽ square; bf ⫽ 1/2 square; bg ⫽ bd and
space to the scale of the furnishings. In 1997, innovative architect
determines smaller Golden Mean; adhe ⫽ Golden Mean.
Frank Gehry creates a unique setting for the Guggenheim Mu-
seum (Fig. I-17) in Spain by placing a large-scale sculptural struc-
ture of curved and bent forms on direct axis and proximity to the
old city center of Bilbao.
Visual perception pertains to the way one views a space and
the person’s position within the space. The Chinese concept of
perspective (Fig. I-18) presents a flat layering of images to achieve
depth with the foreground at the bottom of a picture plane, the
䉱 I-8. Villa Rotunda (Villa Almerico-Capra), 1565–1569; Vicenza,

Italy; Andrea Palladio.
ends is divided by a Corinthian colonnade to extend the space, and

the barrel-vaulted, compartmented ceiling displays rectangles, ovals,
squares, circles, and semicircles in elegant proportions. In 1992,
Donald Chadwick and William Stumpf adopt contemporary ideas of
proportion in the Aeron chair (Fig. I-10) by addressing ergonomics,
anthropometrics, functionality, form, materials, and movement to
create a new icon in office seating.
Geometry describes three-dimensional forms in terms of stan-
dard geometric shapes to include a triangle, square, circle, rectan-
gle, and pentagon integrated with lines. In 1924, Gerrit Rietveld
favors a machine vocabulary, one stressing flat geometric shapes,
unadorned surfaces, asymmetry, and the purity of the graphic lan-
guage as shown in the Schröder House (Fig. I-11) in Utrecht,
Netherlands. In 1983, Richard Meier envisions a language of
structural geometry in Atlanta’s High Museum of Art (Fig. I-12),
as illustrated in the building composition, modular surface mate-
rials, architectural details, circulation patterns, and room propor-
tions. In the 1990s, flexible office systems such as Personal Harbor 䉱 I-9. Library, Kenwood House, 1764–1779; Hampstead, London,
(Fig. I-13) display geometry through the use of modular parts England; Robert Adam. Late Georgian.
INTRODUCTION xxiii
䉱 I-10. Aeron chair, 1992; Donald Chadwick and William Stumpf,

manufactured by Herman Miller. Late Modern • 2.
䉱 I-13. Personal Harbor office furniture, c. 1992; United States; Paul

Siebert, Mark Baloga, and Steve Eriksson; manufactured by Steelcase.
Late Modern • 2.
background at the top, and with man small in comparison to the

surroundings. In direct contrast, the Western use of Renaissance
perspective by Sebastiano Serlio (Fig. I-19) relies on a three-
dimensional convergence of angled lines to create depth with hu-
mans and objects proportionally placed within the framework, as
䉱 I-11. Schröder House, 1924; Utrecht, Netherlands; Gerrit Thomas
is common in contemporary architectural and interior design per-
Rietveld, in association with owner Truus Schröder-Schräder. De Stijl.
spective drawings. In 1936, Frank Lloyd Wright creates Falling-
water (Fig. I-20), his residential masterpiece in Pennsylvania that
fuses the terraced building to the natural landscape, articulates
the interplay of exterior and interior space, creates procession and
movement, and addresses a contextual human scale.
USING THE BOOK

Within the book, the interrelationship of written narrative and
graphic illustrations is considered a guiding principle. This mate-
rial is integrated and carefully weighted throughout the book so
that the reader can make connections between the written and vi-
sual content. One can, therefore, read the text or view the images
and grasp the basic concepts of the period. A historical vocabulary
and design analysis language are interwoven throughout the text.
Basic art movement sections provide an introduction to subse-
quent chapters that address particular historical styles. Chapters
䉱 I-12. High Museum of Art, 1980–1983; Atlanta, Georgia; Richard use a consistent footprint composed of headings and subheadings
Meier. Late Modern • 1. that offer an organized format for the presentation and sequencing
xxiv INTRODUCTION
of design content. This arrangement supports the idea of review-

