Professional Documents
Culture Documents
John
The
Pile
first
decade.
acknowledges
of personal
unclear boundaries,
overlap.
interior
a field with
is
which construction,
in
architecture,
woven together
in
all
a fascinating
Embedded
in
modern
sky-scrapers.
and
city terraces
wide
on a
With 400
illustrations,
200
&
in
color
Associates,
Shinkenchiku-sha
The Japan
1982-6
Architect Co., Ltd, Japan
History of
NTERIOR DESIGN
lOHN
WTi FY
:
hnsbane
<:nN; tkh
Singapore
Toronto
in
2
6
Contents
Islamic Influence 52
Preface 8
Acknowledgments
The Mosque 52
Moorish Elements
in
Spanish
Romanesque 53
Archeological Evidence 10
The
First
Shelters
The
and Design
First
Permanent Settlements
Mesopotamia: Sumeria 16
Ancient Egypt
England 62
Elsew/here in Europe 63
Secular Gothic Buildings 64
54
Interior
Furnishings 19
IN
and Rome
20
The Renaissance
Knossos 20
2000 by
Calmann & King Ltd,
Copyright
Library of Congress
Cataloging-in-Publication
Data
Pile,
Rome
John
by John
25
p.cm.
(cloth
alk.
paper)
INSIGHTS;
Alberti
79
IN
ANCIENT ROME 32
INSIGHTS; VASARI'S
Interior decoration-
Furniture
History. I.Title.
History 72
Michelozzo 78
Secular Buildings 31
ISBN 0-471-35666-2
in
Brunelleschi 75
27
Domes 27
Amphitheaters and Baths 28
Temples 30
Includes index.
Renaissance Interest
Pile,
in Italy 72
Medieval Houses 68
Innovations in Domestic Comfort 70
and Other
Interior Furnishings
ACCOUNT OF THE
FARNESE PALACE 82
34
NKI710.P55 2000
7472-dc21
Michelangelo 85
Romano 86
Printed in
Hong Kong
Romanesque
9 8 7 6 5 4 3 2
<
was
designed and
INSIGHTS: THE
produced by
LTD,
London
www.calmann-king.co.uk
Designed by Thomas
Palladio 87
Vignola 89
36
Interior Furnishings 89
This book
and
Secular Buildings 41
Hong Kong
Frontispiece: Gentile
43 France 44 England 45
1502-5.
Bernmi 94 Borrommi 95
and Castles 46
Monasteries and Abbeys 48
Fortresses
INSIGHTS:
Venice 97
Longhena 97
Houses 49
Furniture and Other
in Italy
Scandinavia 46
Printed in
90
Ravenna 39
Hagia Sophia 40
Germany 42
Susan Bolsom
Furniture
Coverings 91
Turin 97
Cuarini
Interior Furnishings
50
Baroque
97 Juvarra 99
in
Northern Europe
00
and
Contents
100
Austria
103
Germany 103
Furniture and Other Interior Features
54
Switzerland
06
54
56
Houses 156
and Interior
Furnishings 157
Churches and Meeting Houses
58
American Georgian 59
American Georgian Houses
59
American Georgian and Queen Anne
Furniture 163
Late Colonial Public Buildings 163
Federal Styles 165
Jefferson
65
Bulfinch 166
Thornton and Latrobe
66
Furniture of the Federal Period
69
Other Furnishings of the Federal
Period 170
Early Colonial
I
I
Early Renaissance
High Renaissance
Baroque
1
Versailles
116
12
AND
VERSAILLES 116
Furnishings
Furniture
and
121
Regency to Rococo
Pans Hotels 123 The
Petit
23
Trianon
124 Regency
This book
Published simultaneously
in
130
Provincial Style
Spain 131
Desornamentado
32
32
Furniture and Other Interior Features
Churrigueresco
32
Regency 172
transmitted
Nash 172
Soane 174
Regency Furniture
Revivals 175
Creek Revival 175
74
othenvise, except as
107
States
176
38
141
Jacobean 142
Jones
142 Jacobean
Interior Furnishings
143
and
Eiffel
INSIGHTSillOBERT
147
Interior Furnishings
48
1
50
Rosewood
50
88
Inc..
605
New
Third Avenue,
NY 10158-0012,
90
850-6008,
1
E-Mail:
PERMREQ@WILEY,COM.
90
Britain 193
This publication
Mansions 193
Middle-class Houses and Public
Buildings 193
Shaw and the Queen Anne Revival
United States: Victorian Variations
Mansions 197
Vernacular House Styles
98
Shingle Style
Drive. Danvers,
MA01923, (978)750-
York,
Adam 148
Permissions Department.
Georgian 147
payment of
145
Furniture
tion through
83
43
Interior
140
Elizabethan Furniture
Early Industrialization
England 139
Tudor 140
Elizabethan
or
36
Buildings 136
1
or
electronic,
Private Dwellings
any form
recording, scanning or
1
Civic
in
mechanical, photocopying,
Low Countries
a retrieval system, or
by any means,
Canada
in
131
Plateresco
printed on
IS
acidlree paper
199 Adirondack
Style
200
rate
is
and authoritative
information
in
regard to
94
1 95
It IS
is
not engaged
rendenng professional
services.
If
professional
is
services of a
required, the
competent
INSIGHTS:
THE SHAKER^PHILOSOPH'T^oT
be sought.
9
Contents
Early Skyscrapers
Public Buildings
Furness
202
205
Eclecticism 244
The Ecole des Beaux-Arts, Paris 244
205
l^
Public Buildings
and Crafts
Early Skyscrapers
21 o
210
Morris 210
Webb 213
Europe 261
Scandinavia 263
Britain
Movement
Lutyens
Stickley
263
264
INSIGHTS: SIR
Bradley 220
HOUSE
Richardson 221
IN
NEW
DELHI 264
FRANK L[0YD
WRIGHT 269
Accessories
Modernism 218
259
Masses 259
Stripped Classicism
HOUSE 215
Links to
256
Designers 214
insTghts: rossetti
255
Crafts
British
Interior Decorator
Other
252
252
DeStijI 270
Rietveld
of the
920s and
INSIGHTS: MIES
930s 274
HOUSE 221
Emigration to the United States
276
Later
Commissions 277
Le Corbusier
278
Houses,
Villas,
INSIGHTS:
Early
THE PHILOSOPHY OF
LE
CORBUSI ER 282
Aalto 285
INSIGHTS:
ARCHITECTURE" 236
Hoffmann 236
Loos 238
United States 238
Tiffany 238
Sullivan 240
ArtDeco 290
France 290
Furniture Designers
290
Textile Design
293
Contents
Ocean
Liners
293
Office Planning
295 Deco
Architecture
295
296
Britain
344
Interior Designers
Furnishings 346
Textiles
in
Stirling
354
356
Post-modernism 357
Venturi and Scott Brown 357
Craves 359
America 314
314
314
319
Johnson 361
Post-modernism in Europe 361
The Revival of Tradition 362
Creenberg 362
Stern 362
Late Modernism 364
Pel
364
Lescaze 320
INSIGHTS;
Foster
307
Switzerland 308
France 308
Scandinavia 310
England 31
Cili
351
High-tech 351
Fuller 351
Italy
in
346
Pelli
Modernism
Putman 368
Deconstructivism 369
Eisenman 370
Gehry 371
Other Trends 373
East-West Crossovers 373
Preservation
375
325
Herman
Miller Furniture
Company 326
Glossary 378
Bibliography 384
Index 390
Italy
346
Scandinavia 296
Office Furniture
328
Scandinavia 331
France 334
Germany 334
The Netherlands 335
Britain 336
United States 337
TOWER 330
Preface
In the
experience
life
We may
from
offers
it
much
that so
of
most of us
time,
We
room.
an
house, a
live inside a
that
and
air
love
sky,
life is
or a
flat,
and spend
Work
inside.
is,
college
involves
farmer
the
work
in the
machinery and
television,
being a
air,
other
go
to
and
as driving a
open
or
truck,
endless. Agriculture
is
still
modern
likely to
is
tractor,
list
sleep.
piece
of
in the past
ence on the
agricultural
work
life
that
some
other enclosure.
The study of
they house as
lives that
interior design,
is
development
its
a useful
way both
to
make
which modern
lived.
Professional interior
life
is
know
and
to
know
the
who
the
generated
becomes
it
and often
necessary
visit
difficult to
turn
to
to
human
and
member
activities
free
takes place
as a
life
economic, and
inside enclosure,
open
is
to gain
an insight into
call
now
tists
The
7000
tell
us what
many
speculations about
first
habitations
were
Early
like.
shelters
existed
to
Those
an aspect of
interiors of the
great
is
and understand.
lighting, textiles,
and
sometimes
artifacts:
art.
furniture,
impossible to escape. In
interior design
is
overlapping as
it
life
addition to the
the history of
that
is
drainage
different
experience
life
in
large
equipment,
"product design,"
in
and what
the
is
now
and
called
forms of appliances,
To
consider for a
serf living in a
monk in
moment
the
farm dwelling,
life
of a medieval
a knight in a castle, a
and lady
in
an eigh-
life
pattern based
is
staggering.
number
currently in existence,
history
is
No two writers in
same choices and the decisions made in writing this book are those of the
writer and are based on the following assumptions:
to include
and what
1.
make
to exclude.
the
Acknowledgments
them
that contain
means
in
most
is
inextricably linked to
design.
architecture
coverage
architectural context.
Owing to
human design
coverage
activity,
necessarily
is
is
from
Quotations
6.
2.
on
sources
are
number of
prehistoric
origins.
This
not
is
because
non-
The reader
is
Western work is in any way inferior or less interesting than Western achievement, but rather
allow.
to discover
is
woven into an
book, we follow the
Rome,
and
Greece,
and
medieval
through
centuries,
and
tieth
and
nineteenth
emphasis
centuries
twentieth
and
Making
Best of
acceptance ot certain
in
this
book
own
are
right
for
or
important
work of a
designer.
particularly
Along with
are closer to
and
most
hand
will limit
will
fill
rior space.
Many
their efforts
sites,
and patience.
publish:
Director at
Ripley
Lee
&
King
Greenfield,
Ltd:
John Wiley
and
Manager;
Picture
Designer;
Sons, Inc.
Calmann
Thompson, Senior
Webb, Senior Editor;
Damian
Bolsom,
&
skillful efforts at
Editorial
Susan
visits for
is
Acknowledgments
is
such
of course,
given
is
there
all,
are of interest.
criteria.
interest
and
will serve as a
Kim
Richardson,
Richard
Copy-
editor;
5.
Related
lighting,
fields
such as furniture,
textiles,
Felicity
at
world,
we
take
of our time
is
it
major portion
offices, shops,
or
refers
is
this
to
peoples,
or
cultures,
civilizations
as
it
history.
temporary situation
Human
"primitive," as used
in
factories,
be outside
The term
exist.
We live
where they
Archeological Evidence
environment
The
for living.
It
First Shelters
is
Prehistoric Interiors
made
caves
shelters
first
example
for
or
were
human
for only
about
six
made
is
certainly evidence
use of caves,
unlikely
it is
human
Caves
living places.
number
only in certain
exist
live.
(fig.
first
earliest shelters
Guesswork
were
like,
have been
is
aided in
some measure by
1.1),
and
their
infor-
the "primitive" peoples usually studied by anthropologists. Prehistoric materials are physical objects,
Chauvet
at
is
no
certainty that
artifacts,
gency
that
deal with,
is
0,000
is
beings,
places
France,
human
shelters,
monies, or they
of art that
places
for special
we admire because
Constructed
shelters
The most
for the
works
from
or cere-
rites
available
prehistory
have
5,000-
BX.E.
1.2 (opposite)
Evidence of human
Paintings of Anubis,
occupancy of caves
Tomb
Thebes,
that were
only
fire
made
c.
500 bce.
with
light as illumi-
was probornament or
the paintings
ably not to
of Pa-schedu,
chamber where
rather to provide
making the
The ceiling
inscriptions.
10
covered
While the
the form
and
color
Egyptian
control.
is
with hieroglyphic
art.
>'/
*,
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35
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Chapter One
materials
are
all
short-lived, subject to
snow have
as to
mud
or (in
is
so difficult to
mean
and spear
up
in
if
unimaginably ancient
structures,
it
is
origins.
some of
In
these
work
as
often impressive,
ment of
sites
fairly recent
was
develop-
some confidence
at
about 2750-1500
b.c.e.
now
All
designated
most
are
thoughtfully
designed
structures
in
rituals
Britain,
Stonehenge on
rites.
more
The arrangement of
often
is
called a
artificial
hill.
Where
the earth
has
still
in place,
Barrow
in
it
England.
It
is
possible to go
interior
to create
spaces with a
origi-
purpose seems
to
have
human
12
is
charac-
of many ancient
constructions.
b.c.e.).
b.c.e.)
and
are pale-
known
to
is
houses
earth
1000
5000
form of an
placed
c.
c.
fully
a large
Huge
is
B.c.r.
and most
lasting,
linked to burial
2750-1 500
times
c.
those
assume
monies or
1.3 Stonehenge,
of
technologies
Salisbury Plain
Salisbury, England,
advanced
the
interior
use ot
human
least
life
in
turn be
human
populations to
move
in pursuit
made
wood
of light materials
American
easy mobility.
that
sticks, leaves,
and
continents
in the
before
in
coming
the
many generations.
Mongolian
American (American
and Australian aborigine
native
deserts,
The
oldest
found
at
Terra
communities are
to be evidence of how
assumed
have developed.
Ages.,
earliest
built
structures,
human
modern
societies press in
many
peoples survive in
now
in
book
to
made up of
tree
more
flexible twigs
Wigwam,
or
is
if
clearly
many "primitive"
modern "developed"
societies.
As
result,
They are therefore generally to some degree migratory and must build shelter that is readily portable.
of snow
in the
cultures
nates
at the top,
in All
of
is
structure. This
to
Man
Tlie Habitations of
may
tion
shelter
retreat as
In his 1876
human
there
of clues to early
all
nature of the
Villages
Sahara and
of
ways
living in
may
mud
It
might
or, in the
be built up of blocks
dome-like form we
call
an
igloo. In
form may be
built of
mud
brick with a
1.4
(far left)
ViolleMe-Duc, "The
First
topping
like
Many
Habitations of Man
characteristics.
They
The small
and
size reflects
all
in
Ages, 1876,
people building an
enclosure or hut from
the available materials
^4i&
even a
plaster of mud-
1.5
(/eft)
William
Henry Jackson,
photograph of a
a frame of wooden
poles
and a covering of
intenor was
skin. Its
added treatment
or
furniture.
13
Chapter One
1.6 An engraving of a
Mongolian
function
(living
supporting a roof
was covered
is
room, or
an
structure with
exterior
kitchen, store
stable, for
strips
space,
yurt.
boxes to hold
possessions, rugs,
strip materials,
wood
It
poles,
and
leads to
and
(figs.
with considerable
1.8
aesthetic character
Yemen, Pueblo building in the American southwest, some wigwams (known to us from drawings
made by early European settlers), and many house
types built by South American natives have rectan-
rarely
effort,
while
the
that
realities
house type
insects,
a fragile structure.
that
figure
will
circle
enclose
is
least
Cameroon,
Africa.
mud or stone
creates
hut
a room, and
grouped
together to
make a
house complex,
including work spaces
(kitchens)
and food
would be occupied by
an extended family and
their
are built up to
head-height while a
hat-like roof of straw or
and sleeping
pads on the
14
dirt floors.
determined
realities
allow
of
penetration
The Yurt
peoples of Mongolia
modern
Willow
felt
elevator gate)
strips
and
expanded
tied to
form
(like
a circle.
are applied to
The portable
yurt,
still
in
use,
is
an interesting
fit
a particular
is
More
room
is
actually a
Cameroon
in Africa,
round dome
built
is
by laying rings of
is
in part
in the
of topography, weather,
igloo
or
region.
circulation,
(fig. 1.6)
an ancient
when
Italy,
act as a
is
doorway and
and
in regular use
in
control
held storage
containers
topped by
materials,
air
still
houses
the
be grasped intu-
(fig. 1.5)
daylight,
in
still
process of building.
The Tepee
Matakam homestead
Guinea, packed
by birds and
or tribal village
mud
people of
conserve
reinforce
New
cere-
elevation of a
1.9).
and
well
known but
the
availability
of
The snow-built
underground houses of
particularly climate.
underground.
requires
Such
we
associate with
rior
is
modern
all
clothing, blankets,
utensils,
weapons, stored
in
house
t}'pes
laid
on the
constructed bedstead.
in the
in
some "primi-
shelf-like platforms or
benches
mud
representa-
less
tional imagery.
The
(as
a structural or other
is
it
night.
is
where
in
it
spiders)
is
other
tunnel
entrance
ground,
made by
nests
creatures
webs of
and
underground scheme
sloping
long,
patterns
and images
of these shelters
riors
with more
modern
interiors
where
make an
strictly
modern
may
color, pattern,
and design
appear to
meanings
in
mythic
references,
or
designs of an African
magical
woven
The
significance.
make
tribal traditions
few
expression of a particular
way of
if
the significance
visible
confronts the
life
comfort and
modern
unknown, the
To
is
house where
some
offers
viewer, even
utilitarian
the
remain powerful.
West
This African
has
appeared
in
locations,
making
clothing) of a manufactured
native to animal skins.
an ancient invention
is
many
membrane
as
an
alter-
cloth,
c.
1975,
weaving
Africa,
to the invention of
more complex
in basketry, pottery,
rugs.
weaving
narrow
is
done
in
sewn together
to
make
hangings.
Chapter One
The
First
Permanent Settlements
and Euphrates
rivers called
Mesopotamia.
on which
discoveries
civi-
Of these
agriculture.
base agriculture as
three
it is
agriculture
is
it
often called
fixed-
that has
most
As
human
(fig.
buildings and
by the
Human
availability
modern
The
discovery that
it
When
staying in
one
place,
it
is
ment
lasting
map show
city
the positions
of important buildings
such as temples,
make
and trade
it
b.c.e., larger
towns
even
cities
were invented.
It
underlies
the
emergence of
history" as
it is
events, names,
is
called
the
and dates
set
that
history,
"recorded
of records of specific
make
it
possible to
rivers
say what
happened
in past times
adequately
assured,
with a consider-
human
energies
shelter
over
and
sophistication of the
map
comparable
design
and the
arts.
level
activity.
of
All of these
developments occurred
and
The two areas where
years.
tion
first
developed to high
16
brick the
cities
this
quent
It
cities built
has,
on
top.
in
Sumerian
of Nippur, Sumeria,
B.C.E.
Mud
Around 4000
500
more
traces of
no longer necessary
it is
herd, or a fisherman to
c.
design,
and
map
interior
the
population possible.
more
with an inscribed
in
societies
clay tablet
geographical regions.
1.11
Mesopotamia: Sumeria
is
all
at different
took thousands of
levels
of complexity are
in the
Near
city
open
used
in
with
Domed
trulli
Iraq
and
also
use in regions of
in
still
deity,
builders as a
its
The White
Temple
at
indicate that
its
It
was
built
is
Deep
have thickened
walls
bands to aid
vertical
Uruk
mud brick.
in
Even
includes fragments of
the building of
Moreover,
it
of techniques of
fied
for
example
On
model.
could
the walls of
combined with
mummi-
tomb
house or
be represented by a
(fig.
and painted
made
it
knowledge
in
and
to place this
and
Much
later,
Assyrian
rooms
1.12
The
textile patterns.
cities
in
2800
B.C.E.)
Cross-section of
2570-2500
B.C.E.
made
as a surface material,
in rich colors
tile
demonstra-
in
skill
some
basis
imagined reconstructions.
complex and
cant.
great
precision
(particularly
impressive
as
the
in
and
b.c.e.)
was used
700
(c.
to
signifi-
A passage
leads
a false tomb
Ancient Egypt
entrances to the
passages leading
fully
The
civilization of ancient
Egypt has
left far
although no
that,
intact,
is
it
more
possible to
been
have
circumstances
Several
like.
worked
is
it
is
noted
is
the
concealed
was
it
and
Many
to
on
mud
Pyramids,
brick.
to a degree,
in quite
built as
religious
beliefs
were
that
central
to
ancient
Egyptian society.
Egyptian religion,
included belief in a
life
like
many
after death,
ordinary emphasis on
the
other religions,
but
it
put extra-
preservation
afterlife
would
facing stone
7 Grand gallery
Relieving blocks
8 Tunnel
3 Shaft
of the
last as
5 So-called queen's
chamber
False
9 Entrance
hope
tomb of Khufu
(Cheops), the pharaoh
for whom the pyramid
was built.
tomb chamber
4 King's chamber
some ruined
were
to rely
in
to the
Chapter One
same
sum
two; that
is,
of the
side B:
"
an
A+B
which
is
Golden mean,
called the
certain.
Without mathematical
triangle
and
DE
equal
to
(fig. 1.13).
one
Das a
center and DE as a
holfCE. With
an arc
radius,
is
now
golden
B as
as
Its
divided in
A:B. With
ratio,
Its
and A
length
make
side to
it
the
width, a golden
1.14 Derivation
pyramid
of
golden rectangle.
Using a golden
rectangle, the long side
is
swung
to
make
long
side.
The
as
Its
base and
hypotenuse;
it
as
its
can be
1530b,c,e,
is
filled
roof.
Incised hieroglyphics
(still
visible),
light
in bright
partially
which would
have glowed
in the
dim
admitted by roof
level clerestories.
18
art,
and
in
many
Egyptian
works
"harmonic" controls
derives
from
such
were painted
and
relationship
colors
at the
vanished
stone.
its
mud
columns strengthened
mud construction
common character-
stability in
and
is
3:4,
and
3:5.
17:19
produce harsh, discordant sounds. The proportions used in Egyptian design are
the
same sense
as the
Trabeated
(fig. 1.14).
now
CD
C as a center, an arc is
swung from point X to
IS
god-^
base
binding of cord
istic
swung
hypotenuse
to the
and polished
a right triangle
IS
with
seems
straight-edges
golden rectangle,
CDE
it
the
and reached
typical
and used
of
carefully cut
it
home
knew of
chamber
construction of a
innermost
surrounded by
1.13 Geometric
expanded and
are
A _
B
"harmonic"
in
construction.
many columns
is
1.16 A ceremonial
called
of Tutankhamen,
c 1340
B.C.E.,
in the legs
is
of the hall
is
is
light.
seating function
clearly
is
subordinated
grandeur,
conveyed by the
rich-
ness of matenal
and
more
gates
to
between pylons
and power
sublime craftsmanship
been assembled.
chairs, tables,
their use of
Simple
bilateral
concept.
controlling
has a simple
the pharaoh
some
of everyday
tional information
life
Pigments
and
and
that
interiors, ceilings
in a strong
them richly
homes of the
ot
in the
of Egyptian design
(fig. 1.16).
personal
adornment.
Such
objects
are
often
life.
many
houses built
wood frame
formed
cabinets,
built as
and
were
Nile.
proportions,
woven
golden
the
including
Surviving bits of
section.
of woven cloths.
in grad-
Roman
times.
up
development
is a
European
Its influence on later
other
peoples
around
Certainly,
matter for debate.
ually diminishing strength,
until
Furnishings
in
royal
is
a direct path of
or other aristocratic
tombs and
of everyday
guessed.
scenes
that
show
were placed
The
latter
in
include
and
Rome
on the
on which
The term
European
"prehistoric"
later
left
is
civilization grew.
no detailed written
history.
The
these palaces
is
1450-1370
B.C.E.
Its
confusing as a result of
his successors in
complex
and
ruins
are
many
rebuildings. Recent
efforts at restoration
give
like
On
one
bers
side there
is
lower
level
of narrow cham-
is
come from
up a
twenty towns or small
built
cities,
each with
its
own
fishing.
Some
is
contact
assumed,
although there
is
no
clear evidence of
its
influence.
1450-1370
B.c.E^
Knossos
H\\^ <vt
Excavation
has
Minoan
built, leaving
stone
and
the high-backed
2.2 {opposite)
Interior
Rome
of the Pantheon,
as painted by C,
Pannini,
c.
all the
P-
1750.
Roman
The
temple
to
gods, built
18-28
C.E., IS
domed
structure containing a
and
the matching
a geometric
order, while
daylight pouring in
dome
illuminates
tall
Corinthian columns,
and
bronze
20
cities,
benches,
floor,
1w ^^^
palace.
to
level
of
be the ceremonial
columns
a roof structure.
On
spaced
is
leading to
ings.
The
(fig.
2.1)
rooms
some
idea
surprisingly
its
the
rooms of the
an upper
Stairs lead to
chambers thought
Knossos, Crete,
larger
(below) Throne
2.1
c.
tures but
uncovered layer
after
layer
of
more
extensive remains of
some of
the
palaces
Chapter Two
2.3 Reconstruction
drawing of the
Mycenae, Greece,
second millennium
B.C.E.
below a
an
exhibit the
smoke could
Megaron
called a
and Portico.
hearth,
the intenor
a larger capital
to
artist's
deco-
patterns.
was
round
and
a raised
throne placed
tiles
and surviving
wood
roof
at the center
destroyed around
earthquake.
1400
Mycenaean
b.c.e.,
probably by an
civilization
lasted
until
Greece
seem
own
systems of
wood
The
symmetrical plan and placement of the megaron in
colorful
painted
decorative
patterning.
sites
streets or alleys
tiles,
rooms,
winding
The Temple
pottery,
22
central
Internally, there
to suggest a
vernacular of houses.
room
structure,
unknown, the
(fig. 2.3)
side, the
like
up without
and chambers,
topped in places with stones tilted inward which
meet to form a stone roofing. Enough stonework
survives for plans to be reconstructed which
galleries
the Aegean
it
was thus
3
1
democratic
increasingly
later
architecture.
No
required.
society
wooden
lintels
Entablature
Cornice
Frieze
Architrave
Capital
Base
lintels
Styiobate
details that
Stereobate
Abacus
and
rafters
and Rome
that even
10 Echinus
Volute
12 Tnglyph
wood
the joinery of
in
construction.
The
(strictly
ceremonial
were
temple
Greek
of the
functions
minimal
Metope
symbolic),
or
which
formula. The
Athens,
is
simple,
its
austere
and
columns
column
worked out
usually only
(left),
at the Parthenon,
its
design limited to a
its
is
governing module.
typical of the
is
characterized by a
Greek architecture
also
or eight
at
the
rear
making up
side,
of rhythmic
surround
six
simple
This
repetition.
total
some
devices,
discovery for
subtle
so
as
to
have
escaped
many centuries.
The
that
rises
Sylobate)
oldest
to a simple capital
Echinus with
The column is
example.
rior spaces
front elevation
The best-known and most obvious characteristic is the use of an Order, a systematic means of
grated plan
architecture
a square block or
Abacus
above.
golden
fits
proportion,
ratio. Its
same
column spacing
whUe
the
447-435
Naos
Pronaos
3 Opisthodomos
their neigh-
on
the
lines
bors
than
the
regular
spacing
based
4 Treasury
5 Base of Athena's statue
6 Peristyle columns
slightly tapered
upward
columns lean
Solid wall
columns at each
penstyle surround.
crowning element.
verticals to lean.
lature
dimensions that
All
relate
through a
Module
or unit
550
B.c.E.)
is
at
Paestum, a
column
its
diam-
in later
work
at different sites,
in a slight curvature,
slightly
make
straight lines
They
seem
to curve or
and back
front
column reaching
entablature,
side,
and back an
At
addi-
row of SIX
columns stands in front
of the doorways which
lead to the naos or
mam chamber at one
tional
also introduce
an aesthetic
support an upper
the Parthenon
diameter.
b.c.e.
columns support
23
Chapter Two
detail.
shifting of
The patterns called a
Creek key
and
the
more
executed
and
fret,
were
mosaic
in
in
its
delicate
mechanical
strictly
precision.
Internally,
simple single
tiles
larger
are a frequent
"humane"
temples
have
supporting a
interiors.
range
Mezzanine
feature of Greek
of columns
rows of columns
internal
supporting
the
roof above.
It is
capital.
Roman
column
widely used in
Paestum
ruins mislead
modern
at
The white
become elements
capital
details
detail.
in
used
continue to be used in
classical design.
which
came
into use in
taller
and thinner
form
Volutes.
also
by
its
The
capital with
small
its
temple
in
and
proporis
most
twin scrollcalled
the
when
century,
travel
Greece became
to
as the ideal of
of the eighteenth
sites
easier,
through printed
460
ings,
b.c.e.
of
This view
had a roof
looks
down
naos (principal
tier
design.
In
more
design
has
overshadowed
recent
of columns would
literal
Greek
imitation.
Le
of
columns supported a
balcony, where another
series
nineteenth-century
of the Doric
into the
dents. Imitation of
Poseidon, Paestum,
manifesto Towards a
aesthetic
details
logic
New Architecture,
praised the
wooden roof
aircraft that
he viewed
Secular Interiors
Aside from temples, the major building types of
ancient Greece do not emphasize enclosed, interior
spaces.
The Greek
nature with
theater
its tiers
was open
to the sky
Towns included
which was both
24
its
stage.
a central
a
and
and Rome
2.8 Reconstruction
drawing of a typical
Greek house at Priene,
Asia Minor, fourth
century
A
Thucydides chronicled the long Peloponnesian War
open
writing
for
them
one
megaron
pleased at having to
move with
far
front
bedrooms
from
their entire
interior
rooms
and
trs
floor; a
second courtyard
is
is
room)
rare.
had
A room
IS
blank, apart
from an unobtrusive
entrance door All the
living quarters face into
detail
is
limited;
floors of Tamped
No
earth
or, .sometimes, ot
tile.
images in Greek
on vases and
design.
recur-
shows a chair of great elegance probably of a kind only possessed by the wealthy (fig.
2.9). It has a slightly curved back supported by
ring image
'
(large
second
It
all
women and
rooms
side, various
since most of
to the sky, is
flanked by a portico on
b.c.e.
central courtyard,
2.9 The
Hegisto
Attalos
(fig.
B.c.E.)
has
(c.
have been.
An
tile.
the
stele of
c,
410 bce.
seated
in
a chair of the
outward curving
legs of
surface of leather
straps.
small footrest
in front
of the chair.
largely
or,
some-
in
response to
The Andron,
ties.
men
court
living
is
and
is
is
is
25
Chapter Two
2.10 The
interior of
thestoa of Attalos
in
c.
The agora
50
b.c.e.
(civic center
or marl<et place) in
now restored,
Athens,
of Done columns
wooden
roof.
The doors
and storage
by the merchants,
whose wares were
displayed in the open
portico.
350
B.CE.
open
semicircular
tiers
seating facing
of
down
where
on a temporary raised
platform or stage
a natural backdrop.
26
is
The
legs.
in early versions
of the klismos.
form and
about how such chairs were made
a structurally logical
The
strength.
legs
straight strips
It is
not
questions
raises
to have adequate
if
400
C.E., its
and Rome
b.c.e. to
Romans
expanding,
Greeks,
menting
quality.
nical.
Roman
It is
bridges,
elaborating,
and orna-
in the great
engineering works
and Aqueducts
vast
most
striking.
and
roads,
in the creation
Roman
achievement
of
is
from
tree
desired curve.
Modern
efforts to
monuments became
b.c.e.
Greek
age,
temples,
theaters,
larger,
In
and
more
and
richer,
(fig.
connected Greek
came under
city states
Domes
reproduce ancient
the
domi-
nation of Rome.
was used
by these
civilizations.
It
remained
apply
its
Rome
ings that
on the
Roman
Italian
to
is
an
its
neighbors on
The
and
spaces within
between
precedents.
ways
Romans
Ancient
for the
design drew
links
extensively
on Greek
civilization
it
Italy,
and the
no one stone
in
Many
curved form
is
small
lintel
the
held trapped
is
either side.
often called a
flat); its
Roman arch
(fig. 2.12).
Romans invaded
part of the
Roman
300
only
B.C.E. are
known from
surviving traces
An
Springing
2 Voussoir
3
Keystone
4 Centering
Ancient
tects
Roman
and
archi-
made
builders
order based on
column with
centering.
forms ofarcfi
in the
construction of doors,
order.
the
ORDER, the
of the
first
five
orders identified as
limited
idea
semicircular,
and
construction
temporary wooden
was
its
support structure
known as
centering.
Roman times.
Rome was founded,
predating
753
B.C.E.
By 300
b.c.e.
according to tradition, in
Rome expanded
its
power
27
Chapter Two
will stand.
means
that
it
first
of the stones
This
Centering must be
built to
complete. The
is
to
wooden
the
structure
it
outward thrust
exerts
in
two
Romans
also devel-
dome
vault,
lasting
it
under construction.
from the
corners as
at its four
vaults.
fired
modern
Romans
or mortar (the
Romans used
unlike their
The
mix of cement
flat
squares.
make
desired form
artificial stone.
easily
bridge or aque-
bricks,
Roman
brick.
made
use of the
duct
This
(fig. 2.13),
the
last
Roman aqueduct
tiers
of arches to support a
enough
tion, thick
to
of the
in
down
to
Nimes
In bridge
aqueduct
and
structures,
Its
its
neighbors
adjacent
hills.
hill
abutment heavy
in
efficient.
and heavy
Roman
Colosseum
form a vault.
called a Barrel
Rome
in
(72-80
c.e.)
open to
amphitheaters
were
complex
the
systems
and
of
The
great amphitheaters
awnings or
certain
whether
Cantilevers
was
this
from
perimeter
the
it
is
not
through
arranged
through
or
manner of modern
tension structures.
The
another public
Romans
service
called for
and
and dome
construction. Furnace heat was passed through
under-floor spaces (Hypocausts) and through
shapes,
making
flues in walls
full
use
of vault
28
temperatures
that
the
air at the
Roman
bathing
and Rome
2.14 Reconstruction
drawing of the Baths
of Caracalla,
Rome,
211-17C.E,
Enormous Corinthian
columns supported the
overhead vaulting,
while openings
clerestory
in
and
windows high
The
and
the
Its
emperor
29
Chapter Two
section
118-128c,E,
2 Niche
3 Portico
4 Oculus
cises
circle
dome
is
The
circle
drawn on the
section thus
fits
intenor of the
and touches
Its
and even
for
to
The
and
a library.
that forms
section.
Rotunda
The
the
Roman
fully lighted
by
first
daylight.
c.e.)
c.e.; fig.
make
it
2.14)
possible
dome
the floor at
center
of
New
modern
functions.
so-called
Maison Carre
Roman
France, but a
Nimes
at
colony
in
now in
when
(fig. 2.15;
20
c.
b.c.e.
such smaller
rior of
Temples
Roman
The
inte-
The
practical
less inter-
and
and
Larger
Nimes, France,
century
Carre,
first
b.c.e.
of this
temple.
It is
now
in
show
ruins,
Pantheon
Roman
of Venus and
Rome
Rome
in
(135
c.e.),
for
The
well
best
known
preserved,
in
Rome
dome.
of
Roman
the
is
(c.
and
18-28
and
C.E.), a
impressive
temple to
feet in
On
temples, fortunately
huge
is
is
an entrance
width
is
a triangular
all
a single
Pediment.
Two
its
additional
a simple
barrel-
in
temples,
Roman
chamber with a
Its fine
Roman
spherical
Corinthian columns
only contents.
2.15 Maison
its
whom
god to
a statue of the
dedicated as
inspiration for
many
works-such as the
American eighteenthlater
deep
above.
The
walls
dome
in
the
House by Thomas
Jefferson.
story, above.
30
The dome
is
Classical Civilizations: Greece
smooth
dome
is
is
of concrete, 4
aid in resisting
outward
thrust.
feet
lower
at its
The
to
wails are of
The
Rotunda
interior,
its
rich
ments surprisingly similar to their modern counterparts. Knowledge of the settings and character of
everyday residential
vastly
aided
life in
Roman
in
Mount Vesuvius
in
79
2.17 Reconstruction
drawing of the
of Maxentius,
307-312
buried the
cities
basilica
Rome,
C.E.
assembly
c.e.
and Rome
hall,
but they
and
in
approach
to
Roman
at
concrete vaulted
construction High
windows
clerestory
admitted light
to illumi-
ancient times.
developed with
more
and
Roman themes
the basic
elaborate
Roman
design.
on
civi-
over-elaborate
often
at
cella.
Secular Buildings
The Roman Basilica
(fig.
huge impact on
later building.
The
major
to have a
basilica, a large
Nave through
space (called a
was
2.17)
was destined
its
supposed simi-
larity to
trials;
the judge
2.18 The
of Trajan,
marl<ets
Rome,
100-1 12 CE.
large, enclosed,
vaulted hall
sat
on
a raised level in
building.
aisles
On
an apse
at the
end of the
by an arcade,
had open-
and an
nave
in the
made
forming a
clerestory. Walls of
access to additional
shops. This hall
vi/as
part of a complex of
commercial buildings
masonry supported a wooden roof This arrangement of nave and aisles with a focal apse turned out
to be highly suitable to conversion into a Christian
built
urban renewal
It
church
after
Roman
religion
Christianity
around (306-37
became an accepted
project.
included a basilica,
forums,
and
other
public buildings.
c.e.).
Other secular
Roman
houses to service
Ostia,
Trajan as part of an
halls
(fig.
2.18)
'
Two
Chapter
63-79
1
'
Italy,
An
C.E.
Entrance
2 Atrium
Roman
ancient
3 Kitchen
possible
it
to
understand
and
and to the needs and means of its
owner, the Pompeiian house follows patterns that
had become norms in Roman Mediterranean
4 Dining room
5 Parlor
shape of
6 Main room
The House of the
was
Vettii
typical of the
its lot
comfortable houses
regions.
inhabited by the
resi-
near
houses were
layouts of which
lock with the
the
open Atrium
would be a pool (Impluvium) with
surrounding columns supporting a wood and tile
open
by, the
there
inter-
House of
in
Ancient
Rome
Vettii.
Many
life
Rome
describe
live.
made
Rome
whereas
... yet
who
lived in
Rome
for thirty
live well
on a small income
Rome can obtain
made
Juvenal's Satires
Living in
Rome
same
the
forces
one to expensive
parlor
Tablinum with an
or
Roman
adjacent
Windows were
reclining posture.
point:
axis
it.
On
light
displays, such as
access to
formal
it is
In
Roman
Martial, a Spaniard
years
In
social
day.
were
And moreover,
fitted
in
as a kitchen, baker)',
their
and baths
purposes
most conveniently.
The cost of housing is so expensive that the annual
rent of a dark and dingy abode in Rome would buy
the freehold of a fine house and garden in a nearby
town
[0]ne has to spend heavily in order to
manage to live in vile lodgings with enough food for
'
the slaves and only a modest dinner for oneself
In
for municipal
Ut ex
perpetuum
from
wealthy families.
courtyards,
in size
an atrium
in
few
mansions occupied by
had two
front surrounded
by
rooms making up
room
surrounded by another
transitional
spirited citizens
rooms
inscription,
viri
et impuberes
is
''
a kitchen
open
which, translated, records thatT. Avasius Servandus
cestercii to restore
in
court.
civic duty.
garden
at the rear.
houses
is
that the
1,
Martial.
Quoted
in
Epigram 12,3^;
2.
/fori,
(Cambridge, 1974),
p.
230
223;
4.
outermost perimeter
is
often surrounded
no
32
and
is
as having
garden with a
2.20 The
and Rome
atrium,
House of the
Vettii.
Mount
open
to the sky,
and
is
surrounded by a
symmetrical arrange-
is
a garden
surrounded by a
style
peri-
of columns
In
Vettii,
in
supporting a roof
survived
and
are
now
room,
of this
may give
clues to
buildings no longer
extant
Chapter Two
the
wall painting in
house of the
includes a
amusing
work
servants, or storage.
scene of cupids
to be a
at
work
pharmacy, which
tables, stools,
is
2.22) in
what appears
and cabinets
that give
an idea of
Vettii
band of
cupids, which
rich furniture of
Rome must
have been.
Furniture
and Other
Interior Furnishings
in
mixing up potions
great
tion
vats.
in
The details
Roman
houses of the
oil
Technological
skills
feed
efficient
painted
Roman, design
burners, as the
red generally
Pompeiian
orange-
known as
in
sanitary
sewage
central heating
that
provided
by
portable
charcoal
As
far
they
red.
painted
simulated
with
moldings and
pilasters
architectural
detail
of
built
of
Roman
built
Isles at
the limit
it
possible to
painting of exterior
color
daily
or with
life.
naturalistic
used to heighten
realistic,
Trompe
L'oeil effects
walls, false
appear to
and
lie
on
"Pompeiian."
Roman
come
furniture
were black
to be called
was developed
floor
great baths in
floor surface
use of fine
a role as
34
their
and even a
traced
beyond
plumbing,
disposal arrangements,
time.
Romans can be
of the
as
wall painting
approach
to heating
until
"radiant heating."
is
considerably
De
and Rome
.^
^^
V^
2.23 Roman
Entablature
B Column
architecture.
C Cornice
D Frieze
From
left to
orders of
right Ionic
Architrave
Capital
C Shaft
H Base
I
(the
most elaborate of
Roman
Plinth
orders, hardly
Abacus
Volute
simplified Done);
ornate capital);
Tuscan
Corinthian
B.c.E.
by the Roman
Vitruvius PoUio,
Vitruvius.
architect
now
Ten books
generally
known simply as
many technical
dealt with
making of bricks
and water supply
useful basis
that
all
for
Roman
firmitas,
and
vemistas.
Translated
is
still
viewed
as a
and
forms-the
last of the
Ionic
developments).
text. It
is
From
modern point of
view,
Roman
design
utilitas,
combine
to
Corinthian
issues,
phases
attempt
buildings,
(a
of surviving
still
and
Roman
Composite
Roman
Composite
Doric
three
it
4 Fascia
Architectural written
Done
3 Dentils
Influence of
Roman
and lacking
in subtlety.
gradual decline of
35
and
Romanesque
By
400
Roman
C.E.,
declined significantly.
world
had
domination
The empire
split into
sepa-
rate eastern
capital
accommodate
invaders
Vandals.
From
several
competing
dominant
eastward
to
Romans
the
role,
with
called
religions,
its
center
(now
Constantinople
pate in religious
was the
Romans
in
the
eastern
empire
came
to
called
Romanesque
and
as a
Maria
either side
and an apse
end has
at the
convened
Christianity
to serve as
religion
C.E.,
been
a
ancient
When
on
aisles
Roman
it
by the
secret meetings
was
On
either side
aisles,
was made an
officially
than
the
was
aisles,
lighted
The nave,
by high
became
used by the
The
clerestory
basilica-a long
hall
twin
nave with
meeting
courtroom.
"fall"
1000 or
Roman
the
building
Cosmedln, Rome,
772-95.
Roman
basilica, a public
higher
S.
from the
1
came
type that
work centering
To
rites.
(below)
to
whom
European
moving
In
building
Christianity took a
3.1
new
in
313
abandon
in favor
The change
made
of columns
line
was the
in height
and
separation
clear
aisles.
basis
reused to support a
clerestory.
wood.
The roof is of
red
and green
walls
floor
3.2 [opposite]
S.
Marco, Venice,
Italy,
c 1063-73 and
Five
The
the half
dome
mosaic
after.
domes on penden-
and strong
patterns
complete columns with
taken from earlier
ings,
Roman
this
famous
The
dome
introduce spectacular
color into
dim
an otherwise
interior
The
large
most
Roman
geometric
Roman
direct
manner.
basilican churches of
c.e.)
and
S.
S.
of
S.
by
later elaboration.
Maria
in
Cosmedin
Paul
Maria Maggiore
even
were often
their capitals,
thereby transferring
ican churches in a
Floors were
in
Materials,
colors.
transept-create the
space of
Columns
much
3.1)
in
Rome
building represents a
link
between the
work
and
in
tions
and
esque
the
Romanwas
style that
developing
36
earlier
Constantinople
in Europe.
(772-95) or of
S.
Apollinare in Classe
(c.
500) in
At
within
the
building,
that
provided a
y*"
,>(
c:
y^?
Chapter Three
3.3
c.
S.
Costanza, Rome,
350,
Built as a
for the
mausoleum
later
converted to a Christian
An
domed space
(fig. 3.3;
or ambulatory with a
vault overhead.
windows
for
and
the
both
many
model with
c.e.)
and
Stefano
S.
east
end to
signifi-
illiterate public.
Costanza
Rotondo (468-83
its
strong
establish
an eastward-facing direction
for
varied color
its
illustration
cance to a generally
Byzantine Design
in
mosaic introduce
38
S.
a centrally
on
mosaic-covered barrel
Clerestory
350
is
aisle
to focus
surrounded by an
Emperor Constantine,
was
type. In
daughter of the
the building
Chancel
to
become
in
the east,
flowed back to
Italy
to
And
And
The great
lines
Italian
created
in
Cod and
styles
the
Byzantine work,
lines of another,
in
the
classical
the Archiepiscopal
(Either
skills
of ancient
of
detail
Chapel:
Vitale,
S.
Italy,
in
Byzantine court.
The
3.4 (above
and
its
side.
In
Roman
freer use
The
capital.
Rome
were, however,
skillful
use of vaulting
c 532-48.
church built to an
The
domed
space
an
IS
central
surrounded by
aisle with
an upper
'
left)
Ravenna,
supreme)
own
Vitale, next to
Theodora had
his wife
mosaic
in
the church of
S.
Ravenna
Byzantine design.
(mentioned
Colorful marbles
At Ravenna,
S.
ApoUinare
above)
mosaic
church:
didactic
illustration
tall in stature,
headed but
slender
for a
character ....
In
execution there
All
the figures
in
few
in
body, lean
hairs,
bald
architecture
is
in face,
and
in
nothing similar to
church of
in
technical
it
in Italy.
is
'
official
S.
in Classe
of religious
and
The
subjects.
3.5;
c.
532-48)
radial
and
Traversan remarked:
vi/all
we gazed upon a
decoration.
finer or
more elegant
"
3. Ibid. p.
474;
4. Ibid p.
6,
its
Quoted
generate an extraordi-
barren exterior.
bilateral in
never have
and
It
as Byzantine.
The
Vitale,
outer
tory,
latter
is
niches
surrounded by
and then by an
aisle,
or
ambula-
an octagon. The
entrance narthex
(vestibule)
relate to
is
angled
to
two adjacent
39
Chapter Three
Ambulatory
passage with
above,
gallery
its
Roman
now
carved
in abstract
entering
Daylight,
windows, aided
from
in creating
the
high,
clerestory
an atmosphere sugges-
tive
Hagia Sophia
By
far the
is
the
Constantinople
(figs.
3.6
and
on
its
domed
is
vast,
dependent
The problem
of placing a
The
3.7).
Romans
wedge shaped
to
fill
its
top,
builders
and used
on
is
one
circle
at
Hagia Sophia
to
support the
532-7.
The largest and most
spectacular of
Byzantine churches,
surmounted by a
dome on pendentives
with a circle of
weightlessness.
to
lOOm
open
to aisles
galleries
The central
Sophia,
space
domed
typically
and
above the
IS
extended by
2 Narthex
3 Nave
exterior
4 Apse
ways
Atrium
a strong length-
axis,
later
(tenth
to
eleventh
century)
The much
church
of
its
its
which
aisles.
40
in
ft
300
Columns with
four corners.
at its
5 Baptistry
6 Minaret
entrance narthex
and
It
is
probably
Early Christian, Byzantine,
Secular Buildings
decisive
advantage
building
Secular
Christian and
limited fragments
inte-
a castle, or
around
over
and Romanesque
Aachen
(Aix-la-Chapelle),
Germany, 798.
space built as a
riors
difficult.
is
by the eastern
Roman
establishing a
Roman empire
following earlier
remains
early monasteries
nothing
almost
but
practice,
development of
Ages (before
Some houses
design, art,
the stylistic
They
floor
is
also
Greece,
1000)
Italy,
for
identified
by
in
and
sides.
in the
domed
of medieval
churches of Russia.
Early Medieval:
the
interior,
Vitale,
Ravenna, has an
eight-sided vault roof;
galleries
surround
The Romanesque
used
Style
level,
Charlemagne (771-814) established a new center of authority and power that the
"darkness" of the Dark Ages began to give way to
It
was not
until
new
strain of
enlightenment
in the
surrounding
passages at ground
in
and
colorful
Rome by
is
The octagonal
based on S
two
architecture
the
Charlemagne
clerestory above.
the appearance of a
the sack of
Middle
laid
lighted
Roman
authority
its
ending
is
a period ot
it
organized
economy. In
this
local
way
they chose.
in which
power was established by force and apportioned,
along with control of land, by a hierarchical,
emerged
from
downward
who farmed
bottom, the
serfs or
peasants
With
offensive
armed
became dominant.
warfare
constantly
waged
lite
3
6
5
Chapter Three
S.
life.
820.
c.
the
Church
Cloister
Infirmary
Chapel
Novitiate
Orchard/Cemetery
Carrien
Charles)
is
aspects of
Barn
Workshops
Roman
Stables
12 Animal pens
Hostel
14 Guesthouse
School
Abbot's house
17 Scriptorium and
great
palace,
Aachen
at
floor level
is
the epitome of
style.
3.8), a centrally
eight-sided
(Aix-la-
built
Romanesque
Middle Ages.
surrounding passages
vault v^th
and
at the
two
at
was
vaulting systems
in placing a stone
in
in the early
vault
era. In general,
and forgotten
Romanesque
more complex
form. Eventually
Romanesque
At Charlemagne's capital
21 Cellars
early
approached
Chapelle)
20 Kitchens
The
interiors. It
library
18 Dormitory
19 Refeaory
particular,
largely lost
name
from
derives
this era,
11
provision of
during
the
vndows
and so
difficult
led to a dark
interior.
its
variety
best served
up into
topped with
own
limited
in France, the
lasting
At
qualities.
aisles.
The roof is
a series of transverse
by
neighbor
its
Benedictine monastery,
now
replaced by a
building,
is
later
known only
embedded
in later construction,
is
now
wall
clerestory
the
leaving
for
large
many
vaults
available
of the
effect
way that
left this
extensive elements.
self-sustaining
nity,
commu-
of its residents'
and
of Germany
other churches
and adjacent
primary device of
remembered
or,
Roman
archi-
Wood was
regions in
clearly a
tecture
as built.
double-ended design-it
end-was intended
much
survives
all
at S. Philibert a
Narthex
or vestibule on two
The
below).
(see
surrounded by
a curving aisle or
end
chancel
was
also
levels,
West work
an
with
apse
ambulatory with
become
to
is
a character-
no longer survivingand
common
Churches
came
into use
for
permanence
Germany
At Corvey-on-the-Weser
in
To
its
is
a basilican church
eastward-facing main
was added
at
end. This
became a frequent
part of German Carohngian and early Romanesque
churches. The development of major spaces at the
west end of churches can be observed in the
element, called a "westwork,"
c.
layout for
820).
all
It
S.
Gall
intricate
making the building almost symmetrical lengthwise as well as transversely. This double-ended
UDDD
42
later
German
churches.
At
S.
Michael
at
BH^^^^^V
3.10 (above
left]S.
Michael's, Hildesheim,
Germany, 1010-33
(reconstructed after
n n
fi
n/*"*^,
World War
iQOQOOOQDQQ
II).
The Romanesque
rior is
mnii
inte-
of basilican type
and
on
either side
connected
nave
to the
clerestory.
a square tower
at
rises
3.11
Plan of
(/eft)
S.
Michael's,
topped
by towers. The
aisles
The
cathedrals of Speyer
Mainz
(after
eastward from
(fig. 3.12;
and
1009),
begun
Worms
c.
(begun
vaulted chancel
Germany into
3.13
al
(ngftf) S.
1018-62.
The nave
1018-62)
is
S.
wood
Miniato
roofed but
its
interior
is
elabo-
Miniato
Monte, Florence,
Italy,
Italy
The church of
its
small apse on
1024),
on
nave
is
divided into
three sections,
which
IS
each of
roofed in wood.
At each end
is
a crypt
Above, a choir
above
eye-level.
trasting black
nave
rises
Con-
and
white
walls.
and Romanesque
Chapter Three
3.14 Church
of S.Foy,
Conques, France,
roofed with a square groin vault, having the diagonal lines of the groins emphasized as stone
1050-1120.
is
the chancel,
ribs.
now topped by an
a cruciform
built to
plan, with
narrow
toll,
An
proportions-
aisles are
vaults.
octag-
France
crossing The
light to the
choir.
and
bay,
aisles
nave
At
in
the
windows admit
ambulatory
The church was
S.
1050-1120)
3.14;
the arched
openings into
The church of
walls
side
Foy
is
at
a station
so that there
is
no clerestory
level.
but
tries,
and
all
Windows
tapes-
have been
an idea of
ornamental
aisles
50) gives
the
crossing
where
for
and
transepts
richness.
of
La Madeleine, Vezelay,
France.
This
is
1104-32.
a high, light
church, with
an
uninter-
is
defined at
of contrasting
light
and dark
stone, as
and
fanciful carving.
44
is
Gothic addition.
Madeleine
In the
French
another
vaulting
at
Vezelay
(fig.
3.15;
church,
pilgrimage
the
separate
from the
nave
the
roof
that
vaults,
104-32),
defme bays
aisles
and
groin-vaulted
with
crypt
stubby
and Romanesque
3.16
Mont
(/eft)
Abbey
of
Michel, France,
S,
from 1017,
The vast Salle des
Chevaliers (Knights'
named
typically
The
edges of the
walls
Mont
built
on the lower
Hall)
one of the
IS
rooms
in the
complex.
that
it
It
abbey
may
be
housed the
who defended
knights
Michael, established by
Louis XI The stone
historic cross-section of
ture, built
and
rebuilt
to the
beginning of the
transi-
semicircular arches,
complex.
England
work
in
Norman
that
would be
Many
Europe.
Norman
Norman
is
into
buildings
called
Romanesque elsewhere
English
some,
cathedrals
began
reconstructed
as
in
which
supported on
relatively
slim piers-
or
JO
Norman
parts;
construction.
is
strikingly different
building of the
1060-81
),
buih
Normandy,
Abbaye-aux-Hommes
The plan
at
is
Etienne,
(S.
1066.
Cruciform (having
England
and
in
the shape of
vaulting.
The
is
divided
at its center to
With an
eleventh century)
includes a
S.
of
(fig.
Norman
3.17)
and
3.17 Durham
Cathedral, County
Durham, England,
1110-33.
The semicircular arches
of the nave arcades
indicate the
Norman
The
with
its
slightly
pointed
ments that
follow.
The
of the round
piers,
compound piers,
introduces a striking
element of visual
activity.
The cathedra!,
unusually,
still
has
its
anginal clerestory
Normandy coast,
Michel
largely
in
by a cross arch
are
(Romanesque) date of
transepts,
upper
others
(fig.
number of
windows.
3.16;
spaces
45
Chapter Three
3.18
Andrew's
St.
ships.
Durham,
aisle
Church, Borgund,
Sogne
c.
Fjord,
Norway,
50.
In the construction
of
known as
ings
stave
alternate
patterning.
1118)
'is
Almost
Norman,
is all
Ely.
vocabulary of
Richly painted
Romanesque building
is
geometric
of Peterborough (begun
all
as
wood
cylin-
a simulation of
offer
church
high,
IS
nearly
and
tiny
50
feet
windows
light.
Many stave
church type.
It
many
details
were brought to
The semicircular arches of stone arcades are reproduced in wood, and details carved in wood suggest
memory of comparable work in stone. Hundreds
poles
manuscripts.
wooden
Romanesque
particular,
and
illu-
mination of medieval
a lower
CHURCHES with
reminiscent of the
is
to
Scandinavia
Scandinavia by missionary
Around
their
virtually
main
tall
whole
tree
trunks
The typical
about 30 x 50 feet
structure.
small, usually
but
often as
much
a tall
that
form
stave church
in
ground
is
plan,
The central
space formed by the
wooden
now
1150)
c.
(c.
is
190)
is
fine
remark-
its
arched partial
ceiling,
The painted
figures
style
Fortresses
and Castles
on a raised
some other place easy
mound,
a natural hill, or in
to defend
and
to
surround with
a wall
at first
wood was
resistant material.
castle
might stand
up
against
castle
replaced by stone as a
more
it
Some
be built
to defend
stories,
from
its
The
forming
upper
levels
Tower houses,
were
often
with
corner
projections
to
make
were
walls,
techniques
for
attack
improved,
The
accommodaThe rooms of a
tions
castle
had
to
grew
become more
were generally
an ordinary house.
hall,
larger
and
elaborate.
as bare
An
and simple
all-purpose
his family,
and
for
as those of
room
living
rooms
and orderly
v^rith
life
became
increasingly
number of
guests
would
up on
trestles
wood)
like.
made
feudal lord
a separate
late
In the
body of the
all it
hall,
boards
set
on benches or
Seating was
chair at
sit.
stools
was an honorary
if
there was a
way
and
at
settle
ture
up housekeeping
for a time
in a particular
move with
The rooms of
stone
a castle usually
stone or bare
ceiling,
and
wood
tiny, slit
boards, a structural
windows
wooden
for protection
and
The
hall
might have
fireplace
less
cold
with
decoration.
The main
and
fire
burning
the family.
form
flirni-
and Romanesque
Hedingham
of
Essex
is
two
overlooking
number of
from around
Castle
(fig. 3.19;
balconies
topped
(Romanesque semicircular)
arches.
head.
An
is
c.
an
with
The
1140) in
windows, and
with
Norman
There
is
room
wooden beams of
arched fireplace
castles
100 or 1200.
a great
to support
indication
of
unusual luxury.
3.19 Hedingham
Castle, Essex, England,
c 1140.
The hall of this English
castle
has a great
smaller
beams of the
Norman
(Romanesque), while
ornament
is
limited to
An
arched fireplace
connects to a flue
within the wall leading
to
a chimney. The
ture
and small
furni-
objects
Middle Ages.
47
'
Chapter Three
castle
oped another
institution
to provide a different
means of protection to those inclined toward religion, learning, and the arts. This was the institution
of monasticism,
development of
the
renowned
and
in
of him they
it
it.
to those
hermit-like
first
It
location,
rule of
atVicovaro witnessed:
religious
who devoted
broke
pieces as
in
if
The
monastic
Cluniac,
and
built
Benedictine,
gathered member
orders
and others
monks
housing, and
all
closed, self-sustaining
in France, the
(fig.
Cistercian,
community.
monastery of
3.22; 1007-26)
is still
S.
make
In the Pyrenees
Martin du Canigou
Benedictine communities
became renowned
for their
Abbey
was the most famous example in terms of
architecture and music. The security and beauty of life
simple
life,
at Cluny
there attracted
reforming
St.
many
rich
Bernard to thunder
richness
in
in
and
is
a basilican
whose
is
restrained
by the
vaults of the
by thick
suppose
it is
done, as
we
let
that pass;
we
ye professor of
3.20 Monastery
of
S.