ing the content chronologically or topically. Because the book is
intended to be a general survey of these periods, supplementary
references, such as those in the bibliography, may assist in provid-
ing more detailed historical explanations.
The written narrative is descriptive and concise, with a com-
bination of paragraphs and bullet-point lists to aid in the easy re-
trieval of information. Paragraphs present general information
and bullet-point lists identify distinctive design features. Design
Characteristics, including specific motifs, are noted in many
chapters. The Architecture and Interiors categories are se-
quenced as a structure is built, from bottom (foundation or floor)
to top (roof or ceiling). The Furnishings and Decorative Arts cat-
egory provides an overview of the most important furniture and
decorative accessories. The Design Spotlight focuses on individ-
ual examples of architecture, interiors, and furniture to illustrate
specific characteristics important to a particular period, with 䉱 I-15. New Palace of Westminster (Houses of Parliament),
graphic illustrations included for reference and identification of 1835–1865; London, England; Sir Charles Barry and Augustus W. N.
characteristics, details, and motifs. Pugin. Gothic Revival.
The text synthesizes information from many sources. Primary
sources (those created during the period under study), such as
䉱 I-16. Living area, Glass House (Residence of Philip Johnson), 1949;

New Canaan, Connecticut; Philip Johnson. Geometric Modern.
䉱 I-14. Cathedral of the Notre Dame, 1163–1250; Paris, France. 䉱 I-17. Guggenheim Museum, 1997; Bilbao, Spain; Frank Gehry and
Gothic. Partners. Neo-Modern.
Another random document with
no related content on Scribd:
The Project Gutenberg eBook of Thunder in the
void
This ebook is for the use of anyone anywhere in the United States
and most other parts of the world at no cost and with almost no
restrictions whatsoever. You may copy it, give it away or re-use it
under the terms of the Project Gutenberg License included with this
ebook or online at www.gutenberg.org. If you are not located in the
United States, you will have to check the laws of the country where
you are located before using this eBook.
Title: Thunder in the void
Author: Henry Kuttner
Illustrator: Alexander Leydenfrost
Release date: June 6, 2022 [eBook #68253]
Language: English
Original publication: United States: Fictioneers, Inc, 1942
Credits: Greg Weeks, Mary Meehan, Alex White & the online
Distributed Proofreaders Canada team at
https://www.pgdpcanada.net.
*** START OF THE PROJECT GUTENBERG EBOOK THUNDER IN

THE VOID ***
THUNDER IN THE VOID
A NOVEL
By Henry Kuttner
“I keep my promises, my friend. I’m taking this boat

to Pluto, and I’ll kill a lot of them before they
finally get me. But—even though you have won, you have
lost as well. Because you’re going with me too!”
[Transcriber's Note: This etext was produced from