Martin du Canigou,
France,
1007-26.
quoted
Abbeys and
in
Lives
in Butler,
956),
p.
552;
2. St.
Priories (London,
960),
67
has a barrel-vaulted
interior,
resting
on walls that
are, in turn,
supported
by a simple arcade of
arches resting on
Only
walls.
leading
to
tiny
a
windows penetrate
only a faint
their
shadow of
suggestion of the
l^oman prototypes.
Roman
aisles are
Tiny
distant apse
windows at the
end and in
side walls admit limited
light,
is
and
stone.
The
Cistercian
3.21), Senanque,
France around
with
aisles
abbeys of Le Thoronet
and Silvacane,
built in
(fig.
southern
48
no
glass for
windows,
interiors
with a fireplace of
both heat
sharing a
common
Where
tion.
walls
field
and animals
some
in use, in
still
Europe.
As
towns
developed,
farm
families
often
give
to
nave vault
is
resisted
which
aisles
thrust
is
act
as
The outward
thrust of the
walls.
originally
no furniture
in the
rial,
upper
two on
required by the
typical Cistercian
its
the
monks coming
wooden
floor
A number
30,
in
room in
which each window
barrel-vaulted
corresponded
to the
cloth.
banded
define each
metal
cell.
The
to
The
tie-rods are
modern attempt
to
3.22 Farmhouse,
preserved
good examples
(fig. 3.23).
houses) and
fill
in the
The
(Row
small
courtyard near the rear gives some light and ventilation to the back
in
the
Norsk Folkmuseum.
7776 kitchen was the
most important room of
the farmhouse The
natural
in to nightly services.
c.
now
five
of Le Thoronet,
France,
making up the
Dormitory,
Abbey
life.
the
side,
3.21
each
and Romanesque
the
floor, walls,
and
wood stove. A
bench and the hanging
the
was usually a
pieces of furniture.
to the street;
it
cloisters.
tion.
In the
communal dormitory,
each
monk
some
illumi-
Houses
Serfs
Few examples
countries where
lived in a simple,
wooden
a gable
wood was
examples
been
common
in the
Middle Ages
(fig. 3.22).
With
49
Chapter Three
3.23
Viollet-le-Duc,
rrf^frrrtferrfrri^^.
wooden tub
with
Habitations of Man in
all
modern
Ages, 1875,
a house
sense was
it
filled
unknown.
latrines,
would have
was
the home and shop of a
bourgeois merchant or
looked c 1200.
might be
in
shown as
a half barrel
reconstruction of the
exterior of
simply
warm
It
stream or gutter.
Furniture
and Other
Interior
Furnishings
Our evidence
comes
upper
level
narrow
stair at
one
side leads to
attic
or
and
for storage.
loft
an
as
was an
workmen
was the
source of water.
Inside, the
house
town was no
in
different
from
The
outside.
look
familiar
make
as
Half-timber
of
wood
wood members
members with
infilling
between the
plastered
interior
unknown
was
in
early
used communally.
sewage ran
in
(averaging as
open
gutters,
as
little
communal bath
as
it
3.24 The
statue,
Foy,
reliquary
Church of
S.
Conques, France,
983-1013.
Jhe carved wooden
statue of the saint
reintroduced
into
Europe
at
time
the
of the
social gathering
and tended
to
actual)
50
homes where
it
seated
in
a chair
is
and jewels.
It is a
symbol of the venera-
tion felt
by those who
Santiago de Compostela.
money
collection
u:iv.vfft'n
container.
and Romanesque
opment of
hinges,
locks,
making
as
when
means of
no
there were
bed or up against
at the foot
of a
room
facility.
made
a size that
to
the result of
A box
chest of
a seat for
form
a back,
form
to
Even
a castle.
emblems denoting
3.25 (above)
stools
Wnothesley
the importance
manuscript,
of the user.
manuscript
illustration
showing the
throne
(fig.
His
3.25).
King Edward
is
seated
on a throne between
of
rulers
1250,
Windsor Castle)
vassals,
c.
(Royal Collection,
textile.
is
and
Judges are
It
woolsacks
bright
colors
many
Windows were
3.26
and
of undyed
bench or table
and stone
while,
textiles,
walls,
and the
wood
to Isabel of
Bavaria,
c,
1300,
and
with
some
drapery,
tallow;
luxury.
in a
those
bowl of
common
whatever
a great
hair arrangements
Its
fish
or vegetable
oil.
floating
In the houses of
to the
room
embroidered
Common
for plates,
poems
but
people had to
treated
Manuscript
privacy to beds, to
not
(left)
illustration of Christine
in
apparel
for
is
were used
in the center.
others form
the
ability to
and
a parliament, while
without backs.
Wales. Churchmen,
barons,
colorfully
and
and seat
the
painted
head.
chair can be
and
of the window.
A woven
floor.
51
Chapter Three
Europe,
Islamic Influence
survived
it
Spain,
in
with
coexisting
785-987.
to the expulsion
traditions: the
from
regularly spaced
and
and
the pattern
Cordoba
suggestion of infinite
distance, are the only
decorative elements.
in
Italy,
Romanesque
southern
direction emanating
and
France
Islamic
the
or
Africa.
Although
and eventually
largely
The Mosque
obliterated
in
most of
The
by the Islamic
religion
is,
A mosque
communal
is
quite different
a place
It is
an auditorium where
are
rituals
watched by a
churches
Byzantine
congregation.
were
often
territory
the
in
East.
Hagia Sophia,
as a vast
strong orientation to an
altar,
Columned
roof structure.
around or adjacent
to
were arranged
halls
tain or pool
provided for
the kind of
mosque
a foun-
This
ritual cleansing.
that
was
is
built in Spain at
downward
support an upper
flat
roof of
tier
extension at
its
of arches that in
wood
(fig. 3.27).
The
and grey-white
stone,
making
their
forms
Domes
from
built
a lattice of inter-
Maksura (a special
leader) and Mihrab (a
form
semicircle, continuing to as
60 or 65 percent of a
52
now
full circle.
Many
churches such as
S.
below
much
Spanish
Maria
la
Moorish Elements
3.28 Court
Spanish
in
and Romanesque
Lions,
Romanesque
of the
Alhambra,
Granada, Spain,
1354-91,
The palace courtyard
Romanesque work
building in
France.
(fig. 3.29;
twelfth century)
At Poblet the
detail.
that
in
almost
the Lions
is
named
and
of
the
thirteenth
century)
are
slightly
simply
tice
S.
of the
move toward
is
and
Romanesque
detail are
design,
and
and
sound and
this,
other fountains
pools create
(both
is
surrounded by arcades
right
at the lower
and
left
of the
illustration) carry
onward
the sense of
complex fantasy.
it
Moorish
strong
abstractly
patterned
strong hint of
and
in its use of
ornament,
Spanish
have
synagogue)
ARCHES.
An
in the twelfth
arcades
of
such
century as a
Moorish
of the second
is
commandment
of Moses which
is
human
much
later
era.
3.29 Poblet
monastery, near
Tarragona, Catalonia,
Spain, twelfth century.
(founded
slightly
in
157) has
pointed arches
supporting a wooden
roof Screens of
wood
stone, in plaster,
tile
way
that offsets
late
date
in a
makes
it
its
later
development
courtyards,
surfaces
slightly
many
the
reflect
in
at
richly
pointed shapes.
53
From
c.
and
established
all
aspects of
of building,
crafts
weaving produced
improved, the
life
Knowledge of design, of interior spaces in particular, was greatly enhanced by the increasing use of
pictorial
produced by
(fig.
in
illustration
artist
manuscript
monks and
court illustrators
4.1).
books
important
came
Within the
stone
and
gates,
wood
stalls,
castles,
drals
with
gargoyles
their
all
stained
these
glass,
make up our
buttresses,
and
picture of Europe
on
grilles
was
sculpture applied to
closely
the
stone
by the wood
paralleled
and the
stalls
in
seats
altars
made
Gothic
metal
thrones,
representational
fittings,
clergy.
of the
structure
vestments of embroidered
cities, large
like
to be
generations.
carving of choir
Great walled
structure
and barbaric
to be regarded as crude
and
lecterns
Gothic
the
textiles
at the
back of
altars
altars in side
du Due de Berry,
1413-16. Musee
came into use in postmedieval times when the work of the Middle Ages
of
In this illustration
month of January,
the duke
is seated at a
banquet with his back
to a great fireplace. The
table
IS
stylistic
originally pejorative:
Conde, Chantilly.
the
given that
of boards, set
on moveable supports.
it
and other
chapels. Altar paintings were often
in the chancel
closed.
also be
when opened
was often
at the
time of a
of color. Color
on walls
vaulting. Surviving
and
ceiling
suggest a
space of great
in
more
recent times,
its
luxury.
natural color.
4.2 {opposite) Abbey
of
France,
35-44
ambulatory at
Denis, Pans,
S.
stained, but
made with
integral color
through the
it
pieces since
were
available.
trifo-
To make
larger
windows, small
of H-
pieces of glass
clerestory with
its
great
windows of stained
glass Nine chapels
radiate from the
ambu-
windows
end) of
nantly,
along
what
light
greens
were
colors
with
and images.
assembled
emphasis on
clear
Strong,
strips
to
make up
pictorial
is
chiefly distin-
as
when
making up churchly
aid" at a time
Romanesque
54
building.
the public
i.'
WrR
Chapter Four
4.3
(right)
fragment
Cathedral, France,
c.
220.
Realistic
images of
animals, birds,
even a giant
and
snail,
act as framing
stated
the
and
clergy.
rial.
Wand
drawn as
shown. A and B are
connected and a
height
are
drawn
base
ofAB
is
to reach the
line
at
as a center,
Coming
The Gothic
moving
it must
era developed
its
can be
to
{right}\Ne\\s
Cathedral, Somerset,
England,
1175-1240.
"strainer
own vocabulary of
(fig. 4.5) in
dentils,
dart,
forms such
cluster)
cluster
of
and
four
as the
the
Trefoil
Quatrefoil
(a
with
joined
leaves)
(a
was subdivided
and
the distribution of
rules such as
New
Construction Techniques
the
most
advanced
technical
devices
for
Roman and
and
vaults
for
lasting
Romanesque work,
construction
and,
in
tower
is
the floor.
similar
1330s
is still
its symbolism
its
upward pointing that may lead the eyes and so the
thoughts upward to the heavenly concerns of religion. However, pointed arches (fig. 4.4) came into
use in many ways that have no religious implications. They appear in such mundane structures as
castles, town gates, and fortifications, in town halls
and other secular buildings, and in the details of
furniture and decorative objects of every sort. There
three-leafed
c.
To
In the
mate-
With C
C.
AC
used as radius R
4.5
pictorial
and
books or other
access to illustrated
pointed arch.
its
fuU develop-
It is
often
solve a technical
problem
Romanesque
made
barrel vaults
practice,
it
difficult
or impossible to
The
nals of the
The solution
lengthwise space of a church nave while the openings to the side could be used for the high
of a clerestory. This
aisles at either side
either be
left
must
level
windows
and
aisles
itself),
bay were
all
aisles,
the
sides,
of different heights.
to the
problem was
to build the
would be of
same height. A strictly geometric
problem would have used half
less
solution to this
elliptical
of a
groin
vault,
front, back,
S.
and
diagonals
that
seem
flattened
stone
was
any height
in relation to
laid
or will have
elliptical,
than
higher
rise
circle,
have diagonals
at
Ages
buildings such as
Later Middle
four
the
case
its
the tech-
had been
built
wood support
for these
structures. This
bounded
temporary
was done by
the vault
first
and the
wood
scaffold
between the
needed
to
support
the
ribs.
(fig. 4.6) as
The
Ribs
to construct.
Once
ribs ore
at front
also
comprois
easier
square,
sides,
this
approach
all
four
height,
Derivation of a Gothic
is
rectangular, or even
church nave
vault
itself
made
has
its
usefiil
arches
rise
higher than
use
into
might be
own
but that
aesthetic
4.6 Construction of
nbbed vault.
and
ellipse,
for
required height
and
second diagram.
To construct a vault
with a rectangular
base, as
shown
in the
were involved.
The remaining issue involved the provision of
not
rise to
the height of
are pointed
and
so
fit
the rectangular
was countered by
its
onal arches
57
Chapter Four
4.10 Cathedral
of
S^
Etienne, Bourges,
France,
1195-1275.
would
rise
above side
aisles
light
or flying, buttresses,
down on
which make
to
it
possible
clerestory
in
nave arcade
high,
is
very
bnnging openness
able.
exterior
clerestory
windows
We
the
no longer carrying
could be opened up for
walls,
have
little
person
when
had
not
come
be
to
recognized
and
when
still,
however, a time
in the esoteric
fit
cathedrals
stresses
that
It
makes
another
of
use
theoretical
geometric
and Greek
oped to
fit
cross-sections
can be
fitted to a grid
high, with
proportion
laid
the
on the
falling
(fig.
of squares,
Dame
six
in Paris
wide by nine
and pegs
right triangle
was used to
to
that
would be applied
that
were
logically
and techniques
Some
down
(fig. 4.10;
establish
rates
interval
of a
sixth.
4.11 Construction of a
golden section.
c.
its
1145), for
structural
1195-1275) where,
aisles
are
58
A golden
ratio
is
derived
an
AC IS
a golden
ratio.
Although
it is
is
contained
cathedral, there
has no
with stained
filled
the
high
outer
walls
of the
France
built of brick,
a very
inside
is
at
The Gothic
went through
topped by two
Gothic work
tall
interior.
actually built as
The supporting
nave with a
tall
church above.
Early and
are:
refer to the
1150 to
include both
early
4.12
Pans,
S.
1
Chapelle,
242-8.
was
built to
revered
house a
There
relic.
is
shown
here.
The walls
were reduced
to the
between could be
filled
and
color.
The surfaces
and
gold.
59
Chapter Four
4.13
(ng^f) Cathedral
of Notre
Dame,
Amiens, France,
c 1220-88.
The
completed
tallest
many ways
the
is
most
the structure
relieved
is
by patterns of marble
flooring and by the
color of the stained
glass.
of the nave
(140
to
and
choir
feet) contributes
a sense of over-
whelming
4.14
intensity.
(far right)
Church of
S.
Maclou,
Rouen, France,
c.
1436-1520.
The church
is
late
known as
Flamboyant The
flame-like forms of the
tracery,
style's
name
are visible
in
is
is
Many
French cathedrals
the
windows at the
of the
Gothic elements.
derived,
far
choir. This
Chartres, Bourges,
end
church
istically
it
west porch.
Amiens
4.13),
(fig.
and Beauvais
Laon,
are character-
French
S.
are
cathedrals
Chapelle in Paris
is
Rayonnant.
typically
the best-known
Literally
meaning
excessive,
decorative
Ouen and
Rouen, are
detail
are
characteristic.
in
that
earliest
most
cathedrals,
it
is
at the east
nave
60
is
made up of
The
is
consistent
choir, generating a
The
unified space.
nave,
for
open, and
tall,
make
it
windows.
Chartres
ambula-
detail of the
Around
a double-aisle passage or
to
and
transepts,
length
late
is
in a semicircular apse.
entire building
built
"flame-like,"
this
S.
The
vaults
Dame
Flamboyant:
patterns
Rayonnant
building.
either side
on
aisles
are
variations
(figs.
on
centuries apart),
this
stained glass.
up of
arched
its
extraordinary
a triple
whole
norm.
Gothic
its
its
later
is
made
portal
opening
makes reference
On
double
with
The
richly
triple
sculptured
arrangement
The nave
stretches
dim
light.
side
clerestory,
which
is
filled
with stained
glass.
Each
4.15
West
(/eft)
front,
Cathedral of Notre
Dame, Chartres,
c, 1130-1290.
France,
Cathedral
is
Romanesque
in
char
octet,
and
unmatched
assert themselves,
the two
advancing
styles.
one on the
right,
The
the
IS
Gothic
the
left,
tower,
1
in the early
style; the
one on
the north
was begun
in
32 but displays
the
increasingly ornate
vocabulary of later
Gothic
styles.
(left
Cathedral of Notre
perspective of the
Cathedral of Notre
Dame,
because of the
Dame,
Chartres.
wonderful stained
an ideal
its
glass,
which
offers bril-
and
transepts with
aisles,
and a
choir with
external flying
make
double ambulatory
buttresses
40 m
Chartres.
150
ft
4.19
to
North transept,
Cathedral of Notre
Dame,
Chartres.
Spaces
window
transept
in the
is
north
more than
42 feet in diameter
Mary appears in the
center of the rose and
is
surrounded by saints
and prophets.
five
Below,
lancet (pointed)
61
Chapter Four
4.20
{right) Salisbufy
Cathedral, Wiltshire,
England, 1220-66.
The cathedral
Is
supreme example of
consistent Early English
Gothic architecture
built from
design
in
a single
a compara-
The
nave and
choir,
4.21
Cathedral, Devon,
England, 1328-48,
known
in
England as Decorated
Gothic. The nave is
dominated by the fan
many
vaulting, with
its
radiating
The
ribs.
most
and
once present
in
cathedrals, has
survived here
a support
and forms
east.
The
left
choir
1573
when
its
later organ.
is
surrounded on three
sides
by
double ambula-
The
columns separating the inner and outer ambulatories and the windows that penetrate the walls and
light the
space in the
The
dim
light,
glass of the
been reached.
Its
skills in tall
building had
England
windows includes
illustrative
The medieval
related
One window
of the ambulatory
aisle illustrates
the
too high to
effects
make
of their
The
clerestory
windows
are
color
is
Romanesque arch-topped
huge, round Rose window above.
windows with a
The end walls of
the
transepts
each have an
a rose
more formally
is
its
time,
the amazingly
at
tall
is
proportions
in size
those
to
and
of
parallels in France,
France,
but
it
is
suggesting
varied in a
strongly
(fig. 4.20;
way
close
that
individualistic
1220-66), built in a
might be
Wells (1175-1338)
and
original,
with
inverted
disturbing
so
62
of medieval technological
its
interesting
and vaguely
arches under the
strange
bracing
appearance of a palm
fan.
The fourteenth-century
(fig.
4.21)
is
a spectacular
4.22
(far /eft)
William
Chapel, Westminster
Abbey, London,
1503-19.
The most elaborate
example of English
Perpendicular Gothic
was
opment of pendants of
stone,
which are
it
seems
to
4.23
{left)
King's
College Chapel,
Cambridge, England,
1446-1515.
simple rectangular
Most
or
monasteries.
The
fan-vaulted
cloisters
groupings
original
Westminster Abbey
This
is
The Gothic
cloister
parts
often
Norman
called
Perpendicular was
at its height.
is
modern
Since
practice.
many
style
Enough
Norman works
in
of the early
early
work of the
at
buildings.
4.22; 1045-1519)
is
the
at
parts of the
monastic
of
(fig.
Norman:
falls
phase of building,
1508-15. Most of the
interior
is
devoted
to
simple decorative
the public.
detail.
is
usually
intended to hold
As at
is
Exeter
of foliage
this
screen (1530s)
lines
all the
on curving
was
is
primary character-
istic.
Perpendicular: This
is
last
phase of
windows and
of
this
at
King's
College
Chapel
at
Cambridge
towers
period.
Elsewhere
(fig.
in
4.23)
Europe
in
all
structure.
The usual
classification
is:
63
Chapter Four
4.24 Siena
Italy,
Cathedral,
it
1245-1380.
as a
Italian
French example.
medieval cathe-
type called a
drals tended to be
Stephen
Hall church,
and semi-
that there
Gothic
is
no triforium or
churches
in
compensate
Tournai or
for this
simplicity, spectacular
surface decoration
was
it
both
and out, a
of caned busts
inside
frieze
and
that
Vienna
is
is
of a
an interior
colorful vaulting.
clerestory.
Low
the
pointed forms. To
marble
in
conservative in
construction,
S.
There are
Countries
(now
as the cathedral at
decorative metal
from
grills
The
choir.
of
cathedral
vast
Seville
mosque
that
wide double
site,
has
aisles,
as
there
are flying
seldom
S.
its
Dame
in
Paris.
In
Reredos behind
the
main
altar is often a
domi-
slight slope.
Gothic design in
Italy
exploited
fully
the
Romanesque almost
Italian
from
seems,
it
work
of the
possibilities
is
the
in Italy.
double side
aisles,
all
The very
overwhelming
the
of
qualities
(fig. 4.24;
Romanesque
space,
interior
same
at the
1245-1380)
structural techniques,
light
The
izes
Florence
cathedral
(S.
Maria
del
Fiore,
1296-1462) has a Gothic nave leading to an octagonal crossing with three radiating half octagons
that
The
inability of the
Gothic
a Renaissance design
crossing octagon
the
great
dome
that
will
be discussed
in
the
following chapter.
Town
and
64
official structures
trades,
were
customs
all
built in
'
The
(fig.
Ages
Later Middle
4.25
Hugh
{left)
Herland, Westminster
4.25;
roofed in
wood
with a series of
called
Hammer
Westminster,
great
Here
the
is
Gothic
supported
appears
arch
beam.
on
conditions,
settled
developing
the
as a part of a
London, 1397-9.
great hall
in
France the
is
the only
palace of Westminster
Its
barn-like design
made
is
spectacular by
the great
truss structure.
increasingly
Hall,
wooden roof
hammer beam,
for
its
projecting, bracket-like
elements.
It
was prob-
ably designed
and
built
The
made up of
and at the
end wall are rich with
Perpendicular tracery.
1443)
c.
is
roof trusses
monastery at Beaune
4.26).
instead there
staff
is
(fig.
walls;
could
patients
walk about
in
the
The Close
Rolls of
instructions
246
in a
Medieval Building
III
of England
demanding building
chaotic circulation
is
staff
in
could
move about
in their
arrangement better
records a series of
and
served as a hospital
curtained enclosures on
wooden
ward. Booth-like
ambulatory
Work
Hotel de Dieu,
Beaune, Burgundy,
the
Construction
4.26
tie
beams and
vertical
wood and
the
the glass of
windows add
color.
Chamber
in
hundred pounds.
he
is
of
is
completion of
1
p,
Quoted
32;
2.
in
it
may be
procured.
House (London,
931),
Ibid
65
Chapter Four
good example
many
old
cities.
4.27).
(fig.
castles
from
hall,
Isere, France,
and
member
a vertical
wooden
beams
tie
that
many
but
300.
structure
truss
Although the wooden
roofing has been recon-
continued
since
It
was
built
it
retains a form
originally
European
cities.
Three
and
Colleges
visible
overhead.
up
The building
until 1948.
its
arches,
grew during
universities
with
this
in
and
its
trussed
Castle
a.xes,
at the centers
more
times.
special functions.
and tradesmen
farmers
up shop on
market days and shelter
from the sun and rain.
to set
Italy,
d'Oro, Venice,
from c 1420
the
had no
when they
structural signif
window
tracery
space.
66
trussed roof
room on
the
hammer-beam wood
large
(fig. 4.28;
ornamental forms of
at
made up
actually often
chapel,
forms as decorative
largest
College Chapel
4.28 Ca
The
spaces
some of
eventually
his
employees)
appeared
(Lonja de
la
for
silk
lived.
special
exchange
carried
down
the
With
the
more
tracer)'
c.
hall.
1420), the
demonstrate the
deli-
of the
later
settled conditions
vs'ithout the
many
such
manor houses
The Later Middle Ages
partitioned
by
off
is
Screens because
screen.
the
hall
the
kind of
usually a
wood
in
it
This
was
also
minstrels' gallery
end of the
platform or dais
hall, a raised
and important
guests,
fireplace against
bedrooms, chapels
sitting
heat.
rooms,
a court,
in
Derbyshire
4.29)
teenth
a large
is
portions
rebuilt
after the
in
preserved great
Little
Smaller
hall.
Moreton Hall
in
as
wood frame
visible externally
quaint jumble of
is
built with a
heavy
its
or La Brede
tion,
(c.
1490)
(c.
although
later
one of the
was so totally
the nineteenth century under the
4.29 Haddon
medieval char-
Derbyshire, England,
The Swiss
century) and Chillon
are
late date.
(c.
1390),
castles,
its
Hall,
fifteenth century.
acter has
castles
of Aigle (thirteenth
lost.
were
furniture
in the
and smaller
Many rooms
at
details
have disappeared.
in
Gothic
Windows
made
wood
mation about
The most
detailed infor-
Middle
illustrated
This
banqueting
with
Its
lord of the
his dependants-
honor or
medieval
love.
perspective
drawing was
artist,
not
available
shown
to
the
in quite
realistic
illustrate
which
biblical
hall,
stone walls,
manor and
The
wooden paneling on
the lower walls extends
across one
room
to
"screens,
and
end of the
form the
"
a service area
supports a gallery,
of entertainers The
medieval
furniture.
67
Chapter Four
4.30
{above) Loyset
The
Liedet,
Birth
of the
artist in his
own
or her
festivals,
Bibliotheque Royale de
(d.
Belgique.
sons of
The
has set
artist
scene
this
a late medieval
in
typical of
an affluent
household of the
1478), for
St.
The
Mary
bedroom where
as taking place in
there
is
huge open
medieval
fireplace, a
character.
The
(fig. 4.30).
is
sit
at a
An
a footrest
is
and
away
to the banqueters,
as guests
The floor
of exposed wood
corbels.
marriage
with an elegantly
tiled
at the
head
while
table,
The
now
artist
who appear
by servants
to take food in
hand
resting
on stone
various
Robert
religious
Campin (1375-1444)
subjects
set
is
in
late
painted
medieval
filled
with parchment
Shutters could be
screen in front
(fig. 4.31).
to
light
and temperature
a triptych
of the
Nearby there
back
rail
ToNGUE-AND-GROOVE
with
is
narrow
The
fire
68
joiuts,
or with panels
make up
from narrow boards while coun-
tering the
wood
characteristic of
the
so-called
the
natural
grey
of stone walls,
is
the
Medieval Houses
arranged to swing
silver candlestick
in the late
The scenes
adjusted to control
plump
wood
The windows
contain frames
of
generally
the ceiling
construction, with
beams
developed
made up
painted
artist
from the
it
in
are
seated
sits
linens.
is tiled,
bound
shown as
guests
is
down
in a hall
office.
1427.
back. There
She
in
of
and blankets
artist is at
all
The same
(probably Robert
c,
work on a
work station
(above right)
Annunciation,
making
Campm), The
staves
an elegant Gothic
is
period.
4.31
illustrations of
and
time;
often based
powerful.
people
most
the peasants or
serfs
continued
to reflect
typical
at
The
Ages
Later Middle
4.32 House
of
Jacques Coeur,
Bourges, France
(c,
1443),
In this
house of a
wealthy merchant,
caned
fireplace
over-mantel. Each of
the doors of
ii
D~
OS
paneling
is
wood
an
set in
elaborately carved
is
wall.
a simple
structure of exposed
Pi^
windows
between.
1
most two rooms,
a dirt or
plank
floor,
bare walls of
and
perhaps
chest
or
wall-attached
sitting up.
medieval planning
slept partly
Stairs are
of Jacques
must have
Plan of the
House
Coeur,
sometimes, particularly in
4.33
winding and
utilitarian rather
common-
than
ornamental.
to
attached developed.
The later Middle Ages also saw the development of a variety of trades and crafts so that
workshops and retail shops
shops both
appeared
in
many
and other
stores.
toward the
street,
In
the
late
to the rear.
It
was of
having no decoration.
Middle Ages,
few merchants
to
and even
elaborate.
ally
non-existent.
horses,
more
Only the
practical in
any
state
case. Late
own
made walking
nobility could
of roads
medieval houses of
Chapter Four
and
cities.
More
elaborate
The
house
fourteenth-century
of
the
banker
sections built
arcaded
around
galleries,
is
It
a cluster of multistory
is
and Dormers
gable roofs,
doorways and
rately carved
of elabo-
full
fireplace mantels,
wooden
painted
colorfully
and
Tapestries
ceilings.
color,
in
and richness
to
and
geometric, or
it
in
its
theme of pointed
and
Wood
flowers.
oped
craft
its
Innovations
taste
flowers,
Domestic Comfort
and heraldic
shields.
Toward
the
aristocratic
improve
wood
where extensive
interior
comfort.
regions
merchant families
affluent
became common
in
made wood
forests
Wood
and
were
stables,
modernizations.
successive
Kitchen
Hampton Court
at
room, 100
enormous
high.
feet
The
New
King's
(fig. 4.34;
long and 40
It is
huge
with three
feet high,
wide and 7
feet
fittings to
since
stone and the walls are bare, but the windows, high
created
interiors
wood, usually
that
left in its
brown
natural
color except
many
in
small castles,
and washstands, so
built-in benches,
rooms
that the
are
need for
Germany as
of elaborately ornamented
tile
wood boards
is
limited by
whole wall
floor.
floor
must be smooth
70
wood
made up
of
many
is
fact,
houses
like
modern
times.
the south,
undesirable. In England,
sunlight
and heat
winter cold.
windows
at
that
Wooden
shutters
served
night and
on dark
days.
to
offset
cover
The wood
c.
1520.
The kitchen of Henry
Vlll's
palace was a
and
ventilation.
baking
all the
and
food for
and
is
IS
surface,
the
wood
mam
and
work
utensils
in
had
be
to
filled
in
Windows were
form
to
a practical alternative
brick,
solid wall.
where
light
had surfaced,
to be based
interest in the
on
modern times
largest that
pieces of glass,
the
in a
floors
material,
anci,
upper
streets to
The
habit of
The
diag-
is
along
with
wooden
other
ceiling
becomes
structural
frame
characteristic
glass
members,
windows, it
medieval
remained extant
in
ideas
last
from
is
signifi-
its
In ancient Greece
ophy, and a
In the
traditions gave
faith
and
way
to another
mysticism
world view
struggled,
with
classical
in
which
gradually
of medieval
element
interiors.
Although
was the
truly different
cant in defining
the structural
was
in design
Europe
human
condition.
71
The Renaissance
in Italy
ties
notice
way
for changes in
human
experience as great as
came with
those that
historic civilizations
did
is
What
unclear.
particularly
is
quite certain
about changes
and
way
medieval
1400,
to ideas that
brought
other
every
about
Florence,
in
that in Italy,
is
human
of
aspect
In
life.
5.1
to
dominate the
settings of
church and
drawing,
di Giorgio,
came
powerful
life
for the
For a major
sixteenth century.
The Renaissance
powerful,
stylistic
changes were
of
institutions
and
human
of
how
rarely individual
It is
interesting to
names can be
associ-
The
of Renaissance
history
distinct
by contrast,
art,
many
sequence of names,
a
as
personalities;
and
Michelangelo,
Brunelleschi,
is
known
of them
own
times.
Leonardo
da
write,
in
made
important
less
rather
in
all
factors
significant.
Francesco di Giorgio
(1439-1502) placed
human
the
that
basic.
within a grid of
developed as a plan
an
for
success in trade
far
fallen
524.
of
communal
The
desire to
windows in unique
pedimented frames,
visible in Italy.
Roman
left
so
many
traces
Itself assert
the
Mannerist movement
From
and
Rome, and
to
other Italian
classicism.
cities,
centuries, to
ques-
of
faith.
human
It
and imagination
it
were
I'-Hf
rarely
learned
humanism
did
with
identified
to
not
edge.
they
had
the
that
less
human body
could be studied
in
order to learn
science
is
its
built.
It is
in written materials
newly
miracles
and
read
or
reject
write.
religious
Renaissance Interest
in
History
being had
off the
72
human
lack
staircase,
Laurentian Library,
and
suggested
Michelangelo, vestibule
in
visions, but
5.2 [opposite]
Florence, from
believe
stable
and
of reasons
tioning
and
really
figure
Renaissance
values,
but
Along with
its
develop-
aspect
itself
that
literally
forgotten
justifies
"rebirth,"
wisdom and
the
a
skills
Rome
name Renaissance
rebirth
of the long
of ancient times. In
Chapter Five
of humanism,
currents
who
left
and
important personalities
view in drama,
poetr\',
equivalent of the
more
scientific
medieval
alchemists.
became an
explain the
Roman
structures
later
authorit)'
ruins
that
who
could help to
and fragments
were so
\'isible
built into
in
Italy.
level
ceiling heights
from
became lower
still
It
that
but
was the
learning
for
history.
room
private "studio," a
accommodations
winding
spiral or in
Middle Ages,
li%'ing
narrow
elements
\isible
past,
while
pushing ahead
it is
into
an advancing
admired and
it
Renaissance
is
is
later
Roman
or
Greek.
Details
might be
imitated,
new
The
more spread-out
but
prevailed
same
the
only
ser\dces
rooms on the
level
assignment
The
of
Symmetry
main
accommo-
attic.
new devotion
is
levels
level,
style
influenced by the
dents.
ground
at
design
rexivalist
flights
is
strongly
to classical prece-
details
Roman
often
covered v^th
beamed
interiors, coffered.
Ceiling
beams or
coffers are
or
marble
may be
patterned in checkerboard
patterns. Fireplaces,
affluent citizens
no
mantels,
Draper)'
\'illa
in the
able comfort
and
beaut)'.
The
typical palazzo in a
richly
also
Often,
on
this
family.
74
life.
some of
and other
color, as can
great
ornamented with
sculptural
elaboration.
Furniture
was
more
widely
used
in
the
was stUl
quite limited by modern standards. Cushions were
used on chairs and benches and offered another
Renaissance than in the Middle Ages, but
it
and with
car\'ed
a platform
and
curtains. Carving,
The Renaissance
in Italy
and vaulted
ceilings
Roman
color. Painting
in altarpieccs, trip-
from
as
relative simplicity
move
antiquity
fied three
view
its
pattern,
main
phases
these
Many
phases.
as
made up of
forming
a
older histories
symmetrical
hesitant
beginning,
A more modern
them
as differing in character of
through
more or
less
equal
merit: a progress
period
achievement into a
of developed
late
and balanced
rooted
elaboration.
in
building
medieval practice. As
is
museum)
the
now
rooms
still
seem
furnished (the
ture, suggest
is
of the
a beautifully
a building
way
giving
it
is
to
something new.
Middle Ages
moved
new
can be found
in
and
which
wood
is
is
the ceiling,
of exposed
construction,
is
is
The
furni-
minimal-a
a cradle, two
bed,
chests,
Bruneileschi
The
by the
era.
Florence, 1390s.
tive pattern.
Italy
and
first
first
becomes
fits,
clearly recognizable
around 1400
The
known was
is
well
who eventuaUy
works.
drawn
repeating patterns on
the lower surfaces, at
the level of a fneze,
in the
On
fresco painting
and
arcaded pattern
shuttered
window and
fireplace
the corner
complete the
functional equipment
of the room.
its
It
is
hard to
75
Chapter Five
5.4 [below
right)
how
imagine
medieval
Fllippo Brunelleschi,
Cathedral, Florence,
height of the
sational
dome was
external buttressing
and was on
extraordi-
nary achievement.
5.5 (below
left)
dome
and
Bruneileschi's
dome.
for a vast
vsfithout the
(the latter
drawing of
made
in
that in itself
Sectional axonometric
beginning
dome
that remains a
possible to
construct the
dome
and
Bruneileschi's
can be located at
and
at two
(figs.
5.5).
achieved without
tions
plan
most important
its
1420-36.
The great size and
ribs
could
builders
how
dome
is
not
Roman
in
shape
its
but
the construction
upper levels
right) Fllippo
Lorenzo, Florence,
ribs,
two
in
all
and wood
wrap
that
1421-8.
inner
The church had a
basil-
Connthian
surface
between
was
visible
used
inside.
as
working
space
during
ribs
would tend
block,
a tiny
circular
completed
building
small
virtually
in
above provides
and
is
cathedral
Bruneileschi's
demonstrate
completely.
create a nominally
cruciform plan.
Lorenzo
most
the
(fig. 5.6;
(begun
1435),
Duomo)
of
to
interiors
Florentine
churches
begun
in.
visible
approach
his
In
it
dome
name
informal
its
not
but
light
there
was
itself,
(Roman) arches
to burst
dome
an impost
with "tension
1420) and
c.
S.
more
of
undertook
Brunelleschi
S.
Spirito
the
aisles
into
the
new
nave arcade of
is
Roman
ancient
Romans
on
did not
Roman
work, columns
basic
character
of
76
classic
order.
In
The Renaissance
5.8
in Italy
Filippo
called
arrangement
was
that
not
unusual
Renaissance
Roman
its
is
an
Chapel,
Early
in
use in the
practice
was
work
at S.
may appear
Old
Sacristy to distinguish
Sacristy
from the
later
It is
and
color there
the
warmer tone of
and
are
interior of
by Luca
della
Robbia
space topped by a
The
What
greenish-grey marble
by Michelangelo,
dome on
it
it
(note the
(known
IS
New
is
Lorenzo was
domed chapel
The
understood.
fully
Brunelleschi's earliest
1429-61,
is
Croce,
S.
Florence,
The problem of
with pilasters
is
dealt with
pilaster
to
fit
the
corner.
Eight
rondels are
unlike
and four
anything Roman,
in the pendentives.
this space,
with
its
While
Gothic design.
The small
orderly
anything in earlier
church of
has
Croce
S.
although there
his role in
Old
attributed
Sacristy at
S.
1429-61)
Brunelleschi
to
is
design.
its
death but
after his
been
usually
its
It
design
Lorenzo.
is
until
It is
often thought of as
symmetry,
use of classical
its
Roman
its
elements,
A dome on
pendentives
space which
is
is
rectangle.
balances a
domed
its
own dome
its
monks of
the chapter.
The
pilasters
here
and
reliefs
repeats
at interior
corners
characteristically
Early
of pilasters
that
Renaissance interior
detail.
The
tentative quality of
Florence, c
1421-5.
The square,
domed
but
and
in the
1430s
modifications were
introduced by
Donatella, the designer
and
by Luca
5.7 Filippo
it
ancient
Roman
doors,
is
placed
which
and
IS
his wife,
recessed in
the floor.
77
Chapter Five
Michelozzo
The Florentine Medici-Riccardi Palace {fig. 5.9;
begun 1444) by Michelozzo di Bartolommeo
(1396-1472) suggests medieval massing with
Rusticated
heavily
windows, but
into a
its
columned
Roman
The
its
small
detail identify
building.
and
stonework
as
it
and
use of
its
an Early Renaissance
awkward
a particularly
column
capitals with
Roman way
Room interiors
the classical
5.9 (above)
Michelozzo
di
Bartolommeo, Palazzo
Medici-Riccardi,
Florence, from
444.
of relating columns to
and largely
unornamented except for elaborately coffered
wood ceilings and classically detailed door frames
and fireplace mantels. Rich and illustrative tapestries probably hung on the walls of major rooms.
The chapel is lined with fresco painting by Benozzo
Gozzoli (1420-97) showing the Procession of the
Magi as an ornately costumed procession
arcades.
proceeding through a
The
style
and
are simple
hilly
landscape
(fig. 5.10).
is
an example of early
painted form.
later
Renaissance classicism
in its
use of semicir-
on the slim
5.10 Benozzo
Gozzoli,
Connthian columns
Medici-Riccardi,
strictly
symmetncal
Florence, 1459.
exploration of classical
of early Renaissance
to
of arches
columns, particularly
at the corners.
Magi but
the figures
are portraits of
has
included a self-portrait
as a kind of signature.
78
The Renaissance
building
symmetry
maintained
externally,
its
now
left-hand portion.
Alberti
Leon
Battista
musician,
Re
Alberti
artist, theorist,
and
writer. His
book De
It
was
powerful influence
fifteenth century
moving
in
the
more
strongly conceptual
5.11
Elevation of the
facade of
S,
Andrea.
church
fits
into a
then divided
is
in four,
creating
sixteen squares.
Elements are
in propor-
and
5:6.
in Italy
Chapter Five
5.13 Donato
Bramante,
Satiro,
S.
Milan, reconstruction
begun 1475.
The
effort to
generate a
frus-
to
a trompe I'oeil
by adding a
false choir,
which
is,
in
The
apparent space
actu-
ally
is
a perspective
image
in bas-relief and
paint
domed
crossing at
is,
outside
Bramante
surprisingly,
limited
no chancel because
the
knowledge of the
plan
to
T-shape.
istic
viewed from
when
a circular space
Bramante
that
surrounded by
a ring
of
that
with a portico of
supporting an entablature. The enclosed center of
chapel
the building
is
drum
a hemispherical
dome. In
eleva-
to be
topped by
tion,
width of 3 to
5,
the
same proportion
total
dome)
is
width to
3 to 4.
as the
total
drum
height
3;
with the
plan.
Rome. Here he
In
and became
career,
of
his
began the second phase
Renaissance
of
High
exponents
one of the first
to
work
Montorio
S.
Pietro in
in
now known
80
planned
show
drawings
surviving
but
4;
measurement show up
relation-
to
1.618.
The
interior
uses
eight
pilasters
The Renaissance
5.14
(/e/t)
in Italy
Donate
Bramante, Tempietto,
S.
Pietro in Montorio,
Rome,
502.
Tempietto repre-
7776
sented a highly
successful effort to
domed struc-
circular,
ture.
monastic courtyard
in
which
it
5.15
[nght] Engraving
stands.
Paul Letarouilly's
Edifices
de
Rome
Moderne (1825-60).
This cross-section
the
domed
shows
circular
beneath, with
its
centrally located
reli-
5.16
(//g/jt)
Elevation
of the Tempietto.
is
made up
of
one
one
entire elevation
an equilateral
Roman
building, there
is
a quality of organization
Tempietto that
In spite of
spirit.
its
small
size,
the richness
and
power
visual
that explains
its
influence
on subse-
hori-
vertical.
fits
The
into
triangle.
5.17
(/eft) Donate
Bramante and others,
plans for
Rome,
new
St.
fitted
began
in
the
Construction
corners.
resulting
the modifications
designs of
St. Peter's,
506-64
in the
quent development.
made by
sequence of succes-
left):
Bramante and
Baldassare Peruzzi,
before
1513
(top
da
1539 (below
right); Ciuliano
Sangallo,
and Michelangelo,
1546-64 (below right).
left):
made by
Maderno
Carlo
in the seven-
still
scheme seems
plan
carried
in the
incorporated in the
building as compjeted.
to have
Vatican that a
suggestion
of
Roman
81
t0
&
Vasarfsi
iisJaeofI
HHiwdi ng Brft
"^
of
re 3-r!E iiM*t
151 3-89
-,
^^-
82
.i.-^
The coun
the dassic
The Renaissance
in Italy
5.19 Annibale
Carracci, ceiling frescos,
1597-1600.
had
as a dining room,
florid decorative
was
reserved for
illustrate
variety of
mythological subjects
while the apparently
and
trompe
foeil
paintings on the
smooth plaster
surfaces
is
of
solidit)'
and,
solves
incidentally,
the
various
sizes.
Salle des
The
Gardes,
room of
largest
is
rooms of
of double height,
its
two
levels
level the
order
is
a correct
Roman
is
fresco
pilasters
framing
on
podium
each window.
windows
windows
pilasters rest
is
way up the
hung high above. Other rooms
walls
tapestries
var%-
The room
floor level
is
treated in a
common
way
that
of the main
became
Some
a
service
mezzanine
tucked
Renaissance
room. In such an
increas-
This
practice.
all
of the
ence of furniture becomes no more than an incidental practical necessity. Here the barrel-vaulted
A monumental
surfaces of a
in
and
and
from
ingly
floor
room
lighting
an
Othen\ise, the
Corinthian
is
Doric; at the
within. There
is
main (second)
sides of
ceiling
is
entirely covered
(1560-1609)
by Annibale Carracci's
mythological
scenes
framed
in
83
Chapter Five
its
Andrea
and
Here
painted in illusionistic
false perspective. In
there
all
others.
pilasters, entabla-
a small
with inlaid
a scattering
in trompe-l'oeil
(fig.
5.20).
The
on
ability
of Renaissance
stemmed from
their
flat
artists
to
new knowl-
edge of perspective.
In 1532, Baldassare Peruzzi (1481-1536) began
5.20 (above)
Studiolo,
in
which
Rome Moderne,
intarsia in colored
objects-
de
Roman
mentation of the
and
and
The floor
massive volumes
is
a pattern
tiled with
in Edifices
series
woods created a
of illusory cabinets
niches, benches,
engraved plates
(fig. 5.21).
in
include portraits of
{right)
The
walls
Colonne, Rome,
oped
Baldassare Peruzzi,
1532-6.
The salon interior by
Peruzzi
IS
shown
engraving
in
an
in
Letarouilly's Edifices
Rome Moderne.
de
Ionic
pilasters support
an
and
entablature band,
above
this,
frieze
decorative panels
of
is
The ceiling
deeply coffered
and
richly decorated.
84
is
come
into
use as
early
as
1305
when Giotto
Chapel
rows.
at
Padua with
Gozzoli's
religious paintings
frescos
in
the
banked
in
Medici-Riccardi
first
came
equaUy useful
in
The design of
of the sixteenth century, settled into a well-established system of classically based elements.
Roman
orders and
Roman ways
The
illustrated
The
interiors that
Villa
Medici
at
when a style has arrived at a wellnorm, some artists and some designers
in the 1480s
tends to occur
established
The Renaissance
came
to
unduly
feel
constrained
by
the
in Italy
set
active
in
shifting
their
of the earlier
rules.
Michelangelo
Michelangelo Buonarroti (1475-1564), one of the
greatest as well as
artists,
imposed
sicism in a
way
mannerism.
most
versatile of Renaissance
on
clas-
At
the
High
solidly
Renaissance
At
Roman
detail of the
levels.
Lorenzo
S.
Sacristy discussed
in Florence, Brunelleschi's
above
(p.
New
symmetrically placed
Old
by
Sacristy designed
and personal
as active, aggressive,
is
Brunelleschi's
and moldings
in
classical.
and
Pilasters
powerful
whole
attic story
active
pilasters,
more
They are
it its
(fig. 5.22).
sculptural
works,
adding
its
strongly
subtle.
In
dramatic
space
that
room
striking
is
The
is
from an
example of
a 34 foot square
level
and
its
room, with
ceiling
48
feet
its
floor at
above.
ground
The space
is
almost
fills
on axis. If the
and aggressive, the room that they
even more overwhelming in its powerful and
unusual use of
space
that
classical
elements
crammed
into a
almost black
detail
keeping with
in
its
rises
above
Michelangelo's highly
mannerism
his
work
to describe
here.
one
A dome on
library at
function.
pendentives
side
posed on
1519-34.
The "new sacristy" was
of the
new
S.
Lorenzo, Florence,
marble architectural
energy. Paired
Medici Chapel,
mousoleum-like
of arches,
at S.
and
is
mannerist character.
Also
window
delicate
is
between the
ornaments
Michelangelo's mannerism.
of Medici Chapel
and
detail, pilasters,
blind (false)
name
5.22 Michelangelo,
in a
entrance
as
Tuscan,
at first
glance to be Doric or
85
Chapter Five
5.24
to
or
suburban palazzo
villa,
and
Mantua.
Giganti
(Room of the
Ciulio
the
Roman
villas,
such as
myth of the
fall
of
marble, columns,
pilaster,
and
other
this
inserts in the
ornamen-
tors Giulio
was
horri-
visi-
Romano
offering his
patrons an ambiguous
statement of virtuosity
story of David
and
are
associated with
floor
the
swiding circular
the workshop of
pattern,
Caravaggio.
dizzying.
it is
itself
them
as
classic
false
model.
window with
windows
pilasters
and
real
v^ndows above
the blank
window
is
total
is
plaster wall
highly dramatic
background. The
even
tragic in
tone.
Romano
If
the
Giulio
Romano
Mantua
(c.
closer to theatrical
(fig. 5.23;
reaUy a suburban
tant work.
It is
building
planned
said to
work of
as
villa, a
large
single-story
hollow
square
amuse
somepushed up or
seem
to have slipped
down out of
line.
Stones of
and
86
down
The Renaissance
position that suggests an almost mischievous disrespect for the rules of classic design.
Many
of the
size
life
Renaissance
houses
in
begun
down
process, tearing
gods
the
against
and,
the stones of
the
in
some
great
and
The
influ-
northern Italian
who worked
Vicenza as well as
in his
home
city
of
in
hall in
surrounding
Maser
(fig. 5.25;
is
The
interior
typically Palladian,
rooms
fitted into
largely
and
include
illusionistic
5.25 Andrea
Palladio,
Villa Barbaro,
Maser,
architectural
detail
servants leaning
from
human
a balcony, a
page
known
on three
it
appearance with
Vicenza,
Villa
outside
is
sure pavilion
on
one of the
Each of
best
its
columned
four
sides
way of dealing
main
axes,
as the Basilica,
just
c 1550.
room paintings
by Veronese cover the
walls and ceiling,
making the actual
three-dimensional
elements of moldings
stair.
is
a study in
modular
grid of
and
architectural
details
illusory
landscapes, sculptural
figures in niches,
and
in
was to
classic
The
Italy,
In this
levels.
rail.
Doric on
at
balcony
two
Barbaro
Palladio
rior
Villa
c.
figures
surround
The
number of town
in the
tion mannerist.
for a late
in
America.
tually in
countryside.
rebelling
Italy
treatise
giants
lower
level,
Ionic
pilasters,
above,
which
pilasters
so
as
leave
to
larger
rectangular opening
become known
this
was not
motif (although
as a "Palladian
appearance), an arrangement
its first
and remained
in
Palladio's influence
use
was
up
until
greatly
modern
times.
enhanced by
his /
on
classical
It is
thorough
woodcut
own
plates of ancient
87
Chapter Five
Plans
Malcontenta), MIra,
Italy,
c,
Vn
'
558,
1:16
proportion.
It Is
subdivided
in
tions of 4, 4,
front to
then
propor-
3 from
back and
4, 2,
4 from side
side
On
4, 2,
to
this grid,
in
and
ratios
2:3.
These
correspond to
harmonic musical
vals
inter-
of unison, octave,
third, fourth,
and
fifth.
rooms which
are
all
is
invites
at the
toward
out
stretch
the
The
distance.
at the
Venice, from
566.
on
can be
fitted
on
at
scheme
is
grey
and
way
in
Palladio's
tion about
An
illustration
church
and
for
the
at
both
mam
accessibility of
in
(1723)
for
informa-
and guidance
divldmg screen
the choir
villa
provided music
The
as its basis.
tones of the
Is
The plan
either side.
(figs.
Rowe
warm
on
dome
the
called
(often
barrel-vaulted cruciform
space, with a
c.
Roman
monastery has
Foscari
Villa
Malcontenta, begun
This Benedictine
ture within
The
Palladio,
Giorgio Maggiore,
or Lord
Burlington's
Mereworth Castle
villa
at
Chiswick
Even
Thomas
Jefferson's
Charlottesville, Virginia
Monticello,
near
its
Maggiore
5.28;
(fig.
1565)
and
II
Redentore
windowed dome
at
nave. At
on
II
aisles at S.
at
II
form of the
decorative detail
is
strictly limited to
Roman
order
church
is
open, bright,
In the Teatro
Olimpico
at
Vicenza
in
and
each
(fig. 5.29;
The Renaissance
5.29
Interior Furnishings
in Italy
Andrea
(left)
Palladio, Teatro
1580.
Although the
the
more formal
survive
much
as they
spaces
living
and
easy to
museum
exhibits
or
as
Fortunately,
collectors.
antiques
treasured
Renaissance
as
by
painting
Semicircular
and,
with
realistic
development of
the
representation
skill
show
in
linear
artists'
own
appear in
shown
set in locations
of the
medieval works
form appear
in
in
conventionalized
dream
example, shows
as
an event
Roman
bedroom
The
tiers
colonnade
a
is
richly
rise to a
ornamented
no provision
fixed back-
St.
Ursula's
made bed
set
(fig. 5.30).
on a
painted with
and
ive
of the
clouds suggest-
Roman
The stage
is
theater
backed by
an elaborate
architec-
backdrop with
up
streets-
5.30 (Mow)
Vittore
offer views
interiors in
is
sky
tural
of
tiers
seats rise up to a
The
saint
raised platform
of St Ursula,
In this
490-98.
sleeps in
an elegant
late fifteenth-century
Venetian bedroom, on a
bed elevated on a
plat-
canopy supported by
Open
windows have leaded
glass above
and
wicker
as shutters.
changeable
for
Roman
stage.
in
in theatrical presenta-
and
from the
interior design.
Vjgnola
Along with
Palladio's
work and
concepts.
His
in
Rome
is
book Regale
all
Roman
design in
classi-
much
89
Chapter Five
been
remained much as
had
it
in earlier times.
furniture),
large
details,
with
subjects,
The
and
as
5.31 Carpaccio,
Augustine
c.
St.
in his study,
rate
headboard and
1502,
canopy. There
A
tall
spacious studio
is
seen
pulled
up
edge
above bare
back wall
floor The
is
painted
is
and
wall-hung
holder
candle
erable
elegance.
favorite
and
subject
St.
and
is
often
the curious
is
nails, the
artist
and on
tered possessions of a
artifacts
accommodate new
appears
to create
tastes for
luxury and
artistic
and
table wares,
with suitable
fittings.
table coverings,
The ceiling
of wood;
it is flat
is
but painted
a geometnc pattern.
in
and works of
scales, globes,
art. All
appeared
in
benches and
seat
slab
might be
sgabello
and
of these things
display. Chairs
at
was
was named
a widely used
famous
piece of furniture.
It
preacher who,
it is
Dante chair: A
this
had
more
after the
same
and stretched
a cushioned seat
cloth back.
trestles,
stools.
all
ment toward
increasingly
cluttered
"fully
were largely
restricted to the
The
small,
wooden
details.
pivoted
to
with a
Furniture
the
really a stool
It
carved
on and near
the desk,
(fig. 5.31).
but the
many objects on
shelves,
be fanciful inventions
of the
simple chair
linens.
trim.
the
table. It
detail of consid-
artists,
cabinet,
taller
of Renaissance
a somewhat
reading.
Credenza:
doorframes are of a
strange chair
painted wood.
storage.
a small
to a table,
open book
of
is
(figs.
5.32 and
facade. Mirrors, a
temple
development of Venetian
glass
placed in
many varieties
mounted, or
Burning torches were also
of
table, wall
The Renaissance
used for
light
made
The
is
name Torchere
to the stands
to hold
candelabra
in Italy
hold
Italian
many candles.
articles
of
Coverings
were the favorite
Silks
textiles
of the Renaissance;
woven
in strong
colors. Velvets
coming
chair seats.
spaces, or of stone
on ground-floor
levels.
Tiling
Bevilacqua, Fondazione
Marble
patterned.
and
Bagatti Valsecchi,
Milan,
Terrazzo
room has
patterns.
Rugs were
1500.
c,
silk-covered
and ornamental
door frames and
walls
mantelpiece. The
contemporary furniture
includes a Savonarola
chair at the
left,
cassone, a cassapanca,
is
possible
to
follow
the
development
of
5.33 Gentile
Mansueti, The
Miraculous Healing of
the Daughter ofSer
influence
fifty
to
Benvegnudo of San
Polo.
Low
nor-
style called
Baroque
a final
that
it is
had
viewed
direction,
exciting
the
work of
development
the
of
Baroque era
design
history.
is
The
flat
ceiling with
1502-6,
superb Venetian
Countries, Germany,
c.
wooden
its
painted
its
as
new
an
The
and
classical architec-
of idealized
Renaissance space.
91
may be
its
some confu-
a source of
full
movement and
of
activity.
for architectural
images enclosed by
Quadro
RiPORTATO,
much Baroque
of
even
or
only,
is
certainly char-
design,
it
more
Rococo
delicate extension of
historians
seem
is
not the
the
arise
with
Rococo
for
illusionistic
illusionistic
sky, or heaven,
an
cally
to describe a later,
Some
to
compartment
in
Baroque
style.
as a kind of sub-species
a stage so that
it
was
a separate
on
become
flat
virtually
ular in shape.
developed
tion
mannerist transi-
century.
It
Related
drama, had
a strong influ-
skills in
in the use
It
("image-smashing")
inclinations
of
new
visual stim-
little
access to
elliptical
work in
makes the use of the term questionThe term Rococo is used to describe work of
these regions
able.
as
it
developed in France,
Rococo work
is
more
It
is,
acteristic
6.1 Vignola,
and
in Italy
of a
rich
gular,
and
circular.
sense of
movement and of
in
planning offered a
mystery.
The aims of
complexity,
interior detail.
readily
augmented by
illusionistic
Gesu,
Rome, 1565-73.
The prototypical
The Baroque
1670
interior design
new emphasis on
came
in Italy
to
ornamentation of the
building. Effects of
code,
include a
painting by Andrea
forms.
on
scrolls
sculptural
and painted
shells, and
form of
earlier
Renaissance
design.
classical
The
basic
color
and
light
this interior
make
ration, figures,
and
floral elements.
These
in turn
treatise,
and the
space
were painted
dramatic.
92
its
in
varied colors
forth
creativity.
At
St.
Peter's
in
at limitations
Rome
(fig.
on
6.2),
'"-^
^^
"'T
"lliB
Chapter
Six
6.2
6.3 (below)
{left)
St, Peter's,
Cianiorenzo Bernini,
Michelangelo,
Rome
baldacchino,
St. Peter's,
624-33.
1546-64.
Rome,
given Baroque
by the enormous
dome's structure
baldacchino (canopy).
is
drama
made of
braced by mternal
The canopy
buttressing unneces-
sary.
The
dome was
completed
by Ciacomo
1588-93
della Porta.
is
is
At
the east
of the choir
is
end
the cere-
monial chair of St
Peter;
above
it
gigantic order of
a spec-
pilasters
final
in a
The
arm of the Greek cross modified the
biaxial symmetry. The vast dome is built
provision of a clear entrance front
central plan.
resulting
triple
chains and
details.
it its
with a
form with a
shell
form
some
Giacomo
death by
The
Maderno
St.
Peter's
Baroque character. In
embodies a
from
development
comple-
at its
full
High
through
Early
its
sequence of
Baroque completion.
Rome
Vignola, although one of the rule makers whose
efforts
factor in
became
the
Gesu
II
order
lesuit
built
Counter- Reformation
Gesu
as
the
and
make
the
Roman church
The
interior
Roman
(fig. 6.1)
during
rebuilt
Rome
Art, architecture,
or
era.
in
of
a study in
High
make
it
now seem
entirely
Bernini
and continued
to
work on
sculptural
Thus he brought
the
94
a sculptor's
way of thinking
1629
into
he
and
in Italy
stair-
6.4
The
The
Cianlorenzo
(left)
Bernini,
Andrea
S.
1658-61.
is based on
an oval plan with radi-
The church
ating chapels
al
Rome,
Quirinale,
dome
and a
above. Sculptured
is
and
entabla-
given Baroque
treatment by the
massed sculptures.
Borromini
Francesco Borromini (1599-1667) worked both for
Maderno and
pendent projects
in
(figs. 6.5-6.8;
S.