Astonishing Stories, October 1942.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]
FOREWORD
Late in the Twentieth Century Man, for the first time, burst through the
invisible barrier that had always kept him chained to his planet. A new
and almost uncharted ocean lay before him, its vastness illimitable,
its mysteries as yet unexplored. Magellan, Columbus, Leif Ericsson—
these primitives expected great wonders as the searoads opened
before the prows of their ships. But the first spacemen thought—
mistakenly, as it proved—that the airless void between the worlds
could hold little unknown to them.
They did not foresee that actual experience of a thing is far different
from abstract knowledge of it. They did not foresee the death that
leaped upon them from the outer dark, the strange, enigmatic horror
that killed men without leaving trace or clue. The ships came back,
crews decimated. Out there lay a menace that slew with blind,
ravening fury.
For a time space held its secret. And then the Varra spoke to us,
warned us, told us why space was forbidden.
The Varra—glowing balls of light that hung in the void, vortices of
electro-magnetic energy, alive and intelligent. For generations, they
said, they had tried to communicate with us. But they could not exist
except in airless space, or under specialized conditions. They were
not protoplasmic in nature; they were beings of pure energy. But they
were intelligent and friendly.
From them we learned the nature of the menace. A race of beings
dwelt on Pluto, so different from both humanity and the Varra that
they were almost inconceivable. This race had never mastered space
travel; it had no need to leave its dark world. Only the immense
power of the Plutonians’ minds reached out through the void,
vampiric, draining the life-energy from living organisms over
incredible distances. Like medieval robber-barons they laired on their
planet, and the tentacles of their minds reached impalpably out for
prey. Vampires of energy.
Vampires of life.
But the Varra they could not touch or harm. The peculiar physical
structure of the Varra rendered them safe from the Plutonian
creatures.
A World Fleet was sent out to subdue Pluto, against the advice of the
Varra. It did not return.
In the end we made a pact with the Varra. They conveyed us through
space, protecting us, as far as they were able, from the Plutonian
vampires, though they did not always succeed. Each man who
ventured into the void was guarded and guided by a Varra, and
therefore many lived who would otherwise have died. No ship went
beyond the orbit of Neptune; even that was dangerous. No ship ever
landed on Pluto.
Only those guarded by the Varra were permitted to leave Earth. For
the rest—space was forbidden.
CHAPTER ONE
Hijacker from Hell
The Arctic blizzard swept needles of stinging ice against Saul
Duncan’s face. Doggedly he plowed on, head lowered, heavy
shoulders hunched against the fury of the winds. Once he heard the
drone of a heliplane overhead, and flung himself flat till the sound had
been swallowed by the gale. Then for a few moments his body
refused to obey the grim demands of his mind. Deceptive warmth
was stealing over him, inviting him to rest. But that, he knew, meant
death then and there.
If he kept going, there was a chance of safety and freedom—not
much of a chance, though, for few men ever escaped alive from the
Transpolar Penitentiary. Situated within the Arctic Circle, the grim,
guarded fortress of stone and metal and tough plastics was safer
than Alcatraz had been a century and a half ago. Yet Duncan had
escaped....
His bitter lips twisted in a harsh smile. Escape! Into a polar blizzard—
but that was the only possible time when a prisoner could evade the
guard planes that patrolled the frigid waste. And Duncan could not
have made his escape without aid from outside.
With stiff fingers he fumbled out a compass-like instrument that had
been smuggled to him in the penitentiary. The needle held
motionless, pointing directly into the teeth of the gale. If he kept on in
that direction, sooner or later he would reach Olcott’s plane. But how
long it would take he did not know.
Still, even dying in the blizzard was better than another five years in
Transpolar—five years that had ravaged and embittered Saul
Duncan, hardening his no-longer-youthful face, putting ice into his
glance and hatred in his heart. But physically he had thrived. If a
prisoner survived the first year at Transpolar, he grew tougher, harder
—and more dangerous.
Duncan trudged on, shaking with cold. Ten years for murder—second
degree murder. Well, he hadn’t been framed. He’d wanted to kill
Moriarty. And he had succeeded, in a moment of blind, crimson rage
that had flooded his brain and sent his fist smashing into Moriarty’s
face with the impact of a pile-driver. The man had put his filthy hands
on Andrea....