Carlo
1634-43)
is
alle
Quattro
often thought
with fountains
became
the architect
Peter's,
designing
dome
its
It
is
made up of
story building.
if
of a ten-
by some
have
been
making them
active
but
Corinthian,
giant,
they
is
One
fountain
at the side
its
is
at the
base of the
of the undulating
powerful external
is
a simple
S,
Carlo alle
Quattro Fontane,
at
name).
Rome, 1634-43.
Roman and
twisted, as
at the height
The columns
its
in effect, a
canopy
church
Baroque vocabulary.
building
St.
under
(fig. 6.3).
focal point
at
Baldacchino of
huge
the
charge of work
in
Its
interior within.
St.
surmounted by
Peter,
a giant gold
6.6
(left)
and 6.7
(below) Plans of
S.
Fontane.
1
sunburst surrounding
visible
from the
is
3 Church entrance
4 High Altar
al
5 Sacristy
Bernini's
Quirinale
room of
(fig. 6.4;
1658-61)
Andrea
single
domed
serving as chapels
dome viewed
in section exactly
windows
central oculus.
at
profile of the
to be
The dynamic
Cloister
7 Monastery entrance
The plan
is
based on
two equilateral
is
S.
perched around
dome and
the
gles sharing
circle is
trian-
a base
placed
line.
in
swung from
the
meeting
vertices
of the
tnangles
V with
radius
to
become tangent
95
Chapter
Six
a tall space of
complex form
columns that
corners.
The church
is
diagrammatic
on
analysis
common
base
to be based
The
oval
is
Light
at the top.
this
activity
S.
Francesco Borromini,
S.
Borromini,
S.
Ivo della
Sapienza, Rome,
Fontane, Rome,
1642-62.
1634-43.
Lookmg up
space extraordinary
the dramatic
all
in
add up
to
sense
of
its
and tension.
(fig. 6.9;
1642-62)
is
the
building
Although
into the
dome and
make
6.8 {above)
curved pediments,
domes over
at the
in the
the
for
may appear
it
planned space,
closer
of Rome.
University
domed,
to be a
examination
centrally
reveals
the
dome
monastic church
demonstrates the
embodies complex
complex geometry on
actually based
spatial relationships
that have
made
it
of
this
church
drawn
on
is
form a six-pointed
star
two
known as an
on a six-pointed star
outstandmg example of
create alternating
(fig. 6.10).
Baroque design.
curves
It is
possible to
hexagons, overlap-
ping
circles
and stars.
points of the
star,
one of the
and those on
alternation of
two
up
dome above.
gold-starred dome is
The
white,
6.10
not simply
della Sapienza.
create a
hexagon and
circle
contains the
hexagon.
96
in Italy
6.11
1574,
provided with
this spec-
Wooden paneling
runs
is
200
or
more
senators.
by gilded frames so
heavy that they almost
overwhelm the paintings within,
some of
and his
round, but
is
six alternating
upward
walls
to
the lantern
Externally,
lantern.
its
windowed
topped by
is
symbolic significance
but
is
its
a
Its
is
highly characteristic of
Venetian
interiors,
(fig. 6.
1 1
that
were recon-
and ornate
up above
ornate
gilt.
its
plaster
a giant wall
the Baroque.
pupils.
clock
band
down on
artist
who
provided
Venice
Sala del
architec-
Longhena
Venice
is
lished
Turin
della Salute
(1598-1662).
aisle
The Triumph
It is
or atrium surrounding a
central space.
The
tall,
round,
domed
Guarini
and
worked
The
with
its
own
smaller
dome,
is
visible
lit
dome and
floor
chancel
has a
is
into the
Turin (1679-92),
nally
relatively
Coro, or monks'
establishes a sequence of
typical of
Carignano
Baroque
choir,
is
beyond. This
spatial richness.
is
in
around
a center
Paris before
built
large
in
influence. His
an opening
si.xteen
Portugal, Spain,
windows of the
geometrically complex patterned
yellow and black marbles. The
by the
bright
in
is
in
court which
is
the Palazzo
a massive block
is
reflected exter-
On
97
Chapter Six
6.12 Cuarino
S.
Cuarlnl,
Lorenzo, Turin,
1656-80.
The almost octagonal
dome
ofS. Lorenzo
displays Guanni's
interest in geometric
complexity
formed
It is
and sixteen
lit
is
but the
church below
and
dome
cupolo. The
bnghtly
is
dim
rich in heavily
colored
and gilded,
at the access
1667-9a
This
room
open
the chapel of the Holy
dome
and
its
base
on the center of
Hidden
windows illuminate
the arch below.
both the
small
and
impact
at the
top
dome which
is
Guarini's church of
S.
by hidden windows.
Lorenzo
embedded
6.12; 1666-80)
is
Royal Palace.
Its
windows at
meeting
topped by a ceiling
is
at its
rise,
in
Turin
(fig.
is
of
its
this
edges.
is
The chancel
is
an adjacent
The dome
lattice
is
small eight-windowed
dome
at
in Italy
astonishing structure.
intensely theatrical.
itself is
work on
a chapel for
known
the
as
The
Sindone
6.13)
(fig.
is
Holy Shroud,
body of Christ
lined
approached by twin
It
of dark, curved
flights
is
stairs
that lead
support the
circle that
six rings
it
is
a conical
dome
is
built
way
smaller in a
exaggerated
Hidden windows
height.
light
the
dome,
sunburst
strange
effects
at
t^ai-k
also lighted
make
The
theatrical
the chapel
6.14 (above
seem
Fillipo
Juvara. Stupinigi
1729-33
Juvarra
and monastery
cians
overlooking the
well as frescoes
a hill
and singers as
and
made up
of a
domed church
tali
attached
is,
symmetrically
around a
cloister
court.
in fact, really
a royal
Juvara
the hall
High Renaissance.
dome and
flanking towers
appears in south
To what
is
Germany
its
great
ating
at
work north
uncertain.
Amedeo
II
of Savoy
(figs.
large,
work remains
tie
on hexag-
and landscape.
in stark
and service
mam courtyard.
spatial relationships.
rich
stable
is
6.15
(teft)
Ground
plan of Stupinigi
hunting lodge,
Juvara's
cation
ingly
whOe
rich.
surface
The
hall,
ground plan
is
radiate at angles to
99
Chapter Six
6.16 Jakob
Prandtauer and
Antonio Carlone,
Monastery of St
Florian, Linz, Austria,
1718-24.
The Marble
which
Hall,
contains columns of
and ornate
and these
stucco work,
for
an
elaborate painted
ceiling
artist
by the
Italian
Martina
Altomonte. The
painting, in faux
perspective, glorifies
6.17 Jakob
Prandtauer,
Abbey
of
Baroque
Northern Europe
in
Melk, Austria,
1702-38,
Europe north of
In the regions of
collegiate church,
Italy,
Baroque
especially in the
zest,
monasteries
and
complex
spatial
of Austrian Baroque
churches.
which
a fine example
is
walls,
red-brown marble
pilasters,
and upper
concepts
of
in secular buildings,
influences.
stucco decoration
contribute to the
Austria
almost overpowering
The
lavishly decorated
is
backed by an
with
Its
simple
link
between
Italian
Carlone (1686-1708), a
who
family of artists
member
relocated in
of an
Italian
Austria. Carlone
diagonal squares of
marble,
is
a refuge from
the ornamentation.
After a
fire in
damaged
738
the church
is
series
(sometimes called
name of
sail
of slightly
domed vaults
German
smooth
the church,
by Josef Munggenast
of high
100
domed
in Italy
6.18 Jakob
Prandtauer,
library,
Abbey of Melk,
1702-38,
Austria,
The bookshelves
line
and above
the walls,
them ornamental
brackets support the
balconies, which
contain additional
shelving. The floor
simply
is
tiled in marble,
and only
the ceiling
is
exuberant
painting of figures
floating in a blue sky
The effect
is
close to rococo
developed
ings
in false perspective.
were
completed
by
The monastic
an
Austrian,
build-
Jakob
Prandtauer (1660-1726), and include the ceremonial Marble Hall with decorative stucco work and
faux marbling by F. J. Holzinger, an Austrian, and a
painted ceiling by Altomonte and Sconzani, both
The
its
von
Erlach,
Karlskirche, Vienna,
Austria,
1716-37.
The oval,
rior
domed
inte-
of Karlskirche (the
Church of St Charles
Borromaeusj is
surrounded by chapels.
The deep chancel
is illu-
and columns
toward
the
is
below permit a
monk's choir beyond.
The high windows
rior,
which
IS
crammed
and
ornamentation.
101
Chapter
6.20
Six
Kaspar
(right)
Moosbrugger, Abbey
Church of Emsiedein,
near Zurich,
Switzerland,
1691-1735.
Moosbrugger showed a
mastery of complex
spatial relationships in
the
abbey church,
move toward
the
overwhelming overlay
of stucco ornament and
1745-51.
This
IS
a simple rectan-
IS
lost in the
\
6.22 (right)
Domenikus
Zimmermann, Die
Wies,
Fussen, Bavana,
Germany, 1744-54.
The interior of the
Pilgnmage Church of
Christ Scourged,
as Die Wies,
is
colored white
and
known
largely
and gold,
the intricate
plaster ornamentation
seems
to dissolve
forms
is
bordered by a
ring of architectural
detail, partly real
in three
and
dimensions,
partly trompe
I'oeil.
with
detail uses a
is
windows) above
the
main
focused on the
6.23).
(
It is
work of Johann
the
1687-1753),
to
his
Switzerland
The abbey of
begun 1703)
near Zurich, another huge church and monastery
complex, was designed by Kaspar Moosbrugger
domed
large
Einsiedeln
(1656-1723).
(fig.
6.20;
and
(fig.
Neumann
engineer who had
altar.
altar in a progression.
Balthasar
initially a military
been sent by
Wurzburg,
on high ground
in Italy
exterior of the
6.23 Johann
Balthasar Neumann,
Pilgrimage Church of
Vierzehnheiligen, near
Bamberg, Germany,
1742-72.
is
its
Rococo orna-
domes of the
ceiling elaborate
dome which
overlaps,
in
the nave
and
is
over-
is
based on interlocking
ovals at
and
beneath an oval
and obscure
floor,
balcony,
ceiling levels
of
is
almost
incomprehensibly
rich
typical of the
Baroque. At
monastery was
rebuilt in
architect Peter
Thumb
S.
round,
domed
its
midpoint,
interruption.
Rococo ornament
white, gold,
and
in
and pinks,
Only the
floor
of diag-
simple.
Germany
Thumb
pilgrimage church
at
Neu-Birnau) of 1745-51
(fig. 6.21).
cantilevered
relatively
is
further amplified
by sculpture and
clock
is
fitted into
at
Ottobeuren
(begun
1737)
and
Zwiefalten
few
cities,
German
city
of Bamberg
103
Chapter Six
6.24 Johann
Balthasar Neumann.
Residenz, Wurzburg,
Germany, 1735.
The Baroque fascination with
movement,
ment,
mode
ways a
and
lavish stair-
favorite subject
in his
treatment of
secular context of a
Neumann
palace,
planned a setting
ceremonial
for
movement
(1751-3), with
upward
realm,
is
its
view
into a celestial
by
Tiepolo.
grand
stair,
ceilings
Tiepolo
and
by the Venetian
(1696-1770).
artist
Stucco
The
decorative
lined with
detail
illustrations of endless
spill
out of the
flights,
Giovanni Battista
stair hall is a
ornamental
lanterns
supported
at the
architect
at the
Wurzburg
Neumann
work on
the Piaristen
Church
the
Upper Belvedere
( 1
700-23
also in Vienna.
as
The
lower edge.
flight
of
Rococo
is
ornament
entrance
plaster
stairs
at
Here
and
fresco
central
lantern
Each of the
stair hall.
more
ceiling.
painting.
palace at
projecting
sculptured
architectural
formal rooms
railings,
by
while one
of the baluster
The Viennese
is
palette.
it
104
(fig.
and
fresco painting
on
the ceiling
and
in
6.25
(/eft)
Adam
in Italy
6.26
(below) Francois
Liebert van
Cuvillies,
Llebenhofen (architect,
Nymphenburg
room designer
Munich, Germany,
unknown), Ballroom of
Amalienburg,
Palace,
1734-9.
Augsburg, Germany,
Silver
and azure
blue
plaster ornamentation
1765-70.
byJohann Baptist
Zimmermann frame the
windows and mirror
elements of pilasters
In this
Rococo
interior
Rococo ornamentation
is
little
windows and
florid
plastenvork, which
in stucco,
and
there
the
surface Candle
repeating reflection in
and
the
provided for a
is
pointing. The
room
create
kaleidoscopic
complexity. The light of
the candles of the great
spectacular level of
night-time illumination.
in the mirrors.
105
Chapter Six
was intended
to
favorite
Theresa of Austria.
wood
lating materials
Cuvillies
Paris
in
Germany
moldings,
tectural
exotic materials.
possible to create
it
and
patterns, often
and
Ivory, tortoise-shell,
silver
to be large
and domi-
fat
that
design,
His
pilasters,
to
in
Applied ornamentation
is
inlay
elaborate.
may be
of colorful
of the
Its
decorated in
silver
is
of simple
seeming complexity
kind of kaleidoscope
effect
wood frames of
may be
and elaborates the silvery stucco decoration of the walls and ceiling and the glitter of the
decorative forms.
that repeats
Cuvillies
rial
interiors,
Rococo
at
Munich (1751-3).
It is
horseshoe
tiers
Milan
(1776-8,
scroll,
by Giuseppe Piermarini)
are
similar
Since candles were stUl the usual source of artificial light, candlesticks,
wall brackets,
and chande-
and
ideal vehicles
for
lid.
Its
legs
and on
or stand
sculpture.
typical
Furniture
and Other
Interior
Features
Furniture of the Baroque era does not differ in
basic character
from
even
gradually
came
greater accuracy
to be
and
made
with
in smaller size
at lesser cost,
although
it
was
palaces.
elaboration
typical of objects
made
for the
ostentation
rooms of
drawer
fronts. Legs
are
door or
106
and
powerful,
The
round
ball
or
still
a status
bases.
The color
its
plaster,
Italian
began
in the
Renaissance, and
older traditions.
to
appear in
textiles, rugs,
paintings. Gradually,
and, of course, in
color,
and
toward more
and Austria
pastel tones of
pink and
Germany
light greens
limited in variety
is
possible
trace
painted.
The
richly
sentences of negative
came
tion for
into use in
residential
interiors.
Curtains
it
in
only a few
emphasis on
drafts
and
in
in controlling
rative
drapery
at
windows
polished
in
wood
patterns),
were usually of
of marble or
tile,
also usually in
room and
the geometry of
its
other design
spatial
began
his
Gideon
being
now
is
seen as the
Before
discussing
Rococo design
the
role
in other parts
of Baroque and
of Europe,
it is
neces-
Baroque
elaborate palaces
rich.
to
new
in Italy
.(^P
^K^y
y of 0^^
107
in
word "spread"
The use of
inevitable process.
New
ideas do,
may
it is
the
and
true, tend to
be resisted or blocked
involvements in
from 1494
Italy
1525
to
all
style.
Early
may seen
ques-
style
extending
even, in
some
from
it
Italy
and
indi-
cases,
worked
in Italy; they
style
somewhat
brought
and incorporated
restrained, approach.
is
Hotel deVillette,
more
who
windows,
Ionic
conquests,
mirror,
is
tive,
that
IS
dark natural
wood parquet,
the celling
is
while
was provided by
in wall
and from
brackets
name
medieval
in concept,
capitals
is
but
conservadetails of
demonstrate that
Early Renaissance
France
(r.
at the
visit
with the
Rome. At
In
France
at
the
end
of
the
Middle
Ages
moved
Francis's suggestion,
in
Leonardo da Vinci
to France in 1516
resistance
(1515-19) with
the
stories
of
architecture
had reached a
unmatched elsewhere
in
political centralization
level
of perfection
its
classical pilasters,
ently based
on the
Florentine palaces.
its
clutter
effect.
candlesticks
(now removed).
108
is,
an oval
his
grey with
by
in Italian
New World.
and
restrained ornamental
warm
called
taking
successfully
the
1462-1515),
{r.
Francis
tlie
French
transfer Spanish
the
and
country
the
palace,
Pope
evident in
power
and
practical
kings
is
The
more
pilasters
amply
already
felt
comfortable.
is
Pans, 1712.
was
Naples.
in
important as compared to
France
movement
clearly
less
building.
are
7.1
secular
tended to become
tentative
into
more
the
be translated
Italy,
Renaissance was
(made obsolete
castles
French work
later
and
and
cities
active in France
thinking to
French practice. As in
Leonardo
of fortification of
on a powerful king, the growth of cities, the development of trade, and the decline in the importance
The
chateau
most
is
spectacular
Early
Renaissance
Chapter Seven
7.2 Domenico da
Cortona
(?)
and
Chambord, Loire,
France, begun c. 1519.
The upper floor
now
level,
missing (or
makes
it
possible to
center of the
main
It
and gives
vaulted
The staircase
to
is
thought
a design by Leonard da
Vinci.
no
and passages
stairs,
are
in
moved
court.
Chambord,
The ground plan of the
vast chateau reveals
is
made
up of a square central
block with wings that
stretch out to
round
is
pupU of Giuliano da
Chambord
picturesque
{figs. 7.2
and
7.3;
begun 1519).
It is
roof,
of arches,
pilasters,
and moldings.
the
full
reference
Renaissance
Italian
to
in
of details that
make
classicism,
ardly
is
The
interiors
Chambord
of
the
main,
are organized
central
at
by an open circulation
double
block
Greek
cross.
dominates
sketches
that
appear
in
his
notebooks.
Living
how much
Italy
in
while
simply a builder
moat and
It
is
space, which
is
focused
Renaissance discovery
of classical planning
ideals.
uncertain.
is
the
work of unidenti-
1518-27)
(fig. 7.4;
fied designers.
is
cross-shaped circulation
also
On
who was
Sangallo,
(d.
He was
Its
composi-
rear elevation
its
facing the
pilasters
Renaissance.
grand
stair is
placed
the center of
at
projecting
corner of the
L,
Azay-le-Rideau
fortunate in having
its
interiors
7.4 Chateau de
Azay-le-Rideau, Loire,
France,
1518-27.
typical
room of the
any purpose
chairs (including
folding Savonarola
chair) are also avail-
silk.
in
stone
in the Italian
Renaissance
to the
style,
point
emergence of
French Renaissance
design thinking.
Chapter Seven
well preserved
before
533.
was a simple
made
elaborate by the
the walls
was
largely the
work of
and
sculptor Giovanni
Battista Rosso,
known
main
the
to
privacy.
wooden
and
mantel
so that each
is
room
functions
large
and
richly
or to
provide
carved fireplace
rooms had
room
it
some
to serve
any
wood and
green
in
in
High Renaissance
the access
chairs, for
112
room
rooms
Windows
no
simple
cloth,
to give
is
stair,
differentiate
it is
wood parquet.
furni-
passage-like space
panelmg on
and luxury,
size
Fontamebleau, near
Paris,
stone,
than
comes
who modified
the
their
ways
French.
Fontainebleau
Gallery of Francis
before 1533).
a long,
It
is
at
(fig.
7.5;
Renaissance, Baroque, and Rococo
nm
ht
7.6 Sebastiano
Serlio,
Burgundy, France,
m m 9^^
c,1546.
character
during the
1610-43)
symmetrical square
all
spaces
arranged around a
a^
French chateau.
this
quoins
surfaces
on
less
solid
and
figures
Strapwork
florid
decorative
The
first
time.
taller
{c.
1626)
is
section
central
lighter for
classical detail
depends
interiors also
have a degree of
and dignity
tation of plaster
his published
books
fniix
all
the paintings.
Mansart's
the steep
tile
has
come
and so was
rise
level.
is
At each
three stories
only two
stories.
be associated with
to
America
in
the
at
Victorian
in recognition
a desirable
way of
limited expense. In
era
Mansard
Chateau de Maisons,
near Pans, 1642-51.
The plan of
name
between
(r.
Serlio
XIII
1643-1715). The
Sebastiano
architect
Italian
(r.
Baroque
at the corners,
ft
sculptural
of Louis
100
developed
it
Normandy
a typically
20
as
reigns
chateau of Balleroy in
^ f* M <
details.
Ancy-le-Franc,
plan with
stucco
in
to
this
symmetrically perfect
chateau, which
is
also
known as Maisons
Laffitte,
forms a
in
connecting sequence
neighbors,
and
there
are no independent
at the center
of each side
makes the
detail
walls
relief
is
of the
almost
flat
nator.
Such
a rooftops Mansart's
and
Laffitte,
7.8).
famous chateau of
1642-51)
outside
There
is
a formal grand
entrance
hall),
of the
but
all
emphasizing
thus
planes,
the
four-square
and
high
tiled
its
is
detailed with
classical
unobtrusive corners.
roof with
work
for
takes
more than
step
a century. Internal
planning
(c.
in
1547-59)
at
and Henri
II
(r.
and an
attic
was
a florid version
of
classi-
113
Chapter Seven
Roman
and
show a
Doric columns
related detail
degree of restraint
relieved
mental
by the ornaceiling
and
The color
is
white
throughout
hotel.
St Louis, Pans,
eighteenth century.
An
mented
an orna-
leg base
and
painted imagery on
side
and on
of the lid
114
its
the interior
architectural trim,
ments.
grand
pilasters,
stair,
in
all
that
display piece.
While such
seem overbearing
in
(mostly
houses
chilly
aristocratic interiors
eighteenth-century)
may
smaller
richness, the
their
by
built
and
cities,
with their
house
on
either side
and
main house facade facing
(fig. 7.9;
Lambert
on
a gateway opening
is
in
7.10 (below
(
decoration.
It
and
left)
Louis Le Vau,
Vaux-le-Vicomte, Melun;
by Charles
interiors
Leburn, 1656.
Rococo
more modest
on
to
it
wanted
to live in
and
interior decoration
Carnevalet in Paris
also
furniture.
1655,
now
by Francois Mansart,
Although
is
in
style
The Hotel de
Museum),
good example.
the City
a
have been
interiors
its
subjected
to
riors
way
was
in
adapted
to
the
life
styles
of
inte-
the
Antoine
II
in Paris
or Jean
main facade
of a square court.
at the rear
formal rooms
From
rectangular,
Sully
(c.
S.
du Cerceau. Using
This
bedroom was
should he make a
in
one
case, a long
provide
passages
some
for
private
circulation
of servants.
Some
various
artists.
names given
to the
the fanciful
aristocracy.
The Hotel de
its
scale.
men
collaborated
Vau
important
later
the
room by a
railing,
thereby establishing
privacy. The elaborate
detail of the
opening
and
and
sculpted
ceiling,
ornate chandeliers
expressed the symbolic
status of the king.
7.11
(fce/ow)
Ground
plan of Vaux-le-
projects
The
an alcove
in
here,
several
in
stands
visit
for Louis
It is
and
7.11; 1656),
XIV's Minister of
gardens
set in vast
building
and forms a
rooms of the
Elegant ceremonial
interior.
bedrooms open
in
windows
of
no provision
mirrored
doors
which
overlook
opposite
are
the
garden.
Its
and
set
arched
circulation. Stairs
connecting
bqtween
Corinthian
Above a classic
ceiling dome, an upper
pilasters.
is
for private
levels are in
unobtrusive secondary
locations.
+^
Cfratui tiaUon
^1
i
GjjU di
m^,
.i 9'<^
Ir
"..."">
ifl
f f
o.lu
par
Cour
If
I'V.^ '.'
^7,
I,,:lr ,l Olxn,
115
"
Chapter Seven
of windows
level
is
and
figures
plaster
surrounded by sculptured
ornamental
The
garlands.
bedroom intended
rich
choose to
and
visit,
game
special
even
a billiard
that
as
room
for the
an aristocratic
with
little
change
intact
On
Louis'
obvious
removal of
owner
its
its
first visit
to the
beauty and
and the
transfer
trans-
and the
and
waterways,
established the
fountains
Baroque
Vaux-le-Vicomte
at
qualities of
Louis XIV
French land-
scape planning.
work
Louis xiv
in the
designated as Baroque. In
moved
style
fact,
often
it
and elabora-
Baroque work of
Italy,
till
his death, as
His
might never
made
is
and gardens
at Versailles,
'
and
finish
same
observation:
solitude, nor
bedside.
Another Versailles
similar lines
in
courtier,
Mme
the 1770s:
slates]
roadways
ating
focusing
on
town with
the
palace
radiitself,
Paris,
lent
and so close to
his
we should
a
1
distinguished
visitor to Versailles in
the
Mme
it
us her apartment.
used,
the
mien
terminology
XVI,
men
Mrs Thrale, a
Baroque
latter part
was made
midst of other
dear.
Since
it.
its
him
(to prison),
to
he
1902),
p,
216;
2. Ibid,
p 229;
trs,
3. Ibid, p.
212:
4,
Quoted
m Ml.
Versailles
994),
p.
73;
5.
Quoted
At Versailles
(fig.
7.12), the
and
silver
116
paneling
ceilings,
pp.
25-6
in
XVI (London,
994),
in
France and
Spam
7.12 Engraving of
Versailles,
showing the
gardens beyond.
The famous palace,
seen
m this
seventeenth-century
engraving, was the
result of
many years of
It
turns
its
by Andre Le Notre.
level
of a balcony. There
is
of
room
that
and windows at
each level that flood the space with light. With the
largely white and gold color, the space is remarkably
(fig.
bright.
He was
ceiling (by
trim
tectural
generate
gilt
and marble
room of
archi-
spectacular
somewhat unimaginative,
even monotonous concept and detail. The adjacent
anterooms, the Salon de la Guerre and the
grandeur
in spite
of
its
la
Paix, each
place
have
a lavish fire-
rich with
gilt,
ot
the
palace,
showcases
for
the
the
more
of
XIV produced.
Among
extremes
the chapel
level
and
known
as the
central space of
is
performances here,
first
theater
Lully,
in the
as well as
reign of Louis
until 1770
iti
the
XV.
Louvre
At the Louvre in Paris
(fig. 7.15),
Louis
XIV aimed
comparable to Versailles
somewhat
diverse
Rooms such
conglomeration of pavilions.
as Lebrun's Galerie
d'Apollon (begun
room with
(a
sculptured
forerunner
to
the
from
tall
given
riors
is
Rameau,
as
altar
composers
The
above the
up
Italy to
was summoned
exterior to a suitably
found "too
Rome
Italian"
and so
too much
Baroque
were each
of
1665
117
Chapter Seven
7.13
Jules
Hardoum-
1589-1710
in the
an arcaded
columned
and
level
his
windows at both
and
levels
in the clerestory
above
to provide
daylight Gilding
ample
is
for
and organ
and in the
case above,
and painted
is
geometnc
patterns.
is
the
is
believed
Cleve.
in
7.14
Vau and
Louis Le
Jules Hardouin-
Chateau of
Glaces,
from 1579.
Versailles,
of the
elaborate character
innumerable candles.
Richly colored marbles
was painted by
Lebrun
in
flame-colored
and amber
tones with
elaborate allegoncal
scenes celebrating the
early years of the reign
is
of patterned wood
parquet
7.15
Louis Le
Vau and
the Louvre,
1661-2.
The long
here,
of
gallery,
is
shown
has a barref
and
with sculptural
painted decoration
cele-
sun-god Apollo-the
reference to Louis as
"sun-king"
is
obvious.
Lebrun recruited a
number of artists
work under
to
to
his direction
produce the
many
room was
ished
left unfin-
when
doned
the
Louis aban-
development
of the Louvre
Versailles.
in
favor of
The walls
were decorated
in
by
Eugene Delacroix with
Lebrun's designs,
119
Chapter Seven
7.16 Jacques
Lemercier and Francois
Mansart, Church of
Val-de-Crace, Pans.
1645-1667.
Baroque
In this French
chal-
cence of that
Peter's,
m St
Rome. Bernini
(c.
Due
Bernini returned to
leaving
Italy,
it
to
Claude
and amateur architect, to provide the design which was finally built in
1667-70 as the east facade of the Louvre, often
Baroque Churches
called the
"New
Louvre."
It
was recreated
in
in
them
Paris
either side of a
pilastered,
a kind of loggia
on
slightly
general effect
is
more
strictly classical
than the
college.
street
The
similarly
domed
earlier
120
in Paris
(fig.
7.16)
in
France and
7.17
Spam
Jules Hardouin-
1677-1706.
The church that forms
the central element of
Les Invalides
has a
tall
work of Hardouin-
Mansart The
interior
is
and the
and gilt of the
gilded edging
painting
dome
interior.
The
dramatic
space with
effects
of light
and shadow.
^X5 t^^>
1^
at
Val-de-
Grace.
It is
is
S.
(fig.
7.17;
1677-1706)
the church,
the vast
it is
shell that
wide,
is
is
open
topped by
at
dome
far
higher
with an inner
up
to
windows
light that
is
now
The
classicism
toward the
later S.
Furniture
and Furnishings
Furniture
made
Genevieve (see
p. 129).
XIV
121
Chapter Seven
Complex candle
were made
and gilded
side
glass called a
lid.
and
violets,
profusion
as
could
be
afforded.
Chinese lacquer
cates
indi-
became
of the period.
the usual
Marquetry,
interest in
tlie
gilding,
and
Chairs tended to
silver.
and backs
seat,
current in eigh-
teenth-century France.
was a
favorite cabinet
specialized in
Commodes
of closets) and
units
with
Chateau de
inlaid
ornament
Chanteloup.
shell, brass,
Choiseul at the
7.19 Musical
France,
7776 clock
invariably
drawers,
decorated
pewter, and
known
became a
ornamental
element
in
interiors
of the eigh-
anstocratic
Ormolu,
a technique for
gilt
onto the
cast
bronze trim
example
is
in gilded
elaborately
sculptured
in
that
it
was
costly in
human
probably added to
its
its
The
fact
display. BouUe's
face to suggest
its
basic
his
to be
clock-
maker Michel
Stollewerke provided
the
it.
The
fumes with
Rococo
function.
tops were
clock,
favorite
bronze
with
755.
mechanism
within,
Along with
this
stylistic directions.
similar to a musicbox,
by playing
122
tunes.
at this
The
time
in
stone,
much
patterns. Since
this era
vation or
time of
at the
on the
comes
from
taking
The
illustrations.
artists'
Abraham
engravings
of
place
the
in
furnished
richly
rooms of
upper-class homes.
Regency to Rococo
Between the death of Louis XIV
in
XV when
he came
name Regence
gave the
are
that
transitional
clearly
In general,
less
came
The
into use.
Cabriole
Juste-Aurele
artist-designer
that
make
7.20
Paris Hotels
use of
Cross-sectional
engraving of the
constraints
interior of the
Chateau
de Petlt-Bourg, France,
foliage.
on
With such
Versailles and the
The
of Louis xv
style
1723-74)
(r.
is
usually
phases
French
of
Regence
classicism.
design
wealthy
flowing curves.
It
and
light,
florid,
and
of the Louis
XV
era
exuber-
the
stylistic
designation
Neoclassical,,
while
in
England
as well.
and renovation of
Rococo
delicate,
furniture
is
a masterpiece of
German
location.
of
XV
with
became more
as those
style.
interiors in the
In Paris,
and
many
powerful
more
delicate
families
under
by
royal
Rococo
style.
Comfort
Boffrand
living
(I667-I754),
it
at the front
first
of this luxurious
house has
rich
Rococo
detailing, including
paintings,
fine
and even a
mantel,
On
chimney
the second
paneled detail
is
simple
fitted
eighteenth century.
of children and
sen/ants. The
basement
anteinge-
123
Chapter Seven
ceiling.
the
The
disporting
a
filigree
on
of
sculptured
floral
huge central
and
shell
room
and
simple, but
is
gilded
cupids
crystal chandelier,
all
repeated in
and
four
Corinthian
composed with
To
built in
(fig.
7.22) was
Gabriel (1698-1782).
It
was intended
as a
modest
from
the
pomp and
ostentation
7.21 Gabriel-
la
Princesse,
1735.
The oval room, known
as the Salon de
la
Pnncesse (Princess's
Hall), contains elabo-
rate
Rococo
mirrors,
details,
and paintings
by Natoire (1700-77).
An ornamental
clock
is
placed on a marble
the ceiling,
crystal
and a
ornamented
is
124
rails,
is
''^'f|*'*^f
of
but subtly
are
are
superb
The
restricted to the
stair
metalwork of
monogram
inserts
soft, pastel
tation
spaces
the
with gilded
pilasters),
is
(or
and
Charles-Joseph Natoire,
columns
The
surrounding gardens
paneled in
wood
The
painted in
ornamen-
in
Two
parquet
floors
that
were
originally
elevators
In
7.22 Ange-Jacques
Gabriel, bedchamber of
Mane
Antoinette, Petit
Trianon, Versailles,
1762-8.
The low-ceilinged room
fitted into
level
a mezzanine
of the Petit
a favorite retreat
for the
painted
a pastel tone
in
7.23
Lit
France,
casement
c.
la
turque,
1765-70.
Flowing curves
The
acterize French
relatively simple
eighteenth-century
neoclassical forms,
is
furniture design,
Louis
XVI
(r
and
and
774-92).
was designed
suggest one or
became
for the
favorite objects
rooms of the
out
set
The bedroom
Antoinette
is
is
that
a small
was
by
occupied
room on
mezzanine
Mariefloor.
It
and
rich; its
surround
fireplace
with
above
mirror
Much
the
(1728-94)
is
who became
all
and
in related
in
may
be
while
also
beginning
to
turn
toward
extended
developed
Neoclassicism.
XV
(fig.
response to a
new interest
in
Rococo to Neoclassicism
survived
toward
in
(r.
combination with
the
Neoclassicism.
more
academic
Gabriel's
work
further
reserve
at
move
of
Versailles
125
Chapter Seven
7.24
Francois-Joseph
Belanger, Hotel
Baudard de
Samt-James, Place
Vendome, Paris,
c. 1775-80.
The grand salon of a
palatial Paris house
and
and
paintings
in the ceiling.
an ornamental
and
fireplace mantel,
candle chandeliers
Furniture
is
absent but
been
in the
Rococo
neoclassical style to
An
detail
elabo-
mantel clock
is
known
XV in
or Reeding, while a
new awareness of
ancient
typical.
Paris
(now
the Place de
la
Concorde) are
its
mental
Hardouin-Mansart's
such elegantly
1690
Place
Vendome,
details
connection
draperies,
with
ancient
previously
rare,
classicism.
became
richly decorated
and
common;
(fig.
Inside,
126
Window
increasingly
and golden
and tassels.
The Revolution of 1789 put an end to period styles
based on royal patronage and encouragement,
although a number of politically agile architects
and designers managed to survive and resume their
careers in the post-revolutionary climate.
The
(
named
DiRECTOinc
form of governmentthatinl794^
for the
more
XVI
straight
and
lines
Egyptian
details
make
Roman
stiff
ancient
Roman
designs
and suggested
military power.
The Empire
Style
are
details
Window
They
intended to
French
are
tricolor, clasped
common
motifs.
When Napoleon
came
to
power
in 1799,
larity,
as
the
Consulate
surfaces
draper)'
came
in popti^
and
draper)'
Spam
forms and
Ornamental
precedents.
imitate
France and
and brocades arranged with valances and trimmings to suggest spears and lances. Tables with
metal tripod bases and marble tops were made to
who
in
identified
covering
with
wall
first
professional
Salon deJeux,
Chateau of Compiegne,
near
1785.
Paris,
with
IS
Mane Antoinette,
of simple, neoclas-
sical Louis
XVI
style
but
Empire
and
and
nineteenth century.
127
'
Chapter Seven
7.26
and
Charles Percier
Previous interiors
Pierre-Francois-
artists,
Leonard Fontaine,
design for a room
in
the Chateau de
direction. Percier
manner of modern
1812)
In
rior
famous
inte-
inte-
control in the
their
designers Percier
tries,
full
made
work widely known not only in France but in
Germany and England and other European counof albums of
a publication of their
works, the
the
with various
Empire
war-like trophies as
references,
decoration in the
Empire style
to
honor
the achievements of
bedroom at Malmaison
was completed by the
and
and an intention
sense of sternness
in the
walls,
designers in 1812.
new
style in
I.
At the chateau of
room
and gold
silk
workroom
Chamber
role, status,
in
the
sort
over
is
much
indifferent to
The Empire
Mme
had been
initiated by
Mme
Recamier:
Decency demands
that, the smallest
it
that
like
feet
The
tent
theme
a large
was
bed surrounded by
domes of
the
in
reclining.
legs.
is
when
occupancy of Napoleon's
which appear
it.
style did
(fig. 7.26),
all
and
was
battlefield.
architects'
it
himself.
of every room.
world.
emperor
at
Malmaison:
for the
It
A room
designed as a
outfit the
identity.
was
The
lacquard's invention in
pattern-weaving loom
Pompeian
and gold.
made
Percier
quoted
in
(Chicago, 1997),
p.
942;
ed,,
interieurs,
1812,
2. Ibid; 3.
Mme
chosen by Napoleon
as his
128
church
of
S.
Genevieve
Paris
in
7.27;
(fig.
in
France and
7.27 Jacques-Germain
Church of
Soufflot,
Pantheon, a secular
hall
dome and
high
rior
became
Pans, 1756-89,
Originally built as
ancient
British classicism in
mind as precedents
of
Scenic wallpapers
also
figures
much
in successive period
which are
names, there
is
Paris
Only
(1785-9).
four
have
survived
la Villette)
but
show
A
reflected
a strong styl-
striking
example
Empire architecture
(fig. 7.28;
is
of
1804-49) in Paris,
(fig.
7.25).
The
great
The
cross,
with ambulatones
around. There
is
all
a high
patterned
floor,
paint-
domed center,
and statuary groups
of the
function.
point at the
a focal
domed
periods
a Greek
Empire
IS
for
interior
mental current
post-revolutionary
istic
plan
domed
the
Roman and
the
had
history. Soufflot
building.
tion
S.
Genevieve (Pantheon),
model
Spam
7.28 Alexandre-Pierre
Vignon, Madeleine,
Pans, 1804-49.
Designed
to
the
fit
imperial ambitions of
led,
the
Church of St Mary
Magdalene was
origi-
since
domes of the
admit
light
interior
through
ancient
suggest an
Roman
basilica
monumental
building, and huge
or other
Corinthian columns
mented
and pedi-
side chapels.
129
Chapter Seven
Corinthian
peripteral
temple.
Roman
interior
Its
is
domes on
flat
Roman
such ancient
interior
neo-Roman
no doubt
to
Napoleon's
taste.
Provincial Style
While
styles
developed
service
the
in
means had
make do
to
Middle Ages.
When
bourgeois middle
of merchants,
class
who wanted
comfort and
luxury.
It
is
a rising level of
began to create
a taste for
something
even
similar,
if
styles
is
history of taste
it.
"filter-down" effect in
present. In France
the
(fop) Provencal
7.30 {bottom)
now
Musee
displayed
Provencal bed-sitting
Fragonard,
room;
kitchen;
the
Crasse, France.
rich
now displayed in
Musee Fragonard,
typical
is
Rooms
have existed
in
the
similar to this
country houses
south of France
in
south of France
and nineteenth
centuries.
The
in
the
the
tiled
carved fireplace
introduce a degree of
its
elegance, while
and
simplifies
florid
and
(apple,
a hand-
cherry,
was
an
keyholes,
walls.
usually small
the
smoke hood.
130
simple striped
or pear,
important
alcove.
detail
XIV
or
XV
tends to be
is
usually
for
example).
large
is
always takes
There
them. Carved
it
of Louis
no ornamentation other
role.
styles
traditional
(figs.
Crasse, France.
This kitchen
display
its
piece
carved
that
usually
details.
Metal
added decorative
detail.
Chairs were
seats,
who
developed a
plateros
From about
from
made
Furniture
smiths
7.31
Diego de
Siloe,
details
Italian
Granada Cathedral,
1529.
leads to an east-end
choir in the form of a
rotunda. Classical
1495-1563)
Germany
Empire
popular Biedermeier
in the
nineteenth-century
early
in
style
status posessions.
in
(c.
of the Plateresco
combined
German peasant
name from a German
The
style
German bourgeois
set
by French
Empire
took
made
trends
for
It is
a fine
characteristic of Spanish
interiors.
of the
the
particularly
middle-class
was
furniture
Biedermeier
chapel there.
stylistic
Made
style.
its
style.
considerable
of
and
public,
practical
forms
woods were
elm)
or
birch,
chests
and
painted
black
with
Marquetry ornamentation
is
details.
was generally
its
German
south
base,
and into
Spain
The Renaissance
in Spain developed
Italy
and,
through the
much
later,
preexisting
that
traditions
mingled
MuDEjAR
is
late
wood,
plaster work,
and
tile,
and
and white)
are
Mudejar
characteristics
Plateresco
The term Plateresco
the
early
thought,
Spanish
of
its
is
Renaissance
relationship
to
because,
the
it
is
work of
131
Chapter Seven
Desornamentado
hung with
Around
known
never
1500,
as
completed
Alhambra
palace
in Toledo.
of Charles
The plan
is
at
the
little
little
a square with a
surrounded by two
levels
of
Churrigueresco
Ionic above.
this building
style
most
clearly
developed
in
and
Commissioned by
Philip
and
in
Rome
II, it
was begun
(d. 1567),
7.34).
in
1563 by
who had
studied
(c.
1530-97).
around
It is
huge
known by
Renaissance,
nent of the
style. It
the
against
the
term
stylistic
can be understood as
austerity
of
a reaction
Desornamentado,
of
an
de
tion of the
most
palace.
the gridiron
7.33;
Spanish Renaissance/
The
library of the
and
Italianate
El
Esconal, near
Madrid, Spam,
1563-84.
The engraving reveals
the extent of the vast
complex,
known as
the
fifteen inner
striking
1713-47),
in
,a
Granada
designed
possibly
The
sort.
by Luis de
a palace, a monastery,
a
college,
and a church
monastery
is
ornate, colorful,
its
and
most extreme
the plan
is
in
style,
domed
altar,
mous Spanish
communicates
the building.
its
Inquisition of the
were
insert
(completed
Tome
1732)
in
designed an
known
window
tory where
itself is
the
the
through a small
it
almost
lost
Churrigueresco
surrounds
visible
as
make
and
it,
in
ornament
that
upward into the vaulting
sculptural
is
piled
Furniture
and Other
Interior
Features
Furniture of the Spanish Renaissance
i_iiS3^ti^IHHtIlfl
its
is
^1^^
132
and chests
common.
made with
generally
basis in the
in
7.33
Luis
de Arevalo
Spam, 1713-47.
The overwhelming decorative plasterwork of
an example of the
ngueresque
is
chur-
style at
its
hard
Such an intenor
to classify as
related to Baroque.
Rococo, or Mannerist
directions. It
seems
exist outside
any such
to
orderly classification.
133
Chapter Seven
7.34 Juan
Bautista de
Madrid, Spam,
1574-82.
The
domed church
at
ceiling,
stands
granite of a most
II,
the
was,
hidden windows
be built into
to
his
bedroom so that he
could have a view of
the altar from a location
high up on the
right.
134
in
7.35 Spanish
vargueno, seventeenth
century.
is
on
a drop-fronted case or
a separable base.
drop-front could be
The
is
by pull-outs
in the base)
divided to provide
and exposes an
many
storage
interior
filled
with drawers
and compartments
compartments
for
Closing
is
opening
its
front
contents secure.
that
rich
practical
such
as
common
coins
imported into
in the
Italy
Silk
brightly
weaving
colored
as
palaces.
developed
and
patterns
in
rich
Spain
used
embroidery,
under
Low
Italian influence.
Countries
textiles,
Spanish
rule. In the
Low
centered at Cordoba
and
became a
highly regarded Spanish export. Metalwork of high
quality provided elaborately ornamented candlesticks and wall brackets while candles remained the
only source of artificial light. The brazier, a metal
container on a metal stand served to hold burning
specialized
in
embossing
leather.
crafts
finishing,
coloring,
Cordovan
tooling,
leather
Reformation developed
Roman
as
an alternative to the
it
will deal
place.
a transfer of ideas
135
Renaissance to Georgian in
the Low Countries and England
The northward movement of Renaissance ideas
continued into Holland and Flanders (now the
Netherlands and Belgium) and to the British Isles.
The movement of ideas, unlike the movement of
churches
moved
that
Ideas
originated
in
Italy
home
bring
its
opposition
doctrinal
thought
too
be
to
The
Catholicism.
to
imagery
religious
with
identified
closely
Revolt
Iconoclastic
in
which
painting,
interiors plain,
left
windows
clear glass
stained glass
of conflict,
work
that
During and
(fig. 8.1).
the
artists in
Low
Countries produced
new
in great detail.
ideas
from abroad.
often
show
life
of the times
life
The
Low Countries
middle
The Netherlands,
parts of Belgium,
is
distinct
class
lived with
cities.
from those of
Civic Buildings
social conditions
{below) Frans
8.1
Hagenberg, engraving
showing Protestant
Iconoclasts in Antwerp,
rage against
Catholicism, went on
The
political
religious paintings,
and stained
Churches and
in Spain, particularly
II,
damage.
In
House,
Hertfordshire, England,
from
508,
is
Jacobean English
was an
of
castles,
this "great
in
fretting, strap-
illus-
wood
ings
found
their
way
work
exemplify
to
Early
Renaissance
design
The Mauritshuis
Jacob van
Campen
(c.
1633) at
who had
traveled
with
acquainted
but
(fig. 8.3;
The Hague by
to
the
1633-5), an architect
Italy
designs
where he became
of Palladio and
in
house" the
Scamozzi,
is
interiors
ceiling.
The woodwork,
were destroyed
Classical pilasters
rooms. There
is
It is
in a fire in 1704,
but some
from the
set
of
thirty-nine drawings
its
elaborately carved
136
in
ceil-
rich-
underlying intention to
medieval
especially
hall (1597)
there.
inte-
of exceptional
ness. There
town
came
rior
monasteries suffered
irreparable
sculpture,
glass.
century
resulted
regime
rampage destroying
^,*H
f
'ii>'i
i;\
%ciUfKV?
:?
fj(f?
:'<,^^
fc.--^^^'
^^
"
4^1
^y
Chapter Eight
hall (fig.
Countries and England; the designs of many seventeenth-century houses in England resemble the
Private Dwellings
The unique
riors
reflects
and
powerful
Palaces
types,
circumstances
several
place.
left
The
that
were
political troubles
and dominating
aristocratic
class.
8.3
(top)
Jacob van
Campen, Mauritshuis,
8.4
[center)
Philippe
P.
(after Toorenvl
let),
The Hague,
banquet at the
Netherlands, 1633-5.
Mauritshuis
This
house
is
a Dutch
of the Italian
Charles
in
honor of
of England,
The Hague,
This
c.
1560.
engraved copy of
Dutch merchant
is
home.
based on a Palladian
on
shows a generally
simple Dutch interior
Renaissance,
and
II
is
Toorenvliet's painting
Renaissance decoration
and
block,
a pediment at
swags
in the
and painted
organized composition.
detail
decorative
IS
temporary
tiles
edge
festivity in progress.
138
to the
Renaissance to Georgian
by Dutch
on
floors.
the
fine
the
in
table
as
Music was an
in
life
the
Low
Italian
came
became
much
carvings, rare
woods, and
Virginal,
Netherlands,
1670. National
Gallery, London.
keyboard instrument, a
box-like case with
room
IS
in
which
it
stands
of elegant simplicity,
with a black
tiled floor,
and white
a wall base
tiles, and a
window of leaded glass.
of painted
Only the
fine paintings
Bulbous
Baroque
feet
details.
and
table
growing
were favorite
legs
interest in scientific
and
textiles,
Dutch
into
oriental porcelains,
were introduced
interiors;
The
typical medieval
It
top
floor
tiles.
Wood came
trim
(fig. 8.5).
and
lary: plates
and
platters
Tiles
were
tiles
some paneling or
made at Delft were
tiles
usually
tile
white,
with
painted
glass,
to be used for
Pottery and
an
many
tiles
came
in
placed
without
spacious backgrounds, in a
always
objects
are
against
plain
interiors,
crowding,
way
that
and
communicates
quarries to
sources of plentiful
wtt+i
stone restricted to
HMJor building
where it was indispensable,
as in roofs
and upper
floor structures.
in
to be widely
Dutch
present
England
tiles
charts.
maps
Framed works of art are displayed
alongside handsome pottery, glassware, and silver
and
globes,
reflected
into
warehouse.
is
celestial
narrow, multistory
elements,
and columns
moldings,
The
through
early,
development
named
after
Dutch bed
spaces or,
in built-in,
when
box-
free-standing,
it
is
is
if
occasionally
confusing.
139
Chapter Eight
command
British
bilities for
of Italianate classical
rooms
in the
(fig. 8.8;
c.
8.7 Long
Haddon
Hall,
Derbyshire, England,
c.
The
530.
The Renaissance
rior
inte-
includes detailed
paneling incorporating
motifs borrowed from
Italian
Renaissance
practice.
Such design
first
Middle Ages
Henry
Ceilings
tjjf
Tudor
Gallery,
VII,
Henry
Edward
VIll,
Tudor is
end
of the
in the
and Queen-
VI,
appearance of half-timber
wood
building whicli
style until
weiL
was
(the "pit")
galleries
open
surrounding
who
a better location.
stage in front
was
partially
iivto
period
Low
in ornamentation, in trim
Countries. The
when
it
began to appe^f
fire-
The
first fully
places, in paneling,
typical
Haddon
Jacobean
character.
made up
this large
manor house was brought up to date by the introduction of a Tudor long gallery (fig. 8.7) which
approaches symmetry
windows along
8.8
(r/g/jt)
of
many
Low
Countries),
and-weed
This modest,
room has
was once
used by Queen
Elizabeth when she
it
visited Wales.
made up
Conway, Wales,
c, 1577.
because
south side
introduces lage
Sitting
low-ceilinged
its
in its plan,
The
mental
detail
paneling of
natu^
period, esUblishes
and
Elizabethan
all
typical of the
Elizabethan intenor.
The Elizabethan
recognized as
era
140
(1558-1603)
is
generally
Armada
in 1588-tebtibed
in
Europe)
is
Longleat (begun
it
is
1568),
thought, by Robert
Renaissance to Georgian
in
England, 1591-7.
on the
The gallery
is
uppermost
floor
of one
of English Elizabethan
"great houses" Huge
windows in bays on the
right flood the
with
space
light.
and
the fireplaces
and
stonework
in
an
and most of
paintings
the furniture
is
of a
but the
later date,
plaster strapwork
ceiling
on
sides,
all
rior
is
Windows
are
many and
riors
rior wall
is
largely
is
original.
work
detail.
modern
and grandeur.
Elizabethan Furniture
Elizabethan
earlier
furniture
differs
more carved, ornamental detail, and in the development of some new types of furniture. One such
Smythson.
had
six
at
Its
symmetrical block
a rectangle with
is
a considerably
moldings
at
is
ground level, the middle height second level occupied by rooms for everyday living, and the highest
third level where the major ceremonial rooms are
located.
in
room with
entrance hall
is
which
four
recalls
Doric
detailed
correctly
is
The
a gallen'
supported by
columns.
Wood
above
is
is
classical,
stairs lead to
the upper
level
where
Wide
a long gallery
This
room
is
(fig.
window
bays.
The
exte-
roof-like
bed
itself.
more
or
many
folding chair
known
as a
massive
Glastonbury chair
also
two-arch arcade.
Oak remained
141
Chapter Eight
Occasional cushion or
a covering of cloth,
carving, classically
8.10
Jacobean
Its
acceptance of
Italian practice,
England
came
in the
work
House
symmetrical
Me had
takes
its
name
itra
as guest
It is
accommoda-
!taly#
\'isited
work
first
government)
in 1615
led to his
at
interior,
the exterior
<,,-
1619-22
was
influences.,
plaster
Inigo Jones,
Banqueting House,
to
Dutch
and
fireplaces,
Whitehall, londo>i,
with
columned
someColors
The elaborate
windows.
Lyming
(c.
is
(fig.
1560-1628),
is
work of Robert
of Italian marble in an
an arcade,
symmet-
a simple, totally
with
in)
filled
white
plain
well-spaced
walls,
and, for
fantastic
in style,
frames paint-
ings by
Rubens
off.
rical
is
pilasters,
it
Greenwich (1616-35)
its
multiples.
The
cube and*
and the
floor,
details^
ojL
.id.Qor_trames
M ,^^
Italianate?
new Whitehall
Palace
(c.
if built,
more
Only a small
the Banqueting House (fig.
frag-
ment was
8.10;
built,
room of double
1619-22), a single
on
a balcon\"
story height
has a double
It
brackets, an ie w i c
ceiling
with
paintings
surrounded by
Rubens
by
florid plaster
St.
in
panels
ornamentation. The
is
that
so
and
a Palladian
window above
many
English
(and,
later,
its
classical
it
the
form
American)
appears as a
temple-like pedimented
gable.
It
has a
columned portico
was the center of a
full
to have
142
it
is
Renaissance to Georgian
plain rectangular
the
chamber
Webb
two formal
1648-50)
wing of
Crimson
silk velvet_
cushions
and gold
rooms
state
cube rooms
'
painted
and
The
richly
ture, wliich
portraits
ornamented
1603-25).
ornamentation,
It IS
(r
of basi
'^small-scale carved
series
of
design.
Jjdiister ornamentation.
Cove
The
surfaces framed
richness of these
rooms
bame
than
its
lighter
to be
more
for
use,
and'
legs
loose
or
Oak remained
silks,
An
also used.
increase in
embroidered turkey-work,
velvet,
and luxury
8.12).
(fig.
comfort
and
Elizabethan predecessors.
used
into
and
somewhat
often
came
used decorativeh^.
later periods.
SBil)er in scale
~--
Interior Furnishings
aWltgfir-Hnefi,
were
Cushions
patterns
twist
detail.
stretchers.
textiles,
Jacobean
furni-
ttiis
dates from
*^ints
called, for
Van Dyke
fringes enricli
carved
gilded
in
engraving.
and elaborate
(fig. 8.11).
England: shown
li^
8.12 Jacobean
furniture, Knole, Kent,
Wilton House
a striking contrast to
many surviving
sible for
in
elegant in.
Cromwell's
Oliver
Puritan
Commonwealth government
rebellion
and
that followed
it
the
from
8.11 John Webb,
return of Charles
II
in
double-cube room,
With the
1660, the Restoration
on
It
is
Wilton House,
it.
Wiltshire, England,
1648-50,
often subdivided
into a
to
1689 to
17012.
Wren
fire in
The
famous
most
Christopher
of
simple form
met
portraits,
took
but
him
he
to
(where
Paris
he
lously decorated,
Italiart
appointed
St.
Paul's. In 1669' he
gi\iiig
him
London and for
surveyor-general,
many important
architectural assignments.
coved
ceiling,
ings by
Edward
Pierce
(c 1635-95). The
ornamented furniture
by William Kent (c.
1685-1748) suggests
an awareness of French
Rococo themes.
Wren's
work
combined with
his interest in French and Italian Baroque work td
produce a specially English vocabulary. While
and mathematical
is filled
and gold
Van Dyck
and a fabu-
with white
paneling.
scientific
was
Sir
continent
Bernini),
architects,
British
.^^//
143
Chapter Eight
8.13 Christopher
Wren, St Stephen,
WaUEirook, Lofidon,
that
1672-9.
London
In this small
Wren developed
a scheme based on a
church,
makes
Catholic
it
northern
south
Italy,
Germany, ^ob
Austria.
city
churches that
Wren
geometric progression
from rectangle
to
octagon
to circle,
dome
with a
cises in architectural
are based
on
squares, rectangles,
divided
again sixteen
and
coffers.
most beautiful
interiors
study
in
S9*np are so
in existence.
arrangement
vertical
elements. Miwiy af H i t
hemmed
on constricted sites as to
The church of St.
in
insignifican*.
is
classical
is
placed
placed on another
street.
The
interior
is,
are
however,
(fig. 8.13). It is a
made complex by
the
left)
Section of
Paul's
St.
octagon.
^Cathedral, London,
1675-1710
Peter's,
was
to rival St.
IS
made
layers: the
of three
lower
dome
above,
and
the wood-
visible
a lasting
London landmark.
8.15
(far right)
Christopher Wren,
St.
Paul's Cathedral,
London, 1675-1710.
The
interior
of the
cathedral, with
dome
its
great
at the crossing
and
a spectacular
display of Baroque
by
aisles
half-arches,
which are
inside
nally
144
invisible
and hidden
by screen
is
itself
exter-
walls.
defined by eight
dome
coffered in
designed
The octagon
Renaissance to Georgian
8.16 Planof
in
the
Belton
House, Lincolnshire,
^gland, 1685-8,
Hall
2 Dining room
3 Chapel
The plan
surprising in
is
room
IS
only possible by
passing through an
adjoining room.
arched windows.
'
James's Piccadilly
and
as St.
with
barrel-vaulted
galleries
the
lished
Renaissance
English
typical
many
design on which
later English
church
and American
and
many chimneys,
and
St.
Cathedral
Paul's
1675-1710)
8.15;
monumental and
the most
is
and
8.14
(figs.
best
two main
1585-8.
The "saloon" or dining
an English Baroque
room
is
cipal
rooms of this
ably designed by
convey
known of Wren's
works.
It is
is
buttressed according to
a sense
and present
dome
The
appearance.
arrangements. There
height
wood
William
lower inner
ingenious
dome
set at a
its
top.
is
room opens
into
its
With kitchens
neighbors.
in a
of the
internal
space
building.
In
up
(lit
dome
by hidden
ments,
in
nience, remained
commonplace
windows arranged
in
Edmund
is
typical
of the aristocratic
inte-
of the seventeenth
century.
Furnishings
to
at
Gibbons, although
eighteenth century.
pediments
renowned wood
riors
dome and
with simple
the
carver, Grinling
plaster ceiling
allows a glimpse
inner
silhouette
the
(d.
much
to
hidden
An
It
house
payments
relate
Wmde
skyline
striking
is
hides
also
to
planned to
below. Externally, a
built of
prin-
buttresses
one of the
gilded.
and
An
increasing emphasis
practical
on luxury, comfort,
in the use
145
Chapter Eight
8.18 Engraving
of
developed
1660-1702, as shown
in
book
illustration of
in
England
an altsrnative form of
as
(fig. 8.18).
Highboy,
on
legs,
1907.
a silk-upholstered
chair from
leg
Hampton
The
btcame
the Gate-
table.
used for
Ml);
Hall (seep.
to be
curtains.
right:
a silk-upholstered chair
Queen Anne
house at Sevenoaks,
Kent. The designs
span
1689-1702)
Queen Anne
(r
(r
The
ticality,
Wren's
desks,
came
oriental rugs
increasing sea
trade
From 1689
rate
John
now the
tiire,
retreat
wood
for paneling
and
matched
1705-24,
room, the stone
for furni-
Oxford, England,
In this
(1702-14) corresponds
in
contrasting
various
colored
patterns
wood.
with
wood
grain
edging
of
Decorative' lacquer
in
English architecture.
Baroque gvdadevttf
John Vanbrugh
and Nicholas Hawksmoor (16761734). Vanbrugh's Blenheim Palace (1705-24) was
successors
were
Sir
(1664-1726)
left)
Queen Anne
1702-14).
8.19 [below
reign of
III
to
vast
Marlborough
rooms,
its
Its
huge three-story-high
gallery
(now
the
that
and
its
Baroque designation
detail of doorways
is
with columns,
views of an
imagined outdoors, and
pilasters,
overwhelmed by the
space and
its
decora-
tion.
8.20
(far right)
Nicholas Hawksmoor,
Christ Church,
Spitalfields,
London,
1714-2a
The daring spatial
composition includes
columns supporting an
arcade, which opens to
side aisles
At
the
ducing a sense of
Baroque complexity
into the otherwise
simple, flat-ceilinged
space.
146
^vWA^S
Q:^^^^c:'^vma(fci^
'
Renaissance to Georgian
in
Room
8.21
from
contemporary terms as
now
is
installed in the
Museum
Metropolitan
of Art,
offers
New
York.
It
a view of a more
spacious
interior,
and
with
Rococo plastenwork
detailing by
Thomas
The painting,
oriental rug,
furniture,
and chan-
obelisks,
and
fig.
8.19) of overwhelming
painting that
is
and
ceiling
highly theatrical.
Spitalfields, for
its
arched elements
below a
flat
Inside, there
tall spire.
is
came
wealthy.
stretchers
and
a high
The columns on
nave with a
either side
Georgian
In the design of residential interiors
George
Georgian
the
galleries,
columns support
and
theatrical sense.
and adding
contemporary
& Awfull."
and
related
early
from
period
period,
II
(1727-60) cover
usually
defined
A handsome room
house,
lesser
as
of this
Kirtlington
Park
Museum
Metropolitan
walls
and
'
ceiling
are
in
New York
(fig. 8.21).-il8
and
add color and
Queen Anne
Queen
Anne
Furniture
furniture
smaller, lighter,
pedecS8*s.
cushioned
generally
Curving shapes,
seats,
somewhat
wing-back
the
chairs,
cabriole
hiiid
k^
by a bent houp, a
;hat
were
(\'ith its
ust?.
usually
leg,
and practicd
it
turnings
with
seal,
and
turned
glitter.
Sanderson,
shows the
is
ceiling design
its
designer, John
museum
collection.
It
in
which the
influ-
mental
detail
Roman Pompeian
orna-
147
'
Chapter Eight
was used
ture
in the
at
Wilton,
Robert
domed
is
clearly Palladian,
central rotunda
and facade
a free interpretation
of the Villa
portico based
on
its
a square,
building,
Rotonda
plaster
brothers.
^Wei" of
Adam
by the
fine
(17.^0-94),
tion in
construction,
came
Bedroom
of Bute
3 Main staircase
4 Secondary stans
room
5 Powder
6 Water
closet
blown
Adam
in
made
partly
engrav-
of Robert and
in
America
as
764 about
is
Some weie
never completed,
much
are accessed
has been so
best be studied
the plan
in
his
but
lie
attention
is
in their
great apartments,
in fitting
them
up,
little
company
...
It is
immediately to
well.
corridor,
Earl's
Adam
houses
the Classical
in
skill in
style,
creating beautiful
essayist, trenchantly
doubted
their suitability:
design can
and elevation
that
apartments contrived
Italy,
screened by
is
is
from a
bedroom
style
work
also
in the beautiful
in Architecture
(1773-1822)
in
entertainment
Rooms
although the
the rooms of
existing buildings.
Corridor
decorative
The Works
great detail
in
James
but
character,
in
like
rooms as
England, 1767.
and
Rococo and,
Moo, Bedfordshire,
building
architecture,
design,
Palladian
partly
with
interior
details efficiently
that
established a reputa-
dealing
projects
wrote
characterized
Adam
Robert
but
killing in
for a coolness
agreeable
in
adjacent rooms.
Secondary stairs
connect
p,
to the base-
Quoted
145;
floor.
The powder
All of this
IS
classically
symmetncal
overall conception.
r-H
H
'
148
p.
983),
upper
in
2.
88
vol.
I,
753, quoted
pp. 10-11,
in
3,
Lady Mary
Renaissance to Georgian
in
rooms
The dining room has an adjacent
pantry with stairs to the kitchens below. The Earl's
bedroom can only be entered from adjacent rooms,
corridor runs the length of the building with
opening from
it.
closets,
of
versions
the
inside
toilet.
minor rooms.
grey and
at
marble
statue.
Ionic
in the beige
Etruscan style
ration
golden
repeated
plaster ceiling. At
a
is
is
another
small parlor in
Kenwood House
the
(1767-70), London,
is
probably
has a semicir-
It
Park, Middlesex,
of
room
the
two
by
Corinthian
columns
and walls
1762-9.
The ornamentation of
room
the Etruscan
Is
with
Pompeian
detail.
The
library
at
in white, pink,
and gold.
Adam
designs for
as
House,
now
Metropolitan
marble
and black
tones. The
demolished,
is
preserved
in
the
statues
look
out
from
simple
niches
Adams
many modern
designers, the
wide variety of
coffee house, a
London
theater in
dealt with a
paper by Angelica
Kauffmann (1741-
and
1807),
artists
some
other
completed doors,
and
some
wall areas,
relief, ffle.
of the room
and
ment
create a sense of
riors in
London
Drury Lane,
8.23
a
and complex
is
Robert
(left)
James and
Adam, Syon
House, Middlesex,
1762-9,
The anteroom
is
a scene
of colorful grandeur
Twelve green marble
more modest town houses were btiilt in thoughtfully designed groupings, often around handsomes
lanwtscaped squarea The Covent Garden development by Inigo Jones established a model for such
work in London, where land owned in large estates
by titled gentiy was laid out to form what would
(1745-99), an English
plaster worker,
was
and
ceiling decoration.
design of the
ceiling.
149
Chapter Eight
noA\'
in well-coordinated
rows and
sale (r
in
centuries,
lamps, although
end of
The Georgian
lesser streets,
and tradesmen.
On
artisans,
workmen,
and
along
with
stables,
service
the
large
all
of these houses,
largest to smallest,
orderly.
Such
Georgian
housing
rather
modern
primitive
produced examples of a
included
clubs
where
converse, or doze in
Retail
settings.
gentlemen
They
could
were
cities
large, often
meet,
ground
glass
panes
to inte-
cases displaying
sale.
lesser
still
era also
The Georgian
not
the century.
spaces.
logical,
known
riors that
level
and
dignified
ceilings,
"^'^'^'Vfntal
and
plffiari
as comfortable
might
prefer.
The
taste
for exotic
designee
and cabinets might
times.
of
convenience
well,
150
come
from
that
began to
servants,
candles
society.
On
on
depended
streets, large
small
Lighting
century.
and eigh-
to
medieval times,
teenth
had
from streams
make do with
and
Imported porcelain
(called,
(fig.
8.25).
bowls and
vases.
Handsome Georgian
candlesticks, boxes,
and other
silver
bowls,
accessories, often of
ware
and decorative
silver-
In addition to imported
number of
made
ceramics,
English
factories
Renaissance to Georgian
in
8.25 Thomas
Sheraton, an engraved
plate illustrating the
'
?iis
phase
in eighteenth-
Maker and
Upholsterer's
Drawing-Book
at right
and
left
and
and figure-do
not seem
to
have any
strong relationship to
to inject
ncal eighteenth-
made
the
in
(1730-95)
is
The
of
factory
Wedgwood
Josiah
ticality,
still
modern
users.
by
gravity
pendulum motion
to deal with
weights
so that
and
regulated
means had
to be
by
found
It
was made
in a
was housed
opened up
to expose
furniture styles.
and columns.
spring drive mechanisms and
made with
cases ranging
from
of partic-
inevitably massive
major
their surroundings.
Georgian
can
furniture
be
and
late.
The
Queen
continued
in use,
mahogany,
classified
early,
as
middle,
of
makers'
doors that
visual element in a
carry-over
latter
A cabinet organ
in large houses.
ular rooms.
interior.
case
century
The mahogany
first
but
Anne
after
practice.
Walnut
lions'
legs.
heads, and
151
Chapter Eight
8.26 Thoma&
other
general use.
Chairs," 1754.
decorative
fanciful
Chippendale, "Chinese
The
Some new
tion.
Cabinet-Maker's
shows
design for an
more
of decora-
florid use
Gentleman and
Director (1754)
came into
Rococo can be
elements
influence of French
appear to be two
settees that
eighteenth-century
holders.
chest with
a typical
intended
to
suggest
Chinese influences.
Illustrations
this
such as
sen/ed as a kind of
might select
their
and
arms.
many
The high
chest or
made
in
two
Chippendale designs,
design
known
to
it
many
designs
Chippendale
on
style
also served to
make
his
America)
Chippendale's
might be called
who
based
work.
The
form
a restrained
had
and
they
be stored and
to
displayed
in suitable
is
made up
of a
pedimented
element, which might
central,
be ordered alone
or,
and
left
wings making
up an imposing unit
The urns (and the
broken pediment) on
top were optional
elements, available to
suit the buyer's taste.
152
all
splats
style, ball
legs,
with carving in
and claw
feet,
made
from Chinese landscapes as they appeared in wallpaper pagoda forms, carved dragons, and lacquer
work. Chippendale furniture has an underlying
simplicity,
Hepplewhite, a library
also florid
8.27 George
is
is
well
practical,
but
it
in
related
designs.
Massive bookcases or
at the center)
and a
along with
Renaissance to Georgian
in
8.28 Thomas
Sheraton, a library
table,
An
1793.
illustration
from
Sheraton's The
Cabinet-Maker and
Upholsterer's
Drawing-Book
(1793-4) shows an
oval table with inlaid
veneer surfaces. Slides
to
open up
and heavy
books of illustrations
that
vi/ere
favored by
wealthy book
collectors.
modest
was
furniture
who
craftsmen,
made by many
and
simplified
Chippendale vocabulary to
suit a
in
satinwood establish a
other
the
adapted
wider and
less
ladder
twin
Hepplewhite
and
1786)
(d.
book of illustrations
The
Guide (1788-94)
Upholsterer's
Maker and
Cabinet
illustrates
chairs
and usually
carved
with
parallel
lines
of reeding.
Round
(fig. 8.28).
He
He
many complex
designs,
beds.
also
according to his
called a Carlton
ment.
The Georgian
and
logic in
become
historic periods.
It is
builders,
Modernism
of
topped with
vases, elaborately
covered
chamber pot)
Hepplewhite
were
made
in
illustrates
Upholsterer's
a
somewhat
and
delicate
in
eighteenth century
is
the twentieth
it
is
at the
that designers
laid
legs,
century,
way
Sheraton's
more
also
detail.
illustrates
richly draped
windows, alcoves, and whole rooms decorated
Hepplewhite's
style.
style,
an amusing
More
light
affluent public.
makers,
much
153
The discovery of
the fifteenth and
of possibiUties
variety
opened up a
sixteenth centuries
to
Europeans ready to
in
the
cathedral
in
nave and
aisles are
its
"New World."
and
uproot
relocate
for
new
experiences and
Beginning
the
in
seventeenth
settled
the
century,
by colonists from
had
themes
religious
rendered
is
Claudio
realism.
de
sympathy
settlers
gener-
Church of
at
of
Morelia
S.
with
Arciniega,
adventure.
several
illustrating
powerful
The Mexican
Guadalupe
similarly ornate.
The church
(fig. 9.1) is
Jose at Teptzotlan
1750)
(c.
an extreme
is
anything in Spain
ally
little
interest in or
South America).
as
an
that
had been
behind.
left
many
may seem
colonists to
Some
itself
sixteenth-century
European environment
filled
and
more
heavily
on importation
depend even
brought by sea
from sources
Francisco de Assis at
Ouro
Portugal.
in
S.
Minas Gerais
Preto,
new design.
new houses and
Francisco
rarely
found expression
Typically, the
new towns
in genuinely
aim was
to recall the
Spanish and
to build
European
Portuguese
settlers
Thus
past.
the
South and
in
styles
that
were
(1738-1814),
development
settlements
in
contemporary
memories of
their
realities
rials
Paris.
settlers
style
German
based on
The
and the
lack of others,
necessit)^
ways of doing
and familiar
things.
known as
who was certainly a
Lisboa,
of
Aleijadinho
key figure
eighteenth-century
in the
Brazilian
was
generally
plain
European vernacular
and
by Hispanic
functional,
following
traditions.
Colonial Styles
in
Latin
America
traditions as at
S.
Estevan,
9.1
for
the
focal
points
Morella, Mexico,
1708-16.
ular
traditions
of native
(Indian)
building.
In
Laguna,
New
Mexico, of
c.
1700
S.
Jose at
(fig. 9.2).
The
and
IS
covered with
elaborate decoration.
154
Pueblos
form plan,
in the
domed
Chapter Nine
some way
"regional" or in
universally
understood
word
any modifiers,
as
meaning
is
almost
work
the
Houses
Early Colonial
The
England were
Jamestown
at
Mayflower landing,
structures
built
wigwams,"
built
Plymouth
at
were
by
arrivals
from
temporary
The
first
"English
of wattle
native
American (Indian)
a sort
sometimes
None
built
by wooden houses
practice, but
were huts of
built
according to medieval
Wood was
most available of materials, since clearing forest
land produced timber in quantity as a by-product.
with sturdy framing of massive timbers.
the
lumber of
Whole
logs
were
later
cut,
c,
This interior
is
a simple,
made
rich
ornamentation
700.
development
Mexico.
in
Residential
interiors
wood beamed
motif
ceiling,
and
living space
opening on
a patio in the
is
a typical
comparable space
wood
from cold
to hot
With wood so
in Spain.
to the framing
surface of overlapping
Colonial Styles
in
North
made by
Internally, such
America
The
them
that
Colonial. French
Spanish
156
stj'les
Shingles or Clapboards
logs
rather than
by sawing.
English
splitting
are
has
colonial,
come
to
Dutch
generally
be
called
colonial,
thought
of
wood
exterior.
It
typical of
leaded
glass.
or
as
..
ballast in ships,
chimney
usual
but then
made in
material.
local kilns,
Foundation
rested
Many
ground.
early houses
sills
was the
generally
directly
on the
attic
all-
wall.
a
An
center
was
a "lean-to"
and
9.3 (above
Interior
Hoxie
left)
one with
have a
its
full
own
made
fireplace.
Furnishings
Massachusetts,
also
c.
With
functional.
it
"floated"
on
cape.
Massachusetts,
is
of this type.
It is
wood
The
frame
members
wood,
or,
wood
is.
Lath made by
New
of
this type;
it
medieval character.
also
as kitchen
native
and
iiigs
together
with
seats. Solid
for tables
hand-cut
and
joints.
space
wood, often
for
a simple rope
wheel
in the
corner of
turn-
chests, ^vas
shows a half
benches,
made of wood
American
some other
a trestle table,
in ver\'
but occa-
Interior of
and all-purpose
of brick.
Hoxie House.
through
East Sandwich,
is
9.4 (above)
partly splitting
Only the
chimney
restored Ho.xie
earliest
The
one of the
American
were
visible.
early
were rigorously
1637.
An
"
put
iniN'Ts, dn\Ttails, or
was
dealt
Box -(singer)
textiles.
home
production of woolen
provisions are
it
and
for
hung up
drying
157
Chapter Nine
Whitman House,
Farmmgton,
Connecticut, from
is
1664
troni
and Restoration
legs,
spaces between
fill
the
is
round,
in
made
locally
and the
st)'le
ball-like
caFving served to
wood
show
off the
skill
of householders
tastes
of woodworkers
who
could afford
the mattress.
bed (on
trundle
rollers) is
homes of the
and
it
style
were made
in
America by
can be pulled
out at night
to provide
extra sleeping
space
common
shuttered.
objects, a
salt,
and possibly
small
and
holders,
augment the
lanterns
fireplace.
would supply
In bedrooms (fig.
wooden frame
leaf,
to
light
9.5), the
sizes.
lid
and possibly
wheel since
religious
of early American
Puritan
settlers.
of the
Puritan
inhabitants,
status
and
a focus
on virtuous
living.
better established
Casement windows
ventilation
and
or
improved
light
and
and
objects of
drink.
158
is
wooden
simple square
at
Hingham,
with windows
It is
at
two
balcony on three
roof,
said to
sides.
wood framing
reli-
gious buildings
philosophy of the
attitudes
beliefs
Massachusetts,
whose
all textiles
and
churches
a luxury
Massachusetts, 1681.
were
belfry centered
a spinning
were homemade.
House, Hingham,
types
lift
building
chests that
(the source of
ornament.
its
central pulpit
arch-topped windows.
is
backed by
a pair of
American Georgian
In the eighteenth century, colonial simplicity
to give
way
to
both brought
more
elegant
and luxurious
began
styles
symmetrical
planning
pediments,
and
in its
ornamental
and
use of
detail,
often
including
became
suffi-
comparable
to that
life
pilasters,
would
hall a
handsome
hall.
stair
On
owners began to
rich.
Houses
to
please
those
might be placed
in
wings
9.7
Room from
the
Powel House,
Philadelphia, 1765-6,
As wealth increased in
colonial America, more
luxurious houses with
interiors rich in
more common.
In this
room, which
now
is
installed in the
Metropolitan
of Art,
is
fine
New
Museum
York, there
wood paneling,
an ornamental plaster
ceiling, and, on one
wall,
imported Chinese
wallpaper The
tall
clock, Chippendale-style
furniture,
and
oriental
comfortable status of
the owner.
159
Chapter Nine
Interiors
in
the
wood
and
wainscot,
inspired details
around
have
and
classically
Cambridge, Massachusetts,
Philadelphia
Metropolitan
been
1761-2.
In the central hall of
prototypes
and
includes
a Palladian window,
and Ionic
and capitals.
The woodwork is
ways,
pilasters
painted
in
a soft
grey-blue to contrast
160
is
classical
beautifully
preserved
symmetrical plan
a parlor
It
miniature
has a simple
on one
room and
side of the
on
in
the
9.7)
and
good
idea of
how
such rooms
A Chinese
room in New York
(fig. 9.8), a
ings in front
on
dining
either side.
elaborate
Palladian
pedimented
window
material
is
Quoins. There
entrance
above.
wood
The
stair
The
door
the
brick
is
an
with
the
Park, Philadelphia,
is
center hall
Mansion, Fairmount
(1761-2)
the
in
good example of
the Georgian type, with its pediment and twostory-high pUaster order, all executed in wood.
Outside of Philadelphia (now within the city's
Fairmount Park) the house called Mount Pleasant
is
in
(later
of 1759
(one
reconstructed
appeared
New
paneling,
moldings
In
wood
oriental
East,
as
its
available in
America
in importance.
No
marble-edged
fireplace.
The
Williamsburg, Virginia,
1751.
The spacious Georgian
mansion
reminiscent
is
opens through an
archway
into a
broad
paneled
natural
in
wood and
are nch in
Ionic pilasters
and a
furniture,
typical
eighteenth-century
practice.
from
c.
740.
Washington family
plantation house. The
Palladian
window
is
in
Banqueting Room as
was
it
originally called),
house
developed at George
Washington's request
the
780s.
for the
in
He asked
green wallpaper
for the
is
not as classically
perfect as
some other
is
digni-
and pleasantly
decorative.
guest
mentioned window
curtains of "white
of green satin."
161
Chapter Nine
seem
details
to be derived
skill.
on plan-
Westmorland, Virginia,
is
designed with an H-
rise up to
chimney clusters are linked by a central waist. The
plan seems to be based on Italian villas illustrated
in Palladio's Four Books. The low-ceilinged lower
floor houses a number of bedrooms, while the
main floor above is a sequence of more formal
rooms with rich classically based detail. Most of the
furniture
is
Mount Vernon,
Washington
family,
and
interior detail.
It is
treated
built of
with
9.1
kitchen from
Millbach. Pennsylvania,
c.
1752. (Preserved at
the Philadelphia
Museum
of Art.)
an American farm
estate has a
floor,
and tnm of
natural-colored wood
ceiling,
The cabinets,
tables, chair,
and
of traditional
vernacular character,
show
evidence of a sophisti-
ornamental detailing of
European prototypes.
The various containers
and
of the period.
162
reached
its
present size in
nailed-on
simulate stone.
from the
it
original
house and
is
oddly non-symmet-
rical in spite
added
ballroom
George Washington's
in
last
is a double-height room
window dominating the end
wall (fig. 9.10). The many rooms of the house
follow Georgian formula treatments with wood
paneling in some, ornamental plaster work in
others. The smaller rooms have fireplaces placed
a large Palladian
In the
deep south,
many-columned
and Mississippi,
in Louisiana
exterior
porches
of
features
plantation
house
surrounding
New York
preferred
creates
House
built
the
more
in
houses
in
Gambrel
Dutch
wood
(two-slope)
New York
(c.
settlers in
or stone but
roof that
The Dyckman
to
form
in front
the
full
An
porch across
and
at the rear.
wood plank
walls, a
and
floor,
Deerfield,
Massachusetts,
white plastered
a large
hooded
fire-
The
tiles
In Pennsylvania,
German
settlers
by
legs
(misleadingly
Cloister at Ephrata
is
and
and white
Pennsylvania
German
residential
preserved
in
A more
reflectors
would
lighting.
typical
interior
(fig. 9.11),
Museum
is
now
of Art.
Newport
was
designs
(fig.
used in
Queen
American
The
fully
made
probably
era,
much
is
Anne
elaborate.
Furniture
Georgian
America,
Europe.
in
furniture.
and decorative
Anne
metal
wooden
natural wood
scrolls
backs.
as the
Wood
and simple
plastered walls,
a
Philadelphia
the
Wood beams
Queen
plaster,
from
derives
all
corner
which are of
of severely plain
in the far
chairs,
a religious sect
a tall
can be
"
chest,
"highboy,
seen
at the sides
1730.
drawer
c.
its
enclosing
form
particularly
welcome.
and expert
able in England.
in
working
much
intermixed.
often
in that city,
1770s),
called "the
American
number of
cities
often had a
tices,
known
Highboys and
tall
secre-
particularly
In Newport,
of a scaUop
shell, a
English
religious
buildings.
white-painted
wooden
Roman
Doric
Chapter Nine
9.13
Peter Harrison,
1749-58.
The Georgian church
interior
suggests that
Harrison
was aware of
English prototypes.
Paired Corinthian
columns support
sections of entablature
Palladian
above the
fine
is
window
altar and a
delier.
Placing the
seating in enclosed
attempt
to
winter cold
minimize
and
drafts.
arches.
above the
Palladian
altar.
window forms
a focal point
(fig.
9.13;
Wren
lished
by
London
red
at
New York
(1764-6) by the
is
Chapel
New York
in
architect
is
of
not
the
Chelsea
the
Hospital
detail
in
woodwork,
Thomas McBean
concentrated
at
one, in a spire.
in
Mary
known
as
the
Wren
is
is
is
a fine
style,
wood
detail.
Waterford
Many American
crystal chandeliers
are also
handsome examples of
the
hall v\athin,
Wren
it
style,
must be
structed in 1928-34
beliefs
164
on the
documents and remains.
Federal Styles
explained,
Jefferson
skills
the
signing
of
the
With
Declaration
of
Independence in 1776, the term colonial ceases to
Such
be thought of as a
1830
until
is
Federal period.
ment of
first
step
was
move toward an
to
increas-
on sophistipublished works of
awareness
of
the
At Monticello and
at the
University of Virginia
Roman
concepts
is
more
Serlio,
ings.
such
authorities,
Palladio
as
and
archeological
such
sites,
Antiquities of Athens
Revett
precedents
and
that
as
multivolume
the
was
creative
is
Villa
Roman
Europe
also developing in
at
upstairs
room. Although
it
and hard
story of
bedrooms
(fig.
reach
full
upper
and an extensive
extend outward in long
9.14)
to
is
appears to be a one-
Jefferson
is,
was
full
It
of invention
which
dome
this time.
It
house at Monticello.
toward
the
Rotonda.
(1743-1 826)
was the architect for his
Jefferson
movement
aided
(1762),
Neoclassicism
near Charlottesville,
1768-81 and
1796-1809,
Renaissance
9.14 Thomas
Jefferson, Monticello,
Virginia,
cated
hall
IS
on the
visible
and
the
microscope on a stand
are reminders of
Jefferson's wide-ranging
intellectual
and
scien-
tific interests.
was a strongly
and
as
its
third pres-
opment of American
was
Jefferson
versatile
with wide-
intellectual
was
Jefferson
and the
in
arts.
France
From 1784
serving
as
to 1789,
American
French
Renaissance
architecture
augmented by
a visit to Nimes,
where the
best
While
still
design for a
be built
fairly
at
strict
in
made
known from
a deep impression.
two story
spaces within.
Ionic
at
needs of the
order.
Roman
The four-sided
temple to
capitals
were
Chapter Nine
Massachusetts,
795.
Adam
influences of the
known from
style
complex
while
floor,
stairs are
in alcoves.
plan.
fireplaces,
own room, an
England, possibly
derived from the
hidden away
Adam
room on
the
brothers' published
other.
details
and
window
drapery,
the fireplace
The furniture
based on
Sheraton/Adam
dents.
prece-
floor covering is
pattern.
Wedgwood
a bright
in
blue in the
hall,
At the -Wliwrsity of
wall-to-wall carpeting
simple wallpapers
surrounded by small
buildings
college
is
(called
ways on either
columns. Jnternally
is
no
domed
Kiri;c
library
is
side
it is
space; instead,
its
function as a
designed by
at
shape, fitted
its
some years in
became devoted
different purpose.
house has
the plan.
clearly based
on
grand central
much
Bulfinch
Adam
to the
double-level,
stair
delicate plaster
ornamental
Massachusetts
1795-7)
in
House
State
(State
Capitol,
who were
brothers,
major influence
House,
design
of
the
large
Representatives Hall.
this building
was the
architectural
symbolic
marker
as well as in the
galleried
and
first
element
for
Adam
in the exte-
domed
that tops
as
virtually
the
capitol
loyalist
in
some
detail.
houses, as
in the
in Philadelphia called
obligatory
buildings
ot
The Adam
style,
with
its
many
delicate
ornamental
The most
(1805), Garrison,
o^^fttBlf
Adam
style design,
internally, appears at
New York.
construction
detatl.
dutiful effort at
166
in'
It is
built
Boscobe^
a spacious
and
huu^
presumably
a Dr.
amateur
architect,
Commissioners
for
Federal
Buildings
to
the
L
Colonial and Federal America
War
of 1812 so that
The
many
detail
9.16) and
(fig.
make up
the intri-
members of Congress.
was
much admired by
who was
rotunda with
its
respon-
low dome.
much
are
Tudor
triangular site of
Octagon House
on
Adam
prece-
The
axis.
gives rise to an
9.17)
as a pivot
to follow the
and
objects
related
grey woodwork.
The same
stair
rail
are
trim a
warm
room
walls
later date.
Georgetown
a self-trained
amateur
Latrobe had
for a variety
now
destroyed)
is
the
9.16 Benjamin
Latrobe, Old Senate
803-1
topped by a lialfdome
ceilmg, uses accurate
classical detail for the
moldings,
and
the
"I
Creek
in
tion of
am a bigoted
my condemna-
Roman
architec-
ture
"
and
dignity of the
The simplicity
architecture
is
rather
overwhelmed by the
canopy with its nch red
and gold ornamentation, which IS draped
elaborately over the
chair
presiding officer
167
Chapter Nine
9.17 William
Thornton, Octagon
House, Washington,
D.C.,
1799-1800
window into a
above.
first
American building
order in
its
to
make
use of a Greek
topped with
John Soane
in England.
Latrobe's
works
(c.
design
for
the
Philadelphia
dome ornamented
with
restrained
Greek
machinery
168
inside.
It
was
water-
drum and
detail,
pumping
domed
it
was replaced
1827.
in
is
The
monu-
space quite
unlike
the
typical
galleried
It
Latrobe's
house
Lafayette Square in
floors of
ornament
windows and
the entrance
\vide door.
a delicate fan-light
Internally, the
based on available documentation. Latrobe's drawings for the entrance hall have survived,
domed
showing
and
and subtle ornamental detail throughout.
The original colors were a soft grey for the wall and
an ocher yellow for the woodwork. Ceilings are
treatment of the
his careful
ceiling
niches,
The
late
more
name
is
who began
entirely white.
Massachusetts,
John's
St.
many
first
organist
and choirmaster
He
at St.
career
his
and
He
in.
it
uncertain whether
name
is
or flowers was a
ular style.
of his technical
versatility.
Although
him
in 1808. In
won
1813 Latrobe
his suit
cent!
carving
carved basket of
fruit
in Scotland, served
moved
Although
to
New
York City
an
New
to estab-
Hepplewhite
made
his
name
known
widely
as a leading
readily
dominated by
sometimes
classi-
is
styles
or
"late,"
Regency
toward
by
English
cabinet
makers
as
and
the
delicate,
straight-lined
forms
of
wood most
flower,
matched
slim,
favored
wood,
with
banding
and
inlays
in
veneers,
sometimes
to
with
inlays
imitation
of
of the
and then,
as
these
French Empire
became known
successively
in
169
Chapter Nine
and scroll
style
known
as a
usually glass-fronted
and C-shaped
scrolls
about
in
1830)
moved
period
was
a late
development
(after
to
his
into
development of
supplanted
most often
ments
along
the
"square pianos"
late
revivalist architecture.
These
stylistic
developments
Other
grew to support
cities
who
chair makers
local cabinet
and
Badlam
Stephen
made
skillful
use
of sliding
black
became
into
tors
vernacular
plain,
still
interiors.
Such instruments,
side.
(fig.
some appearance
modern reproduction
unfortunately, of limited
but,
success.
later
as ancestors of the
housed
in
pipes as their
called
and homes.
Framed mirrors,
sometimes
with
attached
condensed
gives a
iriiage
with
usually
accessory,
tive
elaborate,
gilded
American
textile
fabrics, at first
solid
colors,
hand-blocked but,
cylinder-printed.
Woven
narrow
woven
Jacquard loom.
patterns
textiles
the
were made
and
stripes,
with
in
recently
in
complex
developed
Woven
cover
horsehair
material:
was excellent
its
became
glossy
it
as long as
form of a
form.
called
9.18),
long
small instru-
popular upholstery
surface
and tough-
and availability
the horse remained the
practical,
for
port.
Period
Wood
wall of formal
locally
era.
Among
these
oped
vertical
170
round
chimney
wood
rooms
woven
textile
above
American
ships
brought
'OiiknBdk
wallpapers,
motitis
eaglc^i tliat
made lefaeuce
9.18 Cardner-Pingree
House, Salem,
Massachusetts,
1804-05.
room
into
a parlor
stiowing wallpaper
and
Adam style
influence.
The furniture
is
of
Hepplewhite character
(note the shield back
chairs) while
(the
woodwork
work of Samuel
Mclntirejis of related
design. There
is
an
Elaborate drapery at
each window
contributes to a sense
of opulence.
to
the
I>utch
?ilver
and
and glassware
fully
made
detail
changes
in taste,
many
eastern
American
the
furniture
depicted
in
fNHMilii^iiaaiiaaHK
is
and
Duncan
cities.
Although 1820
Latrobe.
popular
imports
remained
glass
rugs,
to
and
interior design
found
new devotion
first
of several
171
The Regency,
Revivals,
and
Industria
Revolution
The nineteenth century encompasses some of the
most sweeping changes in human affairs since the
light
it
devel-
wallpaper and
combined with gradual change. Scientific development and the coming of industrialization in the
brass inlays
made modern
restrain change.
Brighton, England,
1815-21.
In the
music room of
wall coverings
and
Regency
the
above the
make
In 1811, George
fireplace
reference to
Chinese decorative
elements- The hanging
lights
add
to the festive
which should be
1820,
all filled
and
nineteenth-century
followed,
its
is
10.2 {bottom
The
that
style
has
teenth century
right)
developments
is
character
III
visual-
and seating,
who
his son
and draws
its
Roman
drawn
from
more
exotic
sources
Egyptian,
London, 1812-1813.
10.3
[opposite) iohn
room
in his
own
house,
offered
Soane the
chance
to experiment
seemingly
is its
flattened
dome
is
supported by slim
Nash
the
room are
in
The most
period
and
is
Regency
of oriental
mantel and
it
Moorish
is 3*
sequence
Mirrors
in rondels
172
styles
It
was
new
bamboo
introduce a
oped through the Renaissance and into the eighteenth century had a continuity of quahties
10.1
in reds
greens,
and
level
of brilliance. Chinese
golds, gilded
A more
when he
terraced houses
England with simple forms,
and
details often
as
based on Greek
J ft
)
....
Chapter Ten
are intricate in
rooms within
Ionic
London,
in
with
white-painted
stucco
detail
or projecting bays
were
typical of the
Regency
style
groups built
cities.
in
These
(fig. 10.4),
halls, dignified,
central
spacious,
own house
Soane's
at 13 Lincoln's
Inn Fields
in
kind of laboratory
as a
and
house
tural fragments.
boundary
in detail. The
Old Dividend Office
called the
remarkable
The house
interiors.
room
the breakfast
flat
as a gallery to
(fig. 10.3) is
bordered by higher
spaces,
dome seems
Soane
be a
to
floating
canopy.
Round
work is
way
times austere in a
in other
parency,
at
is
that
fantastic
and
personal
Soane's
highly
complex. His interiors for the London headquarof the Bank of England (1788-1823), arranged
ters
and
sometimes
decorative
drum
10.4 John Soane,
of objects.
collection
modernism,
rooms produce surprising effects of translight, and illusion. The gallery space is a
three-story-high
chamber crammed with a
a particularly inter-
clerestories,
and domes
Ledoux and
Regency Furniture
England, London,
1798-9.
by
French
influenced
design, borrowing, as
and Roman
an
air
of grandeur
to
utilitarian functions.
dome on pendentives
with a ring of
rises
Directoire
it
did,
Empire
styles,
and medieval Gothic models. Mahogany and rosewood were favorite materials, usually in the form
of veneers, and often with decorative inlays and
ornamental
details
in
brass.
skylight windows.
Reserved classical
and
chair
even bizarre,
griffon with a
and
ceiling surfaces
profession,
was
also
an
enthusiastic
furniture
174
called "English
Empire" furni-
The Regency,
Revivals,
and
Industrial Revolution
illustration
Household Furniture
and
Interior Decoration,
1807.
p.
was sometimes
called
a Regency era
development drawing
style, "
on
French
Percier's
grand
room Hope suggests
work. In this
built-in
couches with
winged sphinx
armchairs,
motifs,
and a
table
of supposed Egyptian
origin.
of the room
is
simple,
and ceiling
ornament
Revivals
to the
availability
surface
of books of
and
and the exhibition of
The Romantic
past
desire
sometimes
very time
modern
much
life
always
developed
the
in
when
the
It
to a
peak
peak
from
beginnings of the
of
Sir
Walter
Scott,
the
poetry
of
more
emotionally
expressive
directions.
an increasing interest
Romanticism
in design led to
in recreating
From
had been an
interest in learning
new
context,
modern
uses
is
museums
in
novels
artifacts in public
of
rich
came
in every aspect
eighteenth century.
the
but
frightening,
emotional content
at
experience
to
a past
a nineteenth-century idea.
human
in
aesthetic achievement.
with
Neoclassicism,
Renaissance
respect
for
its
ancient
its
Greek precedents
Romantic
fitted
The
step
in
the
roots
Rome,
awareness
the
to
of ancient
ideals of perfec-
Germany
The Greek Revival in Germany is usually associated
with the work of Karl Friedrich Schinkel
1781-1841). Schinkel worked in a variety of styles
ranging from Neoclassicism to Gothic, often
(
in
most
ment, but
his use
imaginative.
He
never attempted a
literal
reproduc-
Creek Revival
The design of ancient Greece was the material
for
the
first
the
Greek ruins
at
Paestum
facade
is
columns
simple
portico
of eighteen
Ionic
A simple
175
Chapter Ten
10.6
Karl Fnedrich
Schinkel,
Upper
Gallery, Altes
Berlin,
It
included a
up to
columns a glorious space, but
spirit. The difficulty of devising
appropriate to Greek exterior
1824-30.
a screen of Ionic
scarcely
how
Greek
Greek
architecture
Schinkel's skilful
Greek Revival
adaptation of Greek
in
interiors
by Hardwick.
Stair
Museum,
to
an early end
in England.
architectural elements
to this
monumental
United States
building. In this
In
engraving, based on
Schinkel's
the
many
own
drawing,
Ionic
columns
to declare itself a
block
attic
above
rises
of the building.
at the center
four-columned entrance
opening. The stair
ings, floor,
problem of
rail-
and ceiling
the
Greek
Greek temples,
the
forms of a nineteenth-
century building.
10.7
Philip
Hardwick
stair
In
interesting.
it
the
now
Altes
hall
domed
Philip Charles
and
creative
Museum
and
dome
rotunda, the
is
to
a great central
of which
is
fitted into
1846-9-
A new building
type,
rectangle with
brought forth
many
monumental
projects.
are
two inner
of rich
full
detail,
light courts.
The
interiors
paintings, sculpture,
and
motifs
arranged with
Regency design
(now
demolished), which
lit
is
Neoclassical
great
architectural
skill.
by high windows,
England
and surrounding
balcony.
of a revival.
Sir
columns
in
all.
there
now seem
Doric
pavilion
(1792-1870).
screen
designed
The
station
by
Philip
Hardwick
destined to be replaced by a
176
United
States,
Greek
the
Revivalism
was
more monumental
just as ancient
Greek names
Ithaca
democracy
first
modern country
(actually a republic),
Syracuse,
in a flurry of
literature, architecture,
Utica, Schenectady,
and
art,
The Regency,
(now
Revivals,
and
the National
Industrial Revolution
its
The Patent
many
Office has
Greek
bank
seemingly
its
in a freer
Greek idiom
detail.
temple
topped by
is
Lysicrates in Athens.
Philadelphia
(1788-1854)
is
the
in
by William Strickland
American building to be
first
United States
the
ot
Greek temple;
it
has an
at front
introduced along
all
and
Windows were
make the interior
rear.
four walls to
fire safety as
is
and
entirely of
building
masterpiece,
block
with
It
is
be
to
Tennessee
the
Nashville (1845-59).
of
considered
usually
tower
Monument
State
Strickland's
Capitol
at
without pediments
at the center
of each
number of
Davis
official
New
style. In
(Ithiel
Town,
Federal Hall).
It is
also
called
the
The interiors
work of John Frazee (d. 1852), who
was the designer of the main public room, a
rotunda with a circle of Corinthian columns and
the sides alternating with pilasters.
were
largely the
pilasters
the
supporting a coffered
(fig.
is
dome
fitted
all
for
residential
with
building,
under
non-
at
original owner, G.
its
as
dignified
and impressive.
is
Creek.
that
W.
P.
was transformed by
and pedi-
style,
openings
carpenter-builders
in
books.
Guide,
by
Minard
Lafever
(1798-1854),
vocabulary.
Greek temples.
Greek Revival buildings that made freer adaptations of Greek precedents were often functionally
well
by Creek Corinthian
as
skylight.
a favored
results
successful
an oculus
Although surrounded
and handsome.
The Greek Revival quickly became
U.S.
approached the
problem by inserting a
The
side.
Town and
ancient
in
Greece. Frazee
this
style
Revivalism by commissioning a
something not
developed
pedimented Ionic
and six-columned porticos
restrained
federal
rior,
eight-columned
chambers
The new
was
simple, rectangular
interior
all
stone,
1833-42.
Exchange
New
Federal Hall),
York,
and more
after his
Small
entirely of wood,
detail of
material
houses were
and the
skill
generally
Greek
built
exhibit strange
compromises
in the elTort to
fit
complete with
windows and chimneys where needed into Greek
reasonable
dwelling
plans
177
Chapter Ten
remarkable for
is
design
building.
(fig. 10.9).
Greek Revival
almost
every
kind
built
in
applied
to
of
great
Virginia (1845),
temple plan
13th
Corinthian columns
in a semicircle
behind the
Church
Presbyterian
Street
altar.
in
New York
made
to be
on plantations where
comfortably
riors
Nashville
their
The
cool.
Hermitage
near
1835);
(c.
Sejour, 1839);
are
examples of the
all
houses
tion
of simple
symmetrical
plan
with
Gothic Revival
United States
10.9 Row house, New
York, 1832.
The typical
city
house
is
Merchant's House
and plaster
Duncan
Phyfe,
and
patterned carpet
is
by
the
is
houses
home of wealthy
were
on
the
city
house.
of Greek
accuracy,
with the
use of a limited
all,
were
at
and architecture
Walter
Raphaelite
Scott's
painters
Ivanhoe.
with
The English
their
Pre-
rediscovery
of
chairs,
pattern.
for
178
could
Row
those
called the
opening,
made
not be
now
temple forms.
Joseph
Brewster
in
1832
built in
New
(now
called
York
the
in
era.
known
in
America
The Regency,
Revivals,
and
Industrial Revolution
10.10
Richard
New
York, 1846.
produced
this carefully
detailed version of an
of medieval date.
to
simple timber
but
roof,
committee wanted
vaulting, here executed
in plaster in imitation
of stone. With
its
an
impressive illusion of
the Gothic of the
its
nineteenth-century
origin.
maker
York
is
end of Wall
Street in
New
parish church;
it
Church
and
earlier.
recreation
of English
was
St.
Patrick's
would
may
Jr.
Gothic
(1818-95),
York (1843-6), a
and accurate
church building.
in
New
York
to
many
design.
Cathedral
in its sensitive
Gothic
nave,
specialists in
New
glass.
actually
Americans
is
The vaulted
lames Renwick,
Church on Broadway
rival to Trinity Church
be stone
seem
won
to
Davis
Town and
design emerged,
aisles,
sorts
Building
of
the
Smithsonian
Washington (1844-6)
although in this case
in inspiration,
is
it is
also
Institution
medieval in
in
style,
Romanesque or Norman
became Gothic
looking the
Revivalists.
Hudson
of A.
J.
Davis,
The mansion
over-
New
179
Chapter Ten
10.1
Town and
Tarrytown,
New
York,
1838-65.
The
interiors
of this
mansion, which
Cothic revival
in
is
style,
match the
detail to
Pointed arches,
paneling, tracery,
and
crockets executed in
wood
relate to the
and
left
of the window
attempts
to offer
carved
wood
detail.
by
essay
Davis
in
the
remarkable
application
of Gothic
is
it
as originally
was enlarged
new owner,
in
the changes
one of picturesque
Asymmetry. Most of the rooms are filled with
Gothic
plan
the
detail
to
and stained
mental
glass inserts,
The
billiard
room-art
gallery has a
wooden roof
baronial
hall.
supposed to be
Gothic
structure suggesting a
mode
books
Cottage
Residences
(1842)
and
The
in a
influential.
styles,
of
sizes,
intended for
building called
local builders
became
many
a staple of
for
emphasis
glass,
were favorite
details.
England
The Gothic
Even
in
The Regency,
such as Strawberry
Hill,
cottage remodeled in
and
mode. It is a
was among the
lacy, delicate,
Adam
1796,
wealthy
English
William
eccentric,
classical
design problems
always
seem
much
foolish or absurd.
of his arguments
set off
Revivalists aired
what
is
work
battlements,
and
pinnacles,
set
on which
all
the
many of the
intensity of
Many
of
in
The
heat.
to similar
agglomeration
architects
in favor
of the
would
that
the
first
rise
Gothic Revivalists.
When
trivialities
of
came
to
the time
New
Palace of
aesthetic leanings
toward
body of
gave
criticism
way
Queen
Sir
building were
but
received,
well
and complex
was
pressure
for
in.
men
became
its
symbol of
British strength
and power
at
Victorian peak.
spirit
urge
model of
Victoria, herself a
became
piety
mode
and
rectitude,
toward
this turn
of design, in contrast to
and
moralistic
style.
theories
Several writers
joined
thus
to
became polemicists
for this
Externally, the
the
Ruskin
include
Revival.
philosophical
architecture in
line
of
criticism.
lohn
According
to
Ruskin,
return
Ruskin was
and design
to
the
accept-
parallel
force by a
oif
Gothic Revivalism
House of Lords
Welby
Contrasts (1836),
all
(fig.
10.13)
demonstrate Pugin's
The chamber
at its best.
is
for the
spectacular of these
to take.
Industrial Revolution
to the disadvan-
and
illustrations are
between
Revivals,
ations that
left it
Barry or Pugin
of the
Members
many
181
Chapter Ten
St.
Michael's Gallery,
Fonthill
Abbey,
Wiltshire, England,
from 1795.
This extraordinary
shown in a
1823 engraving, was
built for an eccentric
house,
English
client,
Beckford,
early in
William
who was
demanding the
was to domi-
style that
Its
name,
it
was
and fan
vaulting, simu-
lated in plaster,
typical of the
was
many
and
its
276
foot
10.13 Charles
Barry
New
Pugin,
N.
Palace of
Westminster (Houses of
Parliament),
Lords,
House of
London,
1836-52.
Barry's orderly
plan for
was clothed
a Gothic ornamental
treatment, which was
urged by Pugin who
buildings
in
had primary
responsi-
with
its
traceried
and paneled
ceiling,
could easily be
was
although
it
182
The Regency,
their
Revivals,
and
Industrial Revolution
what
at
of craftsmen,
is
produced from drawings made by (or at the direction oO one architect working in a modern professional way.
ries
residential
projects.
He was
his theo-
and
active
paper, decorative
and published
tile,
stained glass,
illustrated
and metalwork,
books of designs
in these
fields that
ment of design
many
years
Butterfield (1814-1900)
is
make
interesting even
All
ugliness.
(1849-59)
cramped
it
it
is
site
Saints,
when
Margaret
its
may border on
London
in
squeezed on to a
a brick building
along with
it
Street,
vicarage
and a church
The red
brick
glazed brick,
tiles,
and marbles
in various colors
it
it
(fig.
Gothic
10.14).
style
was
valid
sound structure
a foretaste of the emphasis on "honesty" and structural
expression that would develop in the
century.
approach to expressive
The
detail for
century.
Industrial Revolution
modern
in
encyclopedist
produced
in his
Denis
wood even
to consider
Diderot
(1713-84)
show
10.14 William
Butterfield, All Saints,
Margaret
change
two centuries,
with wonderfully
articles, illustrated
detailed engraving,
industrial nations.
in the last
The
windmill
all
in a circle in the
is
shown, entirely
to the wheels
basement
and
human,
gears.
horse,
Street,
London, 1849-59.
Although
Butterfield's
and
has an energy
originality that
arches
The great
and
buttress
half-arches have
almost harsh
ness,
which
is
accented
built of
The only
water, and
floor
and
which are
wall
tiles,
in the
strongly contrasting
colors typical of
wind,
all
Through
of the
all
of
last
human
history
an
forceful-
much
Victorian work.
183
T/l
Chapter Ten
The plumbing
if
any,
hand-made
objects.
fixtures, the
computer;
clothing
the
not
most would be
pumped
the
lawn mower,
made, and
are factory
which are
parts
all
and
bedding,
the
fiarniture,
in
and
Early Industrialization
Inventions
wave of
first
industrialization
was based on a
mover"
first
machinery of
mills,
textile
was developed by
series
first
practical alternative
purposes
blades)
since
needed
for
steel
made
steel
and
knife
engines
mines and
required
and
steel
mills.
blast
Transport of
muddy
pulled along
roads.
for
more
factories
more steam
railroads,
and take
engines, to
and
to bring
made
it
easier
make more
rails
raw materials
to
The
While
all
of this was
little
attention
and
dirt associated
revivalists,
with the
new
inventions.
little
The
notice of the
water
the
textile mill
The
required
products
of
engine-powered
factories
less
sive. Profits
184
rails,
weapons,
(armor,
furnaces, foundries
coal
industrialization
England became
processes.
The
turned to
systems
began
to
pumps
kitchen
warm by the
provided by steam
made
cities,
stove
fire-
fire to
central piped
appear,
the
that could
lift
pressure
water to a
make water
available to
floors of buildings.
The Regency,
Revivals,
and
10.15
were placed
in cellars to heat
Revolution brought
workers into parts of
cities
and
pipes
called
grilles
"registers."
The
warm
workers
and
their fami-
lies
larger
warm
living
expensive. Factory
where
through
living spaces
1892,
c,
The Industrial
flat,
building,
Glasgow,
Restored
tenement
air
Industrial Revolution
as
this
room, where
air
bed,
and
lines
share the
clothes drying
same
rooms.
Artificial lighting,
ably
less
series
burned
fuel
colza
(made from
oil
this
room
it
in its
called
made
squalid than
wall clock
neat
and small
objects introduce
an
improbable touch of
in
with
oil
less
inconvenience. Whale
as
"mineral
is,
of course, modern.
replaced colza
oil
fuel
oil," that
is,
petroleum and
its
derivative,
Iron
and Class
direct flame.
their
The
as
many
produced
applications.
made
The same
gas
was
also
new
needs and
new ways of
new
technology.
new
The
availability
of iron
material
and railroad
rails,
introduced
as building
for engines
alternative to
materials.
new
stations
make an open
in fireplaces to
The
visible
fire
teenth century.
in a utilitarian
or colorful
which had
unnecessary.
it
as a
new
tiles
in
luxury examples.
Kitchens,
by default since
they were not given any particular aesthetic attention. In living spaces, the role
register inserted
have been.
and
where the
problems.
architectural practice.
structures at
The
span
first
the
Severn
River
Shropshire, in 1779,
the
foundry
of
its
at
Coalbrookdale,
Abraham Darby
III.
Thomas
air
opening would
finally to a
fireplace
little
engineering
presented
hot
made up
of cast-iron
185
'
Chapter Ten
a great
Menai
the
of 579
Strait.
level to
pass underneath.
span
for
suitable
the
that
The bridge
is still
are not
such bridges.
Kingdom Brunei
Its
luxurious passenger
modern
in the prevailing
The
radical nature of
for
it
railroads, ships,
little
connection
critic
as a "cucumber frame
when
all
taste.
was
own
our
it
for the
projects that
a scale
now
factory
made
was
an ideal
light
needed sheds to
and baggage on
London
by Lewis Cubitt
in
Queen
Victoria
made
historically
no Gothic, Greek, or
is
inspired
detail.
glass
greatest
and iron
touchlng-a day to
In
vast, so glorious, so
live forever.
critic,
conceded:
was maglcal-so
front
England: Paxton
The
London's
by Brunei.
the
her journal:
London
in 1851.
It
had been
who were
so
to
It
hardly
now
be called a World's
brate
the
greatness
Fair, in
London
to cele-
Hyde Park
in a
huge exhibition
hall.
was put
in
186
Above them
therein ....
more
lofty
cathedrals.
shown
Queen
It
ornate
proposals
finding
to
together so
traffic.
had
feet,
above water
cables,
it
attention
1 ;
The Regency,
Revivals,
and
Industrial Revolution
10.16
Lewis Cubitt,
Station, London,
1850-2.
The two parallel train
sheds (one of which
shown
is
achievements devel-
oped
to
meet the
demands of the
Industrial Revolution.
constructed in lami-
later
iron.
Victorian ornamen-
way
a functional
era.
1851.
The famous building,
seen
in
a contemporary
lithograph,
housed the
Creat Exhibition, a
showcase of Victorian
prosperity
and
taste
It
buildings of truly
overdecorated goods
and sentimental
uary.
The great
stat-
trees in
predated
this intenor
the building
and
remained after
its
removal.
187
Chapter Ten
10.19
(ng^t) Pierre-
Francois-Henri
Labrouste, Bibliotheque
Nationale, Pans,
glass.
meeting was
1859-67,
proposed
similar construction
is
topped by nine
frame supporting
domes. The
makes
for
on open and
a conservatory
arranged
greenhouse of
for
the exhibition.
Despite
The
known
building, soon
10.17),
factory-made
beautiful space.
greenhouse
glass.
It
10.18
Pierre-Franfois-
Henri Labrouste,
Bibliotheque
Genevieve,
feet)
systems to be put to
architectural use. The
struc-
with the
ture
IS iron,
slim
row of columns
down
of the
roof.
giant
elm
first all-iron
St.
Paris,
1844-50.
library,
prints that
ingly
modern
Crystal
how
appears
Palace
in
every
strik-
indeed,
architectural
suited to the
history as the
wrought-iron structure
what much
first
later
fully realized
came
to be called
achievement of
modernism. The
Great
were
Exhibition
mented
also
thoroughly
in well-illustrated publications.
docu-
They form
(see
Chapter
1 1 ).
and
Iron
were
glass,
used
increasingly
as
building materials in the second half of the nineteenth century, most often for buildings that were
thought
market
of as
utilitarian
strictly
train
sheds,
halls, mills
exhibition halls
The
French
and
Pierre-Fran(;ois-Henri
architect
Rome
that gave
His
Italy.
Genevieve
is
first
him
Eiffel
won
at
the
Grand
Prix de
library of St.
forward looking in
way
quite independent of
its
The
rows of
windows
in
are the
alphabetical
and
On
room
hall passes
188
flat
The entrance
like a
tunnel to
The Regency,
room
that occupies
grid stairs
and
permits
and
all
of the
levels.
glass wall
stacks.
stack
side
room an
therefore surprisingly
entirely functional,
modern,
and
aspect.
more complex
light
made
library to
it
remain open
The much
larger
first
French
after dark.
Bibliotheque Nationale in
by Labrouste, is a
main reading room
(fig. 10.19), sixteen thin iron columns support
interconnecting iron arches to form nine square
bays. Each is topped by a dome made up from
building. In the
window
with
at
light.
The outer
dome
An
oculus
tion in
Machines
des
Galerie
for
built
the
Paris
and
at their bases
at a center
feet.
movement
all
filled
by
Industrial Revolution
floors,
skylights to light
Revivals,
pivots
is
to allow
demon-
engineering as
equality or superiority in
strate
as
compared to English achievements is demonstrated by these stuctures and, close by, for the
same exhibition, by the famous tower by Gustave
Eiffel
(1832-1923).
It
was
for
The
made
on
many
tall
buildings could be
The restaurants
combined the engi-
work had
10.20
touis-Charles
Bon Marche,
Pans, 1876-
to
seen
Bon Marche
(fig.
10.20;
1876),
where the
crowds of fancily
entertainment as well
followed
it
sequence of
can be thought of
stylistic
as
ending the
as a place to purchase
goods.
antiquity.
design
history.
and
Social
economic
production
created
new
changes
many aspects
circumstances
of
that
The Victorian
successes
and
terms with
is
marked by the
come
to
new realities.
189
functionalism
been made up of
"upper
and wealthy
a small, powerful,
tion
worlds of
owned by
on
the land
class
work
in mills, factories,
size as
rising
The
rich
new
wealth.
by
11.1
richly
decorated
(be/ow) Catalog
draperies,
skilled
London, 1851.
Despite the logic
and
all
rugs,
and
craftsmen.
produced
sively
ornate
objects,
now
that they
and the
home
ornament
demonstration of
striking
chimneypiece (bottom).
{opposite) Franl<
Furness, Pennsylvania
of Fine Arts,
Philadelphia, 1871-6.
The Victonan-type
institution incorporated
museum on
the second
Crystal
and
original
version of Victorian
style
made
glass.
were
frequent use
all
now seems
The
make
lithographs
in
lively
Lewis
Mumford
it
background
the
In
wonderful
illustrated
(fig. 11.1).
and
overhead,
the
can be
H.
&
haldathii blgli
Pnmm,
'
wignTiog:
ll
up-
lun
I
nequlnd
pttHloi)
npuUUuoBhlclLthiHgTDlIwi
In til fmiU of Ean>\t
T
lietagut
'
aiiulniEtiiML
tnu
Style
The
long
of
reign
Britain's
Queen
Victoria
Ttiia
Lmch
luuu
ThsCniHiiTr
t Son. of Lobli
Inos
Putt
bjr
BruBali
llMm UOLLini
'
dciuK tloH
ID EnoluiiL
tlidul" J>>*.'
Of
Thm
it,
oa
Ihll at Ibi
TTit
iBirli !
cuiqnonaK
Miiuuiltlj
mnml
in
tdapUtUa
wilnul-oBl.
lottei
ulnngouL Tbs)
fM
UuJ
aboul Ihrno
iitlu
cDninDfUachiirMnria
In blight
proliferation of decorative,
rative,
design
ornamentation.
historians
and
Many
twentieth-century
critics
have
dismissed
on absurdity.
a vitality,
and
"tasteful"
much
One
neglected
the development
of a simple
critic
called
190
complete
and
times lacks.
and
and
ludicrous.
pointed arches to
are unusual
of decorative
riot
strong colors
demon-
industrial
and
A. HouiBi, caniagf-biiililniv qf
Ikriir. cDntribuU i Liost FiiiE
at
Furness's highly
personal
new
exhibited
materials, iron
materials
at
Palace.
,1.
in
which was
floor,
seemingly
this
to beautify
Academy
of
all
11.2
in
fields
intended
growing
in the
and technology.
science
developed
tradition
and
industry, transport,
and government,
religion,
life,
functional
the
design.
objects on display
architectural
florid decora-
while
were inexpen-
a precursor of twentieth-century
is
"
nical, practical,
rative elements
'
iMrfcrsM
bm^ ud
*U
ili*
iu>ntl>
v*
of
Biitiali
'aecbjilunMB
fast h|(i,
ot
wiil
Chapter Eleven
dramatically
not
is
pistol,
an
some
rative works.
cast-
small
calls for
art and
The weaver was the
he wove and had a knowledge
of the time.
architecture
produced. The
craftsmen
wood
worked
all
carver,
the mill
The pianos
printing
upright,
When
to
became
congruence of two
related
Industrial Revolution
and
developments.
The
impact on manufac-
its
assembled by workers
crafts,
once
for making ornamental carving
molds were made, repeating an elaborate design
was cheap, easy, and cost effective. In fact, ornamentation could conceal minor defects in castings
of decorative elements in
made
it
easy,
material
that
Industrial
production also
for
rich,
new
accountants,
class
and
textile
producing the
and therefore
cheap, to produce ornamentation that would
previously have required slow and costly skilled
handwork. Power looms could weave elaborately
ornamented textiles and carpets as easily as plain
and simple equivalents. Cast iron was an ideal
turing had, by 1851,
became
When
mental carving.