Damn him! Even now Duncan’s muscles grew tight at the memory.
He recalled how he and Andrea had fought their way up, slum-bred,
facing a future of poverty and crime, and how they had seized a
chance of escaping from that dark future. It meant arduous work,
years of training, for learning to pilot a spaceship is no easy task. But
he had done it, and Andrea had been willing to wait, scraping along
on just a little more than nothing, in preparation for the day when
Duncan could draw the pay of a first-rate pilot.
But Moriarty had been Duncan’s superior officer. And there had been
no witnesses except Andrea and Duncan. The verdict was murder,
with extenuating circumstances. A recommendation for mercy.
Mercy—ten years in Transpolar, of which Duncan had already served
five! Five years of knowing that Andrea, ticketed as a jailbird’s wife,
could scarcely earn enough to keep alive. Five years, and there were
patches of iron gray along Saul Duncan’s temples.
He had grown bitter. He hated the society that had sent him to a living
hell, and when Olcott offered escape....
At a price, of course. But Duncan was ready to pay that price. His
gray eyes were savage as he marched on, staggering sometimes,
snow crusting on his lashes so that he could scarcely see.
So well was the plane camouflaged that he almost lurched into the
white hull before he realized that he had reached the end of the
march. Sudden weakness overtook Duncan, and he found it difficult
to move the few steps to the cabin’s door. He pounded on the alloy
with fists that had no feeling.
There was a click, and the panel slid open, letting a gust of warm air
play about Duncan’s cheeks.
Brent Olcott stood there, tall, dark-haired and arrogantly handsome.
He was a big man, like Duncan, but so well proportioned that his
movements were tigerishly graceful. His teeth flashed under a well-
kept mustache as he extended a hand.
It was impossible to speak above the gale’s shriek. Not till the panel
had been shut, cutting off the uproar, did Olcott say tersely, “Glad you
made it, Duncan. I didn’t count on a storm like this.”
“I made it. That’s the important part.” It was difficult to articulate with
almost frozen lips. Olcott looked at him sharply.
“Frost-bite? Can’t have that. Strip down and rub yourself with that.”
He nodded toward an auto-refrigerated bucket of chopped ice on a
shelf. “If we’re ordered down, I’ve a secret compartment you can slide
into. Crowded quarters, but you won’t be found there. Now—” He
turned to the controls as Duncan, shivering, peeled off his wet
garments.
It was a difficult take-off, despite the triple-powered motor. Only a
gyro-equipped plane could have made it. The ship lurched and
rocked dangerously in the blast.
Duncan fought his way beside Olcott. “Got rockets?”
“Auxiliaries, yes. But—”
“They won’t be seen in this storm.”
Olcott spread his hands in a meaning gesture. Few atmosphere pilots
could handle the tricky manipulations of rocket-tubes. They were for
emergency only, but this, Duncan thought, was an emergency. He
thrust Olcott away and slid into the cushioned cradle-chair. His
fingers, still stiff, poised over the keys.
Then his old-time skill came back, the intricate series of what were
really conditioned reflexes that made a pilot capable of handling a
bank of tube keys. Split-second thinking wasn’t quite enough.
Reactions had to be almost without thought. The ship spun down,
and Duncan’s hands flashed into swift movement on the studs.
The sudden acceleration hit him in the pit of the stomach. Olcott had
braced himself, but was almost torn loose from his grip. For a
moment the plane bucked and jolted madly, rocket fighting rocket,
both fighting the gale. Then, without warning, they were above the
storm, in air almost too thin for the prop, leveling off at an easy keel.
Duncan set the course due south and turned to Olcott for instructions.
The latter was at another keyboard, carefully studying a visiplate
before him. It showed the sky, dark blue and empty. After a moment
Olcott made a few adjustments and came back to take over the
controls.
“Nice work. You’re a better pilot than I’d hoped. But you’ll need to be
—” Olcott didn’t finish.
Duncan was rubbing his skin with ice. “I know rockets. Say, isn’t this
dangerous? We may be spotted from below.”
“We won’t. This plane’s a chameleon. The man we’re going to see
invented the trick for me. We’ve a double hull, and the outer skin’s
transparent plastic. The space between the skins can be filled with
certain colored gases—I’ve a wide range of colors. On the snowfield I
used white, to blend with surroundings. Here it’s a blue gas. From
below we’re invisible against the sky.” Olcott rose to make an
adjustment. “I’d better lighten the color a bit. We’re going south fast,
and the sky’s not so dark now.”
Duncan nodded appreciatively. He had heard stories about Brent