The
plaster
AxMiNSTER
of Collard and CoUard, one grand and one
blower, the
and the
artists, architects
detail
cradles, a metal
supporting
make up modern
knew only
maximum
that
the
buying
public
wanted
and
virtually a universal
at
tive,
classification.
the ever-
design
fi-om
for free
all
combinations
The
term
many sources,
"eclectic,"
is
descrip-
more formal
its
style,
made such
norm.
meaning borrowing
easily,
As garish ornamentation
profitably.
efforts
The
is,
if
the
mixture of styles
The
and the use of invented ornament
business.
having no clear
stylistic
systems
all
of
anything,
even
more
difficult
to
classify.
became
increasingly affluent, and so able to afford to buy
the products of industry that would make for a
comfortable
whim.
People
192
who worked
life.
in
felt
The Victorian
mented
Britain
defenses,
Era
The Gothic
Revival,
itself
a highly professional
1880s as one of a
competed
number of stylistic
the
for
directions that
merchants,
manufacturers,
"self-made"
bankers,
all
and
other
anxious to have
great houses comparable to those of the titled aristocracy. The great houses of Tudor, Elizabethan,
Anthony
Castle (1844-50), a surprisingly convincing imitation of an actual medieval castle, complete with
and
children,
more
typically Victorian
with
some
with
states,
sham
extensions.
Mansions
Architects and interior decorators
who worked on
seem to
tried
England were
mansions
in
buildings
with
great
halls,
large,
work
ruined
and
hall
windows,
relation
muddle of styles,
to
Gothic,
generally
bay
with
but
polychrome
tile,
every
style,
are
in
mental
displays
detail,
pottery of Chinese
even gigantic,
chapels,
dozens of
army of
Buildings
Town
want
to live in
whole neighborhoods,
that
adhered to restrained
acquisition
and display
hard to imagine
walk about or
sit
Interiors of
how
in
ornamental chaos.
the occupants
It is
managed
to
also clut-
cial constraints,
is
often one of
owned
c.
The
sometimes
hall,
known as
the Marble
of the Victorian
new
owner, an Indian
maharajah, who
wanted
to create
marriage
new
wife, the
half
Abyssinian, half
German Bamba
It IS
Muller.
designation The
ture
(fig.
England,
1870.
Hall,
down.
Hall, Suffolk,
seems
to
be
furni-
stolidly
11.4).
English-
in
who
193
Chapter Eleven
11.4 Robert
Taft, /I
Chelsea
Interior,
Carlyle's
House,
London, 1857,
This painting of the
occupied by Thomas
Carlyle
shows
comfort at
its
Victorian
best This
is
of a
London row
comfortable
and
pleasing.
is
usually
Revival,
arranged whatever
mode.
level
Inside, the
occupants
painted
wood
windows are
Bay windows
Revivalism
large with
are
bays,
appealed
to
them.
Conan
which Arthur
Holmes, conducted
in his
(fig. 11.5).
own
house,
Shaw's
filled
clients,
objects,
Shaw was
Revival
Norman Shaw
London
is
number of
(New Zealand Chambers of 1871-3
New
1887-90.
ings.
matters,
such
chimney
flues
early
which came to be
style
called
rical,
194
in
interiors with
office buildings
Richard
comfort and
Queen Anne
his practice.
unique and
and other
charm
is
irregular exteriors.
Shaw's
churches
virtually indistinguishable
is
are
Shaw
structural
the
in
design of
invariably
with
technical
arrangement of
efficient
first
English
oped Swan
were
electric
usually
rambling
in
plan,
their
rooms
"
The Victorian
Era
was taken
in
884,
of a Victorian
is
interior
Anne
and Crofts
and even
of objects: Queen
chairs. Arts
decoration,
a Georgian
(at left)
be seen
in
paper, which
used on the
in the
can
the waif
is
also
ceiling,
and
ornamented
Co.
Shaw was
he
felt
which
some were
much American
Although
Victorian design.
Americans
aimed
for
classless
society
norms of Victorian
design.
after
the
became
farmers
managers,
middle-class
professionals,
city
and
dwellers,
businessmen.
clipper
ship,
the
McCormack
Variations
Victorian design in America produced
the
period tends to be
disciplined,
perhaps
more
reaper,
the
Colt
work ot
work of the
"professional"
less creative,
other,
more
pretentious
in
order to embrace
and ostentatious,
by
historians.
They
include:
195
Chapter Eleven
its
floor,
and
red
General Grant
America
somewhat
village
are
Leaded
common, sometimes
Queen Anne
Revival): This
is
late
application
sophisticated
of orna-
with
mental
detail
and
parallel
as
it
developed in England
in
this style.
are often
their
name from
A mansard
roof
slate,
visible
is
from the
street.
as the
owner could
afford.
much
carved detail
196
The term
often a tower.
(or
woodwork
Queen Anne
term applied to
windows
is
glass
style
and decorative
some windows.
The Centennial Exhibition
inserts
in Philadelphia in
America,
England.
in
horticulture,
and
art,
An
actual
pagoda was
The Victorian
more element
One
to the
by the
built
It
admire
its
for
household
is
and
crockets, but
Smith, a contemporary
critic, as "free
from
all
the
style
the time
the
is
often called
and
designer
are disfigured."
aesthetic
values
Eastlake
advanced
Charles
writer,
in recognition of
by
an
Locke
English
Eastlake
considerable influence
simplicity
and
accompany the
(fig.
restraint,
text
in
Mansions
Iron
Corliss
to
mix.
exhibits
station.
stylistic
Era
urged
an
dreams into
River
(fig.
1.8).
He was
his
own
designer, working
Vaux (182495).
by birth, but made his repu-
Vaux was
tation in
English
America
(in
New
great
public
parks,
work with
A.
J.
Eastlake was
an
active
arbiter of Victorian
taste,
a journalist
to
moke
suggestions to his
and promote
own designs An
Arts and Crafts orientreaders
his
ation
is
evident in his
work, but
it
shows an
shown
on Household Taste
in
Furniture, Upholstery,
modified by
IS
ceramics rich
in "art"
ornamentation.
E.
Church,
New
York,
1874-89.
love of Victorian
fantasy, incorporating
elements intended to be
"Persian"
and
romantic and
therefore
artistic
which
stairs
move up
to
window
197
Chapter Eleven
and
improved water closets. It then proceeds to illustrate the ornamental details, both exterior and inte-
ornamental
bought from
house.
with
Wing and
with
Tower"
counting the
designs
Attics"
(with
attic
titles as
"Picturesque Villa
and tower;
cost $30,000),
Villa
it is
Street
wallpapers,
and
carpet
and
fabric-
covered furniture
to
norm of late
taste.
Victorian
The elaborate
of
or in cast iron.
such
houses,
wallpaper
flowery
trim.
more
ings,
from
favor
of
"picturesque"
vertical proportions,
and
irregular
plans,
Inside
Woodwork was
Around
Gingerbread favored
in the east
and south.
accommodate workers
more generous
standing on their
together.
own
lots
iron,
cast
full
The parlor
characteristically late
mode
tion of gingerbread
to introduce a level of
The contemporary
New
rails,
to a basic
New York,
Internally,
not
taste.
photograph of the
details
not
Hall
1896.
House,
homes,
of
rior,
11.9 Blakely
for
planning
tional
comparable
fantasy
harmonium)
(or
wood.
in
Furniture
was
elaborate shapes
filled
What-not,
a shelf
built
by specu-
hung with
"artistic"
while
small
the
produced
vast
in
groups
sculptural
by
quantity
in
plaster
John
Rogers
and sadness.
known
human character by
A particularly
house
(1860)
surrounded
columns and
by
ornamented
to
fit
Armour- Stiner
the
New
with
and has
cupola and
York.
florid
It
is
cast-iron
huge mansardic
spire.
The
richly
triangular library
need
porch
railings,
dome topped by
is
Irvington,
at
In large cities,
solid blocks of
198
the
Brownstones of New
York,
the
Baltimore,
rows
brick
and
Philadelpliia
ot
example
for
produced
overall
mode was
Italianate
favorite
still
be
The
intact.
Minimal
windows by day;
walls.
daylight
entered
the
narrow
standards.
brownstone
for
showed evidence of
all
of
Shingle Style
America
alongside
Gothic,
Italianate,
Mansardic
alternatives.
A book by
the architectural
historian
Vincent
Scully,
progress
through
central
intro-
first
and
technical
of
introduction
the
ice
into
1971
),
I.
The
Sliingic
St)'le
style"
flights
of ornamental
stairs
led
to
upper
floors
stairs"
were
a reference to
sometimes of rough
some masoni-y
ground-floor walls
particu-
wood
shin-
ment
both
the
tall
now
where
plaster
is
Sherman House,
Newport, Rhode
Island,
1876^
The drawing of
interior
this
was probably
interior
and elaborate
woodwork with its typiwalls
199
Chapter Eleven
New
York,
idiom as
at
1882),
houses
vacation
the
made a
rusticity
through the
and
bed
is
built of
wood members
The lanterns, fans, and
similar
Victorian taste.
and
turret,
paneling,
small-paned
built-in settees
and
c.
its
is
trimmed with
the
fireplaces,
generate a typically
logs,
type, with
through a wing of
a drive passes
Inside,
building.
windows,
choice of furniture
where
great arch
the
but they
stone fireplace
point of
rough-hewn
is
moun-
built in this
well.
1886.
summer
hotels, casinos,
Forked Lake,
when
style
designing
W. Watts
the
) ,
most
and
lively
among
less
works.
original
known
for
in later chapters,
The
their
"artistic"
lamps.
the
Shaker Design
A
flowering in America.
its full
drastically
excesses
Adirondack Style
A minor
modest and,
name Adironback
of
New York.
in recogni-
mountainous region
train travel
became reasonably
able, those
who
could afford
and comfort-
fast
summer
vacations
where
mountainous
the
summer
and
landscape
built as
hunters
and
fishermen.
lodges tended to
latter part
grow
as lodges for
Although
camps and
and comfort
in size
life.
and camps
were
cool
in the
alternative
the
to
religious
florid
the
in
communities of
known
The
sect
as
Shakers.
first
from
freedom
seeking
persecution.
religious
had been
nism. By 1800 a
villages
established.
dwelling
dence
houses
men and
women.
the
commu-
number of these
Large communal
at
members shared
from
communities
"the
built
world"
their
or
outsiders.
own
all
Shaker
buildings
and
of their needs
and favored
of
tree
branches
(frequently
is
often
made up
with
still
bark
and
tables,
mental
rooms
color.
and
200
the
different
detail.
Great
lined with
Camps
Camp
stone
fireplaces
wood boards
left in
dominate
their natural
Cedars
(fig.
11.11) were
made up of
efficient use
of
human
efforts led to
excellence.
to hold to
its
idealistic
The
free
interiors of
painted.
Floors
were
wood boards
that
were
'
1
The Shaker Philosophy
The English religious mystic Ann Lee, known as
Mother Ann, left England in 774 to set up her own
form of Qual<er community in the freer religious
atmosphere of the New World. She founded the
Shakers and
summed up
her philosophy
the
in
following phrase:
in
behavior,
Ye
shall
railings,
other
when going
to the table
to decorative finishes,
may
made by
not be
believers.
for his
habit of preserving
wooden
pegs:
we hang
for the
world to do.
we
leave
visit
to Harvard
in
850:
of
1 841
quoted In David Larkin and June Sprigg,
Work and /Art (London, 1 987), p. 43; 2. Millennial Laws
Holy Orders of
Shaker:
1
Life,
845, quoted
5./iwd, p.
in ibid,
p 33;
3. Ibid. p.
168
92;
4. Ibid. p.
68;
Chapter Eleven
tables of
proportion and
detail.
in
mounted
hang up hats,
walls
made it easy to
when not in use. Boxes
chairs
clocks,
and
woven
cloaks,
and even
remarkable
materials
fine
aesthetic
were
effiall
quality,
practice.
The
ascetic pursuit
of simplicity and
effi-
ties
seats
in spite
of Victorian
are
11.14
Schuyler,
& Graham
New York, 864,
Hartley
shop,
demand
during
The stiop
interior
makes
and
cabinets in a
vernacular of the
period, while
walls
and
upper
ceiling are
decorated according to
Victorian taste.
202
offered
now
taste.
(fig.
11.13),
bands along
Lake
Early Skyscrapers
ciency,
in
As
cities
that
grew
activities.
available,
developed
Before
tele-
proximity
squeezed onto a
became
lot
profitable
the
development
of
limited as long as
masonry
walls
and columns
The Victorian
11.15
Office of a
publishing firm,
York,
Era
New
cl 890.
The development of
larger business firms
generated a need
for
where
clerks
and
book-
and
computers, conducted
by hand Cast
iron
beams,
floors.
dark days
An
industry
developed to supply
suitable office desks
and
including
of
building
the
American
cities
often
skyscrapers.
early
have "cast-iron
districts"
made
tural
exterior walls
up, like
made it
be made up of
terracotta
made
it
classical
became
think
that
fires,
with
tile
heat
insulation.
higher "skyscrapers"
Still
finally
late
lems
stairs to serve
upper
floors.
Many
cast-iron build-
grimmest
sort.
and
retail
stores,
"dry-
to
Western
Post's
Union
same
date,
both in
conglomerations
New
because
its
building
to
go
high-strength characteristics
higher,
made
it
mansard
smaller
buildings,
past.
tall
tended
The
buildings,
to
strictly
columns
within buildings. Masonry, however, remained the
treatment
it
offered
non-inflammable
barrier.
or
(1873-5)
Building
of
dormers,
iron
history
(fig. 11.14).
Cast
Architectural
designers.
their
beams and
iron
might
were
twelve stories.
on
supported
tile
wrapped
columns
possible
floors
when wooden
(fig.
11.15).
and
offices
utilitarian
and many
offices
windows
for
were screened
Chapter Eleven
204
The Victorian Era
made
doors
windows
possible
into interior
a level that
ment,
file
Gas
followed by electric
light,
light,
became
known
as
Second Empire
An
by Americans.
work
in France,
style,
was used
it
Philadelphia's
hollow
square
(1823-90), a
Jr.
overpowering
an
with
many now
interiors,
fully restored,
care-
Thomas
Hall, Philadelphia,
1872-190L
This space,
a monumental
in the
massive State,
Washington, D.C.
and architectural
hand
Mansard
with a heavy
up
had
The work of
Philadelphia
the
architect
sive efforts at
in the
particular school or
office buildings.
conceived
Renaissance"
style,
massing
arches,
of
bays,
style.
tile
all
as
of a democratic society.
This space, carefully
turrets,
floors,
Servants'
and
rich,
luxurious
ments or sometimes,
as at the
Dakota, in
attic
ground
floor.
iron
its
original color
and
railings
Gothic sources
of
University
on the upper
galleries
and
now
carefully
standards,
lighting
heavily
renamed
(fig.
11.2).
The
Pennsylvania
library for
(1888-91),
the
now
is even more
room and "rotunda" are
The
vast reading
detail.
The
museum
and
stone.
and
and curious form with much florid carved
Access to upper levels is provided by an
original
Public Buildings
scale.
floor with
restored to
details
and grander
as those
originality,
materials.
apart-
Gothic Revival,
as the
and
it is
glass,
original
easy to charac-
parquet
It is
Hotel interiors
its
appearance, glories in
its
"German
main rooms
forms, but
movement.
with
ugly,
as
it
Victorian
balconies,
roofs.
terize
grandeur
public buildings
Frank
some
and exces-
led to
rather florid
in color
had
quality.
for the
restored to
elaboration makes
istic
detail applied
Furness
huge building
leather-cushioned chairs,
walls.
" is
interior
delier,
known as
Philadelphia
roofs
and
restraint. U.S.
floor,
Jr.
U. Walter, City
seems to be indifferent to
partitions,
{opposite) John
mental center
vitality that
vital
11.16;
(fig.
11.16
McArthur
"Conversation Hall,
(1852-70),
III
official
architecture
of
mental iron
railings.
205
Chapter Eleven
unusual decorative
details in
As American
changed
tile.
Belter,
York,
c.
860^
production of furniture
in the style called
"rococo revival.
"
His
invention of techniques
for carving
and
tastes
in the early
somewhat contro-
when
twentieth
versial
it
ment by mechanical
means made it possible
to
produce at modest
and Other
Furniture
Interior
Furnishings
demanded. The
resultant, widely
made
view of luxury as
symbolized by decora-
tive
ornament
new
New
that
and
materials
made whole
in pressure
bend thin
strips
chambers
of solid
that
wood
made
it
possible to
number of
light,
as
residential interiors.
style
Plywood, developed
made up of many
became an
to
form
seats
were used
and backs
in
splitting.
veneer.
It
such
as iron
that could
plumbing
pipes,
types. Industrial
mate-
made as
make bed
at first
and foot-boards.
All
of these
new
materials could
forms
as
were
appeared
to relate to
Oriental
style.
and America
of
bamboo
construction.
bamboo
Real
objects
locally
from
part of a
room, or simply
to
Victorian
was
particularly
also popular
informal
types.
in
Most Victorian designs were ornate. The products of the New York shops of John Henry Belter
spaces
(fig.
11.17), sofas,
206
American Victorian
often called
Plywood
new furniture
is
and
less costly
nents to form
rials
wood
wood,
warping and
Europe, was
in continental
layers of thin
alternative to solid
subject
less
interiors. The
Rococo Revival, and Belter's
name is also applied to the work of other shops that
produced work in the same style.
characteristic of
much
mixed
came
to
interiors,
in
in
hand
in
t)'pically
style.
and for
dominant element
Cushions, usually
attached to
wood
is
and tufting
to
emphasize
The Victorian
their forms.
bouncy
surfaces. Cover materials with elaborate and
colorful woven patterns were the norm, with
woven horsehair (usually black) and leather as
alternatives. Leather was particularly favored in
used
were widely
create
to
and
soft
rooms intended to suggest a "masculine" atmosphere smoking rooms, "dens," and the rooms ol
men's clubs.
By
could
compositions customized to
and
arranging,
cutting,
paperhanger
the
pattern
create
a particular
room
or
wall.
Owen
to
of
Furniture
Huge mirrored
halls
for
and
Victorian
the
tended
era
Pianos,
vestibules.
many made
in
Mumford
particularly
rich,
ornamentation.
process of hand weaving by the use of powered
looms
up
set
doors,
sort, so that
the
somber
efficient mills,
these
empha-
and
in large
brown decades";
as "the
riors
be
could
portieres
hung
to
ration at
one
stop.
cities,
particularly
far
west,
Montgomery Ward, and many smaller firms illusmore extensive range of products
trated an even
most remote
textiles,
richness.
Carpets,
now
generally
and
scroll
down
wall-to-wall. Linoleum,
produced
larly
imitating
woven
in floral patterns
rugs.
Wood
and
floors or
in designs
hardwood
Wallpaper became
tile
trim.
way
visible
all
sorts of useful
to
supplanted
heating
aid
wood
as a fuel, to
and
full
and
made
of practical
cooking.
Coal
be followed by gas
in
cities.
adjustable chair
uses
Bathroom
fixtures
include flush
rations.
in
might be
carpets,
in
common.
a particularly
Oil
lamps
toilets,
in
great
variety,
most used
from simple
to
which might be
geometric,
floral,
Some
electric service
fan was
details
Era
made
became
in
fully electric
207
Chapter Eleven
208
11.18
[opposite]
Rhode
1901.
Island,
Trumbauer's work
work that
eclectic
to recreate
Renaissance chateau.
It
models, but
Its
Carved wood
discipline
columns, marble
detail,
at the fireplace
and
Aubusson carpet
and
richly
earned
furni-
wealthy owner.
11.19
(/eft)
Queen
(railroad car),
1869.
represented by the
building of railroads
came
Chicago.
in
necessity. In
its
Columbian
first
sewing
Single,
named
for
its
designer,
Patrick Stirling
its
household
machine of 1851
was embedded
Singer's
developed
in a table
into
supported on a cast-iron
The
form of
its
and
drapery
Queen
furniture
padded and
the machine
itself
stery.
no
where
it
is
great elegance
and
simplicity.
The
great Stirling
(fig. 11.19).
quilted,
and furnished with opulent upholFringed curtains hang at the windows, and
Gothic
Victoria
style,
trace of
speed along
its
steel rails
padded
quilted, fringed
is
everywhere,
is
can/ed
and
lamps are
quilted,
carved
is
of
wood
in Gothic,
pointed
detail.
can be discovered.
209
oped
display,
fash-
ions.
less
hope for
little
it."
desig-
Ruskin's
movement
or,
as
it
sometimes
is
the
called,
Aesthetic
developments
these
MOVEMENT
in the
generated
United
the
Craftsman
States. Influence
can also
and
philosophers,
relation
to
designers
theorists,
hand
a return to
hand
that only
work
the
is
movement. Excessive
is
to be banished, but
to be
existed. Arts
make
to a
craft
is
known
tiveness
craft as the
of individuals
of
design
reform.
availability
of the
century.
the
denunciation
bitter
industrially
and
broad public.
invent.
Britain: Arts
and Crafts
Morris
The
Crafts
12.1
Charles Rennie
House,
Hill
The
first
is
reform the
art
John
critic.
development of Gothic
men who
between
emphasis on
simplicity
and honest
new forms
furniture
lights
IS
was
In
and
in the
and hanging
combined with
time
(
art
and
craft.
Street
of
its
and
own
movement sought
original design
of George
Edmund
Street
Webb
),
office
ideas,
the
in
1824-81
and Crafts
use of
geometric forms
178),
turous
many
(see p.
involved in attempting to
stands at a border
Revivahsm
Burne-Jones
not a
Dunbartonshire,
Edward
who was
Helensburgh,
Mackintosh's work
painter
(1833-98),
Scotland, 1902-3.
and
figures
Pre-Raphaelite
influential of Arts
Mackintosh,
best
Crafts
who had
house to be
built at Bexleyheath,
(fig. 12.2;
1859-60) that
Webb
toward
work
later
elements of tiny
squares in contrast to
Its
simple overall
210
color.
was "honest"
emphasis on crafts-
it
designed
is
Its
doors are
strictlv
Ji^-a toi'iaft,
^v.
Chapter Twelve
212
The Aesthetic Movements
is
fireplaces; large
windows
is
based on functional
realities,
1859-60
Webb designed
House
not
Red
the
on a
ities
typical details,
in
exchange
for func-
tional simplicity.
As a
as
step
large bookcaseand-
result, the
settle)
of Morris's
design
although
rustic informality
its
seems completely
white,
It is
and
painted
the
Palace, describing
cited
its
it
as a
ladder on the
left
gave
an
opening
to
furniture
and
attic.
The
rugs are
denunciation
in his
ator
12.3
exhibition. By
stained
tapestries,
glass
(fig.
wallpapers,
furniture,
Morris
12.3).
Wolverhampton,
Staffordshire, England,
some
Red House and a simple rushseated wood chair of 1862. His name, however, is
connected with all examples of arm chairs with
Morris chairs, so named
adjustable tilt backs
because Morris was the first to develop a prototype
1887-93
The
Morris's
changed,
far-reaching
interests
moving through
involvement
in
poetry
constantly
to
political
its
Morris
on whole rooms
and
Albert
Morris's
tain
on nature
theme.
for the
work;
Fairfax-Murray
The
wall paneling
&
Philip
artists
Webb was
the
Burne-Jones and
painted
contributed
Co.,
stands in
front of a wall of
Honeysuckle
patterned
linen.
The
painting by Frederick
Sandys (1829-1904)
in
is
fireplace detail
and
mantel complete an
Arts
and
Crafts interior.
ceiling
main-
and
an example ot
room
interior
themes.
now preserved
Museum in London,
panels.
related
(1866),
Morris's
and Crafts
Charles
He
which was
choir,
designed by Violet
Room
example.
Edward
Manor,
and
himself only
(/eft)
Ould, Wightwick
produce
modern.
IS
in the
The
made
ties
Webb
remarkably
lively
when
so
much
make them
of Victorian
Philip
Webb
Morris throughout
owner of
the firm, called then Morris & Co., which produced
many of his designs as well as work by a number of
followers. The output included designs for printed
chintzes and hand-tufted carpets and, eventually,
carpet designs for Wilton and Axminster factories.
The firm was also active in interior design, taking
architectural projects.
became
sole
He was
a front
own
painted by Burne-
Webb
also designed a
large,
he aimed for a
213
Chapter Twelve
12.4
Philip
Webb,
Standen, East
Grinstead, Surrey,
England, 1891-4,
house contains
a carpet and
many
pieces of furniture to
William Morris's
designs. The simple,
white-painted paneling
IS
characteristic of Arts
and
Crafts design at
its
best.
certain
examples
crowding and
to Victorian love of
clutter,
British
Designers
remark-
In
the
nineteenth century a
half of the
latter
number of other
up
the
Clouds (1881-91),
Webb,
is
interior
in
a Wiltshire
design.
house designed by
a large
tion
movement
that
drew
inspira-
as
which he urged
its
white-painted
fireplace,
modern
seem
woodwork and
free
plaster
and simple
Webb
design
is
Standen
in
Surrey
(fig.
some
is
is
generally white-painted,
room
straightforward,
from Morris
carpets,
pleasant simplicity.
forms
decorative design.
is,
in spirit.
Another
214
Other
and
it is
textiles,
The
coming
blue-green.
and the
color,
He produced
ware,
first
is
industrial designer.
textiles,
wallpapers,
Although he had no
silver,
and ironwork.
resei^vations
about designing
was
a vocal advocate
between
his botanical
modern
in
concept
Many
and
for
ot
glass-
(fig. 12.5).
'
his
Company
"Anglo-Japanese"
attracted
that
12.5 Christopher
Dresser, pattern
1886.
Dresser
moved from
inclined elite
delicate with
somewhat limited
(fig. 12.6).
aesthetically
light
and
restrained
standards,
Godwin
and simple.
catalog of
Room
rooms
Rossetti and the Aesthetic
was included
book Modern
which
in his
Ornamentation,
to
increasingly creative
"Anglo-Japanese Drawing
this
among
following
the
In
"Japanese Manner,"
Furniture"
forms that
make him a
precursor of modern
industrial design.
or
show complete
in
House
expressed
first
hand the
artistic sensibilities of
starkly
Aesthetic
the pre-Raphaelite
her Memorials:
in
Godwin was
House
in
London, for (and probably in cooperation with) Whisder in 1887-8. Although Whisder's
reputation is primarily based on his work as a
Tite Street,
when we
Street;
house
little
furnished
Curzon
in
it,
One day Mr
instead of
Rossetti
them.
decor,
own
house, with
its
artistic
visit in
Treffry
he
painter,
was
often
involved
in
decorative
and screens made up of painted panels to the decoration of a room in a London house called the
Peacock Room (fig. 12.7), which has been reassembled in the Freer Gallery of Art in Washington,
D.C. The
Thomas
room was
who
Room
was
by
shared
Godwin
12.6 Japanese
Court,
International
Exhibition, London,
1862.
The Victorian discovery
of Japanese design
promoted a new
interest in orientalism.
Visitors to the exhibi-
tion
an awareness of an
exotic theme that fitted
into the Aesthetic
Movement's urge
to
decorative practice of
a dining
nineteenth-century
England.
approach to
Dunn
after a
1863:
walls, so that
looking at myself.
effect,
old Dutch
treated
period,
in
were
inlaid
1
Lady Mount Temple, Memorials (London,
Dunn, Recolleaions (London,! 882)
.
series of
890);
2.
Henry Treffry
215
Chapter Twelve
envi-
leather
porcelains.
what he
called
"A Harmony
and
window
in
room
shutters
walls,
p. 197)
was another
figure
in
the
spirit
name
of
"art
with
Its
shelves to
Whistler's decoration
of this
by peacock
feathers.
the
was the
exotic,
drift
toward
movement toward
It
Gilbert
amusing
and
Sullivan
W.
operetta
S.
Gilbert in the
Patience.
It
is
Edward William
Godwin, a former
assis-
216
interiors
that
exemplify
Patience satirizes.
the
pretensions
that
work
in a style
Town Houses
(fig. 12.8).
Godwin
furniture are to be
Ernest
1886,
wood
become
primary value
twentieth-century
designer of furniture,
was instrumental
in
its
leading
silver,
Decoration and
by Edward William
frieze by
Henry Stacy Marks, and
ture
Godwin, a
wallpaper by William
active propagandist for
Aesthetic
and
Movement
and Crofts
the Arts
and
use in their
(fig.
States
12.9).
in
was an
Morris. Edis
were published
Town
Furniture of
Edis,
London, 1881.
an
in
modernism. He produced chairs for an organization called the Art Workers' Guild that was for a
personalities. Charles R.
12.8 Robert W.
interior,
to follow
shown
by these movements
to
adapt them
for
own homes.
Germany
European developments
A number
riors
r^^^>^M^
airy,
of details helped to
make
the inte-
12.9 M.H,
Baillie
Witley, England,
1914.
Mackay Hugh
Baillie
Scott continued to
design
the spirit of
and Crafts
Movement well into
the Arts
the
cabinet
is
covered with
painted ornamental
manner
had intro-
detail in the
that Morris
duced
fifty
years before.
217
Chapter Twelve
whUe
up
a frieze or
paper
band of
own
introduced
horizontal
element
that
Hertfordshire,
suggesting
modernism, Voysey
Voysey
in
the
transition
from
textiles,
and
carpets.
space of
house, called
following century.
218
Mackmurdo
work
Mackmurdo
craft-
The
work.
curving
own
own
simple,
a large
In the living
as
at
Voysey designed
his
He became
Hertfordshire,
living
based
England, 1900,
room
in spirit to
modernism
member
Wood,
and elegance
wallpapers,
CFA Voysey,
The
actually disliked
mass
design.
12.10
12.10).
wallpapers of his
figure
vernacular
His
Wood,
Modernism
important
gable-roofed
duced
An
country
English
(fig.
electric bulbs.
craft orientation.
1900), at Chorley
simple
is
such.
The Orchard
house.
Links to
interiors, originally
bow windows
in
Windermere.
It
has three
The
Nouveau
of
Arthur
indeed, he
is
Heygate
he acted as an
assistant to
Mackmurdo's career
Ruskin during a
trip to
by the Glasgow
liked
Mackintosh also
public.
12.n
Arthur Heygate
Mackmurdo,
Dunbartonshire,
Scotland
(1902-3;
12.1),
fiig.
title
page,
1883^
Mackmurdo, a devoted
supporter of Arts
had remark-
latter
and
was the
author of a book urging
Crafts ideals,
fireplaces,
and
inserts,
own Glasgow
for his
designs
furniture
stained-glass
the presen/ation of
and
Christopher Wren's
Mackintosh developed
flat.
that
silver,
title
Nouveau
direction that,
at the time,
fully surfaced.
often
activities that
It
is
a curious fact
Movement,
reform
despite
and
in
came
to
and
title
page
sinuously curved
He was
(fig.
in the 1890s.
and Crafts
and
design
influencing
productions. However, in
its
on honesty
group
in its
of
of
costly
its
meaning-
rejection of
only
taste,
small
mass-produced ornamentation,
less
broad
to bring about a
emphasis
realities
of
made
use of related
Its
also the
founder of the
historicism,
in
related design
Glasgow
in
aim
its
Victorian
in
succeeded
Italy.
were centered
link to Art
Nouveau, with
makes it the
of modernism.
studies
itself.
total rejection
its
starting point
for
of
all
objects.
was produced
by
Charles
work
related to Art
Rennie
by
Nouveau
Mackintosh
(1868-1928).
but
moved toward
the
greatiy
freedom of Art
admired by conti-
12.1).
Mackintosh
(
The
is
most
large
windows
is
important
Glasgow
the
1896-1909), which
building
School
of
by
Art
that
dominate
and
the
simple
The
close link
made
Crafts
it
movement
in the
United
States.
and
While the
last
chapter
War,
movement, limited in size and acceptance, surfaced and offered alternatives to the
dominant taste of the time.
remained dominant
America
in
a divergent
exterior.
library spaces
masonry constructional
elements set off by unusual furniture and details of
lighting and metalwork that move toward Art
Nouveau inventiveness. The building was not well
use
Movement
Stickley
timber and
The leading
figure in
what came
to be called the
America was Gustav
Craftsman movement
in
Stickley (1858-1942), a
member
of a family that
219
Chapter Twelve
running
of historic reproductions.
12.12
U.S. dining
room, 1904.
this illustration
and
Movement,
article
America as the
The magazine
for
made
wood
in
solid oak,
existent except as
detailing.
The
it
resulted
from constructional
style
Mission because of
its
made
supposed similarity to
examples
of
Stickley
were
furniture
Ellis
Traditional ladder-back
around a
and sideboard
Voysey and
room
Stickley.
Itself,
with
The
ideals in architecture
is
strong contrast to
"Craftsman houses"
also carried articles
most Victorian
and Scotch
designers.
its
later English
Oustav
joints, iron
table
New
Craftsman Movement
chairs stand
simple furniture
in
suggested designs
Stickley's
efforts
number of
until a
is
was a magazine
that promoted the
Crafts
interested in
taken,
He became
as
women's
justice,
rights,
along with
12.12).
illustrated
The magazine
improved child
art
care,
and
photography, poetry,
social
fiction.
factories
found
New
of the century,
importance.
in
New
Eastwood,
Stickley's factory at
York,
itself in
and
George
John
(1856-1915)
venture
of
at the turn
the
New
Aurora,
at East
Hubbard
Roycroft.
own
his
craft-oriented
name
books
and
produced
art
Hubbard
Elbert
Stickley.
established
and
literature designed
and moved
ment of an
aesthetic cult.
importance
after
Although
World War
I,
it
faded in
when
"period"
became
increasingly
Craftsman
Themes
influence
related
to
popular,
some
survived
into
the
Craftsman
traces
the
of
1930s.
movement
Bradley
Will Bradley (1868-1962) was a commercial
trator
Craftsman
the
style,
work of
related
by
popular
the
illus-
for
and
influential
Ladies'
Home
Mission
220
showing
style,
often
12.13).
(fig.
skillful
colorful
with
They were
and
versions
amusing
attractive
of
the
decorative
"
12.13
Will Bradley,
1902.
interior,
Colorful renderings of
house
interiors
of
Bradley's design
became
an
familiar to
extensive American
publication in the
Richardson, Trinity
popular magazine
Ladies'
Home
Journal.
and
Crafts
or Craftsman style
his hints
and
about the
designs of Charles
designers helped to
came
to
be called
"Mission Style
"Romanesque Revival,
it was far more
"
but
designation suggests.
This church contains
known
Romanesque era,
and
they resulted in an
with stained
glass by Tiffany
and
painting by John La
Targe.
details.
The making of
"artistic"
wares
lamps
United
States.
ideas developed in
The
influence of Art
Nouveau
same
time, so
America
at the
Richardson
Henry Hobson Richardson (1838-86) was the
American
Richardson's
works were
early
Stick,
of
frequency,
increasing
masterpiece. Trinity
Church
other
Romanesque
around
is
first
versions
in
with
or,
Romanesque. His
in
first
entirely
stonework
original.
is
combined
Externally,
the
rough-cut
quality.
dominated by the
The
interior
ceiling form,
wood
(fig.
12.14)
and
is
beams encased
tion
was
in
stenciling or with
221
Chapter Twelve
222
of
paintings
figurative
the
La
John
Farge
Arts
quality
for
handwork.
12.15
(opposite)
(1833-1910)
reds
dull
in
Ornamentation
but
present
is
very
generally
like
electric
lights),
great
of craftsmanly details
full
fill
the
is
is
the
known.
similar
chairs
far
arm
chairs of
destroyed.
It
was
interiors
in
Store
in
been
and ware-
lofts
influ-
unfortunately,
has,
house spaces of
exterior form,
became most
The
that
Field Wholesale
Marshall
the
Chicago
rests
and
The
on the simplicity of
its
precursor
Sullivan,
in rugs.
handsome and
in
Henry
Greene
San
Panama
(fig.
12.15)
windows generate
riors
inal
inte-
and
full
of a sense
of tradition.
wood
original church
great
its
central
and
creative
era.
view of
its
classical
and
sensible
pretensions. At worst,
by
alternatives
it
became
to
it
offered
Victorian
a cliche
adopted
crammed with
Developments
Europe
Wood
is
Craftsman movement
in
Continental
movement and
in
its
parallel
transfer
used with
draws on
presented a
oriental precedents in
and stained-
glass inserts in
to the
furniture, original
precedents.
overhangs.
and
Pacific Exposition of
with
Francisco,
a highly personal
The
careful
Japanese traditional
California
that
Sumner Greene
Mather
guishes
way
appears based on
1912
woodwork
detailing in a
one's own."
It is
the
interior.
ideals with
fixtures,
R.
and
in stained
based on an
(1868-1957)
some rosewood,
is
understanding of craft
lantern-like light
Bernard
style.
1908,
The work of the Greene
ential,
glass
teak,
Its
Pasadena, California,
Brothers
elegance and
cular arches as
best
Gamble House,
combination with
parallel
narily
suited to the
223
Chapter Twelve
224
The Aesthetic Movements
Germany: Muthesius
known
best
In
Germany, although no
movement became
model
for attempted
An
(1861-1927).
Muthesius
Hermann
architect
the
for
German Embassy
London
in
He was
number of magazine
1896 to study
in
the author of a
articles
returning to
Germany he published
work by Shaw,
illustrating
Baillie
Scott, Voysey,
interior design. As a
the
for
The building
is
is
Exchange
(fig.
12.16; 1898-1903).
side.
central
space
tie
work was
in city
he
government
official,
12.16 [opposite)
Hendnk Petrus Berlage,
Amsterdam,
1898-1903.
Bourse,
in the walls
exchange) forms a
dignified shell for the
exposed
steel trusses
The work of
Berlage. with
base
tions
its
strong
in
(particularly in brick
and
tile),
embodied
elements of functionalism as
develop
it
was
in the
to
twen-
tieth century.
urged improvement in
key
figure
the
in
Werkbund
in
German
formation
1907,
modernism
on
influence
in
of the
the
English
that
nineteenth-century
Deutsche
organization
an
a link
design
of
between
reform
and
modernism.
If
Arts and Crafts moveNouveau design of continental origin would have come together and
moved into the modernism of the twentieth
century in a smooth progression. These efforts at
reform, however, were pushed aside by a new wave
parallel Art
wave of reform
In the Netherlands, the effort to find an alternative
to Victorian excess
is
represented by the
work of
to
14).
It
required a
new
called
225
The
late
and
peace
prosperity
in
upper-middle
new and
direction
known
became
that
as
Vienna
the
and
interior design.
nature
architecture
Belgium and
upper and
larger
could support
classes that
Europe.
continental
feathers,
flowers,
wings
insect
vines,
and
bird
shells,
abstract
forms
The
and
in
ornamentation.
and
as travel
objects
most
visible Art
Art
Nouveau
Nouveau motif
directions
can
be
traced
in
graphic illustration, typography, posters and adverpainting and sculpture, and fashion
and the design of jewelry and decorative
objects such as ceramics, glassware and silver,
picture frames, and lamps, arriving at a synthesis in
complete interiors and in architecture. Because Art
Nouveau surfaced in many fields and in many
tisements,
Nouveau
Many
13.1
[below)
Cf.
A.
Voysey, decorative
to
no
at least at their
in retrospect that
Voysey stands at a
crossroads between the
and Crafts
Movement prevalent
Arts
in
and
Nouveau
was devel-
the Art
style that
late
makes use
nature-based and
in his career,
of the
beginnings,
has
and
commonalities
become
It is
only
possible to see
relationships
that
justify
Eugene
Vallin,
Masson
1903-14; now
Musee de
the
in
I'Ecole
de
Vallin
for the
responsible
design of every
"style
at first
simply an aspect of
surround and
characteristics
hanging
surfaced
in
that
and
full
Art
Nouveau design
and of
historic
nations of precedents.
inal design
make
A willingness
of
rials
(iron
to take advantage of
and
glass),
production),
trial
Nouveau movement.
electric lighting.
226
what had
and
to
difficult to trace
Nouveau
it is
first
and
such
innovations
as
It
appeared
is
in
an orderly develop-
fied
Brussels
was
is
remote
Nancy.
it
mental progression.
13.2 [opposite]
places,
the Aesthetic
Nouveau.
design,
movement designed
:.>?^-v
:^:
;{
Chapter Thirteen
1892.
Stairways offered the
on walls and
ceiling.
is
an
tance of metal as a
legitimate matenal for
interior detail, while the
hanging lighting
fixture
of the then
new
electric light
228
'
Art
objects
embodied
that
of
characteristics
Art
S.
his chair
of 1882 with
Nouveau
We
make
forms,
(fig. 13.1),
well
is
known
In France similar
in the posters
posters
Art
are called
we can
is
new
give a
themes appear
Tlie architectural
of
in the
arists as
The
Such
pamted
in
stucco."
'
Tassel
and
plaster
found expression
view/s
influential
In
editor,
readers to "shun
House
in
Bonnard (1867-1947).
I
New
Belgium
keep the
'
stalk.
work and he
his
Horta
The
The Belgian
sat."
Nouveau
many
Benn
criticized
that
Nouveau
Art
(
architect
892
Tassel
House
in Brussels
uses
The
design.
in
R. D.
904:
said, and
on the one
hand, most of it which is really new, is not art, and,
on the other, that which is art, is not new; and do
not think that the situation could be summed up
it
has been
that,
conventional
fairly
the style
architectural
is
motifs.
complex open
stair
more
correctly or concisely.
Architecture. (London,
Memoirs, quoted
1977),
tile
patterns of
(fig.
Spaces
13.3).
dome
a glass
151;
(London, 1904).
in J.
992).
67;
in
151,
Kenneth Frampton,
2, Ibid,
M.Richards, Who's
4.;i/d, p.
p.
p.
Who
p 68,
3,
in Architecture
S. H. D. Ber\!\,
Style
Modem
Victor Horta,
(London,
Furniture
37
are
columns support
p.
in a relationship
detail.
The house
is
now
preserved as a
museum.
In
Art Nouveau.
tive
In his
Brussels
(fig.
13.4;
adjacent office-studio in
1898), with
its
asymmetrical
detail
panels,
furniture,
to
fixtures,
light
Nouveau,
curvilinear,
is
Horta's
Maison
du
Peuple
a larger building
street. Its
top-floor meeting
design every
hall
stained-glass
vocabulary.
(1896-9),
an expression of Art
nature-related
decorative
229
Chapter Thirteen
bridge
Nouveau beginnings. He
Berlin,
and most of
design,
on which
eventually relocated in
his Art
Nouveau
furniture
It
full
is
was
of the
(fig. 13.5).
France
victor Horta,
that never
1898-1911.
In his
moved
and
Van de Velde
ceilings,
fixtures,
and
furniture
his
own
white
and
of
1894
oil to
the use
style.
exemplified
the
Art
de Velde's
I,
Belgium, 1898,
ceiling
Van de Velde
offers
use
in interior design,
including papers
paints, textiles,
and
(fig. 13.2).
moldings,
wall
(now
the
carpet,
light
glass
designer
(1859-1926),
Majorelle
each
name
style
design
of furniture
using
carving,
inlay,
and
In this advertisement.
was
(1856-1922)
Vallin
where he was the designer of the shop established by Samuel Bing (1838-1919) that carried the
Atelier,
of Nancy. In
kitchen cookware.
Paris
two main
in
also
design. The
tiles
The second significant Belgian Art Nouveau practitioner was Henri Van de Velde (1863-1957) whose
own house
Nouveau curves
Eugene
Nancy,
achievement
wood-
built-in cabinets,
and
museum)
of 1903-6 which included a dining room that
might be regarded as an archetypical Art Nouveau
the Horta
tiled walls
Nouveau developed
achievements.
In France, Art
centers, in Paris
patterns.
He
showrooms in
The work
and
originality,
Paris
at
and
Nancy
beauty,
although
there
is
tiles,
Guimard
is
Its
flowing
evidence of
230
In Paris, the
most
significant figure
was Hector
Art
and
stenciled ceiling
its
is
an integrated essay
in the
Art
3.6
(/eft)
Hector
Guimard, Castel
Nouveau vocabulary.
Stairs
in a tower,
rise
The
made
interiors
Beranger, Paris,
1894-9,
In the vestibule
of this
apartment Guimard
uses uniquely designed
and the
histories
tastes
woodwork,
plaster
studio of his
in the
details,
terracotta wall
continue up to a
pamted
his
furniture,
many
of
the
brochure
tiles,
ceiling,
and an
Le Style Guimard.
Guimard's own Paris town house of 1909-12 is
four-story corner building on an awkward trian-
titled
gular
site.
The two
Nouveau
contemporary
Guimard, entrance to
interiors
appear
they
as
in
Porte
Dauphine
Station, Pans,
In the
from
Apart
houses,
an
office
individualistic style.
number of
building,
Paris
apartment
in
1900.
entrances to
Pans
standard elements of
assembled
most
some had
incorporated
signs,
to
form
entrance kiosks of
varied size
All
roof
c.
designers.
unusual
made
and
form.
use of curved
glass
light
related forms.
^-^:
products.
He
such
He worked on
of
fantastic
quality,
at its best.
is
a six-story Paris
which
13.6).
is
at the
hints at the
(fig.
Romanesque,
stubby columns
at either
ornament makes it
original, not derivative. The
iron
entrance
molded
gate
terracotta
is
tiles, its
metal
tile
its
retaining bars.
231
Chapter Thirteen
and panels
fixtures,
and
Spain
by designing a
this project
elements
metal
dards,
cated
in
and
quantity
assembled
various
in
seem
to
essential elements of
They
color.
are
among
of local
full
all
Guimard was
although his
later
Caudf
is
in Spain, England,
some or
all
of
is
of work in this
a variety
figure of
style,
the
dominant
as
still
florid
manifestations of Art
more
restrained but
Guimard's work,
demanded
a chair, for
costly
of woodworking
able
still
like
of a flowing material
by affluent
in their tastes
they demanded
skill.
clients
a high order
who were
could
new
13.9), included a
facade
a fantastic
roof
inte-
curved forms.
known
locally as
around
A number of other
and
also avant-garde
ment
in
fitted
level,
in the
design, furniture,
name
is
a suite
combined
tile
as
chimneys and
vents.
Gaudi
projects.
the
jewelry.
L'Art
and
a designer
best
known
for his
work
in glass.
style
make
style
is
(1914).
fantastic
on
skilled
craftsmen
for
specific
major
stylistic
vocabulary
scale.
Germany: Jugendstil
different directions.
As
a result.
and had
custom made by
the
However, once a
to seek new and
relationship
232
it
work
virtually disappeared
by World
War
The name
jugendstil derives
Nouveau
is
from
founded
a
in
periodical
Munich
in
Art
13.8 (/eft)Antoni
Caudi, Casa Batllo,
Barcelona, 1904-6,
Casa
Batllo contains
and flowing
fixture,
13.9
Antoni
(center)
Casa Batllo
floor,
1
Dining room
Grand staircase
room with
3 Waiting
fireplace
4 Salon
which
This building,
was an already
was reconstructed to
Caudfs design. There
is
and
and
elevator,
produced by curving
walls.
the building
is
on the
plan,
(number
4) at
the right.
Endell
13.10 August
Elvira Studio,
relatively
Jugendstil designer
896
Endell,
Munich,
(destroyed
1944).
Munich seems
in
sum up
directions in a single
Art
project.
Nouveau design
Atelier
Elvira
(fig.
to
This small building for
13.10;
1896,
now
a photographer's atelier
avoidance ofhistoricism
and
artistic
shape,
rectangular with
is
the use of
cun/ing forms
and
elements that
reference.
great
233
Chapter Thirteen
13.11
LarsSonck, St
John's Cathedral,
Tampere, Finland,
1902-7.
dominated
Window
irregularly, as if
where they
in Finland,
Sonck was
Jugendstil.
of several
German term
Nouveau
influenced by bnck-built
churches
in
Germany,
Elvira
less
the blank
spectacular buildings
on the
shop alone.
ornamental
and
lights all
details, the
the
hanging
suggest Art
Nouveau with a
by Richard
strongly individualistic
which included
Finnish accent
decoration.
predictive
of later design
directions.
come
support has
and wall
makes it seem
Its
1899
in
simple
a diagonal side
to be regarded as a "classic"
modern variants. In
1900, Riemerschmidt worked with Bernhard
Pankok (1872-1943) on the design of a dining
room shown at the Paris exhibition of that year,
while Pankok alone produced a "smoking room"
for the same exhibition, lined with wood in carved
design, the basis for several
light
all
Lars
size) at
Tampere
that balance
ceilings,
of Jugendstil
work of
Peter Behrens
windows,
three sides
(1873-1950) displays a
own house at
He later moved toward
Jugendstil
mode, such as
Darmstadt (1901),
example.
reserved,
German
modernist
is
interior, a
The
for
by
exterior
expressive
The
(1868-1940)
is
13.11; 1902-7)
stony
Its
fantasy form.
early
(fig.
Sonck (1870-1956).
that related to
fixtures,
modest
in
style
electrical industry
his
work
Railroad
(1906-14),
Station
and an
early
Saarinen
Eliel
style transitional
between
form of modernism.
more
for
the
Austria:
and
Vienna Secession
lighting devices.
group of
artists
is
was used by
Academy
in 1897 in
Scandinavia
academy
to accept
their
it
found
Olbrich
development
Nationalism,
in
dating back to
called
Romantic
Olbrich
Joseph
(1867-1908)
cathedral
(really
church of
the
is
The
building
the
designed
buildings as
234
usually
its
is
Medusa
faces.
On
Art
entrance there
is
a surface
of gilded leaves
of
building
the
(fig. 13.12).
been
has
photographs show
it
room
and painted
skylight
Nouveau
a great hollow
as
it
was
at its
interior
but
opening: the
(fig. 13.13).
Gallery.
Olbrich's Secession
Mathildenhohe
art
number of
colony, founded
work combines
building
had a symmet-
forms of door
of classicism, but
using
floral motifs
that
and
904-6.
of
tive
{above)
Interior of Secession
patterns
in the
tion hall
13.13
left)
old
The
altered,
^3.^2 {above
other
an exposed metal
and a glass
structure
pattern ofsguares on
rivets
rectilinear
emphases of
of the steel
tive elements,
while
IS
black
in the tiling
Nouveau work in
Belgium and France.
which
IS
admit
relate to Art
Nouveau.
confined to a few
and
white bands
of the
floor,
largely glass to
ment below.
traces
mentation.
detailed
Interiors
woodwork
fantastic forms.
are
with
filled
often
that
carefully
incorporates
in the
1898 Villa
and hangings.
Wagner
Otto Wagner (1841-1918),
architectural
who had an
career working
in
established
conventional
revivalist style,
235
"
'
'
Chapter Thirteen
The
gilded decorative
Interior detail
in
white, green,
Wagner's
church
large
of
S.
Leopold
tall
dome
Am
historical styles:
In his
We do
in
form plan
with a
his
for
liturgical
his
pulpit
own. He was
the
Art, written
in
windows
are
examples of the
all
The
Bank
Aus der
Wagnerschule:
The
1904-6).
exterior
detail.
must
it
in its installation
must
be on
aisles" in strictly
and
matters of
in
glass;
is needed is a synthesis of
and machine. ^
modern terms)
all
rivet heads.
What
And
all
it
of the
Interior
stairs,
like a perfectly
the large
is
is
(fig.
building
as
in
movement.
best
way
The
fittings,
stained-glass
the 1850s:
"honest" a
lined
pictorial
suspended
light,
cruci-
dome
gained a reputation
formed by the
is
of iron
The metal
is all
"nave and
(a
roofed in metal
steel
with exposed
fixtures
light
outlets
are
again:
and
all
good
stools
are
design.
Although
this
Wagner's
in
all
work of
increasingly
simple
interior.
purity.
Wissenschaft Industrie
895;
Semper,
2. Gottfried
852);
3.
totally practical
Aus der
form and
973)
p.
95;
4. Ibid P
95
and
aesthetically successful
structure, without
is
through
dependence on any
Hoffmann
historical revivalism in favor of design based
on
Danube
buildings,
and
Stadtbahn,
an
and dams,
architectural
urban
rail
as well as viaducts,
elements
transport
for
the
network.
at the
cage
236
structure,
externally
visible,
to
hold
wall
losef
architecture
and design
tieth-century
a long career in
that extended
modernism.
from the
movement
into twen-
most
important
His
Werkstatte,
produced objects of
his design
Art
moved toward
made his drawings
ornament in
common. The
contexts
Sanatorium near Vienna (1903-6)
metalware,
and
were
as
Vienna but
house
in Brussels.
The
and luxurious
Belgian Adolphe
large
commissioned by the
in
in
architectural
with
a large
is
13.15
Josef
Hoffmann, Palais
Stoclet, Brussels,
1905-11.
In this
formal dining
room Hoffmann
designed the marble
Puckersdorf
an austere,
rooms include
furniture.
and
is
and white
tiled floors,
of later modernism.
He
and
all
rials
rich
mate-
room
(fig.
13.15)
is
and flooring
designed
the
silver
all
in
marble.
toilet
Hoffmann even
articles
and
The black
and white
floor tiles
furniture
warm
color of the
and glassware.
not in
and use
panels,
is
spread
on
were designed by
Gustav Klimt and were
executed
glass,
in
marble,
and semi-
precious stones by
Leopold Forstner.
237
Chapter Thirteen
13.16 Adolf
Loos,
apartment, Vienna,
production
Loos
c.
1903.
Loos's
1908 attack on
ornament
in the
presaged
is
simplicity of
home
tiis
own
The exposed
(fig.
much
own work
His
13.16).
firm,
geometric
central to
is
century
twentieth
move-
degree on his
Goldman &
Salatsch used
writings,
that
of twentieth-century
modernism.
Built-in
shelving, seating,
and
cabinets support a
functional approach to
design. The decorative
rugs
and an
orna-
seem
rests in large
modernism.
Verbrechen"
His
essay
"Ornament
und
as exterior
ornament
for
its
apartment
ment and
ornament
criminalit)'
now seems
as inappropriate to
modern mechanized
square windows.
1907, with
its
is
Loos's Steiner
tiny
tiled in squares,
furnishings,
The
and
rich
woods and
House of 1910
its
carries austerity to
blocky white-walled
with a clutter of
doctrinaire,
While the
regarded as eccentric
and
florid curves
Nouveau came
to be
puristic
while
the
craft-oriented
ship
through
the
Werkbund
and
member
although a
Jugendstil to
of the
three
pioneers
Corbusier.
United States
role of Art Nouveau in America is almost
completely confined to the work of two individ-
The
uals
were
highly influential.
Tiffany
Louis Comfort Tiffany (1848-1933) was the son of
238
As
Art
13.17
Louis Comfort
Tiffany,
window,
Rochroane,
Irvington-on-Hudson,
New
York, 1905.
The
Museum of
Corning, New York,
Corning
Art,
Tiffany's
fame
on
rests
use of
stained glass in a
vanety of ways.
Windows such as
one
in
this
a reception room
at Rochroane were
executed
in
a pictonal
becomes luminous as
IS lighted by outdoor
it
oped
his
techniques for
shades and
and
in
bowls
Nouveau
settling in
art.
Toward
New York
to
crowded
rich
elaboration,
taste
modified by an
&
Associated
Regiment Armory
in
ness, the
new name
design.
Tiffany Glass
his busi-
Company
indi-
on the art of
stained glass (fig. 13.17). He was commissioned to
produce windows for many American churches
(including H. H. Richardson's Trinity Church in
Boston; see
p. 221),
239
Chapter Thirteen
Louis Comfort
13.18
Tiffany, Tiffany
Residence,
1
New
York,
883-4,
In his
work as a deco-
made
rator Tiffany
use
of a variety of orna-
on Victorian
taste.
and
and
artistic
Crafts influences,
his
urges.
own
florid wall
The
covering, elaborate
mental fireplace
surround,
for
and shelves
come together
with
Eastlake
and
illustration
is
Edis.
The
repro-
in
publication entitled
Artistic
Houses.
pictorial
treatment
of religious
subjects
in
stained glass
came
into
demand
in settings
(fig.
13.18), clubs,
and similar
and semi-abstract
it
was
established an interna-
lamps are
insect
furniture.
movement.
Sullivan
weights,
\'and texture
patterns.
Terms
Some
paper
production
many
War
glass led Tiffany into the
clusters of
shop.
working with
are often of
some
Skill in
The shades
tion of
major figure
in the
and the
resulting designs. Iridescent color effects were often
used in the greatly admired Jack-in-the-pulpit and
Morning
He was
240
is
first
American modernist
architect, as
Art
ornamentation
its
basis
Most of
Sullivan
thus
he can also be
and
design
interior
briefly
at
the
in
America.
Massachusetts
for a
time
He
Chicago
was
at
dissatisfied
(1844-1900).
architect,
The
Building (1886-90)
in a central space,
firm's
is
Dankmar
Chicago
Adler
Auditorium
surrounded by
The
is
ment in
Nouveau
Sullivan's
personal
related detail.
The
orna-
vocabulary of Art
sightlines
and acoustics
in 1875.
German-trained
in
to
Warehouse,
studied
and moved
Field
Institute of Technology
in the
Marshall
rich
his
Richardson's
nature forms
in
work includes
H.
although visually
a multistory hotel
capacity
hall.
roof
level,
was
and
office building.
13.19
Louis Sullivan,
Auditorium Building,
Chicago, 1886-90.
Henry
was
Sullivan
hotel,
and an
name)
in
its
one large
auditorium
the
itself
being
most spectacular
painted
detail, the
combined
to
produce a
and
concert hall
and a
striking success in
functional
and
both
decora-
tive terms.
241
Chapter Thirteen
Other
Sullivan
included
projects
Chicago
(in
now
private
House of 1892
in
major
its
Transportation
the
restored;
carefully
&
(now Carson
Scott)
Pirie
Mayer
Department Store
in
many ways
most
the
forward-looking
Sullivan buildings.
of
all
floors of the
grid of vertical
The
level.
at
steel
each floor
windows, generating
"curtain
wall"
of glass
The
is
so
modern
rior startlingly
lower
levels
windows, there
ment
in character.
On
the two
in metal.
is
An
Building
changed.
tastes
1900
after
as
Transportation
His
at
fantastic arched,
portals,
declined
career
Sullivan's
American
1893, with
its
was unique
in its originality.
It
stood in
were designed
Adler's role in the subsequent
nership
was
strictly
work of the
technical,
while
part-
Sullivan
east
building
Guaranty Building,
Buffalo,
New
York,
tall
1894.
as a design
exteriors that
decorative detail
designed by Sullivan
many of his
for
buildings
is
supported by these
examples of stair
ings
rail-
Guaranty building.
his
modernism of
details
ornament.
Although
the
and
approach
to architecture
empha-
sized function in a
way
that pointed to
modernism, Sullivan
Building
in
St.