Olcott, few of them savory, but all hinting at the man’s intelligence and
power. He was one of those who, in the Twenty-first Century, made
money without being too scrupulous about his methods. Technically
Olcott owned a firm named “Enterprises, Ltd.” Unlimited would have
been more suitable. His finger was in plenty of pies, but he had
always managed to pull out plums without getting his hands soiled.
Legally his record was clean.
But he was dangerous. When Duncan had accepted Olcott’s offer of
help, he had known what that meant—a job, and a dirty one.
Nevertheless, it would pay plenty—and it would mean freedom from
Transpolar, and being with Andrea again.
Duncan dressed in the clothes Olcott had provided, an unobtrusive
dark fabricoid blouse and trousers, gathered at the ankles in the
conventional fashion. In the heated cabin no more clothing was
necessary.
“There’s a bottle over there,” Olcott suggested.
Duncan gulped whiskey, feeling the hot tingling of the liquid spread
out from his stomach. He felt better, though there was a curious air of
unreality about the whole thing. A port, showed him the storm cloud,
below and behind now. Somewhere in that troubled darkness lay the
grim fortress of Transpolar Penitentiary, the hell that had swallowed
five years of Duncan’s life, and drained him of hope and ideals.
There was hope again. But ideals—
He up-ended the bottle.
Olcott looked up from the controls. The air was clear, and the
tremendous power of the engines hurled them southward at fantastic
speed.
“Sit over here, Duncan,” he invited. “I want to talk to you.”
“Okay. Let’s have it. You’ve got a job lined up for me, I know that. The
question is—why me?”
Olcott picked his words carefully. “There aren’t many qualified space
pilots in the system. And those are well paid; I couldn’t get at any of
’em. I tried, I’ll admit—but not after I heard about you. Would you like
to make half a million credits?”
“Keep talking.”
“With that many credits, you’d never need to work again. I know a
good surgeon who’d remold your face and graft new fingers on your
hands, so you wouldn’t have to worry about prints. You probably
couldn’t be convicted even if they arrested you—not without complete
identification.”
Duncan didn’t answer, but his lips had gone pale and thin. One is
seldom transported instantly from hell to heaven. Yet Olcott’s offer
was—well, it meant everything, including Andrea.
“Go on,” Duncan said hoarsely. “What d’you want me to do?”
Olcott’s cool, watchful eyes met his own.
“Go into space,” he said, “without a Varra Helmet.”
The plane thundered on, and miles had been left behind before
Duncan spoke again.
“Suicide.”
“No. There’s a way.”
“When I was piloting, no one was allowed to space-travel without a
Helmet. Even with the Varra convoys, people were sometimes killed
by the Plutonians. I remember a few screwballs tried to slip out
without the Varra, but they didn’t live.”
Olcott said, “I’ve found a way of leaving Earth without a Helmet, and
without being detected by the Plutonians. It isn’t sure-fire, but all the
chances are in your favor. Shall I go on?”
“Yeah,” Duncan said tonelessly.
“I need money. I need it bad, just now. And there’s a ship heading for
Earth now that’s got a pound of Martian radium aboard.”
“A pound!”
“A hell of a lot, even considering the big radium deposits on Mars.
With my connections, I can sell the stuff. You’re going to hijack the
Maid of Mercury, Duncan, and get that radium.”
“Hijacking a spaceship? It’s crazy.”
“It’s never been done, sure. Nobody’s dared go into space without a
Helmet. And the government issues the Helmets. But look at the
other side of it. We’ve got a few patrol boats—the Interplanetary
Police. Which is a loud, raucous laugh. Rickety tubs with no real
armament. You won’t have to worry about them.”
Duncan took another drink. “It still sounds like suicide.”
“Hartman will explain—the man we’re going to see now. Take my
word for it that you can go into space without a Helmet and be safe.
Fairly safe.”
“Half a million credits—”
“The only danger,” Olcott said carefully, “is that the Maid might send
out an S.O.S. The I.P. ships are rickety, but they’re fast, and they
might stay on your trail. We can’t have that. So we’ve planted
somebody on the Maid who’ll smash the radio apparatus just before
you make contact. You can pick her up with the radium and head
back to Earth.”
“Her?”
“You know her, I think,” Olcott said quietly, his eyes impassive.
“Andrea Duncan.”
Duncan moved fast, but there was a gun in Olcott’s hand covering
him.
The latter said, “Take it easy. You killed one man with your fists. I’m
taking no chances.”
A tiny scar on Duncan’s forehead flamed red. “You rotten—”
“Don’t be a fool. She’s wearing a Varra Helmet. Of course she’ll take
it off when she joins you, or she’d have a Varra en rapport with her,
one who’d spill the beans completely.”