Louis
Building in Buffalo,
Bayard Building
in
(1890-1),
New York
New York
the
style that
Guaranty
public and
many
columned
critics
reflecting pools,
pavilions
classical
and tended
around
great
had fewer
clients
and
less
work.
rium
great
tower
rises
The church
its
external form.
building.
seats in
Sullivan
fell
based on
produced a highly
rative detail
242
filled
much
windows
he
had
designed.
The
Art
windows.
Each
uses
counters,
detailed
forms so
town
beautifully
glass,
and lighting
Art Nouveau and Secessionist
make
as to
into an
stained
and
furniture
work of
exceptional
Sullivan
art.
most notably
articles
book form;
The Autobiography of an
for
of
Idea;
1922-3).
throughout
Sullivan,
gave
great
credit
to
whom
he
his
his
lifetime
Wright played
work
between 1887 and 1893 when he
many
of Wright's early
The
is still
later
a striking
commissions
his
ot Sullivan's career
some of
his finest
works
were
cities,
in their
curving
toward
final
all
belong to
is
this
a brick
was
in
the
of modernism
development
that
the
Sullivan
Art
a
more
in the
had
is
in
it
as frivolous,
after
exhibitions, publications,
it
back into
in the
its
World War
and
fresh study
rightful place as
II
when
brought
an important step
development of modernism.
243
Eclecticism
Toward
and
until
Paris
(and for
development
common
has been
detail),
Renaissance and
is
since
the
in design.
also
came
into
was primarily
new
belief
new project.
be
to
methods, or
the
styles."
best
in
various
doctrines,
14.1
[opposite] ]ean-
Louis-Charles Gamier,
festive character
dance at an opera
is
elaboration of
lobbies
and stairs.
up giant candelabra,
and marble columns in
varied colors
detail
make
and gilded
the
grand
truly professional
first
method
was
that
spectacularly
effective
tectural planning.
It
through the
The
ning.
also designers of
design
Nineteenth-centur)'
continental
in
in
based
is
toward the
Neoclassicism
and America. In
that later
professionalism
furthered
and design
in Paris. Previous
that
ular
project.
Total
originality
was
eschewed.
as
long
as
the
made
be
can
reproduction
convincing.
at the
little
past
on which
to
classroom
on
lectures
history,
design
teaching using a
method now
generally
Under
this
desired by
some imagined
client.
who
operated an
atelier
or studio.
were presented
in the
many
On
"critic"
a given date,
students in a class
High marks
architectural detail
American
institutions
visible
It
offered to
monuments
and
old world.
light
244
that
ot the
to
will
build.
all
included
had so much
professionals.
an experience
style
Germany through
more ornate taste so
staircase
in
The
in
achievement and
so successful
it
skill.
attracted students
from
all
over the
at the
^^^
Chapter Fourteen
14.2
{right)
and 14.3
and
[center) Section
House, Pans.
Entrance for those
arnving by carnage
arriving
on foot
3 Stage
4 Emperor's entrance
WTEm
functional arrangement
^FffiniP^-^*'
ample
circulation
-J
ment of large
audi-
The
Paris
Charles
Beaux-Arts design
It
and
Gamier was
the
also
successful Casino
should be.
festive hall
of the
designer
at
equally
Monte Carlo
(1878-82).
The
final
fairs,
[right) V\ciO!
Laloux, Care
du Quai
d'Orsay, Pans,
1850-1937),
1898-1900.
museum
Beaux Arts
in
style
a lower
level,
and
the
by
stairs
from street
main
hall.
The huge
main
went
to
be put
The
at a
lower
electric trains
came and
level visible
is
is
skillfully
and facing
and
into
are,
when
and
individuality
at
his
was
not
accepted.
home
Other
and brought
their eclecticism.
246
where
to
has survived
art.
train shed,
(fig. 14.4;
railroad company's
commitment
of
now
Eclecticism
United States
Hunt
In the United States, as elsewhere, styles
formed
Hunt
Morris
was
(1827-95)
the
Richard
choose whatever
for
banks
and
courthouses,
Gothic
for
some
Houses
rule
came
to
styles.
many
tional" and,
it
was defended
was claimed,
as "tradi-
as satisfactory to the
at
him
to
project
work
in
whatever
made
it
possible for
William K. Vanderbilt's
New
For
corner city
Rhode
match
K.
familiar.
Vanderbilt,
has
Hunt's design
interiors
for
that
the
Rhode
Island,
c.
1895.
to
America
sicism of his
Beaux Arts
training. In this
building he reproduced
his
own
Italian
version of
Renaissance
external architecture.
247
Chapter Fourteen
248
Eclecticism
mansion,
this
II, is
in
rooms symmetri-
monumentality of Beaux-
4.6
(opposite)
Arts eclecticism.
Biltmore, Asheville,
arranged around
cally
his
ot
portico
entrance
and the
pilasters
four
uses
free-standing
second
oped
floor,
devel-
on
less
own work
in setting the
course
1890-5
He
can be
In this building,
thought
eclecticism.
of as
urge
was not
primary
some-
times described as
own
his
North Carolina,
attempted
to
reproduce
a French chateau on a
suggested in his
written
(1879),
with
collaboration
in
Edith
historic buildings
Roman monuments)
Wharton.
made drawings of
focus.
understand their
in order to
banqueting
hall,
beyond anything
go
actu-
ally built in
Renaissance France
14.6;
Hunt
designed by
style
for
is
Francis
and
(fig.
I,
Blois.
interiors
char-
stylistic
museum
Chambord
a virtual
emphasis was on
skillful
problems
historicism offered
where
Tribune Building)
the
in
(as
in
a fantasy version of
ancient grandeur. The
monumental scale of
the room makes the
table and choirs appear
lost amid the tapestries,
carved bas-relief sculpture,
banners,
and
no ready models.
problem of the
building in the
tall
an example of
as
the
face
new
of
New York
in
Chapter
Victorian uncertainty in
late
provided
opportunities
by
Follen
member
1893
McKim
(1847-1909),
Fair,
was
Beaux-Arts.
Richardson,
where
he
which antiquity
(1853-1906).
McKim
established his
dents.
The
Museum
Metropolitan
designed as
Renaissance version of
New York's
Roman
classi-
monumental vaulted
inte-
of impressive dignity.
Hunt was
He had worked
Stanford
White
own
practice
Mead (1846-1928)
to
time for H. H.
for a
met
in
influential
Rhode
Island, or the
Rhode
Bristol,
William
Island,
was
in
at
Low House
1879
firm
work of the
Early
in 1872,
another
of
firm,
Newport,
(1887) at
in the picturesque
idiom
monumental columned white palace-like structures around a great lagoon. The Administration
Building that he designed had a dominant central
carefully
domed
its
Hunt
favored.
The
Building with
detail
its
more
viewed
as a
and made
original Transportation
place.
The
Nouveau
fair is
often
directions developed
Sullivan were
by H. H. Richardson and by
style,
Renaissance and
brilliant
McKim
for classically
was
a specialist in
of
adaptations
Roman
classicism.
Italian
White was
to a treer
Mead provided
group of
Henry Villard
houses
for
its
mastery of eclectic
Villard
The
in part as
249
Chapter Fourteen
Boston Massachusetts,
1895.
In the majestic delivery
could
stacks,
open
detail
to the
is
Italian Renaissance,
mantel, Corinthian
columned doorways
in
band of
mural painting above
Any citizen of Boston
marble,
and
a book
New
Railroad Station,
York,
1904-10,
twentieth
and a symbolic
assertion of the
rail-
grand concourse,
modeled on the ancient
Roman Baths
of
was reached
by monumental stairs
Caracalla,
It
housed
windows,
1963-6.
250
Eclecticism
the design
recalls
Paris
above
upper
room
level
where
grand
stair
a richly deco-
Copley
John
and
Daniel
Chester
French
a vast
of Caracalla
It
line
Saint-Gaudens,
York was
baths
in
American
New
Genevieve
S.
rated reading
in
the
Vkfith its
1895)
14.7;
(fig.
vaulted, majestic
twentieth century.
The adjacent
its
tremen-
made
train shed
impressive even
neo-Roman
if
hemmed
classicism.
in
by
surround of
in 1964.
Stanford White
more
is
New
in
York.
New
tibrary,
York,
1902-11.
The monumental library
building was designed
in the style the archi-
had absorbed
when they studied at
tects
Arts in
with
surrounding
Its
on two
levels
is
flooded
windows above.
remains
with
its
It
in current
use
original func-
tion.
251
Chapter Fourteen
many commissions
monumental
for
Early Skyscrapers
buildings
important in major
Tall
New
many
no
longer
involved,
buildings, usually
increasingly
buildings,
cities as
for height,
solved.
(1889-91)
by Burnham and
posed prob-
Chicago
in
lohn
partner,
his
monumental.
enormously thick
Public Buildings
at the
lower
homes on
private
eclectic architects
built
by
among
the
were
a palatial scale
city.
the
sometimes
resulting buildings
American
the
called
of what
Public Library
Carrere
14.9;
(fig.
New York
1902-11) by John M.
Thomas
and
(1858-1911)
is
Renaissance
Hastings
&
White, has a
completed
masonry
Root's death)
after
finally
abandons
iron, terracotta,
and glass
that
do not support
floors
is
adopted for
sally
tall
of
Louis
to
continues
to
restoration has
they were
in
but
within
simply
recent
made
when new.
Beaux-Arts
it
structure
the
disguise
sheathed
serve
instead
New
is
York's
Grand
on developing designs
modern
tion.
tall
that
had
little rela-
high-rise construc-
buildings
were sometimes
Central Station
(1864-1948)
1941).
passengers,
baggage,
provided, vehicles.
and,
at
least
as
originally
vast
ground-floor
Wright
in
detailed Art
The upper
among
classic
tural detail at
at its best.
were
built
its
The
florid sculp-
level,
are
252
slightly projecting
Around
halls,
1905.
Sullivan
provided
Nouveau decoration
beautifully
in his buildings.
were hives of
wood and
on
the guest
room
floors of hotels.
few
Burnham (1846-1912).
level
Eclecticism
1893,
The emergence of the
modern large office
buildmg posed new
problems
for architects
of the eclectic
Wyman
era.
introduced the
skylights of a central
and gave
access to offices on
many
tors
The eleva-
floors.
moving
in
open
an
image more functional
than
stairs
and
The
elements.
Bradbury
Building
(fig.
George Herbert
14.10;
Wyman
is
Flagg
(1857-1947)
was
that
fronting
on two
streets.
unusually
firm's
headquarters
The
that
now
demolished).
that
firm
building
as
the
a status
lost
tallest
to competitors.
Its
made
it
and
strikingly
by Flagg
fine interior
it
in
earlier,
on Broadway
in
occupied
the
entire
Second Empire
(1907-8,
finely
building.
New York
Building in
showing off
survives,
New York
eclectic.
and
many
strange,
even absurd,
efforts.
At ground-floor
level,
the
certainly
253
Chapter Fourteen
254
Eclecticism
De Wolfe
Gilbert,
many
For
Building,
eclectic designer
skills as
an employee of
tall
building
tower
is
a simple block
from which
tall
central
rises, all
lines, tracery,
The
Elsie
the
de Wolfe (1863-1950)
first
is
usually thought of as
an actress and
a society figure
rooms with
was
stylish simplicity
typically
by using
example, asked for her help with some resideninteriors, as well as with the interiors
(fig.
of the
14.12; 1905-7).
De
Wolfe
House
in
commerce"
ture.
steel
(fig.
Good
Taste in 1913.
them pushed
imitation. Henry Clay
magnate, employed de
14.11) with
curious
in a
The
York,
Called a "Cathedral of
Commerce,
the outside
"
of the Woolworth
New
1913,
Gothic style
detail. In
Byzantine
detail, for
and
mosaics. Gargoyles
sened
the
world.
14.12
New
York,
1905-7,
room, as illustrated
There
styles.
tion.
is
decora-
Wolfe
in
now
the
museum
housing
de
(fae/ow) Elsie
in
in
9 /i|de
Wolfe demonstrated her
Good Taste
("Z
of both
portraits
Woolworth
(clutching
money
model of
it
in suitable
settings.
and
ornamental
furniture
in
truly
works
and Arkansas),
eclectic
number
ot
truly eclectic
sense of
Wood
Ruby Ross
and
many
Wood
historic sources
(West Virgina
state capitols
and the
libraries,
sternly
Roman
Elsie
de Wolfe as
TJic
House
in
rate reproduction of
era.
Interior
who had
design specialists
to
produce rooms
in
Decorator
need for interior
the knowledge
styles
and
rior decoration
developed to
typical decorator
go into an
many
decorators
were
also
dealers
styles,
elements that
be an expert
skill
appropriate to the
a project.
or
in
and whatever
agents
Many
who
and decorative
cajole,
was also
accessories.
and adjust
to the
essential.
255
Chapter Fourteen
Good
became her
Taste),
own
established her
own book.
assistant,
Honest House
The
and eventually
(1914),
urges
and
simplicity
historicism
and
wallpapers
strong
William
colors.
his career as
the
an
(Billy)
assistant
work of her
became
typical of his
own
output as an indepen-
more
public, institutional
was both
McMillen
illustrates
mixed period
and
as well.
norm
Gumming
Cram,
St.
Church,
Thomas's
(1887-1968) was
less
New York,
concerned
known as an
expert in
producing Cothic
design that convinc-
use ot
who
tices
more
in various eclectic
much
eclectic decorators
1906-13.
styles,
precedents), Elsie
Cobb Wilson,
Francis Elkins,
was
largely in
The work of
these
residential
practice).
architecture of the
Middle Ages.
In this
and
English traditions
create a rather cold
ambience that
reality,
strong blues
in the
that
is.
in
enriched by
and
reds
stained gloss
fills
and end
the clerestory
wall windows-
other
household
"Tudor,"
came
idea,
or,
named
most popular of
all,
"Spanish,"
"Colonial"
it,
256
for
such
Gothic" came
World War
II.
Gothic work,
In his
a case
Rose
style.
War II.
projects.
for college
The term
"collegiate
works
at
campus
the
University
as
of
by Cope
Eclecticism
ings
for
Princeton
In
1922, a competition
number of
build-
University,
including
some
paper company.
critics,
among them
(1906-13)
is
at
City
church
of
an outstanding work.
impressive interior
(fig.
St.
Its
Thomas
strikingly
combines
made
details
aspects of medieval
American public
in
Chicago
to
New York
was held
of a medieval cathedral.
large
14.14
work
available
to
had
an
little
Eliel
Saarinen,
Saarinen House,
Gothic equivalents
Academy
however,
noted
Many
that
professionals
several
and
entrants
modernism Adolf
had
Loos, Walter Gropius, and Adolf Meyer
submitted designs far more imaginative and
advanced than the winner's. The most admired
the forefathers of
He proposed
Eliel
Cranbrook, Michigan,
1928-30^
Saarinen brought from
his native Finland
sense of Scandinavian
simplicity along with a
by
room
enlivened
is
tapestries,
a rug by
by
Eliel,
and lamps by
Eero Saarmen-
Saarinen.
tower of
masonry
Although
lines
between
bands
of
windows.
257
Chapter Fourteen
there was
historic work.
Cranbrook, Michigan,
1931.
The dining hall
is
and a
cism
architect
at the
of
the
1920s
modernism. The
School for Boys
to
interiors of
is
The
coral-
and
the seat
same
and window
cushions of the
color,
curtains in vermilion,
silver,
tapestry
wall.
the
Festival of the
designed by
Eliel
Loja Saarmen.
and
glass,
hanging Orrefors
glass
retained
strong
roots
in
traditionalism.
gradually
created
At
number
campus
258
to
bowl
of buildings
approach
of these buildings
interior design.
on the end
The
near
all
a long
came from
Academy of Art
light fixtures,
chairs.
furniture,
and
and
silver.
tapestries,
Eclecticism
role in the
it
development of design
continues to be
in
major
Fine
matic.
as
sometimes
Stripped Classicism
World War
I,
eclectic design
began to move
DECO design
Chapter
(see
16),
but
its
dignity and
sicism
came
many
architectural
the
of
school
at
the
University
of
where
he
more
the
Federal
(1935-7),
both
Reserve
in
(fig.
theater,
Building
Office
Washington.
Cret's
Ahhough
of
the
reproduce an
interiors
generally
proportions; ornament
is
were
ings that
in the
under
built
and
Administration)
came
WPA
(Works Progress
programs.
Federal
other
to be informally labeled
WPA STYLE.
Masses
14.16; 1930-2)
Elizabethan
1903) to a gradually
and
reserve
reduced to
simple.
Eclectic design, as
and
tects
the
to
buildings,
museums,
hotels,
libraries,
theaters,
at
population
general
accessible
banks,
was
decorators,
interior
and
office
stores.
first
buildings,
Magazines,
commissioned
designs
by
the
only
public
in
eclectic
and
wealthy
for
Adolph
cent New York mansion designed
and
Gilbert
(1863-1952)
Lewisohn by C. P. H.
Hoffstatter
and
firm
of
decorated by the
for
14.16
Paul Phillipe
Cret, Folger
Shakespearean
tibrary,
Washington, D.C,
1930-2.
known
classical" design,
which
of
this building,
inside he turned to
an
Baumgarten,
the
very wealthy.
prepared to
advertisers in
other
products
provide an
in
economy
various
"styles"
that
could
an Elizabethan English
intenor that would
relate to Shakespeare.
In the
reading room, a
hammer-beam wood
truss ceiling, candle
chandeliers,
woodwork
and carved
assert a
period orientation.
they were of
and
city
some named
style.
Suburban houses
built to order
259
Chapter Fourteen
unlike anything
far
offered as
many
department
known
to the
from major
For those
styles as
stores.
cities,
American
colonies.
each
and trimmings
(fig.
would be delivered
to
who was
thus
be found
illus-
and picture of
all
colonial fad
capital
With
Williamsburg.
at
support
the
of
the colonial
town
ated
far
is
more
have produced. As
famous
Williamsburg, Williamsburg
popular
the
settings.
desire
The Boston
(1895-1962)
OontleiDsn'
to
built
live
1926.
America
down
to
"colonial" design
came
be a favorite theme.
In this
advertisement
to
was intended
ideal, albeit
kitchen
with a
and bathroom
more familiar
to
to
hundred
in
window
colonial
in
suburban
life
or factory
in
are
all
on
catalogs of furniture
lives
preferences varied
Spanish
styles
the southwest.
somewhat
were favorites
New Orleans
base in
New
and
its
home
style
most
mean anything
from
bits ot
in California
odd
region-
in
still
and decorative
ally.
curtains.
reproduction
Stylistic
cottages.
refrigera-
commodi-
260
exquisitely
poverty of farm
of the house
and an assortment of
interiors
ties,
produced.
to
on
practice
tors
Page 25
filtered
fueled
pseudo-colonial
Puritan
interiors in
known and
in
interiors,
attraction,
and Williamsburg
I have Juet recently oonpleted building one of your "Honor Bllt" Modern Hones, and *ant
I saved over 82,000,00 In building this houee, and when It was
to tell you how well I aa aatlaried.
oomplgted I was able to get a mortgage for more than the construotlon coat.
It o^rtalnly Is a substantial house, and no one will make a alstake In buying or building an "Honor Bllt" Modern Hone.
You night alao like to know that it is furnlehed with Sears-Roebuok rugs, furniture and
You
ourtalna, also wall papor and fixtures, and in buying ay furniture from you I saved over half.
nay refer anyone to me as I know they will be pleased as well as satisfied in dealing with your oompany.
(Signed) A. W. Fischer, Eastwood, Ohio
14.17
tourist
style,
room
settings
see furniture
Eclecticism
come
vast
decorative treatments.
with
its
(1871-1942) became a
theaters
with
fantastic
settings
in the design
specialist
suggesting
interiors
of
and
exotic
Hindu,
Persian,
Thomas W. Lamb
sentimental vibrato.
Chinese,
or
J.G.
Rideout,
Air-King Radio,
Brooklyn, 1930-3.
home
Eclectic
in
interiors
assorted traditional
styles
ture
were housed
in
wood
cabinets in a variety of
example
is
intended to
suggest a Renaissance
design, perhaps
Spanish.
(Adam
Fox (Baroque)
(all
among
style),
and
of the
late
the
more than
ceiling
was
moon
floating
detail
of fantastic
moving
and
clouds, stars,
The Paradise
in
Grauman's Egyptian
1927) theaters in
were extravaganzas in
followed
turers took to
making
represent
one or
modern invention
as
made
in
some
XV, or Spanish
traditional style
(fig.
wooden box
Georgian,
Louis
14.18).
of a
this
toward story-book
drift
imitate at
home.
Europe
not unknown,
grip of the
ence of
it
and
new
European buildings on
Movie Theaters
pictures as a
medium
were,
more
decorated
sets
grand
interpretations
Some
period
styles,
either
for
historic
Joseph
Poelart,
Emmanuel
II
in
or
the
Rome
Monument
866-83 ), by
to
Victor
(1885-1911) by Giuseppe
unmatched
Sacconi, achieved an
eclectic
such as the
scale,
pres-
interiors gave
wooden
was
historical
earh'
and restaurants
it
became a
every home, changed
the radio, as
became
and Chinese
(1922)
level
of over-
homes were
built in great
numbers
one
in
or another historic
became
but
now
style,
works of indifferent
practitioners. Leadership in
Stripped classicism
came
(fig.
261
Chapter Fourteen
14.19
Crigorii
Kurskaya Metro
Moscow,
Station,
949.
tool< or}
eclectic design as
it
in this
communist
or,
example,
Stalinist.
form of
stripped, classic
Done
station entrance
14.20 Ragnar
Ostberg, City Hall,
Stockholm, 1908-23.
Swedish design
in the
century
had
seemed
to offer a
in
formal
262
Eclecticism
14.19).
The combination of a
depression
the
economy and
fine
years
example
is
mental
certain
its
Helsinki (1927-32) by
columns
teen classical
efficiency contributed to
of
flight
J.
at the
Saarinen (see
of
appeal.
House
at
an
studio
group
monu-
Hvittrask.
orderly
tile
top of a broad,
screens
steps
National
as
sense
S.
of what became
Romanticism introduced a
development
Finland,
In
known
sense of formality, of
It
Helsinki
near
was
Eliel
a cluster
that
qualities,
legislative
Germany. Great
halls
favorite
for
settings
marble were
with
lined
dictators
who wished
to
particularly
all
in
the
and designer of
and
carpets,
design
of
textiles
participant
continued to participate
in
many
was an active
and
Hvittrask
of her husband's
style,
the
in
of the Nazi
number of
in craft
architect
original
interiors
tapestries,
fine
had
spacious
Stalin
1938).
was ostensibly
tall
United States
in Russia
Lomonosov
University
Moscow
in
(1948-52)
influential
in
in
With
1925, Saarinen
the
development
his
move
to the
became highly
design
in
some of
the
of
America.
War
era.
Britain
In England, eclecticism surfaced in
Scandinavia
later
The
on
as Arts
and Crafts
make
that
14.21 Richard
Norman Shaw,
Cragside, Rothbury,
Northumberland,
1870-84.
The drawing by W.
R.
Lethaby of Shaw's
design for a chimney
cates
universal admiration
composed block of
and
a great
tower
It is
a romantically
beautifully sited
copper roofs
by
a lake.
The
local buildings
vernacular details to
create a personal style
of nineteenth-century
English design, which
traditional without
attempting a direct
name
(blue
installed), the
mosaic
was
intended
Golden Chamber
(fig.
but
never
14.20), a great
assembly
mosaic,
ples This
tive
florid,
decora-
composition
satisfied
a wealthy
having a basis
still
in its
own time
263
'
Chapter Fourteen
itself.
Dorset
1889-94),
is
in
eighteenth-
Sir
Interiors are filled
New
in
with heavy
(1870-84;
Cragside
classical detail.
14.21)
fig.
at
Rothbury
is
Delhi
Throughout
new
however, the
one of
in
New
Shaw's
interest.
London
is
a massive
(1905-8)
Hotel
Piccadilly
Lord
in
personification of bureaucracy
Having
Service.
design, Hardinge
way through
Civil
and grand
Lutyens
He
Lutyens (1869-1944).
of Norman
Shaw and
a direction of his
Philip
own
in
like
it is
Sir
last great
the Imperial
in
servant
in
civil
is
familiar
elements
brick
and
tile,
an
landscaped garden
collaborator
site
arched
Government; a
in
complex grouping
all set
loyalties as
Jekyll
(1843-1932).
although there
is
and
and
The end
result,
to
suggest
medievalism,
Drewsteignton, Devon,
England, 1910,
deli-
and a
forward-looking
approach at Castle
Drogo. This passage in
a large country house-
not a
was accepted.
'
cost
in
and
scale,
in
for
the Architectural
1931:
it IS
skill
14.22 Edward
traditionalism
it
the
Review
Lutyens achieved a
how
clustered
At
reductions
chimneys
immense mass of
in a beautifully
Gertrude
Tigbourne Court
silently
watched
Edwin Lutyens,
Life
castle at all-
3.
quoted
in
p.
"New
Christopher Husscy,
320;
2. Ibid, p.
Delhi,"
32 1
1931
room
to the hall
and
detail.
austere simplicity
as traditional or as
pointing
to
a new,
twentieth-century
is
in a
turned to his
own
free
classical detail.
simplicity.
country house
(fig.
14.22;
manor
in
Yorkshire. Castle
1910)
is
In
Drogo
a fortress-like
imitative.
264
He
Devon
battlemented
more narrowly
Eclecticism
the
his clients
aristocratic
and
genuine element of
creative originality.
larger
culminating
arranged
formal
in the
New
city at
commissions
His
architects.
British
to
be
among
gradually
in character,
according
to
symmetry, but
Lutyens's design
came
became
in excess
of
the
Roman
"Pompeian," with
Doric
pool.
The
Conte
Italian liner
main lounge
columns two
surrounding the
di Savoia
193
tiled
had
that
Colonna
Rome,
traditional
concepts
of
seventeenth-century
individual
buildings
of
Palace
in
Ocean
to
Liners
Eclectic
interior
extremes
in the interiors
(fig.
14.23).
enjoy
halls,
Aboard the
Mauretania (1907),
British
Cunard
passengers
first-class
smoking rooms
lounges, and
remarkable
reached
French
styles
liner
could
in Italian
designed by
had established
reputation
for
who
town houses,
Paneling,
columns,
pilasters,
gilt,
and
home
through
countries
eclectic
of their
building.
The
is full
of
Roman
classicism,
and
either
impressed
or
exasperated
at
Tokuma Katayama
14.23 SS
France,
1910.
work
in
in
training turned
the
1930s and
away from
As design
1940s.
new
in
grand
stair
room, with
and dining
its rich,
supposedly Baroque
decoration was
intended to convince
first
imitation. Eclecticism
became
all
historic
not
buildings but on
class passengers
a surviving direction
When
intercontinental travel
still
desired
gers,
long past.
and
possible discomforts of
sea
travel,
could be
a feeling of
contentment with the
lulled into
7fi'R
in
it
human
affairs as great as
fire
engineering using
steel
human
in
Through
of earlier
all
the primary
pioneers of
new
modernism
in design.
They defined
and force
that they
movement."
All four
were
in interior design
and
in the design
modernism.
They
were
the
and
(1887-1965),
the
American
Frank
Lloyd
Wright (1867-1959).
means by
hand made and factory production has become the norm. Accelerating population growth and the increase in urban poverty were
new and pressing problems. The rise of communism and fascism and the distress engendered by
World War I presented problems that technology
did little to solve. In art, architecture, and design it
became increasingly evident that the traditions that
had served past ages were no longer relevant to this
world, very
modern world.
The nineteenth-century
to
new
find
to
efforts
the Arts
of pre-industrial
15.1
Frank Lloyd
New
York,
Art
times.
Secession sought
new deco-
of the
aspect of
modern
life.
mentalism
a moil-order
company, and Wright
and the
for
arranged space
office workers
for
on
several levels
(in
many
other projects
modern
architect.
in
Chapter
historicism of eclectic
for
in
attack.
a
The
leaders
of
revolutionaries,
sense,
new
ideas
fright-
vocabulary
world
of advanced
appropriate
to
with a swinging
name
was demol-
ished in 1950.
266
all
it
technology
early
of the arts
new forms
modern
new
Modernism is
the
and
brought about.
given to the
building
in
the
his
was
rela-
Sullivan
to take in his
that
own
reality.
Sullivan
and
his
important role
that
the
appeared in
men
are regarded as
in Sullivan's office
ture,
light clusters of
was
and each
arm
support. Daylight was
augmented by electric
It
related desks
first
Wright"
to their
"later
18.
Wright had
House of 1892
The second
attached
in design
and
of sufficient
in Chicago),
surrounding a central,
into alcoves,
is
work
became a focus
modernism were,
art,
superficial
and
in a
1904,
more than
handcraft
rative vocabularies
major modern
the
little is
an assistant to someone
else
in
Oak Park
(1889),
commissions
communities.
and
in
nearby
^Vl-.
'#
-s-'-^-
Chapter Fifteen
The
Early
Commissions
in
River
Forest
is,
rical
The
and has
a classic dignity
projects of the
is
symmet-
its
vertical
typical
emphasis, horiis
low hipped
Illinois,
In hii early
work Wright
and
Henry Sullivan
is
provides a fireplace
flanked by built-in
seating. The roils
either side
on
end with a
pedestal topped by
sculpture.
268
Sullivan's
vocabulary,
but
shifted
is
moved onward.
ground
istic
level give
it
at
house
more complex
interlocking of varied
1893.
suggests
detail
some windows
hall has
an arcaded alcove
River Forest,
spaces,
conservatory.
plan
Ornamental
somewhat tentative,
with hints of Victorianism, Arts and Crafts, and
Queen Anne aesthetic touches and, usually only
when demanded by a client, eclectic elements (halftimber work in a few examples) as well. The
The
is
entirely asymmetrical.
wood
give
it
flat
by
strips
may
is
of
not
reflect
favorite
works with
decorative
areas,
and
in specially
inserts.
and
tile
plaster patterns
on
exterior wall
patterns of structural
decorative
As
in
there
interiors,
sense of
is
is
movement
the Aesthetic
England and
in
a contin-
developed
in
all
of
Wright's
Home Journal
Ladies'
in 1901
show
and
houses.
prairie
typical
The
woodwork,
were
warm
be altered. The
large
Chicago (1906)
is
of
modern
style The
drawing, reproduced in
the
illustrations circulated
most of Wright's
warmth and
1907,
Wright had, by the time
lished his personal early
wood
window
stained-glass
Riverside, Illinois,
in
in
Holland and
Germany, displayed
Wright's approach to
design. The ceiling
Geometric design
is
and
in the
The furniture
all
also
south
is
strongly decorative.
is
of
Wright's design.
including
Company at Buffalo, New York (1904, now demolished). Open general office spaces are arranged
around
unique decorative
introduced only
detail
at
and
light
fixtures
were designed
for
Church at
work in
reinforced concrete. It is made up of two linked
blocks, the church proper and the related parish
house with entrances in the linking element. Roof
slabs project out above bands of windows placed
near the top of the church auditorium walls. The
part of a unified design concept. Unity
is
Wright's
first
tive
walls,
in his
in
hanging
When
In
art
1907,
stained-glass
and design
the
few years
suburban
large
15.3).
The house
is
residential
Chicago suburb
at
(fig.
surrounded by elaborate
developed on
means of
tional
modular
years
complete environment
in
the
lift
and create
spirit,
and he wrote of
his theories in
an essay
in
908,
of the Middle
in Illinois:
West are
has a beauty of
its
living
on the
prairie.
quiet
level.
The
gardens.
The
grid of squares, a
relationships that
as he
'
plan
928
later.
890s:
prairie
European
pencil in the
We
in
in early
and
on
windows of
geometric form generate an abstractly complex
fixtures,
light
responses to his
this
Oak
his
reflected
ture
first
(Chicago,
928):
2.
908, quoted
992),
p-
in
Kenneth
37
269
Chapter Fifteen
pubHc notice
he was
America.
De
It
StijI
that he
architecture,
work was
that Wright's
is
true
exhibited, published,
and
it
admired
in
De
may
Stijl
(The
Style),
which appeared
well have
known
until 1927,
it is
possible to notice
Wright's houses.
Lloyd
Chicago, 1906,
This
house
is
probably
and
free-standing fireplace
and chimney
of Wright's design.
all
(fig.
wood bands
across
fittings
and
the
to sepa-
their
most admired of
living
Low
De
Stijl
were
intended to give a
on
sense of containment to
family
and
table.
visitors
cabinet work,
stained-glass windows,
and
all typical
of the work
Wright completed
in
The
table
itself
textiles
and
rise
lighting fixtures.
to a halt
of Japanese business
men
to design a
led to a
major hotel
in
number of years
spent in Japan designing and directing construction of the Imperial Hotel (1916-22,
ished).
The
large
building
with
now demol-
its
vast
and
270
filled in
work to
become
painting, Mondrian's
number of manifestos
in
art.
all
Van
are
compositions
translated
that
into
could
three-dimensional
become
buildings.
The Emergence
15.5
(/e/t)
Modernism
of
Theo van
Doesburg, Cafe
I'Aubette, Strasbourg,
1926-8.
France,
entertainment
and a cinema,
van Doesburg used De
rooms,
StijI
abstract geometric
forms to generate a
strikingly
rior.
In
Rietveld, Schroder
Schroder-Schrdder
(1889-1985) on
house
in
upper
level
on
was
Dance Hall
(seen here)
the
Utrecht The
of the house
making
panels,
booths or danced on
individual rooms or
wife,
Sophie Taeuber-
it
it
De
StijI
color
black, red,
by the public
when the complex first
opened
disliked
and
blue,
armchair
is
and blue
in the fore-
ground.
that
own small
Meudon 1930) and a complex of restauinteriors known as I'Aubette at Strasbourg in
house
rant
at
1926-8
(fig. 15.5).
balcony
all
important
features.
Rietveld
The
known De
Gerrit
StijI
(1888-1964),
Rietveld
with voids
main
filled
by
living floor
panels
that
glass in
is
permit
rearrangement
to
achieve
271
Chapter Fifteen
The Bauhaus developed a new educaprogram that attempted to establish a relation between the emerging modernism of the fine
arts and a broad range of design and craft fields,
including architecture, town planning, advertising
and exhibition design, stage design, photography
and film, and the design of objects in wood, metal,
ceramics, and textiles
in short, what has come to
be
chair,"
called design.
arranged in a
tional
flat
seat
Rietveld furniture
parallel pattern
and
strictly abstract,
as industrial design.
of conception in
sculptural terms.
Because of
known
its
limited accomplishments,
De
influence in the
Stijl
and
life,
obvious
less
Germany and
France.
textures,
number of distin-
guished modern
artists,
many
other
Moholy-Nagy,
and
economic and
political
of the Bauhaus
Marcel
Breuer.
Weimar and
at
relocation to
its
new
Werkbund, the
promoting
organization
design
German production
an active practice
excellence
in
Completed
Gropius
15.8
(figs.
building
and
15.9).
in 1926, the
(see p. 225),
had established
in
in architecture
complex was
block
a four-story
ally
working
for
became
famous
Corbusier.
It
who later
pseudonym
produce, at
scenery,
all
turned out
in the
all
designs.
library
and began
unornamented, functional
Behrens's
own
architectural
produce work
to
and formed
a link to a
classroom
contained an auditorium
in
an
making
it
possible for
the school.
The
them
Bauhaus
style directly
descended
building
practice.
much
industrial
is
not so
related to his
and
directorship
textiles,
block.
education.
woven
ceramics,
furniture,
the
work of Wright.
from
Le
under
He merged
art
and of
272
by
designed
1925
In
(fig.
15.7).
industrial practice.
The
tion of modernists.
functional
traditionalists as
in
flat
sternly
simply
for the
windows, and,
dormi-
it
as
its
plan;
was
shockingly disturbing to
was exciting
to the
new
genera-
15.9 (above)
Exterior
of the Bauhaus,
Dessau
ground floor
plan the shop areas
appear at the lower
The
In the
were
described
as
all
similar
being
historian
when he
modern
in
and
(with
the
critic
Philip
Museum
in
of
as
15.7 {above
left,
Its
walls of steel
curtain
and glass,
left)
large, four-story
block, with
Bauhaus
Walter Cropius,
Bauhaus, Weimar
programs. To the
left,
1923.
levels
connects to the
an entrance and
stair
at Weimar, Cropius
designed
his
own
office
using abstract
above.
street passes
and
there ore
area
is
instructional
visible before
photograph
to the
left.
entrances to the
and hanging
lighting
the
Bauhaus
work of
faculty or
and
own
designs.
273
'
Chapter Fifteen
exterior.
the
for
Gropius designed
director's
geometric
form.
remarkable interior
study in rectilinear
office,
and
Furniture
fixtures
light
tors
white, grey,
De Stijl movement.
The Bauhaus came under financial
experience of living
marked
that
all
avant-garde ideas
political
close
When
the school
was
finally forced
members left
work and
positions
became
central
Fritz
to
America
to
England but
become
1937 he
in
the head
moved
design:
to
at
can absolutely
of the Graduate
man
School of Design
sense
self-sufficient; in this
they
teachers,
as
and outside
nonetheless
If it were otherwises,
myself feel that one would
have a sense of restlessness and exposure. But as it
is, the space has precisely because of its rhythm
design
inside
is
1933,
in
and
entirely enclosed
to
is
their
pressures
movement,
in
Harvard.
is
deep
for a large
house for H.
E. L.
although with
less
use of historic
house,
1.
KroUer
detail.
is
number of
World War
projects for
tall
his
own
Houses.
prac-
985.
p,
97
2.
Cited
in ibid, p.
and Country
98
he worked on
model houses
to design
were
built to
form
new
in
largest building, a
bands
and
for
an office
at
each
floor
alterlevel.
in
both Europe
in
Germany was
and
many
him the role of director for an exhimodern housing design at Stuttgart called
Weissenhofsiedlung. A number of leaders in
growing modern movement
(including
was
a collaborator
chairs
which used
form
stretched leather.
The
frame of
as the
steel
tubing bent
to support seat
and back of
cient to bring
interiors,
bition of
rials
the
Mies oppor-
into a cantilever
suffi-
in the
style.
in
the
three-story
tunities to
that
demonstration neighborhood
MR
274
the
'
I,
less
with
weather we
warm sun and
model of the
full-size
nate
the
sit in
in
of Schinkel,
on designs
rich
mate-
phrase "less
is
more."
in the validity
of
The Emergence of Modernism
Mies
won
German
Barcelona
Pavilion (as
been the
The
Barcelona
placed on a
of
Exhibition
it is
Pavilion at the
Exhibit
1929.
first
role in holding
a particular function.
outdoor space
into
move through
the
(fig.
15.10).
open spaces
to
Visitors
could
admire the
rich
and
steel
columns, marble
and orangy
work of
made the
art in itself.
Simple
leather cushions,
and
at a ceremonial visit by
and queen. These furniture designs
have become modern classics, which are still in
Spain's king
and with
as
up the
much openness
as
may be
Brno
in the
Czech Republic
is
on
(figs.
desirable for
residential
in
at
a hillside,
its
entrance
Bedrooms
occupy something like a penthouse on this top
floor. The main living area on the floor below is an
open space subdivided only by an onyx marble
screen separating living space from an adjacent
and garage
at
library-study area
open dining area. The exteon the downhill side of this space and
across its end are entirely of floor-to-ceiling glass.
The curtains can be drawn back and the walls
lowered by mechanical means into the basement.
ebony
that defines an
rior walls
Exhibition, Barcelona,
1929.
The open space of the
area,
which had no
identified
rooms but
and marble
to define
influence on
modern
and
support
IS
structural
provided by
including marble,
travertine, onyx,
glass,
steel.
green
and polished
The chairs and
ottomans,
now
called
275
Chapter Fifteen
Tugendhat House,
Brno, Czech Republic,
1928-30,
The idea of open planning
is
apparent
living area
of
in the
this
house The
floor-to-ceiling glass
basement
into the
to
make
totally
level
the house a
open pavilion
The furniture
is
of
comes from
color
richly
and
polished woods
veined marbles
fine,
used
of steel columns.
15.12
Plan of the
Tugendhat House.
The openness of
plan
in
which
this
living
great influence on
subsequent design
thinking.
and then
little
were never
built
designs
as director
work
in
of
Nazi
known from
his
and openness
rable in simplicity
to those of the
Mies relocated
in
America
to
become
1937
the head of
Technology
in
Chicago.
His role as
Slim
steel
elements,
barely
noticeable
Tugendhat
on modern
276
their
The Barcelona
interiors have
mirror-
Pavilion
and
interior design,
arrangements of
with
structural
emphasizing abstract
transferring
the
modernism
into
the
of
International
Style
mainstream of American
rectangle of
on
all
open
is
supported by
ornamentation.
der
Rohe, Farnsworth
House, Piano,
Illinois,
1946-51.
Late in his career, while
he was working
in the
concept of open
space
in the
living
country
weekend house he
for Dr Edith
built
an
rooms and
within,
utilities
and
kitchen
storage unit
is
Rohe's design.
down
all
to a
tural
comparable
to
that
of ancient
Greek
tloor
eight steel
Commissions
American
career,
Mies van
in Detroit,
Newark,
New
Jersey,
New York
New
(19548)
is
modernist American
buildings
(see
p.
323
Farnsworth House
Piano, Illinois.
is
which
(fig.
15.13;
in
1946-51)
is
at
an open but
is
size
deck reached by
a
five
columns and
are
all
the
steel
in turn
by wide
steps.
ties
The
is
subdivided
by
only
ment buildings
It
forms
Later
columns
of identical
form
architecture.
is
and forms
open kitchen
an
utili-
area.
(all
of
One
of Mies's
last
upper
glass
surface, set
back
at its center,
at its
Its
On
a simple,
steel
roof
is
is
glass
walls
that can be
277
Chapter Fifteen
15.14
Villa
Le Corbusier,
Amedee Ozenfant
Le Corbusier
Schwob,
Chaux-de-Fonds,
Switzedand, 1915-17,
Le Corbusier demonstrated his mterest in
generated by the
golden ratio proportion
in this early work. In
drawn across
golden rectangle
elements. The parallel
and
their right
intersections
angle
demon-
Although not
apparent
in the
influence.
Secessionist
months
in the office
Le
Corbusier spent
five
they joined
named Purism.
In 1920
of a magazine,
publication
the
in
modern
tect
In 1922-3, Le Corbusier
art.
was the
archiIt
is
windows
which
is
topped by
used to
Chaux-de-Fonds, the
1916-17).
while
Neoclassicism,
(fig.
15.14;
windows, and
flat
modernism. The
from
the
material
(reinforced
the
concrete),
derives
Schwob
Villa
at
It
sensed.
in
Schwob
intersecting
and, above
level,
The rigorously
all,
any
conventional
The
architecture.
geometric
placement
of
proportions
while
elements,
of 1:1.618. The
section ratio
windows on two
space deriving
ment of
its
abstract
its
a dramatically impressive
is
effect entirely
but
alterations,
proportion to
still
elements. The
some unfortunate minor
small
its
geometric
all
size.
throughout
a painter
his
life,
his interest in
of unbuilt
projects.
Architecture
(given
His
the
1923
title
Towards
with
diagonals
right-angle
that
relationships
method
recalling
the
practice
of
in
eclectic imitation
as
aesthetic
power
that
ical
in
to
"The
for
it
moving
278
to
Paris
in
1917,
he joined the
is
is
artist
is
to architecture
head;
abstract,
sometimes
along
with
details
of
the
its
styles
airplanes
Paris:
modernism
New
praised
a collection of
fully.
is
is
modern
'I
fact,
and
his
own
own
design,
Purist paintings
chairs.
The
sories.
resulting
ideals of 1920s
The
plaza at Bologna,
in turn,
There
is
double-height
living
space
city.
with
balcony above
(fig. 15.15).
demonstrate the
interiors
Berber weav-
is
age.
and Apartments
his cousin
15.15
Le Corbusier,
Pavilion de I'Esprit
Nouveau, Exhibition of
aesthetic
is
(figs.
15.16-15.18).
The
a model apartment,
designed according
flat
to
Modular
resulting building
walls,
his theories
Italy.
of Paris
Paris,
1925,
presented an interior of
clarity.
In
Decorative Arts,
roof.
It is
decorative furniture of
the period. The art
cated by Le Corbusier.
279
Chapter Fifteen
I
^5.^6
^5.^7
{right)
and
+4-
[far right) le
U^
Monzie (Les
Terraces),
1927.
The plan of the house,
similar to that of
Palladia's Villa Foscaro
at Mira (see
p. 88) is
based on a rectangle of
1
1:16 proportions-
planning grid
Its
is
however divided
in 4, 3,
4 proportions from
I
I
Palladia's, in 4, 2, 4, 2,
4 from
own
isometric
hi
no
While
classical
order
is
completed
show
that his
15.18
Interior of Villa
Stem de Monzie
(Les
Terraces).
An
interior
of
this early
Le Corbusier house,
seen
in Le Corbusier's
own drawing,
reveals
and
280
altered,
white)
the
complex
spatial
(in
black and
organization
as
it
15.19
Villa
Le Corbusier,
Savoye, Poissy,
France,
1929-31.
no
appropriate furniture
was
riors
made
use of
nondescnpt designs
then in production. The
house has
restored
now been
and
furniture
of Le Corbusier's
own
between
interior
and
outside that Le
Corbusier favored.
ground
colorless
and
may
"cold"
be
well
based
and chrome. In
actuality,
several service
Le Corbusier
of the small
Fruges
at Pessac outside
impact.
A ramp
the
space.
richly colorful in
One
of the best
known
thus
near Paris,
of Le Corbusier's works,
influential,
known
as
is
Villa
the house at
Savoye
(fig.
back beneath
either of glass
up
itself to
to the
main
living floor,
living-dining area
large
The
sky;
stretches
floor-to-ceiling
open
to the
scape.
is
set
and are
window band
The group
leads
doubling back on
all
as often supposed,
many
is
on
level
gives a
curved
screen
walls
painted
in
to give access
by
straight
pastel
and
colors.
the house,
now been
15.19; 1929-31).
Its
at
it is
without furniture.
281
Chapter Fifteen
level
was generated
the
in
and
modest
table
stered
chairs
main
chairs, a
and
several
when
living area,
rugs
oriental
strip
source of
artificial light.
is
of square yellow
tiles laid
diago-
nally.
wall
remarkable
a built-in
and
1928
In
is
1929,
arm
number of
chair,
steel.
demonstration apartment
to the public in a
make up room
dividers or
walls
storage
at the
Modular box
Paris
This
and shown
glass-
house
all
machine
for living."
The
as "a
furniture continues in
with
collaboration
in
of chrome-plated
in a cage structure
contoured chaise.
oped
Most of
in
light
down through
The Maison
and ideas at
book Vers une Architecture (Towards
Architecture) published in 1923:
length
New
in his
rooms with
instinct of every
human
being
is
concrete
called
is
supports
leaving
the
It
'
architecture
with photomurals
microscopic
You employ stone and wood and concrete, and with
these materials you build houses and palaces; that
is
construction. Ingenuity
is
Art enters
in.
made up
If
we
for living":
concepts
in
covered
by
Corbusier
bilitation
at
natural
walls of the
of magnified images of
all
dead
painted
at the
home
tiny
cabin
Le Corbusier designed
were never
built.
une Architecture,
p.
53
992),
p,
923, quoted
178;
Frampton,
in K.
2. Ibid, p.
reha-
house
and
roof-level
life
except for
on the coast of
many major
projects
II
Paris apartment
southern France.
that
War
now
by Le
beautiful in the
is
apartment
Corbusier's
3.
wall
executed
The
mural
time of a post-World
of the building.
are beautiful.
forms.
282
smooth
is
up on
that rises
in
a four-
is
dormitory
to assure himself
Is
in Paris,
when
his
competition
49;
31
The Emergence
to
meticulous constructed
show Le Corbusier's
resentful clients
made him,
Le Corbusier's projects
combative and
further
as years
limited
success
his
in
may have
achieving
built
first
in
make room
for
futuristic
of giant
city
Duplex
(an apartment on
to
is
went
Town Planning
in his Plan
projects.
developed
to block
by,
Modernism
of
floors),
all
way
the
sides.
down
on the lower
on the other
with
level,
an
diagram than
stairs
arrangement
1
in words.
5.20
(left)
Le
ways.
It
up
in the
building,
a small
sizes, a
There
is
shopping
street
neighborhood, with
shopping
the roof,
street high
facilities
school
where there
is
half
communal
way up
the
functions on
on top of
really a building
a building
a building
he called a
Unite d'habitation.
In 1946 the government of the city of Marseille
commissioned a group of such Unite buildings to
form a new housing district. Only one Unite was
built there (1945)
a huge slab-like block with
apart-
and surprisingly
The
makes up the
brightened by
on the
is
to
be a complete neighbor-
and even
Such
1945
tation, Marseilles,
much
controversy.
Some
its
within
buildings,
in
Itself.
Such
spaced apart
parl<-lil<e setting,
were intended
to take
most modern
cities.
15.21 [below]
ie
Corbusier's elevation of
critics
blame
it
as
hood
many
Kindergarten/nursery
Ramp
advantages
4 Ventilator stacks
5
Windshield
6 Gymnasium
at
Briey-en-Foret,
Firminy-Vert,
and
Upper terrace
8 Corndor
9 Shopping street
and
At Firminy
Nantes-Reze
in France,
there
is
also
in Berlin.
lOSunshaded areas
1
Fire
escape
and machineries
1
Pilotis
second
level
had a
above and
level.
level,
283
Chapter Fifteen
15.22
Le Corbusier,
1951.
The emotional character of the dark interior
of the pilgrimage
church
IS
intensified
by
with colorful
intersection point Le
inte-
rior fittings.
Postwar Years
After
World War
work tended
gularity
II,
to shift
moving space
interiors.
cubistic rectan-
freer, more
The church of Notre-Dame-du-
at
Ronchamp
Swiss border,
is
dramatic example of
this later
an irregularly shaped
interior.
The roof is
wing of an
airplane.
rise
comes
windows at
light
is
(fig.
sides of a central
large block
open
court.
on the fourth
left
side.
curved
the
to
15.22).
from hidden
The roof
is
rials.
raised above
glass-filled
slot that
in the air.
such work.
One
wall
is
windows on
the wall
that light
up or
is
up
in brilliant colors.
makes
Behind the
moves about
284
hollow in
Three chapels,
is
that
sculptural forms.
Haut
fittings
were
all
p.
49) was a
is
window
that
windows shielded by
from
exterior
generated
surfaces.
turally
by
simply
painted
reflective
arranged on two
levels.
through
totally
simple means.
Modular
Human
Toward
concept
end of
the
Le Corbusier was
his career,
new
The
High Court
the
Assembly
chamber,
a
The
with
(1961)
the
main
legislative
with
in
their
late
There
is
America.
It
devoted
structure
in
is
to
art
studios
graduate
for
of
and the
Unite
several
work
and
buildings
of
all
made
thereafter
Le
of the
use
modular system.
Although
bitter
subject
frequent
to
and
criticism
the
attack,
sometimes
work of Le
Its
became
its
cubistic
undermined
and more
such
movement
Corbusier's
attacks.
design
into freer,
rather
ultimately
qualities of
faded
many ways
artificial
and nature-related
became
focused on
works.
details
to
Corbusier's
ings
up
furniture
Late Commissions
as
Le
as organic
Cambridge, Massachusetts.
students
in adjacent
"brutalist"
surfiices
very
work,
late
Corbusier's death,
Zurich park
Le
after
pavilion
is
the exhibit
as
Centre Le Corbusier or La
known
It
is
in
and
ramp
and a long
upper level. A
for access to
its
on thin
open
complete with
building, as in
atic
galleries
is
and bedroom.
kitchen
In
this
all
writing,
first
was
developed
Modular
II.
Here
dimensional rule
"late
modern" works
as a source
of inspira-
and make
it
clear
that
photographs,
however
Aalto
primary colors
bright,
projecting
tion.
draw on Le Corbusier
geometric
completed
it
often
in
text
Modidor
and
which
number of
to the
development
may
'
Chapter Fifteen
15.23 AlvarAalto,
Turun Sanomat
Building, Turku,
Finland,
1927-9.
columns generate
rhythmic forms that
make
this essentially
industrial interior-the
a space of great
beauty.
Theater
at Jyvaskyla (1924),
to
form
a loggia-like
band
at
ground
level.
By 1929,
(1
939) as
in
Pans
follows:
One
is
human
scale. In
(fig.
15.23).
The sequence of
and
movement
fortunately be solved
in this
way.
at
would
like to
press
curved edges
above
a strictly utilitarian
concept to the
tiniest elements.
hospital
large
Sanatorium, built
building,
was established
Paimio
the
in
tuberculosis patients.
their
by
the
site in
In
shaping of the
all
facing
communal
dining
and
services.
utilitarian
and
logical,
tion
office,
stairs,
elevators,
and
such
small
"human"
qualities of architecture:
architecture students at
sitting in
them.
if
the
992),
p,
97,
p.
ibid, p,
201
3-
Stanley
many
of which are
The Library
Frampton, Modern
in K.
2.
and
and
all
subtlety.
ucts,
MIT to
Architecture (London.
girls
at
at
still
Viipuri
became
factory prod-
in production.
(1935,
but virtually
simple building
made up of two
rectangular blocks,
286
ribbon windows.
arranged
The Emergence of Modernism
(fig. 15.24).
round skylights
be
that could
The auditorium
night.
artificially lighted at
was an undulating
wood. Aalto's furniture
ceiling
warmth
suggested
but
Style,
introduced
color
that
contributed to the
all
of Aalto's
and eventually
to
international recognition.
The
Mairea
Villa
Noormarkka
at
15.25;
(fig.
firm),
and
is
and
his wife
(who
logic
sensitive,
and
fi-eer
hand
at the
an Aalto design
to see
New York
at first
made remarkably
interesting
by the introduction of
wall of wood
A balcony
tion
from
level.
and eventually
led to a teaching
comment
critical
appointment
at the
MIT
It is
is
the
a long
common
circular
An
adjacent
room,
a large
skylights
which
forms.
After returning to Finland, Aalto received a
Helsinki
government
(1952-6)
offices,
warm
is
brick of
its
exterior walls
Chapter Fifteen
288
15.26
{opposite) M\iai
New York
193a
World's
Fair,
was a
Finnish Pavilion
major
critical
success at
the
visible
at right) formed an
exciting space, within
which products of
Finnish industry could
be seen
and
practical.
thinking
meets
always
art,
modern music,
The
buildings
facilities.
at
One
nesses.
large
lecture
hall
its
real
window
gain,
arranged in
and
windows
by day
becomes
unhappy
Negative
clients,
and
most
criticism
the
similar
often
comes
from
alone
visited
projects in question.
complaints.
It
let
often turns
winter.
Imatra
at
a large interior
(fig.
15.27;
accommo-
friction are
behind
be found, from
clients
Church, Imatra,
Finland, 1956-9.
a stimu-
critics
building at Viipuri,
in
lating setting.
from
resistance
moveable
walls.
The
mam
church at the
right,
with altar,
stained glass,
and
On
special
be rolled back
to
add
floors
is
fittings
(even to vestments),
The merits of
question.
in
good
repair
and
for the
Aalto design
is
in
The work of
vastly influential,
become
and glassware of
perhaps inevitably,
the Lakeshore
Unite
at
at
modernism can
in
at Illinois Institute
church
by
in
Chicago,
Crown
Hall
Marseille, the
Imatra are
all
and each
gives
continuing production.
and
unseen source.
International Style
best be appreciated
remain
daylight from an
also
at
it
has
New
289
modern design. In
France the word Moderne came to be understood
as a designation for a new style, a style which in
English took on the name Modernistic. The term
served to distinguish the word modern, which
simply meant recent or current, from the idea of a
After
World War
new, that
is.
Modernistic
style.
16.1).
(fig.
Art Deco
carries a
art.
title
exhibition of interior
the
new, post-war
et
style.
A number
of French
showed
stylistic similarities.
16.1
(Mow)
Michel
sometimes used
to suggest
an
affinity
the archi-
attention to
call
and
modern
neither
is it
International Style;
it
rather, fashion-oriented
is,
origin,
style
to the
beginning of World
as its point
moved
gradually
to
of
other
American continent
War
II.
France
with the
Artistes Decorateurs.
Pans. 1928.
/Krt
Deco had
its
origins
Pans
in displays in
became popular
in
France
elsewhere
in
The
come
tify
Furniture Designers
The design of
Europe.
in
in
and
Unlike modernist
field in
many
in
decorative
the use of
designers as
in
&
and
vases,
bowls,
Art Deco.
Ellis
style
extensive
designs. Glass
[opposite)
made
16.2
a readily available
zebrawood with
and
became
fixtures,
furniture
Daum. Their
now
earlier
work
converted to Art
Deco forms.
The furniture of Jacques-Emile
Clarke with
Owen
London, 1931.
an
example of the Art
Deco
style
R.
Atkinson, was
surfaced
as
in
Black glass
it
England.
and chrome
and a spectacular
ceiling light fixture
make up a 1930s
period piece.
290
simOar
to
those
of
formed
traditional
a partner-
designed
early
by
craftsmanship
Ruhlmann
Chapter Sixteen
He
rooms
for
worked
also
as a decorator, creating
and teaching
interiors
Deco
style
in
modern
art
shop
made
in
including
clients,
He opened
Frances Elkins.
many
the
Nelson
Eileen
is
He
also
wealthy
Rockefellers
apartment
as
Maugham and
whom
such
mouth
available to English
such as Syrie
that
shares
Paris
work
metalwork,
Jean-Michel
16.4).
(fig.
He
style.
influential as a result of
and complete
a similar
Deco
to Art
for
New York
in 1937.
in Ireland
lacquer
began
and
furniture and,
to design screens
Dufrene, Hall, ta
Grand Salon,
Maitrise Pavilion,
Exposition Universelle,
Exposition Universelle,
Pans, 1925.
Pans, 1925.
To the architectural
company, La
space designed by
architects
Pans Exposition,
their
J.
Hinart, G.
and G. Beau,
Dufrene added a decoTribout,
rative overlay of
painting on walls
how
ceiling, slim
traditional period
design
had been
ings,
and
replaced by newly
still
new style
find a
detail.
and
left,
rail-
lights,
decorative objects.
apparent
and
florid
metal
hanging
in
when opportunity
292
styles.
is
in every
own
was highly
acter.
original, ingenious,
and cubist
chair
of 1925,
the
1930),
own
Liners
in char-
and a
lamps, and rugs
in
Ocean
1920s, with
its
strong
to
ties
fashion
that
to wealthy clients
Richard Bouwens,
Grand Salon, SS
Normandie, 1935.
In the double-height,
first
tall
rants, hotels,
the
work of Le Corbusier.
liners
and
Textile
and
demand
for Art
Deco
designs.
new
patterns in this
zags, stripes,
mous
style.
and plaids
designers
particularly well
Deco
colors by anonyavailable.
was
became
known
widely
1922.
in
manufacturer
in
Lyon
in
French
produced
manufacturers
carpet
in the interiors
came
decorators,
architects,
artists,
and
placed
in
(1863-1939)
the
and
Normandie
hands
Roger
of
(fig. 16.5)
Richard
Expert
was
Bouwens
(1882-1941).
artists
and
decorators, including
(1882-1964),
a virtual roll-
murals of etched
designed by Jean
Dupas
(a portion
now
installed in the
Metropolitan
in
New
Museum
history of navigation as
their theme.
The
tower-like, glass
designed by tabouret.
Great urns,
visible
on
round seating
clusters
the
293
Chapter Sixteen
16.6
[right) Pau\ J.
Frankl, skyscraper
furniture,
1930.
The excitement of
skyscraper building in
New
Yorl<
and
the
became a
profiles
favorite part
of the
16.7
(below)
Relnhard
&
Hofmeister,
&
Corbett, Harrison
MacMurray, Raymond
Hood, Codley &
Fouilhoux,
International Building,
Rockefeller Center,
New
York, 1935,
leading to upper
and
level
grandeur
of luxurious
formal
for this
moke up
the Rockefeller
Center complex.
16.8
(top right)
Music
Hall,
New
York, 1932.
development, was
intended as a setting
for film
and stage
productions. Deskey's
furniture used Bakelite
Bauhaus.
294
from Europe
wood, but the slick and curving forms of the enclosures were no longer historically based. They
carried Art Deco into almost every home. The
studios of radio stations such as those of
New
to America.
NBC
in
United States
and
Designers from Europe
Some American
in their
to suggest electricity,
at
new
at
The
It
of
and subtly
concealed lighting, is a prime example (fig. 16.7).
The vast Radio City Music Hall, a spectacular
display of Art Deco design, is largely the work of
who
he
American
observed
buildings
tall
the
forms
stepped
aesthetic reasons)
in
furniture
930.
same time
architects incorporated
decorative elements
Deco
was
New York,
and at
technology.
Many
form
in
Avenue),
with
materials
rich
its
character.
Building, with
and
Its
decorative
details leading
16.6).
way
solid
wood
that
typical of
Urban
(1872-1933),
came
trained in Vienna,
designer.
He
in
1930 in
New
also
had
America as a stage
interior and furniture
New
who
to
also turned to
working
design,
torium
and
detail as
Deskey
is
older furniture.
loseph
Deskey
Donald
designer
the
American
(fig.
commonly used
cork
to
most
all free
Regis Hotel in
Deco
cally
interiors
in Art
Deco modes
turers
and, as he
Frederick
Kiesler
De
(1892-1965),
movement
originally
Holland
design
lamps
briefly
with the
Stijl
in
before
War
era.
It
Deco forms
should be applied to the cabinets of table- and
console-model radio receivers. The material was
seemed
was
When
it
was
Manhattan's tallest
building, crowned by
built, it
weighed 27 tons
details.
by
Deskey
set
into
an
been demolished.
nately,
stage
New York
of skyscraper
of moldings
auditorium and
this style
architecture
of maple veneer
is
elliptical
dramatic example of
refrigerated
insulate
its
to
up
its
practice,
in
for several
American manufac-
moved toward an
his
work included
industrial
clocks
and
Deco forms.
Deco Architecture
The
architectural forms of
Building
(fig. 16.9;
steel
New
York's Chrysler
1930), designed
its
by William van
ornamented with
aa aa
mm Hw
products.
condition.
and many
still
in very
retain
good
SR Ml II
HB SB aa
an 13 aa
5B
at a; ' 4
53 ^ ^
i Btt
|
>
*i la
'
Hffl ffl5
__ _-
--/
295
'13
I
\
l
in BB J
Chapter Sixteen
ceramicist
many
overlaps.
became
to
increasingly loyal
the
came to be
and decorative,
design
ideals
and
called "modernistic"
Deco
superfi-
theoretical underpinnings.
Still,
many
parallels
can
of World's
deep depression
and
1920s
1933-4 called
design.
A Century
architect
and
considered the
first
truly
modern
in England.
is
design to appear
for table radios
1933,
Gordon
in
in
Russell (1892-1980)
and
his
many
and objects of
While public acceptance was often
hesitant, some manufacturers launched furniture
and other products of clearly Deco character. The
Murphy
from 1930
Ltd.
an exhibition room
for
Deco
character.
to 1938.
Gordon
Russell,
"waterfall
occurring in a time of
Fairs,
in the 1930s,
1930s
included
(1899-1972)
Cliff
cally
Ekco), and by
be discovered.
A series
of the
1940s,
Clarice
many hand-painted
at
W. H.
and
Russell
textiles
by Marian Peplar.
Scandinavia
pensive furniture of
at least
some homes of
and
early
Britain
style
was taken up
in
England to
of theaters,
design
hotels,
and
restaurants.
In
participate
Style
The
The
in glittering glass
Clark
with
is
its
a gleaming
ties
in order to a
International Style
"warm" and
still
forbidding.
In
Sweden,
the
Stockholm
Town
with
Hall
by
such
Ragnar Ostberg
rable
Many
stations
Deco character, as did the intecarriages and buses. The work of the
296
work avoided
of De Stijl and Bauhaus
resulting
comfortable
of train
(see p. 262),
its
beautifully
applied to such
Romanticism
work
way
at
is
terms.
immediate appeal
interiors that
easy to accept.
16.10 Cunnar
Asplund, room setting,
Slojdforemngen
Exhibition, Stockholm,
1917,
In
Asplund's kitchen
and
living
room
for the
exhibition of
Sldjdforeningen
(Society of Arts
Crafts), the
and
simple
Scandinavian wood
detailing of furniture
and
indicate
an acceptance
shaded hanging
light
pay homage
to
earlier traditions.
Stockholm helped
by Giinnar
settings designed
(1885-1941)
an
for
in
define
to
e.xhibition
16.10).
(fig.
smoothly curved
its
seat,
fied version
of some
classic protot)'pe.
modernism, while
Asplund was
classically
based
of the 1930
An
and
logic of 1930s
is
typical of the
hanging
conservative
was simple,
practical,
for
known
traditions
in
1925 by Poul
Mogens
Koch
on
ture that
a traditional vernacular,
was produced
Denmark and
in
then, in
American
New York
(1952-3).
It
in
equipment overhead.
Swedish design.
respect
PH, developed
(1895-1967).
light unit
Henningsen
of
for furniture
(For the
interior
and
furniture
design
particularly his
at
Cranbrook,
The
resulting "Danish
modern"
in the devel-
on human proportions
from the
opment of
furniture based
become
classics.
and
Industrial Design
style has a
Another Danish
classic
was the
In the late
designers,
for
industrial
design"
that
297
Chapter Sixteen
16.11 [below
left)
promoting
new
mock-up
York,
office,
New
934.
Loewy created
office interior
this
as a
The designer
exhibition.
IS
surrounded by exam-
drawings,
and automo-
bile model.
forms
The circular
testify to the
industrial designers'
adoption of streamlining as
a decorative
theme.
much
Post's
sagging
sales,
new
design could
were,
logically
Panama
Line,
record-setting
flights
in
the
beautifully
came to fix
the streamlined form in the public mind as a visual
symbol of future-oriented achievement. The minds
of industrial designers were turned in the same
direction, so that streamlined forms became a
theme for 1930s industrial design.
During World
made
use
of
War
large
I,
dirigibles,
called
usually
the
make
were adapted
strictly
stateroom
Hugo
generation of
Raymond Loewy,
as transport vehicles.
1934.
liners
Ingeniously compact
tive luxury.
furniture arrangements,
It
known
Such
craft as
German Graf
in
as
ocean
compara-
graph machine
(a
sales.
His stream-
Hupmobile and
Other American
Norman
was discovered
Bel
career
mimeo-
designers,
his
Success
suit.
and an
combination of stream-
best achieved
if
tail
with a
expand
some
and Deco
lined
Deskey
(see p. 295)
dirigible hull.
designer,
working
modern design to
American passenger
furniture
and
ship
interiors.
298
and even
now
in
Donald
practiced as an industrial
make his
1920s and
reputation.
Panama-
the
He remained
in California
for
retail
known
"American
Modern," achieved enormous popularity from
16.13).
(fig.
as
was the
It
first
Russel Wright,
simple
tableware, 1939.
Wright's designs intro-
convince American
industry of the value of
modern design
in prod-
general public
to be introduced in America.
With
linens.
promoter
1951
arm
his wife,
design
book,
in his
and
Mary, he was an
modern
of
and
exhibits
(
16.13
"American Modern"
work on
Francisco to
room-setting
in
Guide
table
effective
to Easier
Living
).
chair of 1934
was used
Museum
in the
members' lounge
Modern
of
Art in
New
undertake
The
its
production.
was usually
industrial designers
Loewy (and
oped
offices.
tives,
and
He not only redesigned railroad locomo-
16.12),
Ancon,
Panama
and
Line,
Dreyfuss
Cristobal.
Panama
New York
The
train,
or
fore
forms
forms of stream-
some important way better and therewould become commercially successful. The
diluting,
the early
was respon-
slick
ship was in
American Export
work of
more
palatable to a
consumer
public.
became
well
known
to
Americans
in the
form of
The
first
depression era
more
of
modernism
in
furniture.
Kem
Weber
life.
for the
299
Chapter Sixteen
16.14 Supreme
Diner,
Design Training
Boston, Massachusetts,
1946,
The pioneer
industrial designers
at Pratt Institute,
remain within an
art
restaurant intended to
trical
of a railroad
in stage design;
Teague was an
studied at the
New York
train,
became a popular
feature of roadside
America As
real
rail-
and Deco
Paris but
Formal training
in this field
only began
when
indus-
led
to
relationship,
Institute
a quick meal.
widely
felt
design, the
trial
300
in
adopting rounded
for
who had
diner followed,
forms,
illustrator
some
architects.
It
later
relief
Art
built great
(1898-1970),
and
interior
who was
design,
in
houses. Roland
charge of
produced
its
Wank
facilities
industrial design
at
remarkably
Just as
some
ideas,
Deco and
style as
architects
many
began
to incorporate Art
Residential Design
up the
historic styles
rials as glass
publicized, but
Maugham
(1879-1925),
Many
Design
fine
nate meeting.
Deco
Industrial
architectural
Deco and
benefits of factor)'
were
mass
and
none achieved popular acceptance.
into
housing
developed
glass.
In
and
its
its
love of streamlining,
ot the twentieth-century
came
middle
into the
classes
sjTnmetrical
few
and
of
homes
through
more formal
electric appliances,
a collection
had
of unrelated
16.15 Kraetschand
Ktaetsch, Butler House,
had developed by
1930s,
made
the
use of a
continuous counter
with overhead cabinets
of scientific labora-
cleaning
and
efficiency
visual
impact
relates to
of industrial designers'
work of the
time.
Kitchen appliances-
tion-were designed
fit
into this
the
modern
to
concept of
kitchen.
301
Chapter Sixteen
16.16
Paul Nash,
room as a place
for
decorative pleasure
rather than a minimal
utilitarian
oped
in the
and
room a showplace
ofDeco concepts. Note
the
electri-
items
box (now
fied),
wooden
streamlined
mildly
white,
ice
box
form.
into a
Loewy
and
norm
Bel Geddes's simple, white-painted, smooth metalformed unit for the Standard Gas Equipment
Corporation (1933).
Teague appeared
in
An
many
still
duplicated historic
designed
modes would
modern
designers provided
by
oil
now
smoothly
generally fueled
flat
counter tops
Lighting
a labo-
lamps and
of the 1930s.
became
eligible
for
modern
light
new
sentimentally
houses,
Bathrooms
in
nevertheless sport
ratory-like
302
were otherwise
often with
lease of
life.
that
is,
Art Deco
lighting in
which the
1930s
Indirect
light sources
produced was
reflected
from
came
into
wide
became
use. In
available.
16.17 Norman
Bel
Geddes, Futurama
Exhibit,
New
York
World's
Fair,
1939.
General
Visitors to tlie
Motors
extiibit
were
transported in moving
model
form.
shows a
The
illustration
city
of the future OS
designer,
Norman
Bel Geddes
(1893-1958), a strong
advocate of streamlined design. This
often thought
exhibit
IS
of as a
ulus to
construction of modern
superhighway networks
first
in incandescent versions
development of fluorescent
sources
and
in public,
Neon
institutional interiors.
tubular
light,
light
commercial,
lighting, first
only
used in signs, became an occasional source of decorative light effects. Practical, functional
to appear in the
lamps began
own
as Kurt
firm manufactured
Paris
opened
in
New York
in
Deco and
streamlining.
It
included work by
many of
German and
They
were used in interiors designed by architects and
interior designers, but remained Uttle known to the
a range of
fixtures.
In
contrast,
Textiles, Carpets,
and Furniture
the fijture in
model form
in the fair's
(a city
theme
of
center),
and carpets
in
became
available
as a designer
of modern
mass markets
still
found
it
expedient to produce
based
designs.
on
oriental
and other
traditional
viewed
from
an
interior
that
introduced
Aalto
to
is
303
The Spread of
Early
Modernism
in
Europe
Although design
of the twentieth
Modern
historian
New
Art in
modernism
at the
Museum
and
Hitchcock
Henry-Russell
Philip
the U.S.S.R.,
istic
qualities,
including
flat
only
1929-3a
bridge in an obscure
alpine valley in
historical or
ornamental
modernism
An
offer.
was
designed
when he
this
300-foot
long structure
terms
in
of functional perfor-
la
share the
same
major
public pavilion in a
is
to
illustrated interiors
same
a fine
such as
rods,
wood and
airfield outside
of Paris
placed
of
Style
the
exhibition
modernism
as
and mechanistic
defined
having
the
qualities that
The
magazine
style
articles
is
the
practice,
columns and
facilities,
use of concrete.
restrict the
and
warehouses
smooth
rior
utilitarian structures.
The
organizers
In
in
question.
In omitting the
parts of
abstract, cubistic,
buildings in England to
Orly
at the
International
seaside resort
lead
1935-6.
of modernism,
The
would
Warr
Pavilion, Bexhill-on-Sea,
first
It is
It
Sussex, England,
One of the
is,
they placed
Wright
17.2 (opposite)
Mendelsohn and
Chermayeff, de
techniques
detail.
engineer, Maillart
smooth (and
of glass, and asym-
possibilities that
modern technological
several styl-
Maillart, Salginatobel
reinforced concrete
15.
roofs,
Switzerland,
hangars of 1916
International Style.
use of steel
The
the impres-
sive engineering
Of
(below) Robert
and mecha-
of the
nistic reference
17.1
early spread of
Germany and
In
brought
Austria,
the
rise
of tascism
all
aside
of
countries
Europe
that
remained
free,
example of modern
architecture at
its best.
examples.
historic
auditorium, exhibition
modernism gradually
and
and outdoor
space, restaurants,
indoor
drew
inspira-
Among
and
their
found
Nevertheless,
in imitation
the
ideas
of
of
established a hold.
followers
was the
all
belief that
design
Schocken
the curving,
equals.
buildings,
cantilevered
which
304
IS
stair,
seen against
as furniture
were
Chapter Seventeen
broad spectrum of
Germany and
Austria
with the
fascist
It is
social
of
idealism
World
and II. Holland, the Scandinavian countries, and England became the countries where
modernism found most acceptance during the late
Wars
Before
modernism was
its
World War
II
interrupted
number of other
work in interiors,
worked
closely
with Mies van der Rohe and had a role in the interior design
of a
number of
exhibitions, in the
furniture
but
interiors,
is
Stijl
in the design
of
Breuer
Marcel
Mies.
to
at the
Bauhaus working on
particularly
work
The Netherlands
and
furniture,
progress.
architects
connections but,
it
is
H.
17.3 Willem Dudok,
Town
P.
work avoided the narrow historicism of the eclectics. Willem M. Dudok (1884-1974), for example,
who worked in the small city of Hilversum, near
Amsterdam, designed the town hall there
(1924-30), a distinguished and monumental structure in brick, its interiors pointing in both Deco
and modernist directions (fig. 17.3). J. J. P. Oud,
classics
Hall, Hilversum,
The Netherlands,
1924-30.
chamber
of this government
building, Dudok has
In the council
achieved a sense of
formality
and
official
vocabulary of
modernism.
and
make
Warm
mate-
colors
rich
rials
the space
role.
its
authori-
name Cesca
given the
Modern
Art exhibition,
is
best
in the
Museum
known
of
for public
Chapter
15).
arm chair
known
The
J.
J.
P.
and
all
A comparable
Adolph
Loos,
Richard
Josef
Neutra,
Hoffmann, Andre
and
Gerrit
Rietveld,
Lur^at,
among
of
the
Werkbund
p. 225).
increased
The
with
modernist
ideas,
Erich
observatory (1921)
at
Potsdam.
It
is
unique
The Spread
ment
1933.
his
He
work followed
left
for
United
England
States,
in
where
of Early
Modernism
Europe
in
17.4 Giuseppe
Terragni, Casa del
Popolo,
Como,
Italy,
1938.
Originally
Casa
known as
Italy
intended to accommo-
but
in spite
of Fascist
preferences for
mentality
Terragni
managed
produce a
fine
none was
built.
Gruppo
It
remained
for
and others to
take up the modernist cause between the end of
World War I and the rise of the fascists in Italy.
the Italian Rationalists of
"Electrical house," a
and G.
Figini
Pollini
for
Italian
1930 exhibition
work included
Como,
in
New
to
work of
tectural proposals,
monu-
in design,
grid-like sides
lead to a
glass-topped atrium
new name
It
its
as an expres-
sion of a democratic
spirit
I.
at
in the
York. At
its
17.4
and
is
of
17.5
Exterior of
Casa
del Popolo.
work of the
Rationalist movement,
this
building has a
strict
geometric
program
controlling the
its
aesthetic qualities.
307
Chapter Seventeen
meeting
smooth
furniture
fascism,
it
recently
it
become
has
members,
was
Rogers)
known
Belgioioso,
Banfi,
camp
responsible
for children
BBPR
(for its
Perressutti,
the
for
Heliotherapeutique at Lugano.
health
as
It
was
and
Institut
a
kind of
largely
retail stores in
display there
played
firm
modernism
Although
its
early years,
prominence
work faded.
He was
his association
bringing
for
modernism
multivolume
Corbusier.
series
He was
and
exhibit panels
cases
were placed
which
freely in
an
surround for
a white
house
1924
at
is
The
small, lakeside
Although conceived
Switzerland
in
in Swiss design.
role
significant
into
character.
furniture,
designed
Under
Fascio; more
and a
most by
modern
suggestive of
and
walls of white
variety of examples of
interior space
is full
as a "dwelling
machine," the
development.
St.
all
important for
is
its
at Basel
main
uous
glass, facing
band
lighted
by contin-
between
tables, chairs,
the
older
furniture
15.)
a bare concrete
on
columns placed close to the side walls. The tall
windows are glazed in small panels of stained glass.
structure, with a long coffered vault carried
It
probably
is
successful
Also
the
modern
in
at
designed by A. and
who was
Protestant
church
of
two
apartment
design.
Switzerland,
houses of 1935-6
Breuer
first
E.
small
in Switzerland for a
time between
his departure
was
too
radical
to
achieve
wide
he
acceptance.
one of the
bilities
rial
first
that offered
new
historian
flats
308
France
Nouveau, but
his
ties
at
25 bis Rue
church of Notre
Dame
at
Le
The Spread of
concrete
modernist
character
made
structure
(fig.
possible
it
The
17.6).
to
use
stand
that
the
at
border
rooms
his
of
modern
version of the
less
famous
figure
of French
steel
tube designs
at
in
Paris of 1928
Hygiene and
Paris.
Villa
metal
Europe
made
projects
is still
and
in
designed
1937
furniture
17.6 Auguste
Ferret,
fair in
for
1922-4.
a
In this building the slim
his simple
Chareau (1883-1950)
Pierre
his
Mallet- Stevens
number of
A somewhat
work
shop
in
Modernism
Early
is
best
columns and
flat
vaulted ceiling of
known
for
his
Paris that
made
in
(fig. 17.8).
His furni-
an
ambience suggestive of
material, while
Gothic churches
is
woods
move
International Style.
from
Art
Deco
to
the
The glass
mounted
is
in screens
of
309
Chapter Seventeen
17.7
(/eft)
Robert
Mallet-Stevens,
House
17.8 [below]
Pierre
(Maison de Verre),
For his
own
Pans,
designed a
that
1928-32.
The Scandinavian
house,
Robert Mallet-Stevens
living
room
marked a transiDeco
generated
and glass
dramatic
this
and handsome
design to Modernism.
interior
Dutch architect,
Bernard Bijvoet
(1889-1979), on
project.
steel
Scandinavia
Dalsace House
at 12 rue Mallet-
democratic
The exposed
blocks predate Le
Although
famous
house remains an
important work of
modernism.
310
to
where
it
modern
became some of
ture
at
the best
known
of
all
extensive, this
and openness
materials.
political orientation
the
Technical
University
outside
of
and supported many other Finnish archisuch as Erik Bryggman whose chapel at
Helsinki,
tects,
a serene,
The Spread of
at first in the
16,
cautious
became more
Crafts
1925,
where
large part
handsome
on the
was developed
in
Modernism became
for
interior
the 1930s
Girls'
and
School
of
Hedquist. Modest
by
Stockholm,
1941,
modern
Kingholmen
furniture, textiles,
Paul
and
in the
moving on
many
type for
later
buildings in the
two
men
Church
modern
also designed a
Street,
more
specific obiections
London
existing
to
traditions
(1936), for
design.
designers,
whose
directions that
thinking
of British
with
the
ideas
had
and
Benn Levy, ft is
modernism in
Style
on the same
street,
is
England
and
in
1933
after
being
forced
leave
to
Germany.
These
example of International
in
demanded
of
modern house
in
and govern-
The
Old
design vocabulary.
on
adherence
a proto-
a house by Erich
Mendelsohn and Serge Chermayeff (1935). The
two houses in an accessible city location made
modernism visible to Londoners, as did Sun House
(fig. 17.9; 1936) by Fry. Its large glass areas facing
by,
in
It is
1934 for a
in
1937.
public acceptance.
resistance,
Europe
with
a fine
Modernism
in
England
Modernism
Nouveau.
movement and
Early
for
la
Warr
is
a seaside pavilion
Pavilion at
for recreation
17.9 Maxwell
and
Fry,
Sun
House, Hampstead,
London, 1936.
One of the
first
modern
residential interiors in
Style architecture
311
Chapter Seventeen
of
characteristic
as
modernism. The
visitors a
International
Style
be.
English architect,
F. R. S.
first
were
among
number of modernist
and Breuer
designers
who
flat
department store
in
room
17.10 Marcel
plywood long
Breuer,
chair,
London, 1936.
After the dosing of the
Bauhaus
in
Germany,
where
in Britain,
he was involved
is
made
by Alvar
&
Pearson,
Underground
Gant's
Hill,
Station,
London,
1934.
direc-
(1878-1941), the
London Underground
system became a leader
in
introducing
modernism
to the
British public
through
carnages, graphic
elements,
and
stations.
This interior-jokmgly
called
is
functional simplicity
and
fine aesthetic
work produced
1930s
312
in
designing a group of
techniques
in the
house
at the
Royal
Show in
Bristol
1936).
It
made
Many
street-level
tion
furniture
interior designed
some
architects.
entrance
buildings
for
17.11).
The Spread of
Early
Modernism
Europe
in
17.12 Tecton
(Berthold Lubetkin et
al.).
Highpomt,
Highgate, London,
1936-8.
Berthold Lubetkin was
the leader of a group of
who
seven architects
name
of Tecton. In
known as Highpoint I
and Highpoint
they
II,
of modern architec-
residential as well as
public
The
roles.
entrance lobby
illus-
few steps
seen at the
in turn,
tors.
up a
to corridors
which,
right,
lead to eleva-
and
its
residents
appear modern
and
to
in spite
London
transit system,
first
modern movement
Londoners.
for the
was
also
(p.
an architect
who
Lawn Road
His
Flats
in
London
Hampstead,
his
Sunspan Bungalow
tiny
offered the
same
at
Welwyn
(1935)
For the
Lawn Road
flats
he detailed
made
home,
some ingenious
own
inserted into a
bank of cabinets so
as to
merge into
England
in
1930 where
and luxurious
on each of
its
the
classic
demonstration of the
and came
to
of the
New
America
to escape
house
States.
to
flats
a typical,
designed
modernism
in the
United
313
Modernism
America
in
ignored or regarded as a
in
little
curious
while
footnote to
the
work of
and
rarely published
known.
when
1932,
In
Henry-Russell
Johnson
Philip
organized
New
the
and
The
Hitchcock
exhibition
Museum
of
Modern
Art
projects.
Of those
seven,
one
room
a single
is
inte-
rior
in
America
at the time,
tion,
concept
the
The work of
Gill,
Dodge House,
Los
Angeles, 1915-16,
Before wide acceptance
in tlie
United States,
did not
it
that
to presage later
It is
Mayan
architecture, while
rooms have
surprisingly limited
suggests
it
large
its
and gardens
(fig. 18.3).
way
in a simi-
modern ideas of
larly creative
simplicity were
tfie
fit
term
the
attracted httle
California
(fce/oiv) Irving
modernism
exhibi-
work had
contempo-
it
his design
of
in
(1870-1936), although
18.1
his early
Gill
seem
modern work
in place
face,
houses designed by
American architect
this
Wright
recall
18.2
called
[opposite) Philip
New Canaan,
Connecticut, 1949.
is
houses of
It is
in close association
Johnson planned
own
way
his
glass house in a
on each
level.
interior walls,
Mies's Farnsworth
house (see
IS
277). The
p.
a simple
The red
the floor
and
tiles
of
the
outward view
into
surrounding greenery
establish color. The
furniture, all
of Mies
houses hint
chrome frameworks.
314
in the
in
some
at
Mayan
textile
block California
architecture, although
it
may
young people
often
approached him
walls of floor-to-ceiling
is
glass.
that relates to
house
its
advised
them
for
advice.
He
always
Chapter Eighteen
House (Hollyhock
House), Los Angeles,
1916-21.
Decorative patterns on
the ceiling reflect the
structural support
members.
skylight
Indirect light
comes
Some of the
can be recog-
furniture
nized as being of
Wright's design.
18.4 Frank
Lloyd
1925.
The complex of buildings that forms Wright's
estate includes
dramatic
many
interior
room
planes
and massive
stonework
fireplace
with
is
for walls
shown
and
here
many small
Much
designed late
in his
(meaning
"Shining Brow"),
was
that of a mythical
Welsh poet
316
Modernism
those interested to
his
home
(fig. 18.4).
work
him
at Taliesin,
and continued
It still
to
It
known
exists
as the
his hfe-
apprentices.
smooth
varied
same
plaster,
Fallingwater, the
first
published pictures of
Kaufmann
family on a
Pennsylvania,
near
wooded
Pittsburgh,
site at
its
Bear Run,
balconies
of
In the
at
18.5 Frank
America
Lloyd
Wright, Fallingwater,
Tahesin Fellowship.
time.
as apprentices with
in
Bear Run,
Pennsylvania, 1936.
Edgar Kaufmann Jr
for
was built
over a waterfall and
his father.
It
has cantilevered
concrete balconies
and
its
natural setting
is
remarkably
effective.
window areas
own
furniture designs
is
minimal.
is
a characteristic
of Wright's
interiors.
18.6
Interior of
Fallingwater,
space of Fallingwater
uses large areas of
glass to look out into
the countryside
and
beyond
includes floors
and
hidden electnc
seating benches
and moveable
stools
are of Wright's
own
design.
317
Chapter Eighteen
Wax
Wright, Johnson
Building, Racine,
Wisconsin,
1936-a
was
building, which
constructed at the
Wax
Johnson
S. C.
Factory,
is
dominated by concrete
structural columns,
to
concrete
circles,
glass
18.8 {below)
office,
Private
Johnson
Wax
Building.
S, C.
Johnson
for
Wax
and semicircular
elements to relate to the
structural design of the
Many
in
semh
desks also
to
now
can
published
interiors
visited), in
also
be
built-in furniture
ture
private uses.
also carried
Company
office building,
Racine, Wisconsin.
became one of
On
the best
residential projects.
its
then
still
drav^ngs and
S.
C.
completion
known
Johnson
being built in
in
1939
it
of Wright's non-
Modernism
made
tubing
The
with glass
filled
band between
and the edges of the column tops. There is
which do not
among
These are
18.8).
making use of
swing on pivots
(fig.
most successful of
the
windows on
made up
there
strong
are
at
in
collaboration
(fig. 18.9)
Lovell family in
Usonian
modernists
of America.
and
studied
as
been Schindler's
large
interplay
are
wood used
among
rest
in a
most
the
of his
romantic
of
interesting
life
he was able
originality.
however,
In
spite
Wright
of his
success
and fame,
something
remained
an
of
As long
as eclecticism
remained dominant,
viewed
it
work or
early
He came
for a short
house
in
clients earlier)
Hitchcock-Johnson exhibition).
The
with
associated
client
advocacy
known
the
as
commissioned
It is
the
first
was
of
a doctor
health
much
practices
Health
glass
white,
unornamented
grey carpeting in
all
walls outside
and
in,
and
work but
all
own
Some
of Wright's
practitioners'
their
went on
the
style
Neutra's
own house
house
particularly
body of his
was a
spectacular project
own. Harwell
own
to
furniture,
America.
work.
apprentices
his
in
with
living areas,
rials
areas
built-in
clear
United
Style in the
accepted,
its
that
to
establish his
such
1921
and worked
with
there
Its
California, in a
Newport Beach,
Stijl.
United States
conflict.
practice in California
Vienna
to the
bitter
in
own
was unique
ended
but
traditional
Several other
least a
wood and
with
Schindlerand Neutra
their careers.
warm
connections
was
brick,
It
own
tiny
America
circular
wide recognition.
in
his
house
at
him
319
Chapter Eighteen
18.9
(ng/)f)
Rudolph
Schlndler, Schlndler
1921-2.
Sliding walls
this
house
open out
to its
and clerestory
windows admit light
above a continuous
surround,
shelf.
18.10
{below) Richard
1927-9.
The large glass areas
aluminum. The interior spaces, with unornamented stretches of white and large glass areas,
were exceptionally fine examples of how modern
interior space was organized. Neutra designed a
large number of houses, apartment buildings, and
catalogs.
evidence of Neutra's
commitment
to the
steel-framed house
largely
was
made of compo-
Lescaze
The importation of European
ideas of
modernism
partnership
In
Vkith
Howe
George
18.11; 1929-32).
Fund
Society
a successful
modern
The
tall
logic
of modernism by
resulting building
is
the
readily visible
work of
first
truly
first large,
and
of glass
320
unaware
public,
previously
modern
architecture.
of
the
nature
of
Modernism
highly successful.
With no
suitable
modern
In 1940
furni-
for
Island,
New
in
America
18.11 [above
left)
George Howe,
York,
flat-roofed
essay
in
Philadelphia Saving
Floor to ceiling
glass
Building, Philadelphia,
1929-32.
chairs,
York's
Museum
Modern
of
Art opened in
own
New
modernism
designed
For a
in
Cambridge,
The
and
the floor
is
dark
grey.
abandoned
its
tradition-oriented content
Philip
of the newly
by
the
architects,
New York
L.
(fig.
made
public in an
number of
is
occupied a penthouse
visible to a
institution with
mam
bankmg room
The large,
Durrell Stone
18.12),
works.
York, a fine
art
(1902-78) in 1939.
years
it
was the
best,
indeed
and
excellence in
in favor
of a
fully
at these institutions
began to
modernism of
Modernism, and
the International
of
Modern
constructed building of
the
Museum
house
at Lincoln,
Massachusetts
of Modern
Art. Floor-to-ceiling
glass
opened
an
Modern
including exam-
outdoor
ples
own
New
chairs,
Art,
York, 1939.
by
to
terrace.
Breuer,
18.13; 1937).
321
Chapter Eighteen
fine
example of International
a typical
as
an
flat roof,
entrance
Style design,
shelter
columns, an external
and such
it
has
details
by tubular
and generous use
supported
spiral stair,
are, surprisingly,
not
wood boards
building.
display
The
typical of vernacular
New
pieces
of
furniture
by
named
and
ings
group of
which he
was respon-
a firm
It
residential build-
first
Han'ard
interior,
Josef Albers,
modern
as
the
build-
Institute
In
Building (1943).
steel structure
late
in
for the
first
Its
possibilities
up a teaching post
new campus
Cropius,
States. Interiors
number of Mies's
18.13 Walter
United
various
campus at Cambridge,
The simple forms, exterior and
gradually became the vocabulary of most
the
England
many
on
ings
Massachusetts.
it
included a
of minimalist simplicity.
The concept of
own house
a fine
is
International Style
design, the
built in
first
New
although
traditional
fashion.
to
black-painted
in
wood
in
outdoor
second-floor terrace
18.14 Intenorof
Cropius House.
tect's
in the archi-
surface
deskwork
door gives
a wall
the
main
living
dining areas.
322
and
glass.
all
four faces of
central core ot
stairs
and
each
floor.
The apartment
on
American
An
The study
steel
be
England,
it is
constructed
example of
and
still
domi-
Modernism
more
tiiliy
in
Chapter
in
America
is
at its
discussed
in
America
"glass
possibilities of
its
logical,
extreme conclusion.
15.)
Johnson
New York
on the
Johnson
Philip
(born
1906)
left
his
post
Museum
as
at the
by
vertical
inte-
The ground-floor
by Johnson
thesis),
It is
in
William Pahlmann.
brass-
sky,
hanging
in
ture
hung over
house
In
The
It
is
and
is
copper-colored
curved swags.
the
aluminum
chains
bar.
The entrance
area
Johnson designed
his
Connecticut, as an
all
own house
glass-walled
at
New
Canaan,
number of partners
more than a hundred)
on major design projects
and a
began
emerge
to take
Owings,
and
founded
in
Merrill
(now known
SOM),
as
the
18.15 Skidmore,
Owings &
Merrill,
on buildings
scaped
hotel's
room
work
settings. This
small dining
IS
upper
its
in land-
on one of the
floors,
and
there
view The
built-in
(1893-1983) on the
curving inner wall
enlivens the space.
323
Chapter Eighteen
architecture
and the
18.16
and Eero
Eliel
Saannen,
First
Christian
(Tabernacle) Church,
Ward
aspects of
its
interior design.
to
Columbus, Indiana,
1942.
may be
This
as the
regarded
first U.S.
church
of modern architectural
design. The extreme
simplicity of the finely
proportioned space,
with
Its
its tall
Rohe, particularly
in projects
developed by Gordon
House
(1952), the
to be built in
New York
first
truly
skyscraper Lever
modern
tall
building
windows,
and its
and
natural wood tones as
the
end
wall,
Eero Saarinen
Eliel
calm meditation.
with
The
first
twentieth-
it
interiors
in
(fig.
J.
partnership
(1938).
with
use of white
a space promoting
excellence,
typical
dignified cross on
New York
Buffalo,
his
father
at
Cranbrook,
in
would
first
intended
site
looking
style,
the
work of John
backward-
Pope
Russell
Reaction to Modernism
American schools of design taught historic imitation in programs modeled on the Beaux-Arts
system, often requiring students to execute prob-
lems
tion
was taught
in
many
decora-
schools as a branch of
idea that students
would
own
Among professional
Maugham worked on residential
decorators,
homes.
Syrie
projects in the
working
designers
included
in
an
eclectic
vocabulary
Urquhart
&
for ship
worked
Elkins
Draper,
best
in
California,
worked on both
18.17).
(1910-94) was
country-house
324
Dorothy
decorators,
and
while
knovm of American
Mrs.
Henry
known
style.
ornamental
("Sister")
style
Parish
II
Modernism
store in
well
known, and
Billy
in
America
18.17 Dorothy
Draper, Pompeilan
Court Restaurant,
Metropolitan
clients.
of Art,
New
Museum
York, 1948.
Furniture
and Other
was retained
Interior
to
mal<e
Furnishings
museum
that
It
used
for
exiiibits,
a restaurant. The
Modern
America
interior design in
1930s
in the
available
modern
of
Office
furniture.
furniture
steel
so
could be used as
lively
large
and ornamental
hanging
if
simplicity
designers.
for
the
sought
by
International
lights.
The
of the pre-existing
architecture.
Style
outlets
modern
interiors.
custom
made
Knoll
Several other decorators, however,
from
historic imitation.
styles that
while
moved away
avoiding
the
functionalist
aspects
of
Gibbings
trained in
(1909-73),
designed furniture in a stripped classical vocabulary that suited his rather simple
riors.
He became
furniture
factory-made
particularly interested
of ancient
modern Klismos
but elegant
Greece
in
inte-
the
and developed a
product
Furniture
his
tastefully
in a variety
(1914-55) came to
Germany
ture.
when,
New
in 1937,
Hans Knoll
York from
to begin production of
his
native
modern
furni-
learned in
furniture that
who had
arrived in
New York
in
1938.
Indiana. His
furniture in
versatile decora-
from the
making of parachutes. The simple designs also
Other
for
the
interiors
of military
facilities,
officers'
325
Chapter Eighteen
IS.ISand 18.19
Florence Knoll, furni-
ture,
was
Knoll Associates
New
founded
in
1946 by
the
York in
German-
Florence Schust
As
design director,
was a
Florence Knoll
key force
in
main-
determination to
made
The company
modern
pioneers,
including Breuer
and
when a need
surfaced,
Florence Knoll
took
new
modern
under
designs
idiom.
in the
tions.
As
18.19).
and
fruitful
architects.
She had
the Saarinens at
to use her
Cranbrook
"womb"
chair)
who was
(1915-78), a sculptor
contact,
another Cranbrook
added
own
director.
tural project of
straightforward
seating
and
modern
of a
number of
Knoll, originally a
at
furniture,
interior
design
direction,
it
a favored source
unable
or
Under Florence
service.
became
unwilling
Knoll's
of interior
to
is
modest
ment of
strong color.
office furniture.
Company
development
at
the
projects.
undertook
326
Herman
The
Miller Furniture
Herman
curtailed
devote
Miller
Furniture
Company
Company had
War II to
its facilities
who
Modernism
had died
(1908-86), an architect
asked to develop
ture
who had
complete
be introduced in
to
Nelson produced a
modular cabinet
He
full
range of
in the
Museum of Modern
and
Art's
Organic Design
Home
in
Furnishings
competition. Altliough
few designs
prize-winning design
submitted
of a
line
Working with
1946.
several associates.
beds.
competition drawings,
of modern furni-
line
America
several
in
production problems
Charles Eames.
concept led
developed by each of
the designers
separately-
The
Home
in
Eames
Furnishing
(fig. 18.20).
chairs,
to
difficult
produce, but
persisted in
war years
duced by Herman
Miller.
until they
They were
were intro-
the
first
of a
Company was
the
Herman
Miller
New York
objects he collected.
in
where he was
His
designer.
further
active as an architect
own house
of folk
form
art.
in a
His
Herman
lively
from
and
Grosse
at
interior
the bright
typical
norm
of
of the
in place as the
Pointe,
established
and colorful
The wider
direction,
translating
for
He was
also
language
all
modernist
of commercial
ideas
production.
the
into
Suburban
filled
with
Columbus, Indiana
Fe,
New
Mexico,
in
1953.
moved
museum
all,
to Santa
1952). Girard
it
professionals,
moved forward
in contrast to this
-in
World War
If
America,
war and
it
its
return
to
In
the
a gradual
United
States,
and other
colleges, hospitals,
institutions created
firms
Europe and
in
in
became studded
and
attached
to
however
poorly
ceilings gave
known
way
as "sheet-rock"
institutional buildings,
The
traditional
produced
interiors
without
"traditional"
directions,
stylistic
dependence on windows
by mechanical
ered
air, at
air
air
as a
began to be displaced
its
Residential
design
was influenced by
could be
made
to simulate tradi-
and
furniture.
reproduced.
and
understood
and
by
fed
districts
extensive
in
highway
their related
It
is
not
lighting
kitchens,
living spaces.
coming of
tion
nature of the
home
which were
retail,
aesthetic quality.
rarely of great
It is
in the
work of
government agencies
to be found.
led to changes in
Colombo arranged
rotatmg elements
such as
plastics,
became
available as replacements
and carpets
on the
some
professional
1970.
is
more
easier
years
the
made movement
or
technical
328
boards
qualities.
and
spaces in spite of
Paris
tall
in the
buildings.
a Cabriolet Bed
London and
new tall
cities
table-shelf and,
chips,
surfacing
States,
right,
made of wood
wall
for
networks.
mcluding a dining
paneling
suburban
forms OS a theme,
air circula-
lative builders,
circular
made
Plastics
of acoustic
futuristic apart-
for chairs
Buildings
as
with
ment using
wide use
into
furniture
ative cities as
In
came
asphalt-asbestos).
system of metal
United
Joe Colombo,
the
(replacing
America.
19.1
became
natural fibers)
came
Italy
became a leading center for exciting post-war
design and exported furniture and other products
to other countries hungry for new and imaginative
design. Anyone arriving in Rome by train would be
Italy
Ml!
'
Chapter Nineteen
new
struck by the
Cio Ponte:
Pirelli
dilemma
movement and
Today
Italian
classical style.
artists
in
(1891-1979),
an
engineer
spaces
interior
create
in
to
934:
life;
and designer,
Nervi
Luigi
Pier
Eduardo
impressive space.
of trying to steer
Rationalist
Tower
in specific
vitality.
Labor (or
individuality of the
Pirelli
its
1960-1)
19.2
1960-1
spreading, leaf-like
of a scale model
contam.
Quoted
p 205;
m
2.
K.
Quoted
Chicago, 1987), p
in
992),
708
roof panel
of
by
created
steel
is
entirely of glass.
Marcel Breuer
in the design
He was
also
a visual character
branching rib-spokes of
19.2;
(fig.
supporting
concrete
formed
each
units,
61 Pavilion) at Turin
Italia
is
requirements;
building
in
modern
first
tall
best.
The gleaming
and green
islands
of
the ceiling
is
made up of bands
of acoustic mate-
rials
inlets.
on
and
and
modern
light in
was
visual character.
Italian design
the Olivetti
became
visible in
New York
with
Avenue (1954,
typewriter outside on a marble
showroom on
Fifth
destroyed).
Its
pedestal,
and
its
its
enormous
most beautiful
Many
for
330
classic
their
made
it
one of the
interiors.
Franco
Albini
(1905-77),
Sydney, Australia
linear plan
Italian designers,
many
producing
a variety
of chairs and
Many
known and
other
combined
Italian
modernism
Its
Copenhagen (1979)
on
itself.
As
module, which
a square
remarkable complex
Church
includes a
in the ceiling
a furniture designer,
It
a recti-
rise into a
of the church
a variety
of
The modern
influential.
1956).
furniture of
worldwide.
popular
Denmark became
somewhat
Its
conser\'ative
Scandinavia
favorable
traditional
produce
use of
many
designed
made
where
Hans
luhl
Crete
and
Juhl
to
make
particu-
it
Designers
States.
Wegner,
Mogensen,
Borge
and
Paoul
furniture,
built-in shelving
United
the
in
his furniture
sculptural
interiors
to
economic conditions
popular
larly
teak
finished
finely
(alk,
Modern Danish
also
in
popular
in
wood
window
New York
(1953).
Simple
great
and
active character.
Arne lacobsen
architect
schools,
1902-71
was
Rodovre,
Danish
a leading
interiors,
He was
high-rise
19.3; 1958).
in
Copenhagen
(fig.
style.
Hus
other
facilities to
meeting
largest
finest
work.
serve
hall
He was one
UN
of several
headquarters
in
architects
New
interior design
design at
chamber.
its
textiles,
lamps,
silver
flatware,
best.
is
best
for the
known
for his
opera house in
one
designer of
York,
for
the
(fig.
rooms and
Swedish trade unions. The
19.4;
a large,
The
many
fine quality
private
of Swedish design
homes
and
is
housing
lights.
Juhl's
evident in
groups.
331
Chapter Nineteen
A room
interior
designed
the quiet
in
form of modernism
typical ofJacobsen's
Danish
worlc. All
furniture
is
the
by
called the
Sweden,
934
in curbing
spaced
to permit easy
access.
The simple,
332
became
firm,
known and
well
popular.
The
AGA
any suitable
interior.
its
simplicity
back
roots
going
and
craftsmanship.
to
traditions
Alvar
of
Aalto
work and
his role as a
Otaniemi
(1955-66) with
its
is
close
to the student
(fig.
Paatelainen and
1964-6), by Raili
19.5;
Reima
Pietila, a
interiors enriched
1967) by
Timo
walls.
The Helsinki
factory building at
simple, brightly
lit
tall
facilities.
by Eero Aarnio
ball chair
made
designs that
19.5 {top
Dipoli,
19.6 [bottom
right)
Paatelainen and
Pietila,
Otaniemi (near
Helsinki), Finland,
1964-6
right)
Paatelainen and
Pietila,
Kaleva Church,
Tampere, Finland,
1964-6,
In the Interior
space of
The
tall interior
space
created by
natural outcroppings of
is
fin-like
to make room
bands of windows.
The roof is made up of
generate a sense of
to
comfortable
infor-
and
husband Reima
carried out
for
tioned to
match the
spacing of the
mality. Raili
Paatelainen
spaced
her
Pietila
many other
projects together
walls.
subdued
for the
is
greys, except
warm wood
and case
organ on the
right.
333
Chapter Nineteen
at
many handsome
Turku
ferry ships,
interior
spaces.
with
walls
of
curved
tall,
slabs
Switzerland.
group of mostly
glass,
is
this virtually
just
building
is
demonstration
connecting two
a space
is
levels.
Germany
One
demonstrated
idea
his
Corbusier's
later
design in France.
at
Ronchamp and
on
would each
finally came
constitute a complete
to
tall,
reality
neighborhood
and
(meaning
"office land-
and
according to patterns
of communication. The
swirling lines indicate
circulation paths.
334
last
works
Le Corbusier of 1967
is
a large
the interat
Zurich,
on the
metrical position
right.
The
orchestra
is
At
Ulm
Bauhaus
an
in a
effort
new
was made
to reconstitute the
institution, the
Hochschule
fur
was designed by
of Le Corbusier's
esting Centre
corporation's
in
tent-like curving
that focused
large,
its
the
at
German
in
The chapel
Unite d'Habitation
administrative offices
space"
an
ramp
a simple,
France
19.7 KurdAlsleben
of the
of
Germany
and QuickbornerTeam,
open office plan,
Germany, 1968.
Part
One
a steel
in France
modular
of reinforced
Le
cubical,
its first
became
center
for
the
It
development of the
The Netherlands
9.8
{left) Frei
German
Otto,
Pavilion,
Expo
The
Aldo Van Eyck (born 1918) has criticized the aim of modernist designers who seek an
architect
He
own
on the
basis
Herman
1973), an insurance
building
is,
{born
Rams
1932) and
at
supports a plastic
skin,
encourages the
development of freely
curving shapes. The
made
it
be
filled
with light by
made
extenor glow
inte-
the
in the
dark
as a result, a
individual
furniture,
workers
ingly
is
Apeldoorn. The
is
rectilinear
company
clutter
is
surpris-
the effect of so
many office
that
projects.
1968 but
its
Several
influence continues.
major
buildings
office
German
for
Most
Many
modernist character.
of their interiors
the
brothers
management consul-
Eberhard
and
Wolfgang
known
as the
to office plan-
all
partitioning
rooms and
open space
Biirolamischaft ("office
called
made
the substitution of
land-
19.9 Herman
Hertzberger, Centraal
Netherlands, 1973,
The
Hertzberger designed
for the insurance
company Centraal
Beheer, moves away
from the concept of the
open plan
office in
could be freely placed to permit easy communication (fig. 19.7). Early examples of such
ning
were
at
considered
first
open plan-
radical
but
acceptance,
Orenstein-Koppel
typical early
Dortmund-Dorsfeld
at
are
The works of
Frei
German
Montreal
Pavilion at the
(fig. 19.8)
structures.
Expo 67 World's
made
placed
His
in
a complex,
constantly vaned
pattern More than
1
000
placed
offer
that
in locations
each worker a
unigue
setting,
and
Modular
platforms or balconies
arrange furniture
no sense
of regimentation.
Fair in
The
Munich Olympic Stadium (1972) is a larger and
more dramatic example of such a structure.
335
Chapter Nineteen
J.
L Martin, Royal
Festival Hall,
The
Britain
II
built
The Royal
Festival
and
of 1951,
tion
survivor of that
planned
to favor
acoustical considerations.
The ceiling
incor-
porates concealed
and the
natural wood of the
fair.
the
Queen
Elizabeth
The
architects
were R. H.
that
design
at
on
bulkhead
(wall) slanted
its
forward
bow
sible for a
(fig.
19.10).
best.
its
The Smithsons
Economist
decorative element
towers
336
liner,
ship.
There
lightmg,
above the
ocean
London,
1951.
ceiling forms
last great
building
new brutahst
known work
is
the
actually
three
London. The
interior
(1964)
direc-
is
of the
number of other
interior
and exhibition
Pentagram's
own London
Petroleum, and
offices.
his practice
stage.
on rectangular
colors, often in
traditional
furniture,
ture
generates
airplanes waiting
on the
field.
This scheme
made
to planes.
At the
United States
would have
possible than
fig.
round chapel
reflections
from a
lighted
by
the
changing
Eero
America.
terminal at
its
free
large,
Saarinen
Kennedy
forms
in
designed
in
post-war
TWA
the
in
New York
riors designed
by Florence Knoll.
John Deere
at
Moline,
office
complex
New York
for
1955),
headquarters
terminal building.
the
CBS
shell structure
Dulles
located
at
airport
serving
Chantilly,
Washington,
Virginia
(1962),
D.C.,
used
minor element
plants.
in
^.^^i^i^j.^^^/'riiJi
19.11
Eero Saarinen,
TWA Terminal,
Kennedy Airport, New
1956-52.
York,
reinforced concrete as
structural material to
stairs
while simple
right
is
made up of
freely flowing
cun/ed
forms.
337
Chapter Nineteen
338
and
private houses,
all
in
19.12
{opposite) Eero
Saarmen, Kresge
the
simplicity. His
house of 1946-7
California desert
the
for
at
Palm Springs
Kaufmann
the
in
family
Memorial Chapel at
MIT, Cambridge,
Massachusetts,
1952-6.
in Calfornia.
floors
Windows
garden atrium.
rior space,
where
trees
sides of a high
skylit inte-
style
for
house
great
furniture of
painted
projects
example,
in
after
the
war,
many
including
has
roof and
gable
steel
design.
bay.
modernism that is
The Pope ranch house of
interiors of
own
its
offices.
his
ular,
The
is
who
Interiors
and
trim.
crisp white-
simple,
mined only by
illu-
reflected
surrounding moat
admitted through
arches at the base of
the walls. The altar
reredos
is
a screen of
Harry Bertoia
(1915-78).
19.13
[top
Kevin
left)
use
wood
is
is
cylinder of brick,
light from
Modernist residential
welcomed
This building
white-
Dmkeloo,
offices for
Co.,
1955.
Illinois,
floors
of two rectangular
blocks,
which have a
work station
is
within
building stands.
Structural
of COR-IO
members
are
steel.
19.14
(/eft)
Neutra,
Kaufmann
Richard
1946-7.
continued
to charac-
work,
and
the influence
can be seen
in the
areas
planned
garden areas
outside.
339
Chapter Nineteen
19.15
Pietro
BelluschI, Central
Lutheran Church,
Portland, Oregon,
1951.
Belluschi
Italy
was born
and moved
United States
1920s,
in
to the
in the
when he joined
Ernest Doyle
(1877-1922), a practice
he took over on
Doyle's death.
and
An
altar
is
center.
The white
utmost simplicity.
Farther
north,
Portland,
in
Oregon, Pietro
Belluschi
Built
three
years
Church, also
Central
his
later,
Portland,
in
is
Lutheran
a construction
of
affinity
overwhelms
any
work
art
displayed there.
Another
museum
of comparable importance to
became dean of
the architectural school at MIT in 1951 and
managed to continue his practice on the west coast
Northwest
19.15). Belluschi
(fig.
He
redwood and
fieldstone, the
School
in
warmth and
texture of
of the Pan
in the design
Am
New York,
a continuing, active
final)
gallery spaces
open
large projecting
(fig. 19.17).
United
States,
St.
church interior
is
balcony
is
an
indepedent
concrete
private houses.
centered on
with
critics
its
Controversy has
19.16).
suitability
as
museum
space,
its
New
John's
modern
(fig.
in the
building
One
Museum
It
library at Collegeville,
340
form
architectural
Breuer's office in
New York
structure
designed
many
942-60.
The museum's
mam
rotunda space
is
down
to the
below or up
ground
to the
skylight
dome
Color
a cream
IS
above.
providing green
accents.
Whitney
Museum of American
Art, New York, 1963-6,
The floor of stone
rectangles
and
the
functional overhead
grid,
which contains
adjustable lighting
fittings,
combine with
provide a setting
in
tition. In
may
the center of
Walter
Gropius
Collaborative
(TAG)
in 1945.
was a consultant
Belluschi he
of the
New York
known
as the
Pan
The
organized
office
Am
Architects'
Building.
its
The
many
its
in
open
Colorado, near
stretches of office
many office
New York
outstanding quality by
Its
office
tall
Hugh
is
building
of
Stubbins (1912-94).
a
shopping center,
its
341
Chapter Nineteen
19.19
I.
M,
and
Pel
many
stores
open
space
with
levels.
An
a high
Partners, National
John
Airlines Terminal,
F.
Kennedy
International Airport,
Queens,
New
offices
This
several
York,
1972.
connecting
escalators
BEA by Tod
of
with a space-frame
columns housing
attractive quality.
walls of glass.
Partitions
and
and
Republic
designers
interior
field
at
for
Company
Insurance
American
the
building
in
Des
its
distinguished inte-
Hotel
materials
and
craft-related forms.
narrow
and
Rooms
inte-
through their
face
which
his
office
Girard cooperated
terminal B) at
Kennedy
New York
airport in
It
is
New
York
an architecturally
The
many ways
office interiors
in
of marble, elaborate
19.18 Edward
wood
paneling,
and similar
The
World Trade
New
New York
Offices,
own
his
vast
Philip
Pleasant,
more allied to
Deco directions of the 1930s.
The work of I. M. Pei (born 1917) extends from
the Art
Mount
stepped, eUiptical
its
sliding screens of
on galleries that
surround an open court with tall palm trees.
Edward Larrabee Barnes (born 1915) was the
architect and designer for several IBM projects
including the World Trade offices at Mount
Pleasant, New York (fig. 19.18; 1974), its three
floors of open office space surrounded by windows
opening onto the countryside. Where the program
strip louvers.
Building in recognition of
project)
of
1986,
jokingly
called
the
Lipstick
is
suggests a
It
of universal space.
For
later
work by
Pei
and
his
The
is
New
the
York
inte-
State
The entrance-
Theater
level
of view
it
are distin-
York, 1974,
circulation
stations are
grouped
balconies
on
several
levels
Elie
and
Each
carpeted
in
successful
much
IS
foyer,
work
floor
the
in
and,
an
than
the
banal
It
is
more
far
of
interior
the
Juilliard
School
Belluschi
of
1968
(fig.
by
19.20)
Pietro
is
the
pleasantly
many green
342
plants.
is
its
moderately
an outstanding
Office Planning
The design of office
facilities
19.20 Belluschiand
The
Catalano, Juilllard
interiors
of the
Boston building
for
the
called
Wood
finds
where
a sense
such planning
institutional,
hotel,
is
flexi-
fully
New
York,
IS
and Designs
New York
School of Music.
best
size
Its
and
wood give
it
a comfort-
makes
it
a highly
968,
moderate
and chamber
music concerts.
of the
New
York, and
colors
in
Stamford,
project,
serves
to
differentiate
the
floors
of the
totally similar.
343
Chapter Nineteen
All
landscape
use
planning
(discussed
below).
was used
in
Company. Knoll
office furniture
system
Switzerland,
name
Storwal International.
An
(1971,
now
(with
Judith
in a circle, with a
Stockman
in
charge
manufacturer
in
is
shown
a typical grouping
ergonomically designed
chairs,
and a lamp
contained
in
a space
The interchangeable
panels
may
be fabnc
covered in a vanety of
colors, or
made of clear
or obscure glass to
provide privacy,
and open
light,
vision or
closure as desired.
344
of
design)
cheerful as
Before
1964.
in
number
named
Herman
Miller Furniture
long
an
increasing
from
Italy,
for
the
its
designer.
The
United
States.
in a chair at a
work
work
seated
logical
called
ergonomic
chairs
that
offered
designs
Office Furniture
With the
On
Company
1985.
unusual
central umbrella
19.21).
(fig.
Interior,
equipment requires
office
feature
Miller, Inc.,
modern
the firm
Herman
that
19.21 BillStumpf,
Ethospace
and
office seating.
in
modern
office design.
essential elements
Helmsley Palace
Hotel,
New
York, 1980.
designed
in the eclectic
&
when
the
new Helmsley
and
made
into public
rooms
The
designer has
made
adjustments
in relating
and
color scheme.
345
Chapter Nineteen
Interior Designers
The
(1969-74).
Americana Hotel
Interior design
is
America,
Hampton
known
a fine
is
East
Hampton, New
Furniture
and Other
Interior
Furnishings
Modern
furniture that
came
War
clearly
contemporary
1917),
mentioned
Manhattan
Ward
settings.
work
designed
tower,
Bennett (born
at the
simple
Chase
interiors
own
as
sometimes
own
Ward
His work,
practice.
used
"minimalist,"
called
Bennett
simple
II
includes
many of the
"classic" designs
of the
Warren
many
Platner,
and
countries
Italy
provide
to
and the
interior
worked on
Ray,
ally
together.
shoddy products
what may
Sarah
st)'le.
1910s) developed a
and
"romantic"
in their use
textiles, in hotels
many
of period furniture
New
ornamental interior
home
(fig. 19.22).
style
seems entirely
the
most distinguished
the
architects,
and
I.
M.
for
interior projects of
style, close to
minimalism
made
it
possible for
him
Pei.
to
and dining
Academy,
New Hampshire
Exeter,
for flirniture
and
for
Art
British
(1917-69)
that
the
are
simple
seem
of Paul
designs
wooden
to have a basis in
pretended to be
cabinets
(1967-72), and
New
Haven,
McCobb
and chairs
American colonial or
in any way imita-
McCobb's inexpensive
department
stores,
furniture, available in
their
way
into at least
Textiles
at
product of
some of
pattern
this
in designs that
346
York,
in Fort
own house at
regarded as so exciting
it
Among
their clients.
is
work. His
The
also his
Connecticut
propelled
the
toward production of
a vast range
color
stripes,
patterns,
aesthetic
major manufacturers of
plus
textiles
of simple, solid
checks,
and other
in
traditional
interior
decor.