“Andrea wouldn’t—”
“She doesn’t know all of my plans. And she was willing to help me—
as the price of your freedom. Listen!” Olcott spoke persuasively. “The
girl’s already on the ship. She’s got her instructions. Tomorrow, at
three P.M., she’ll smash the radio. If you’re not on hand to pick her up
—and the radium—she’ll get into trouble. Destroying communications
in space is a penal offense. She might go to Transpolar.”
Duncan snarled deep in his throat. His face was savage.
Olcott kept the gun steady. “Everything’s planned. Be smart, and in a
couple of days you’ll be back on Earth, with Andrea and half a million
credits. If you want to be a damned fool—” the pistol jutted—“it’s a
long drop. And it’ll be tough on the girl.”
“Yeah,” Duncan whispered. “I get it.” His big fists clenched. “I’ll play it
your way, Olcott. I have to. But if anything happens to Andrea, God
help you!”
Olcott only smiled.
CHAPTER TWO
Invisible Pirate
Rudy Hartman was drunk. An overtured bottle of khlar, the fiery
Martian brew, lay beside his cot, and he stumbled over it and cursed
thickly as he blinked at tropical sunlight. The gross, shapeless body,
clad in filthy singlet and dungarees, lumbered over to a crude
laboratory bench, and Hartman, blinking and grunting, fumbled for a
syringe. He shot thiamin chloride into his arm, and simultaneously
heard the roar of a plane’s motor.
Hastily Hartman left the godown and headed for the island’s beach
near by. The camouflaged amphibian was gliding across the lagoon—
a quick flight, that had been, from the Polar Circle to the South
Pacific! Hartman’s eyes focused blearily on the plane as it slid toward
the rough dock.
Two men got out—Olcott and Duncan.
“Everything’s ready,” Hartman said. His tongue was thick, and he
steadied himself with an effort.
“Good!” Olcott glanced at his wrist-chronometer. “There’s no time to
waste.”
“When do I take off?”
“Immediately. You’ll pick up the Maid this side of the Moon, but it’s a
long distance.”
Hartman was blinking at the convict. “You’re Saul Duncan. Hope
you’re a good pilot. This is—um—ticklish work.”
“I can handle it,” Duncan said shortly. Olcott was already moving
toward a trail that led inland from the beach. The other two followed
for perhaps half a mile, till they reached the dead-black hull of a small
cruiser-type spaceship, camouflaged from above with vines and
pandanus leaves. The boat showed signs of hard usage. Duncan
walked around to the stern tubes and carefully examined the
jointures.
“Crack-up, eh?” he said.
Olcott nodded. “How do you suppose we got our hands on the crate?
It was wrecked south of here, near a little islet. There weren’t any
survivors. It cost me plenty to have the ship brought here secretly,
where Hartman could work on it. But it has been put in good shape
now.”
“She—um—runs,” the scientist said doubtfully, blinking. “And she has
strong motors. Unless they’re too strong. I spot-welded the hull, but
there is—um—a certain amount of danger.”
Olcott made an impatient gesture. “Let’s go in.”
The control cabin showed signs of careful work; Duncan decided that
Hartman knew his job. He moved to the controls and examined them
with interest.
“Made any test-runs?”
“Without a pilot?” Olcott chuckled. “Hartman says it’ll fly, and that’s
enough for me.”
“Uh-huh. Well, I see you’ve painted the ship black. That’ll make it
difficult to spot. I’ll have only occlusion to worry about, and a fast
course with this little boat will take care of that.” Duncan pulled at his
lower lip. “I noticed you put rocket-screens on, too.”
“Naturally.” Rocket-screens, like gun-silencers, were illegal, and for a
similar reason. The flare of the jets are visible across vast distances
in space, but a dead-black ship, tubes screened, would be practically
invisible.
“Okay,” Duncan said. “What about the Plutonians.”
It was Hartman who spoke this time. “Just what do you know about
the Plutonians?”
“No more than anyone else. No ship’s ever landed on Pluto. The
creatures are mental vampires. They can reach out, somehow,
across space and suck the energy out of the brain.”
Hartman’s ravaged face twisted in a grin. “So. But their power can’t
break through the Heaviside Layer. That’s why Earth hasn’t been
harmed. Only space travelers, unprotected by a Varra convoy, are
vulnerable. Even with Varra Helmets, men are sometimes killed. All
right. How do you suppose the Plutonians find their victims?”
“Nobody knows that,” Duncan said. “Mental vibrations, maybe.”
Hartman snorted. “Space is big! The electrical impulses of a brain are
microscopic compared to interplanetary distances. But the ships—
there’s the answer. A spaceship is visible for thousands of miles—
reflection, and the rocket-jets. It’d be easy for the Plutonians to locate
our ships, if they have any sort of telescopes at all. So, we have here
a ship they cannot find. Therefore, we do not need a Varra escort to
protect us from the Plutonians.”
“It would have been safer if we could have hired a Varra,” Olcott said.
“Still, that was impossible. They’re hand in glove with the
government.”
“I know. They’ve convoyed me, in the old days,” Duncan grunted. “Let
me go over it again. I take this ship out, pick up the Maid, Earthside of
Luna, and get the radium—and Andrea.”
“Right,” Olcott nodded. “Then back here, and I hand over half a
million credits.”
“Going into space without a Helmet is risky.”
“You will not be near Pluto,” Hartman put in. “There is danger, yes,
but it is minimized.”
“But there is danger. I’m thinking of Andrea. When I pick her up, she’s
got to leave her Helmet in the Maid.”
“Naturally,” Olcott snapped, his lips thinning. “If she continues to wear
it, she brings a Varra back to Earth with her—a spy.”
Duncan looked at Hartman. “What armament are we carrying?”
“Six four-inch blaster cannons, fully charged.”
“Okay.” Duncan turned again to the controls, slipping into the
cushioned basket-seat. “Everything oiled and clean, eh? Doors?” He
touched a stud; the valve of the door closed silently.
“Everything is ready,” Hartman said.
“Air-conditioning?” Duncan tried it. “Good. Course?” He checked the
space-chart before him. His back to the others, he said quietly,
“You’re asking Andrea to take a big risk, Olcott. You too, Hartman,
going into space without a Helmet.”
Olcott moved uneasily; Duncan could see him in the mirror above the
instrument panel. “Hell! It was her own choice—”
“You blackmailed her into it.”
Olcott’s lips thinned. “Backing out? If you are, say so.”
“No,” Duncan said, “I’m not backing out. I’m going into space. But you
two are going with me—right now!”
His poised fingers shot down on the instrument board. Olcott’s oath
and Hartman’s startled yell were both drowned in a sudden raging
fury of rockets. In the mirror Duncan could see the gun that flashed
into Olcott’s hand, but at the same instant terrific acceleration
clamped hold of the little ship.
Olcott’s gun was never fired. The three men’s senses blacked out
instantly, mercifully, as the stress of abnormal gravities lifted the
cruiser bullet-fast from the islet. Three figures lay motionless on the
plasticoid floor, while the rockets’ bellow mingled with the shrieking of
the atmosphere. The insulated hull scarcely had time to heat before
the ship was in free space, shuddering through all its repaired beams
and joists, the dull, heavy thunder of the screened tubes vibrating like
a tocsin of doom in every inch of the cruiser.
The hull was dead black, the jets screened. No eye detected the swift
flight of the ship. Toward the Moon it plunged, rockets bellowing with
insensate fury....
Duncan was first to awaken. Space flight was nothing new to him,
and his body had been hardened and toughened by five years at
Transpolar. Nevertheless, his muscles throbbed with pain, and he had
a blinding headache as he dragged his eyelids up and tried to
remember what had happened.
Realization came back. Spaceman’s instinct made Duncan look first
at the controls. The chronometer on the board told him that he had
been unconscious for many hours. Watching the star-map, he figured
swiftly. Fair enough. They were off their course, but the cruiser had
been traveling at breakneck speed. It was still possible to keep the
rendezvous with the Maid. Duncan readjusted the controls.
After that, he turned to Olcott and the scientist. Neither was seriously
injured. Duncan relieved Olcott of his gun; Hartman was unarmed.
Then he took a drink and sat down to wait.
Presently Olcott stirred slightly. His lashes did not move, but without
warning his hand streaked toward his pocket.
“I’ve got your gun,” Duncan said gently. “Stop playing possum and get
up.”
Olcott obeyed. There was a streak of blood on his cheek, and he
swayed a little as he stood, straddle-legged, facing the pilot.
“What’s the idea?”
Duncan grinned. “I’m carrying out your orders. I just thought I’d like
company.”
Olcott fingered his mustache. “You’re the first man who ever played a
trick like that on me.”
For answer Duncan stood up and waved negligently at the controls.
“Take over, if you like. Head the ship back to Earth.”
The irony was evident. In free space, almost anyone could pilot a
cruiser. But emergencies and landings were different matters. Years
of training in split-second, conditioned reactions were necessary to
make a pilot—and only Duncan had had that training. Olcott could
easily turn the ship around, but he probably could not control it in
atmosphere, and he certainly could not make a safe landing. Olcott
was in a prison, and Duncan held the only key.
“What do you want?”
“Not a thing. I’m going through with the job. I’ll get the radium-for you,
and pick up Andrea. But if the Plutonians harm her, without a Helmet,
she won’t die alone. We’re all in the same boat now.”

Full Download PDF of (Ebook PDF) Architecture and Interior Design: An Integrated History To The Present All Chapter

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Full Download PDF of (Ebook PDF) Architecture and Interior Design: An Integrated History To The Present All Chapter

Uploaded by

Copyright:

Available Formats

(eBook PDF) Architecture and Interior

Design: An Integrated History to the

(eBook PDF) Interior Design Materials and

(eBook PDF) Japan: A Documentary History: Vol 2: The

(eBook PDF) A Modern History of Japan: From Tokugawa

(Original PDF) A Concise Economic History of the World:

(eBook PDF) Worlds Together, Worlds Apart: A History of

(eBook PDF) Design Portfolios: Presentation and

(eBook PDF) The Complete Musician: An Integrated

(eBook PDF) The Complete Musician: An Integrated

Chapter 2 Historical and Social 59

Historical and Social 90 Historical and Social 147

Architecture 181 Chapter 21

F. BAROQUE 185 Chapter 22

H. EARLY NEOCLASSICAL 261

Architecture 288 Chapter 30

Chapter 35 M. REFORMS 501

L. ACADEMIC HISTORICISM 439

Chapter 39 N. INNOVATION 559

Interiors 565 O. MODERNISM 637

Historical and Social 614 Historical and Social 684

Chapter 55 Characteristics and Motifs 774

within interiors. This aesthetic and functional language and vocab-

APPROACHES TO DESIGN HISTORY

of research, programming, concept, function, overall aesthetic,

e f g h composed of panel partitions, work surfaces, storage areas, filing

䉱 I-8. Villa Rotunda (Villa Almerico-Capra), 1565–1569; Vicenza,

ends is divided by a Corinthian colonnade to extend the space, and

䉱 I-10. Aeron chair, 1992; Donald Chadwick and William Stumpf,

䉱 I-13. Personal Harbor office furniture, c. 1992; United States; Paul

background at the top, and with man small in comparison to the

USING THE BOOK

of design content. This arrangement supports the idea of review-

䉱 I-16. Living area, Glass House (Residence of Philip Johnson), 1949;

Title: Thunder in the void

Author: Henry Kuttner

Illustrator: Alexander Leydenfrost

Release date: June 6, 2022 [eBook #68253]

Original publication: United States: Fictioneers, Inc, 1942

*** START OF THE PROJECT GUTENBERG EBOOK THUNDER IN

“I keep my promises, my friend. I’m taking this boat

[Transcriber's Note: This etext was produced from

You might also like