Among
Rainbow Room,
Rockefeller Center,
York,
New
1996
Strong patterns
in
jacquard fabric on
cun/ing wall
a
tlie
and a
way
in
which
simple space.
by Verner
designs
Panton
many
special
stylistic
in the
The work
of Alexander Girard for Herman Miller, based on
the color and pattern ^f Mexican and South
American folk art, has already been mentioned.
Knoll employed a sequence of able designers
1960s,
Some work
ities
Bauhaus origins
for abstract
(1899-1994)
of
geometric patterns.
At
Cranbrook,
Loja
and Marianne
lasted
It
that often
its
(1879-1968)
against
it.
Modern
Cranbrook
The work of
had more
among
in a
wider public.
Modernism
in the
sions.
among
Later
for
many
weavings.
style
its dominance
and 1980s mean that it has
1970s,
significance
craft-based
emergence
use.
textile designers
Its
known
by Knoll.
Saarinen
decades.
and
1926),
lesser
textiles.
styles.
by
designers
lines
of
(born
textiles
is
works
By
for
critics
distinctive art
Thai
silks
of Jim
Thompson
(1906-77), Danish
many
modernism
sufficient
of the
is
glass
tower office
directions
that
design
is
to
take
after
347
The urge
may
new
to identify a
theme of modernism
is
competing
in several
active
in
and
critics
to have
moved
opment
among
work seems
some
further devel-
result
Eliel Saarinen,
Gropius, Breuer,
One
of Frank
Lloyd Wright's
most
World War
coming of jet
II,
air
travel,
air travel,
and
particularly
{below) Louis
Kahn,
First
Unitarian
New
Rochester,
York,
1959-69.
The austerity of the
interior
is
relieved
by
room
not readily
visible
from
normal seating or
standing positions.
Color comes from the
walls, the
20.2
Pelli,
(opposite) Cesar
Winter Garden,
With
New
980-8,
obvious echoes
Its
of London's Crystal
Palace of 1851,
this
structure offers a
huge
When not so
used.
forms an atrium
It
which there
is
access to
surrounding shops.
Color comes from floor
patterns, painted
columns,
of trees.
348
and
the green
Two
make
I.
Kahn (1901-74) is an
known and admired figure, little
the 1940s and 1950s when reputations
internationally
known
until
in active practice
is
classify as
stylistic
direction.
the
as a
a result of these
Kahn
Kahn was born
architectural
Pennsylvania
in Estonia, graduated
of
school
in
1924,
the
from the
of
University
as
international profession.
he joined George
Howe
in
Chapter Twenty
20.3
Louis
Center for
I.
Kahn,
British Art,
Yale University,
New
Haven, Connecticut,
1969-74.
round
stair enclosure
of
of
this
museum.
from above
subdued
lighting
tones of
worm
wood and
masonry
materials.
design
as
an
known
within the
outstanding theorist-
made
spaces
special
The
by
gallery
art
for Yale
ceilings
first
formed by
open
trian-
(fig.
simple, grey
it
is
masonry
is
housed
phere that
(1957-61)
at
the
Universit)'
of
Kahn developed
The
serving
its
austere, but
Laboratories
With
in a cylindrical enclosure.
light
enters
is
effects
of light
an atmos-
powerfully moving.
As
international.
masonr)'
forms
are
penetrated
by
openings
light
Assembly building
stairs,
ducts, plumbing,
framed
structure.
The
external
forms
of
the
made
form and
350
Unitarian
church
(1959-69),
is
at
cluster
Rochester,
New
The
York
of multipurpose rooms
Dhaka
is
of cylin-
a cluster
Exeter
Academy
at
Exeter,
New Hampshire
New
Haven, Connecticut
(fig.
20.3;
1969-74),
courts.
at Fort
Worth, Texas
1966-72),
a single-story building,
is
made up of
a kind of pavilion
sources
is
parallel concrete
from hidden
led in
at
viewed
modernism, and
deconstructivism.
professions that
and
came
him
to regard
as a
prophet
Pelli
Cesar
figure
Pelli,
seem
riors
born
in Argentina,
maker of
to
be
a far
is
more worldly
where
gigantic projects
inte-
Embassy in
Tokyo, a rectilinear mass clad in mirror glass and
aluminum. In 1984 he was the architect for work at
structures. In 1972 he designed the U.S.
the
Museum
of
Modern
Art in
New
York, adding
museum
World
New
Financial Center at
York,
Pelli
Garden
(fig. 20.2;
The 1995
is
Hi-tech
leader.
made up
advances
in
recently,
on advanced technology
is
reality that
modern
plumbing,
telephone,
When
basic structure
(elevators, escalators,
more
project
is
electrical,
designed a
interior of
make
(see p. 190).
mize
Pelli
The
decision to
and
to
maxi-
tech design.
Fuller
fully
computerized
management
at plaza level
ceiling of perforated
open
stair to the
is
aluminum
mezzanine
level
plate.
curving
above provides
this
name,
it
(1895-1983),
Fuller
the
American
designer-inventor-philosopher
became known
as far
back
the inventor-designer of
whose
engineeractivities
many
was
and therefore not implemented beyond the few prototypes that he could
manage to build. He coined the word Dymaxion
(made up of "dynamic" and "maximum") to identify such projects as his Dymaxion house of 1927,
its elevated living floor cable suspended from a
central mast. The Dymaxion three-wheeled autousually called "futuristic"
visual accent.
tive
Even before
style or school.
plumbing were an
be
shipped
Although
bathroom
to
each
in
as did a
factory-made,
which the
fixtures
and
of
site
completely
Fuller's
projects
assembled.
attracted
none came to the mass-production realthat he had visualized. However, his devel-
interest,
ization
351
Chapter Twenty
20.4
Richard
(right)
Buckminster
Expo 67,
Pavilion,
Montreal, 1967.
partial sphere
geometry of Fuller's
geodesic domes housed
exhibits
on platforms
reached by escalators.
The geodesic domes
were hemisphencal,
space-frame constructions,
hexagons. The
to create
was by a company
called the Cambridge
Five Automatic shutcontrolled the
20.5
(r;g/7t)
Charles
and
studio, Santa
Monica, California,
1949.
Better
known as the
Eames
designer of the
chair (1940-1),
Barnes's
known as
"hi-tech" in
metal and
its
use of
glass.
roof,
while
made up
of glass and
and structural
elements. In this view of
an upper
level
where
Eames storage
be seen.
352
the
building of hemispherical
unit can
made possible
dome structures
that
formed from
ters
Fuller,
exhibits
on platforms accessed by
escalators, while
and
(fig. 20.4).
The
resulting
beautiful.
"
tech projects
Pompidou
is
Pompidou
and
won
the competition
A freedom
exhibition-
Its
design
Italian
The
displays
movement:
elevation.
is
its
structure,
exposes and
on
way
that suggests,
on the west
its
exterior in a
and tubes of an
ical plant.
their display of
oil refinery
or chem-
condemned by Richard
used as a
housing work
Collection
Museum
in
Galerie
form
Museum
(1998)
in
Basel,
is
established by
overhead patterns
developed by the way
in
inside to
Beyeler
Switzerland,
is
is
gallery,
space
which continue
In
Pans, 1971-7,
alike.
Georges Pompidou,
space
its
[the design]
left
emphasis on the
tech-
nological elements
popular designation of
"hi-tech.
which the
flexibility
felt at
the
way
Rogers
in ibid, p.
Charles Eames's
industrially
p.
2000,
29;
p.
in
24;
Deyjan Sudjic,
2.
3. Letters
page,
23
produced parts
Foster,
Alan Colquhoun,
(see p.
standard
(fig.
20.5).
353
Chapter Twenty
20.7 {above
left)
Headquarters of Lloyd's
1978-86.
of London,
The
floors
occupied by
office workers
surround
Richard Rogers,
columns and
a network of escalators
dominance of
modern technology.
assert the
(fig.
of
in
is
open
grid,
an open
lighting
is
354
an
providing
and
other tech-
nical requirements.
his
Anglia
Norwich,
at
building
is
by a tubular
rise
later
on each
each end of
at
England
(1976-8).
(fig. 20.8).
At
Norman
open
The
tional projects.
Foster
which
an exhibi-
glass, structure,
is
20.7).
large,
England, 1976-8.
interior space
is
Anglia, Norwich,
structure, into
all
courses
made up of
square corrugated
aluminum
restaurant.
services
Open planning
links
all
restaurant.
Some
loslyn Art
glass panels
as
hi-
Museum
building in
Deco
Omaha, Nebraska
20.9 Norman
Foster,
Willis-Faber-Dumas
Offices, Ipswich,
England, 1970-5.
three-story office
in
floors and
movement
connect the
introduce
where
and
aluminum stnps
at roof level
the
building's design.
and
355
Chapter Twenty
20.1
[opposite]
James
Staatsgalene, Stuttgart,
it,
trap
to
sources
display of
central courtyard-
a room open
to
of the art
gallery,
which
and stubby
hint at a
movement
toward post-modernism.
to
an upper
20.10
level.
gallery
ideal
art.
Law
the
space
the
for
James
building
at
James
above multiple
and reading
tower
level
building
Hong Kong
in
new
in the buildings
(1991), which
of the Royal
Academy
in
(below) iames
London
Stirling later
new
architecture.
to reflect the
'
it
was
rigid restrictions
of
spaces.
University,
1964-7.
Stirling
tions,
has several
levels
ovedooking an
floor
in
more important
Cambridge, England,
devoted
new
Tightness of the
detail to relate
England
in
the
for
Stirling studied at
office
Stirling
Architecture
Cambridge
modern
include
Foster
dayhght
estabUshes
Germany, 1977-84.
leally
(1994). In
curved
Stirling,
is
lames
Engineering
Building
at
Leicester
in glass.
Projecting enclosures
can be
attracted
Gowan
its
University
in
as a partner)
down
expression
and
There
is
is
unlikely to be simple.
'
in Stuttgart,
and
sick
committed, faceless
p.
James
14;
Stirling,
2.
James
Buildings
Stirling,
and
Projects
1950-74 (London,
Stirling:
987), p 230,
Buildings
and
large,
in
974),
Contemporary
3.
Quoted
in
Projects (London,
to
shop
Arnell
984).
facilities.
The
their
which
gallery
IS
mostly devoted to a
and impressive
The History
moved
set
the char-
values.
At the
Olivetti
356
cites
Maignon,
lefferson's Monticello,
All Saints,
Margaret
Street, for
He
Butterfield's
in
which
contradictory forms.
and
example)
human
qualities,
and contradiction.
Venturi uses
(below) Robert
Vanna Venturi
House, Philadelphia,
1964.
In this interior, the
visual consequences of
Its
20.12
Venturi,
which are
full
of complexity
and
is
the
work
in the stair
fireplace-chimney
It
unusual planning
can be seen
Conventional
furni-
ramp
felt
free to
be
20.13 (bottom)
Ground
floor plan of
demonstrates some of
the complexities
and
Stirling's last
to the
of Philadelphia,
is
the
first
important demonstra-
adventurous
tied
(figs.
Its
basic
post-modernism
symmetry
is
modi-
nals,
around
marble
direction.
Gallery
circular courtyard
spaces
(fig.
are
20.11)
set
where
walls, statuary
tion),
styles.
modified
by
unexpected
Its
basic
symmetry
asymmetries.
is
Interior
Rooms have
a central entrance
and
and
suddenly narrowed.
suggests
It
is
Stirling
called
post-modern,
although
now
building
the
design.
Post-modernism
The term Post-modern would seem to identify
any work that post-dates the style now called
modern but, in current use, it identifies a particular
recent direction that
is
It
suggests
which was
the cornerstone of the modern movement was a
limitation, leading ultimately to dullness and
that the devotion to simplicity
and
logic
357
Chapter Twenty
20.14 Ventun,
Scott
Brown Associates,
Venturi House,
Philadelphia, 1980s.
it
their
and modern
wood
and
built-in cabinets,
room
and
the dining
furniture all
suggest
highly
this
personal blend.
20.15
Venturi, Scott
Brown Associates,
Samsbury Wing,
tional
National Gallery,
classics that
London, 1986-91.
original
museum
Connecticut,
embody similar
Greenwich,
in
complexities.
are of
on
1997 proposal
are connected by
drawing the
for a
house
in
Greenwich, Connecticut,
is
a version
mansion at Mount
Vernon, oddly condensed and distorted. Venturi's
of
George
Washington's
visitor
onward. Above,
windowed
clerestories
precedents.
in ceiling
make a transition
between the arched
structurally alike
coves
clerestories
high above.
developed,
all
legs,
variety of versions
were
forms
reminiscent
of Chippendale,
suggestive
of conventional
wallpapers,
is
A sofa of
covered
358
|J
in a
flowery tapestry
own home,
textile. In their
and decora-
phere that
is
comfortable
As
receive
both
(fig.
which
Venturi
major
for
began
to
architectural
showed the
modernism.
faculty dining
room
Penn
at
State
stair
(fig.
form
advanced,
commissions
projects in
and
20.14).
career
his
an atmos-
The
on display, but
and columns offer a
The more
design.
recent
museum
in
Seattle,
on
more modest
scale.
on
a balcony,
room with
Venturi
and
Brown
Scott
Wing
( 1
added
986-9 1
to the
outstanding Sainsbury
Craves
and an orna-
New York
The New York
architects.
known
Five, or the
as
is
Openings lead
to a
monumental
stair
to
lower
restaurant, shop,
levels
its
theme.
with archstair
gives
housing an auditorium,
and other
facilities.
They became
the
835
At the top of
and moved
in
this
all
group, however,
more post-modern
embracing decorative
details,
Whites for
their works.
direction,
shows
two
house that
sides
is
do not match.
stair,
its
too narrow to
20.16 Michael
Craves, furniture show-
1980.
Craves's use of such
unexpected elements as
the paired columns
support
tals that
indi-
and
of
such an
interior
is
post-modernist The
showroom
Furniture
for the
Sunar
Company
entertainment together
with a display of furniture designed by,
among
Vignelli
Massimo
and Graves
others,
himself
359
Chapter Twenty
20.17 Michael
Craves, Public Services
Building, Portland,
Oregon,
980-3.
provoked a shocked
reaction
among many
critics,
but the
are, in
comparison,
interiors
units
nine
and
the
post-modernism.
late light
side.
(fig.
strong
Graves's
own
foremost
colors
some examples of
proponent
of
is
decoration
shocked
architectural profession.
had
"set
The
able,
in
One
established
the
it
fifty years."
(fig.
unremarkis
an essay
post-modernism
(1980)
is
Vista,
Swan
the
and
Dolphin
the
wedge-shaped elements, changes in surface material and wdndow shapes, and its bands of ribbonlike
was
its
post-
explores
at the
competition
in
(1984),
modernism by hinting
Napa
the
in
post-modernism
when he won
modu-
California
Valley,
provided
dramatically advanced
360
climb and with steps too high for any but giants,
moves up one side of the facade, while a pergola
a central courtyard
(1990)
are
design that
is
playful,
and
is
amazement and
always
that
what
is
at
to reflect the
the
same
human
logic
vein.
Such design
and
is,
tasteless in
design
an
effort
determination
escape from
much
deliberately foolish
The
usually thought of as
is
of
post-modernism
to
reflection of a
modern world
in
which
logic
seems
to
20.18
have disap-
Sottsass
Associati,
and
have become
tastelessness
Museum
of
Contemporary
Furniture,
Italy,
Ravenna,
1994,
Simple geometric
ments offered by
tools of design,
celebrities.
television, film,
cults of
used
rior
scale, his
and kitchen
witti
work
and the
shapes combine
designs
to
generate
space
inte-
in the spirit
and
changing patterns of
Johnson
sunlight, which
contribute to the
Philip Johnson,
once
modernist
in the
manner of
Mies van der Rohe, seemed to have joined the postmodernists when his
New York
skyscraper head-
topped by
on
1978-83) was
the center
is
downtown New
surpnsingly calm
overall impression.
York. The
terms.
cases.
The entrance
portal
is
monastery
(fig.
Post-modernism
in
Europe
details
20.19). In
In
major challenge
in the
work of
the Milan-based
in 1981. Ettore
Branzi,
Aldo
Cibis,
Marco Zanuso, and others, broke away from mainline modernism by designing furniture, textiles, and
decorative objects of deliberate eccentricity and
20.19
Philip
A.T.&
(now Sony
T.
Johnson,
Plaza) Building,
York,
New
1978-83.
The ground-floor
entrance lobby of this
building, a
modern
skyscraper, introduces
and shapes
such surprises as
that have
characteristics of
little
Memphis
top
Its
Memphis
in
relate
to
columns
reminiscent of a
Romanesgue
cloister in
front of paneled
elevator doors, a
geometncally patterned
marble
gallery
for
the
Museum
new
Contemporary
of
(fig.
20.18).
The
fantasy of
Memphis can be
floor,
and, on a
of a winged male
The shadow of
figure.
Johnson's design
not
is
altogether surprising
when
It is
remembered
artists.
the designer of a
Travel
Bureau
office
in
in
1978, the
Vienna
(fig.
361
Chapter Twenty
20.20 HansHollein,
Austrian Travel Bureau
Office, Vienna,
1978.
meant
to
suggest
possible destinations
for travel.
floor
a setting
palm
The green
metal
trees representing
tropical destinations;
fragment of a column
evokes Greece or Rome.
20.20).
Its
toy-like
elements
intended
are
to
and desert
and
Green berg
column
destinations.
a glass skylight
Connecticut
(1979)
the
takes
Mount Vernon,
scheme
of
and
Washington's
of fantasy.
20.21).
The columns of
enlarges
larities
it,
all
minor
irregu-
modernism, another,
related
development
is
the
Stern
ples.
PaUadian design
ideals,
but in
362
effort
literal
in
quotations from
new design.
is
usually thought
turousness
of
the
focuses
on small
details that
look back to
strict clas-
20.21 Allan
Creenberg, farm house,
Connecticut, 1979.
based on George
Washington's
eighteenth-century
mansion
in Virginia.
proposal by Robert
Venturi in
E^
1997 had a
condensation of the
famous house
into a
post-modernist fantasy.
In Greenberg's design,
sicism
Much
city
logical
variants.
In
both,
Edwin Lutyens
of
suggestive
resort
of
hotels
the
nineteenth
paired twins
at
both
at
buildings, hotels,
and other
large projects
between
Buena
hotels,
at
form
a virtual village
six
place of
Washington's eight
single columns.
with
decorative
colorful
detail.
In
in
filled
and other
if
anything, expanded,
in
is
contemporary terms.
recast
of large buildings
warm
in
and
in lapan.
20.22 Robert
Stern,
Columbus Indiana
Regional Hospital,
1988-96.
Matenals
in
warm
color
tones generate an
atmosphere of calm
this
in
public space of a
363
Chapter Twenty
20.23
I-
M,
East
Pel,
DC, 1968-78.
An
to exhibition galleries
on several
The
levels.
based on triangular
makes
forms,
for
complex, interesting
spatial relationships.
but
scheme
IS
is
neutral
enlivened by the
by Alexander Colder
(1898-1976).
20.24
I-
M.
Pel,
Late
Modernism
Pyramid, Louvre
Museum,
Pans,
1983-9-
An
characteristics
new entrance to
many traditional
spaces that make up
as a
the
famous museum.
Although it inspired
much doubt and
the
alternative
continuing
loyalty
to
the
concepts
of earlier
that
if
they were
still
active.
Pei
Glimpses of the
surrounding
The work of I. M.
Renaissance architec-
by the
County
pyramidal geometry
The
and
(1963-9),
entrance concourse.
is
Librar)'
at
of as late modernism.
Columbus,
Indiana
of brick
364
natural light
is
warm
The concrete
one of the
most successful of American governmental public
buildings. Another Pei project, well known and
pleasant despite their vast areas;
well liked
to
by
its
public,
is
it
is
Dallas,
eclectic classical
main
New York
Javits
(1979-86).
Convention
The building
of 1851 with
its
glassy
pyramid structure
Paris
1983-9).
new entrance
The
is
a central
and
for
its
the
of the Louvre in
in the court
steel
theme
glass
pyramid forms a
lower concourse
to a vast
and location
(fig.
20.24). Although
modern
D.C.
(fig.
20.23; 1968-78).
brilliant
much
contro-
for
Pei,
I.
M.
space established by
Symphony
its
20.25
Charles
Cwathmey, De Menil
House, East Hampton,
New
York, 1983.
double height
room has an
living
over-
looking balcony
and
trophy
IS
The mounted
a favorite
possession of the
owner.
365
Chapter Twenty
in
Dallas,
Texas (1982-9),
is
an extraordinary
main hall
tones and in its
with
its
rich,
brass
its
acoustical exceOence.
sible for a
Hong
residential
Princeton
University at
(1970-2),
is,
in
New
Princeton,
modern
a late
effect,
Jersey
building
The Shezan
Charles
Gwathmey (born
York
20.26
Richard Meier,
Five,
moved
to
New
practices
Stadhaus, UIrr,
Germany, 1993.
complex arrangement
themes of
absence of decorative
detail.
Gwathmey
and
New York
(1966).
Its abstract,
with
Robert
Siegel,
the
on Long
geometric
total
designed a
Now
firm
in
has
fire
damage.
New York
restaurant interior in
room
to
the
New
Siegel firm
an oppor-
simple furniture in
its
bril-
In
1996,
Gwathmey
Siegel
inserted into an
new
in green surfacing,
reading
desks
provide
connective
many
all
500
sockets
for
lobby
level
occupy
house (1965)
at Darien,
at East
Center in
around
New York
(1984-98),
claimed
to
be
twentieth
the
largest
century,
is
366
the old
projects in
city. It
stands in a plaza,
its
curving, white
Open
space
is
threaded
and public
offices
on
a top floor
(fig.
20.26).
The
interior
is
flooded
larly
The
flowing
legs,
can be viewed as
functional object.
chair designs
cast
its
tiny seat
is
Aha).
an
Trip,
designer,
industrial
and other
contact
between
the
ancient
tical.
objects, all
more
and Prince
Starck
has
juice squeezer,
unpredictable.
building.
and
in Paris (1987;
no
Individual Stylists
widened
clock at
its
as
it
top
(fig.
Fantasy elements
and hotel
interiors.
Starck
in
New York
(1988) has a
Some
late
does not
any of the
stylistic
designations that
first
main
one side
At
New
as
it
rises.
Starck's selection of
20.27
Philippe Starck,
in
existence).
and
clocl<
the giant
tapering stair
demonstrate the
post-modernist accep-
elements.
367
Chapter Twenty
20.28
(right) Philippe
Paramount
Starck,
New
Hotel,
York,
In this hotel
the floor
1995.
guest room
carpeted
is
in
and
framed reproduction
dominate the
picture to
room.
20.29
(far right)
tapering stairway
lighting
and
aimed upward
from floor
generate a
futuristic
level
mood
fantasy
of
in this
Asahi
office building.
post-modern furniture
a carpet
marble
is
arranged
groups on
in
Bedrooms
floor.
dominated by
are
headboard
for the
outstanding
the
relates
examples
of her
simplicity
of
offices
of Ecart are
approach,
early
which
modernism
to
on
a carpet
(fig.
20.28).
stainless steel
bowls
are
round
top of a stainless
fitted to the
An
exterior of reflective
form
sculptural
is
Tokyo
glass
tall
(fig.
covers a
a gigantic gilded
slanting wall,
The
marbles and
women's room
is
an essay
in fine
Chaux-de-Fonds, an early
Turque
work of Le Corbusier.
Putman's museum interiors in older buildings
in Bordeaux and Rouen adjust simple details to
(fig. 20.30) in
existing
spaces,
Club,
hotel,
and
restaurant
(fig.
20.31).
interiors
in
glass.
new
is
Putman
its
own
firm. Ecart
now
runs her
368
Gray
to
the
New
elegantly simple
her work.
20.30
Deconstructivism
(/eft)
Putman,
Andree
interiors at
Turque, Chaux-de-
Villa
Fonds, Switzerland,
into use to
emerged
in
legitimacy with a
1990s.
York exhibition
in
1988 organized by Philip
Johnson and Mark Wigley. Drawings and models
of unbuilt works in which broken up, loosely
assembled parts, and elements seemingly torn
apart
term
and reassembled
itself refers
in
chaos were
The
tising firm in
and
it
early
window
garden
for the
Villette
MOMA exhibition
in
Paris
(fig.
reality.
20.32;
sitting
viewed
facing a
but
original,
is
blinds
The two
silk.
Eileen
from 1927, by
Cray who had
exhibited with Le
is
frag-
The
important
room area
1988,
preserved-
on assembly of broken
p.
and Rodchenko,
often focused
by
villa
Le Corbusier (see
who
typical.
1988.
The 1916-17
at
Exhibition in
1937
La
1982-5), in which
d'Art
Bordeaux, France,
1984.
The old Lame ware-
house
was converted
to
accommodate offices
and a museum of
modern art to house
the
city's collection
of
flastiques
Contemporams (CAPC).
The brick and masonry
arches of the old
and the
wooden roof that they
building
preserved The
restaurant space
is
dominated by the
circular weaving used
as a wall hanging.
by
Ecart.
369
Chapter Twenty
20.32 Bernard
Tschumi, Exhibition
Building,
Parcde la
1982-5,
Villette, Pans,
This
one of a number
is
of structures distributed
tfirougfi the large Parl(.
A ramp
leads to
an
upper
level accessible
to the
public Red
and
20.33
Peter
ions, all
(House
III),
Lakeville,
into
complex geometric
realities,
Intersecting cubes
generate a complex
tions
Connecticut 1970,
geometry, which
is
emphasized by the
all-
platform
wood of the
and the distant
glimpse of outdoor
so that
Several
larger
building
units
contain
complex
accidental.
architectural
elements.
New
York.
main campus.
Eisenman
Eisenman (born 1932),
Peter
the
New York
Five, has
first
known
as
one of
A series of
Roman numeral identifi-
Miller
370
House (House
inside
and
III) at Lakeville,
out.
The
Connecticut
conventional
the
new
building
older
galleries
20.34
Peter
Eisenman, exhibit
colors to identify
Canadian
installation,
Montreal, 1994.
Green stands
In this exhibition,
which
of Artificial
Excavation,
"
Eisenman
customary practice of
Cehry
using white to
intro-
tity,
known
practitioner
working
in this idiom.
He
first
Los
in
on
example, relates to
design for projects
house
to the
house and
this
e.xterior
collisions. In
random and
rials
projects have
a
chaotic interplay of
and colors
inside
come
(fig.
to Gehry, he has
and
that intersect
and overlap
one
in collision,
at a
45
an abstract study
is
all
accommodates the
lives.
In
in rectilinear sculptural
Museum
the
Some
realities
of
simple furni-
of the occupants'
Modern Art
exhibit,
bined
is
typical
In the
Ohio
(1985-9),
passage to
University
itself.
loosely
The
recom-
at
Columbus,
Ohio
long
spinal
series
of units including,
point,
some curved
at
main entrance
the
tower-like units.
An
all-interior
his
work
Canada
(fig.
of
series
Wexner Center
State
and then
museum
20.34; 1994).
and
by
installed
building in Montreal,
The
Weil-am-Rhein,
Germany
(1990),
interior
Museum
Vitra
is
at
such
an
at
unexpected
modern
angles.
the
Internally,
collection.
The Frederick
long spine
and connects a
moved toward
produce
that
The
mate-
As major
in collision externally
(1970),
common
20.35).
almost
simple,
R.
in
combines
Minnesota
Minneapolis,
(1994),
conventional
gallery
with
plan
The
rooms at
eye level, but become startling overhead where
great truss forms (all in white) and curving
by
its
steel.
Gehry's Guggenheim
(1998),
Museum
applies
to
the
Museum
concepts
the total
in Bilbao,
of the
Spain
Weisman
371
Chapter Twenty
20.35 Frank
Cehry,
of his
remodeled suburban
house, Gehry demonstrated his enthusiasm
for elements that
appear
to
hove been
ships.
Although the
is
quite func-
Spam, 1998,
museum house
similarly
complex
spatial relationships.
that depart
shapes.
and
Gehry has
computer-aided
exploited
design
potential
the
make
to
freer
of
forms
possible.
Gehry
is
wide
slabs
cardboard, laminated to
several
inches
thick.
Their
The Wiggle
chair
is
the best-
was reintroduced by
known
1990-2,
Gehry
was commissioned
1992.
In
Vitra in
tables for Knoll.
of
chairs
and
develop
a
group
to
design of the group;
The
it
wood
372
and ottoman.
Other Trends
East-West Crossovers
(fig.
Museum
20.37).
The same
IMAX
The emergence
designers as
prominent
its
and
growing
Earher,
practice.
inter-
western
and
travel
The
and study
and
in
many younger
simplicity
logic
Japanese profes-
of traditional Japanese
The Chikatsu-Asuka
Historical
at
once
a minimalist
Ando
to
the
drum from
waterfront.
is
Suntory
a seafront
theater rising in a
elements
Rectangular
Aiura,
The main
hall
on
(fig.
is
down
in terrace
platforms
natural
ceiling
is
made up
of trian-
house
tapered cylinder
down
movement of
architect's
Museum
in
(born 1941)
museum's
is
visually interesting
Just as
and
acoustically effective.
moved
into the
design
Museum,
Historical
the
main exhibition
model of an
space, a
ancient burial
mound
at the lower
level.
ramp
rises to
level,
which gives
circle
an upper
visi-
tors access to
on
display.
The
subdued ambience
reflects the traditional
Japanese respect
accorded
to the
ancient
materials exhibited.
373
Chapter Twenty
Setagaya, Toyko,
1982-6.
Simplicity of form
and
suggest a meeting
Modernism.
20.39 Fumihiko
Maki,
Kirishima International
1994
and
the
auditorium to improve
the acoustic of the
space. Balcony seating
IS
extended
in
a senes
of stepped levels as
it
Natural
wood surfaces
worm color.
introduce
374
story
administrative
Disney
building
in
seeming
of Yoshio Taniguchi
collision.
(born
of
Modern
Art
is
The
1937)
Museum
Team
for
at
United
center
New
selec-
as
the
York's
another indication of
The
loss
Roman
classicism by
Union
(c.
1975), for
New
restoration
Preservation
1927)
the
of so
many
loss associated
is
way
in
which the
details
of historic architecture
20.40 ErickVan
Egeraat Associated
ING Bank,
Architects,
Budapest, Hungary,
1995,
/\
less
an
existing nineteenth-
room
its
character.
futuristic
glass-
at the
left.
Chairs
designed by Charles
boardroom
table.
375
Chapter Twenty
nineteenth-century building in
by EEA
Associated Architects
in
is
old.
rises
buildings offer
floors
of the
surrounding the
becomes
and
boardroom
for the
ribs
bank
demands on
their
and engineers,
York, 1992.
older building,
been designated
destruction,
for
was
environmental concerns
to
minimize energy
consumption, to
provide efficient waste
recycling
and
and
disposal,
to use materials
windows as sources of
light
and
ventilation.
maximum
reflectivity to
light,
and
conserve
the lighting
maximum
efficiency
natural ambience.
376
its
of environ-
has
the
increasing
problems has brought with it increased consumption of raw materials and increased demand for
desire to preserve
come
and
air
realization
late
twentieth-
artificial
lighting,
New
less destructive
structures
heating,
An
made
Audubon
National
more depen-
is
in tan.
Society Headquarters,
suggestions:
interior shape
Green Buildings
Architecture Designers,
many
buildings can be
Collaborative
becomes
reflected
The unique
20.40).
forms
20.41 Croxton
it
(fig.
in
by increasing demand,
conservation
above the
strained
logical to look
1956)
occupy the
Offices
ING
become
Bank.
(born
for the
Budapest,
a drastic reconstruc-
1891 eight-story
cost of
new
windows
skylight
loft
space.
full
renovation preserved
Glossary
Guide to Pronunciation
aisle
shown
in large-size
shown in small-size
letters. Most of the
syllables are
capital
or combinations of letters,
may need
following
of the
at the side
clarification:
alignment Prehistoric
arrangements of large stones
cat
ah
father, clock
ay
date, play
dh
that,
aqueduct
net, berry
it,
open
igh
ice, light
kh
Bach
French bon (shows that
the vowel is nasalized)
side.
Sculptural carving of a
symmetrical balance.
atrium (AY-tree-uhm) In
Roman
ancient
architecture,
A bridge
beneath
structure
A series
roof
OH-
buh-SAHN) A handmade
French rug or carpet with a
flat
oh
ou
u
open, cold
an opening.
architrave (AHR-ki-TRAYv)
ue
put,
uh
zh
ow
traditional carpet
an entablature.
archivolt (AHR-ki-voHLT)
molding on the
arch following
column.
curve.
armoire (ahrm-WAHR) A
movable wardrobe cabinet
with door front.
Interior
and
DEK-oh) A decorative
A decorative element
style
bottom of a furniture
post or
modern
handrail.
movement
century British
art
19th-
and design
movement
agora (AG-uh-ruh) The open
market square of an ancient
Greek city.
378
technological
VOH) A late
projecting
reel
carved
and semi-cylindrical
spherical
form.
beam A
horizontal element
Beaux-Arts (boh-ZAHR) An
architectural style developed
at the French school of art
and design in Paris, the Ecole
des Beaux-Arts.
forming
strips
of wood into
leg.
baluster (BAL-uh-stuhr)
column supporting
made by
this
technique
architectural
and
stylistic
development using
flowing curves and nature-
developed
France.
19th-century
Italy.
An
movement of the
latter half
of
Morris.
in
16th-century
in
betonbrut (bay-taw"-BRUET)
The French term for exposed
reinforced concrete.
barrel vault
aesthetic
A masonry vault
of
bilateral
symmetry Design
a tunnel vault.
symmetrically placed
is
designated as bentwood.
Baroque The
developments.
branches.
element.
bentwood A technique of
window
ball element.
tree
identical elements.
bead and
ball foot
(Aii-uh-
arris (AR-is)
meet.
Adirondack style
RAHN-dak)
face of an
its
of design.
A unit of a structural
book
development of modernism
bay window
oe
sound,
think, sing
,
in all aspects
ng
arches.
Bauhaus(BOU-hous) A
German school of art and
bay
weave.
axminster (AKS-min-stuhr)
of adjacent
flat
aubusson (oH-bue-SAW",
decoration.
a Christian church,
having a high central nave
with lower aisles on either
bas-relief (BAH-ri-LEEF)
open courtyard of
a house. By extension, any
central open space.
attic The upper story of a
arabesque (AR-uh-BESK) A
light and flowing surface
arcade
became
blocks.
the central
big
made up of such
astragal (AS-truh-guhl)
^symmetry Avoidance of
chancel.
beads.
mother
Originally, an ancient
chancel of a church.
Roman
in straight lines.
fireplace.
'^
A passage
nave of a church.
artificial hill.
basilica (buh-SIL-i-kuh)
in the
locations.
Glossary
on
and recessed
either side
in
New
England)
cabinet makers.
tortoise-shell inlay
developed
in
work
as
Wood
(finger) joint
joint
teeth.
breakfront desk
made up
bookcase with
desk below.
furniture
ot an
upper
a projecting
brownstone
Soft
brown
architectural style
made
irregular
chaise longue
(shavz-LAWNG)
A grouping
Use of decorative
elements derived from
ree)
caldarium (kal-DER-ee-uhm)
horizontal projecting
beam
only
at its
inward end.
classical
column.
Carolean (K.'KR-uh-LEE-uhn)
The English style of the time
of Charles 11.
Carolingian (tj\R-uh-LIN-j(ee)
in
England.
originally occupied
by the
choir of monks.
churrigueresco (CHOOR-ee-
guh-RES-koh) Spanish
Baroque design of 1650
to
1780.
cimborio (sim-BAWR-ee-oh)
Spanish term for a lantern or
elevated structure above a
main roof to permit window
clapboard (KLAB-uhrd)
element such as
base of an arch.
overlapping horizontal,
flat
also, in
woodworking, a groove.
Danish Modern 20th-century
decorative and furniture style
developed in Denmark.
Dante chair (DAHN-tay, -tee)
Renaissance folding
and back.
era.
A projecting element
a
beam
or the
grouping of carved
(acanthus) leaves around the
capital of each column.
cornice The topmost element
of an entablature or any
projecting element at the top
Spanish Renaissance
decorative style using
design.
Directoire (dee-rek-TWAHR)
(1795-1804) emphasizing
ancient
Roman
decorative
elements.
sii (dee-SAWT-tawin-SOO) Ceiling painting in
perspective with upward-
di sotto in
looking illusion.
or recess.
dolmen A
Craftsman Movement
American design and
furniture style based on Arts
and Crafts movement in
England.
credenza (kri-DEN-zuh)
prehistoric grouping
of stones made up of two or
three upright stones topped
with a horizontal. Probably
part of an ancient tomb.
dome A
shelves or drawers.
be hemispherical, flattened
crocket
Ornament using
foliage.
openings.
Renaissance church.
cathedral or church,
boards.
applies
of a wall.
it
supporting a structural
cathedral.
Napoleonic
corbel
A chair
materials to which
intended for
separated elements.
cabriole (KAB-ree-OHL)
force tending
buttress.
stress.
chevet (shuh-VAY)
elements.
wood
seat
to squeeze or compress
element of masonry
structure providing bracing
buttress
centering Temporary
Roman
Italian
compression
Renaissance
closure.
piece of furniture
shelves.
arch or vault.
containing drawers or
open
by extension, a
monastery or convent.
coffer A hollowed out panel in
a ceiling, vault, or dome.
colonial Design from a period
commode A
temple.
this material.
Window
cella
Modern
used as
support carved in
form.
casement window
KAR-
wall.
courtyard of a monastery.
a structural
human
France by
Charles Boulle.
or openings in the
Also,
wood.
A column
Windows
cloister Enclosed
ee-uh-TiD)
clerestory (KLEER-stawr-ee)
upper part of a
caryatid (K^R-ee-AT-id,
unit
box
An underground
a Latin cross.
crypt
space
dormer A
projection
on
379
Glossary
architectural orders.
window
window;
also, a
capital, often
A woodworking joint
classical column.
Etruscan style Decorative
based on early ancient
Roman
of tapered form.
making.
drop-leaf desk
swelling or outward
supporting
arches above.
in
The
entasis (EN-tuh-sis)
style
bent
The second or
middle band of a classical
entablature and, by
extension, any horizontal
decorative band.
frigidarium (FRll-i-DER-ee-
uhm) Chamber
of ancient
bath containing a
Futurism
for conversation.
Italian art
and design
style
and speed.
expression.
front desk.)
fan vault
roofs.
An
fasces (FAS-eez)
Roman symbol
in the
ancient
of imperial
form of a bunch
florid
introduced by
Thomas
Eastlake.
fauteuU (foh-TUH-ee) A
French Renaissance
upholstered armchair with
A period
architecture
of American
and design
The borrowing of
design from various earlier
colonial era.
periods,
common
in
architectural
and
interior
design of the
first
half of the
20th century.
molding
feudal system
The
in classical
in fantastic
A table with
General Grant
style
American
George
authority of a hierarchy of
rule.
crown ornament.
Flamboyant The last period of
to
George IV
(1714-1830).
ornament.
girandole (JIR-uhn-DOHL)
(1558-1603).
flying buttress
as
golden
A buttress of
mean A
proportion
in
ratio or
which the
number
smaller
Napoleon (1804-14).
The
380
columns of classical
is
to the
is
to the
sum
of the two, or
A:B=B:A-t-B.
vault.
folded pilaster
A pilaster
fitted
brick or plaster.
hall
which
the base
of truss
a horizontal tie at
is
omitted.
system of wood
in
without
elements.
by
A vault formed
half timber
form.
gate-leg table
A top
are used.
groin vault
such form.
governmental system of
medieval Europe based on
the holding of land and the
finial (FIN-ee-uhl)
(1869-77).
abacus.
eclecticism
used.
above.
open arms.
Federal
pointed arches.
gargoyle (GAHR-goil)
in
Eastlake style
power,
enclosing alcove.
are used.
precedents.
frieze (freez)
Roman
A box-form
it
or folded form,
and cornice,
dosseret (DAHS-uh-RET)
used
It is
three
placed in such a
projection.
dovetail
made up of the
highboy A
tall
chest with
many
drawers.
and design
advanced technological
design, such as that of aircraft
and spacecraft.
hipped roof Roof with slanted
surfaces at ends as well as at
fi-ont and back.
historicism The practice of
using historic forms in
design.
humanism Thought
or
Glossary
philosophy based on
human
hypocaust (HIGH-puh-KAWST)
A hollow space beneath the
floors of
Roman
some ancient
many columns
supporting a
roof structure above.
of a courtyard
at
the base of
an arch.
inlay Decorative surface
ornament made by
inserting
abstract
International style
and
Ionic (igh-AHN-ik)
The
Column
for late
19th-century German,
Austrian, and Scandinavian
design of Art
Nouveau
character.
buildings providing
The term
SHTEEL)
Low quality,
Italianate (i-TAL-yuh-NA^T)
kuhm) Chamber of an
Roman
ancient
Also, a fabric
made by the
jacquard process.
Jugendstil (YOO-guhnt-
TAWRZ) The
French
style
of
and design
reign of Louis
XIV
as a
XV style
(LOO-ee-KA"Z)
of
style
modern
finishes of similar
is
used for
made from
character
synthetics.
A windowed
structure
describe late
architecture
modern
(often
wood
strips that
form
A cross
three equal
having
longer one.
Liberty style
XVI
The design
style
1790 in France,
of 1 765 to
named
Nouveau
British
term for
style.
wooden
ornament suggesting
folded linen.
A horizontal member
classical
Doric
used for
rows of larger
mezzanine (MEZ-uh-NEEN,
intermediate partial floor
a principal level
of a
in a
Mecca.
little
style (i.oo-ee-SEZ)
for
Louis
angle to
fit
at a
an
corner of the
(usually right-angle)
intersection.
maksura (mahk-SOOR-uh)
Sanctuary area of an early
mosque with wood or stone
applied to
and design in
Italy toward the end of the
Renaissance, in which there
was an effort to escape the
strict classicism of the High
Renaissance. The term is also
used to identify work in
northern Europe in the 16th
and 17th centuries. The term
has been applied to modern
work which attempts to
replace the domination of
Modernism.
mansard roof A roof with
architecture
linenfold Carved
lintel
Louis
Mannerism A term
used to
20th-century
surface
usually
perforated enclosure.
dome
late modern A term
Art
is
restraint.
slats.
lath Thin
reigned from
characterized by Neoclassical
rising
for
designated as Rococo.
The term
lantern
who
named
surface.
of a
building,
of the period
frieze
entablature.
MEZ-uh-NEEN) An
promote
The French
In
above
Louis
palaces.
bath using
sweating.
Greek
houses.
the king
lacquer
Latin cross
early
metope (MET-uh-pee)
covered
porch or verandah with
columns supporting the roof.
Louis XIV style (Loo-ee-kuh-
period 1730-65,
plaster.
Jacobean (lAK-uh-BEE-uhn)
English design dating from
the reigns of James I and
Charles 1 (1603^9).
jacquard (JAK-ahrd, juh-
laconicum (luh-KAHN-i-
precedents.
loggia (LOH-jee-uh)
architecture
poor taste.
klismos (KLIZ-mahs) An
ancient Greek form of chair
with fonvard curving front
legs and curved rear leg and
back supports supporting a
concave curved back.
capitals
of a pairofvo/utes of spiral
form.
often
playful, design of
early
kitsch
developed
in the
French
Renaissance.
Mansardic
style
Moderne(moh-DERN)
French
language term for modern or
modernistic design.
Modernism 20th-century
architectural
and design
structure.
Modernistic 20th-century
decorative design using
module A
in a series
of repeated units
making up
modular
American
vertical stilts
marquetry (MAHR-kuh-tree)
using inlay in
veneering.
design.
modulor A system of
styles
wood
which may
curve outward.
381
Glossary
is
images.
mud
drying
in a
mold.
mudejar (moo-DHAY-hahr)
Spanish decorative
style
mullion (MUHL-yuhn)
vertical
panels or panes of a
dome
to a square
space below.
peristyle
A sequence of
columns surrounding
or door.
porch or vestibule
perpendicular
the front
at
A style of
and design
derived from ancient Greek
and Roman architecture.
architecture
Norman The
and 12th
style
of the
1th
oculus (AHK-yuh-luhs)
opening or window
at the top of a dome.
oecus (EE-kuhs) The main
room of an ancient Greek
house.
of
Roman
on column
and entablature. The three
architecture based
palazzo (puh-LAHT-soh)
is
surface panels.
382
by
form of
surface enclosed
framing. Paneling
complex
wood
and
tracery.
decoratively.
horizontal emphasis.
architecture, small
periods of vernacular or
modifications in seemingly
straight lines
and
of
and geometric
relationships intended to
the 17th
often admired
and improve
aesthetic
qualities.
Regence(ray-ZHAH"S) A
French design
of the
style
temples.
pUaster (pi-LAS-tuhr)
form of a column
(1811-20).
reinforced concrete
quadratura (KVVAH-drah-
TOOR-ah)
Illusionistic
painting in perspective on
embedded
walls or ceilings.
absorb tensile
and
scroll elements.
(pi-LAHT-ee) Massive
column
quadro riportato
pylon-like support
above ground-floor
Spanish design
style
of the
suggesting the
work of a
Queen Anne
droh-REE-pawr-TAFI-toh
this pattern.
A colonnade
at
style
the entrance
in the
second half
quoin
to a building.
queen
The style
(reigned 1702-14).
was revived
a
English design
named
reja
in
concrete to
stresses.
(RAY-hah) An elaborate
(KWAH-
level.
Plateresco (PLAT-uh-RES-koh)
first
druh-PAHR-tight) Vauhing
in which each vault is divided
by ribs or intersection lines
steel
A system
of construction in which
characterized by rich
prairie
architecture.
silversmith.
as
panel
Gothic architecture
decorative elements.
of English Gothic
piloti
One
circular pattern.
rayonnant (RAY-oh-NAH") A
13th-century phase of French
pillar
circular
and use of
flattened
centuries.
historicism
English
Romanesque
at right
A line
work, characterized by
narthex(NAHR-theks) A
post-modernism 20th-century
architectural and interior
design succeeding modernist
inserted into a
opening (mortise).
colored stone or
tongue
a projecting
(tenon)
in
(koin, kwoin)
other personage.
dominant.
reredos (RER-uh-DAHS, REERdahs) A screen behind the
altar of a church usually
sculptured or decorated.
II
of England.
kuh-KOH) A
of a building forming a
architecture
horizontal
or lintels).
A basic system
style
of
and decoration
members (beams
radial
symmetry Symmetry
made
which
Glossary
and more
delicate decoration.
pantp,'.
scroll
.saw capable
away.
complex
Roman
arch
An
arch of
Secession
ancient
Roman
architecture.
in
Europe characterized by
use of
Roman
arch forms.
developed
in
'
window The
window, usually
round
large
in
the facade
of a Gothic cathedral or
church.
and 18th-century
England and America.
sedia (SED-yah) Italian
upper
tall
buildings, a
level to
A small,
the
style as
developed by
American Shaker
robing of clergy.
sail
an interior space.
A house form
salt-box
lower
at the rear
in
which
much
of the
form suggesting
commonplace kitchen
salt
Savonarola chair
{sa\
-uh-nuh-
Italian
factory at Savonnerie.
screens
hall
late
style
Victorian era in
Room
adjacent to the
of a medieval
house acting
manor
as a vestibule or
as
it is
splits.
cylindrical
and spherical
elements.
stave church Early medieval
members.
tabhnum (ta-BLIGH-nuhm) A
small room or alcove in an
ancient
Roman house
at the
from
solid
masonry
Wood joint
matching groove.
fitting into
torchere (tawr-SHER)
torchier(tawr-CHEER) Stand
or fixture holding torches or
candles to provide lighting.
borrowed from
historic precedents.
either side of a
cross-shaped (cruciform)
plan.
transparente (TRAHNS-pah-
REN-tay) An elaborately
sculptured backing for an
Spanish cathedral,
altar in a
trefoU(TREE-foil, TREF-oil)
Roman house
using
external surfaces.
tepidarium (TEP-i-DER-ee-
moderate heat.
terrazzo (tuh-RAHT-soh, RAZ-oh) Small chips of
marble imbedded in cement
and polished to form a
smooth surface
suitable for
square.
triforium (trigh-FAWR-ee-
uhm) The
gallery
triglyph(TRIGH-glif) A panel
carved in three vertical strips
used
in alternation
with the
ornamented the
Greek Doric
metopes
entablature.
textile
above the
flooring.
that
frieze of a
triptych (TRIP-tik)
A three-
thrust
Roman
trabeated (TRAY-bee-AY-tid)
as a floor.
split lath
container.
ROH-luh)
shingle
colonnade.
center line.
to
religious society.
Room
a classic
and
style Reserved
simple
The
Flexible sliding
Renaissance.
restraint
or from buttressing.
arm on
the 1920s
another as
Shaker
leather.
in the form of
hanging garland.
symmetrical balance Balance
achieved with matching
elements on either side of a
Renaissance chair.
set-back In
developed
houses.
sexpartite (seks-PAHR-tight)
rotunda (roh-TUHN-duh)
Round, domed interior space.
row house A house built into a
continuous row of adjacent
swag Decoration
7th-
stylobate (STIGH-luh-BAYT)
sculptural element.
in
marketplace (agora)
style.
Interest in
rose
A movement
at
1860s.
Romanticism
as
Vienna
of cutting
curves.
The outward
force
form doors
to cover the
center panel.
trompe-l'oeil (trawmp-LOI)
383
Glossary/Bibliography
Realistic painting
technique
the eye").
dome-topped buildings
typical
of Apulia in southern
developed
in the
20th century
by Le Corbusier.
Usonian (yoo-SOH-nee-uhn)
wood
of early
to 1558.
turkey-work Embroidery
imitative of oriental textiles
tympanum (TlM-puh-nuhm)
formed
triangular panel
within a pediment.
Italian
of better design.
Werkstatte (VERK-shte-tuh)
Austrian organization
in
country house,
TAY-dah-bee-tah-SYAW"
Term
into
A spiral
Windsor
(chair)
A chair with a
many
wood
thin
is
in character.
turnings to
elements.
WPA style
Architectural design
American governmental
agency using stripped
classical
forms.
churches.
yurt (yoort)
A movable round
ornaments.
Mongolian
tribes.
5000
New York:
as
German medieval
wigwam A
volute (vuh-LOOT)
given to large
apartment dwellings
usually of considerable
luxury.
an
An
later
Austrian, organization
Werkbund (VERK-bunt) A
German, and
in
Renaissance England.
in
skuht)
A masonry construction
vault
The
wainscot (WAYN-skaht,
Renaissance.
style
Renaissance architecture of
England
vargueno (vahr-GAYN-yoh)
form of drop-fronted desk
developed in the Spanish
triangulation.
Tudor The
in the capital
Italy.
major element
form
as a back.
Bibliography
General
Ball,
2 vols.
New York:
&
J.
Wiley
Sons,
1980
Battersby, Martin, The
New
Decorative Thirties.
York: Walker
& Company,
and Furniture
Nostrand
ed.),
1985
Complete Guide
to
Furniture
Waveland
Press,
History of Architecture.
A Critical
New York: Oxford
Architecture:
History.
New
Present:
The Beginnings of
New York:
Architecture.
Connoisseur's Complete
Pantheon, 1964
New York:
Space,
Time and
Cambridge, MA:
Press,
to
MA: Harvard
Cambridge,
1981
Fletcher, Banister
(Musgrove,
J.,
New
Simon, Dictionary of
Harmondsworth, England:
Penguin Books,
Kostof, Spiro,
Ltd.,
1984
History of
New
Press, 1995
Concise History.
New York:
1941
New York:
Harry
Architecture.
Harvard University
Years.
N. Abrams, 1993
Butterworths, 1987
Hamlyn, 1963
the Present.
London:
ed..
Facts
Reinhold, 1997
384
File,
Copplestone, Trewin,
Interior Guides.
to
1997
on
New York:
1969
Heights, IN:
Furniture.
McCorquodale, Charles,
and
Bibliography
New
Society.
York: Frederick
A. Praeger, 1969
Oman,
Badawi,
Charles C. and
ami
Illustrated
New York:
Harry N. Abrams,
1982
New
European Architecture.
to
Walter
(rev. edn.).
Harmondsworth, England:
Penguin Books, 1966
,
and
New
Design.
John, Furniture,
Post
Modern.
John Wiley
&
Modern
New York:
Sons, 1990
F.,
History of Furnishing.
New
Englewood
Culture.
Cliffs,
Edwards,
1620-1920. London:
Trachtenberg,
Hyman,
&
Myron and
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de
la
Communication
Patrimoine
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et
du
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I'Archeologie
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1.5
Florence
l.MiuIohn
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7.1, 7.9
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New
London
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photo
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AKG, London
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of Art, London
7.4
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Pile,
Fotografica Foglia,
Naples
Library. Courtauld
London
7.16 Giraudon,
Paris/G.Biot-C.Jean
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London
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3.16.3.20.3.21
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London
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London
16.7
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London
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New York
19.16 (iiiggenheim
|.S.
10.7 A.F.Kersting,
Preservation Society of
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London
19.20
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10.4RCHME
14.5
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The Merchant's House Museum,
New
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Freeman. London
Washington
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14.8
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Mamaroneck NY/photo
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19.22
20.2
Timothy
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London
17.6 Paul M.R. Maeyaert
17.7 DACS. 2000
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10.18, 10.19
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1.4
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2000
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12.3 Arcaid,
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12.4 A.F.Kersting.
London
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lohn
Pile,
New York
Department
12.15 Arcaid, London/Richard Bryant
12.16 Courtesy Beurs van Berlage. photo
Library. Print
15.7
New
Art,
York.
DACS, 2000
13.2 Gift of
Image
Paris
2000
13.4
13.11
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of Finnish Architecture.
13.12
15.19
FLC/ADAGP,
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Peter Kent,
Paris
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and DACS. London
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Anderson
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15.21. 15.22
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Paris
2000
15.20
Helsinki
King Archives.
photo Ralph Lieberman/ ARS, NY and
DACS, London 2000
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of Finnish Architecture,
Pictures.
London
VSBA, photo by
Matt Wargo
France
Mamaroneck NY/photo
82A46-I5.
Calmann
Peter
Aaron
Vienna
20.22
Mamaroneck NY/photo
rights reserved.
20.23
Angeles
18.11 Courtesy Avery Architectural
and
rights reserved.
20.25 Courtesy
New York
York
Damora,
Stoller. All
2000
The Museum of Modern Art, New York
18.14 Photo by Paul Davis, Gift of Walter
Gropius. Courtesy the Busch-Reisinger
Museum, Harvard University Art
Museums
York
Bryant
20.27. 20.29 Courtesy Philippe Starck.
Paris
Paris
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DAO.
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Inc.
New York
&
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EEA
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Pile.
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Andree Putman,
Peter Mauss/Esto
20.33
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New
London 2000
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FLC/ADAGP,
Paris/
DACS. 2000
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London
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Mamaroneck NWphoto
Ian Derwig,
ARS,
2000
13.3
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ll.ieCourtesyVITETTA. Philadelphia
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Assriia 17
116,106,12)
235.
amdpieaavatioia 375376
BaskafE^and,LGn>dan 174.174
ies
of Frankfurt 371
AsfllBmi,GnBaar<AHS-|ihbBd) 297.
173-6. 176
Biocenter,Uni^'ersit>'
Adbee.C]uria8. 217
ZAY-rnl
(l>ahl-
As^aDdCiral&sMawiiQesist lAesiiietk
210-19, 239, 31
awoemoaij
36S,168
10
Nonnaiad}'
Bahani,V]Cr(t>ahl-TAHK) 189
BabsoKneCfibedxai 168
liaiifwL
256, 325
113
AnSmiMiiini
of^
BittiDore. Asho-iDc.
346
caicOMMS WO,
Affllscfc.T1luiaK((AF4dk]l 170
Baiks^'. f^aTfan
RWAHj
Birx'oet,
27D
lajrap)
AfflOteoo 259.290-303
Ora^jj
uhri 131
177;
tap. Jean
217
Amdo,Lc^f<3e(.<^H-ny-VAH-Ml) 132,
Aiieoosa,
188, 189
188, J 88
Biedermeier fumirare fBEE-duhr-MiGH-
03
I4S
a-TEK-NiH-s>a-N.MB.i
Bibliotheque
blee-aw-TEK-sE^T-zhulm-MflA')
Aroaie^Clauioode
Moorid)
RoBUDCaiae 42
AidaBcB'CulAui aiMe
P.37X.
AdaaiQ&,
52-3;
BE-blee-
bridges 185-6,304,304
Victorian period 193-5; eclectic snies
263-5: -An
336-7;
Deco
Festi%-al
srilc 296;
posi-war
of Britain 1951
1
336;
Index
285
Carpenter Gothic 196,199
Charles
I,
classical ci\'ilizations
Charles
11,
clav tablets 16
Bninel, Isambard
Kingdom
Brunelleschi, Filippo
186
Carraci. Annibale
BROO-nuh-LES-
see
France
Burlington, Lord 88
kahr-TOO-hah)
of,
Granada
lah-
oh) 66
Boot
77ie[ Sheraton
iSi, 153,
i5i
TEE-BOOR) 123
337
(1876) 196-7
(sen-TR.\HL-buh-HER,-HEERi
335,
335
Central Lutheran Church, Portland.
340, 340
Massachusetts
Universityl
Carpacdo,
\"ittore
5f.
<
kahr-PAHT-choh)
Augustine
in his
Study
90;
216;
An Nouiieau
226;
Modernism
Chippendale,
Thomas 152-3,163,361;
city house,
Mary [Wren
Renaissance 90, 91
New York
295. 295
Empire
style 128;
movement
221, 223;
Colosseum. Rome 28
Colt. Samuel 197
Colimibian Exhibition, Chicago 1893)
209, 242, 249
(
Columbus, Christopher 72
Greece 23.
Egv-pt
23, 24;
37
357
Arcftirecrure [Venturi]
computers 351,372,377
concert halls 311. 324, 334. 336, 336,
373, 374; see also auditoriums; opera
houses; theaters
New Canaan
ffl],
Shaker 202
30,
Viaorian 206-7,205
81
85-8. 88
Restoration
Art
London
Nouveau
257
324
post-war 331, 337. 338, 340, 340
late 20th century 348, 350
Churriguera, Jose (CHOOR-ree-GAY-rafa)
132
(shah"*-
koh) 132.154
Citicorp Building,
Constantine,
Emperor
31, 36, 38
engineering
15;
deconstructi\T5t 372
Carolingian style 42
period 196-7,206;
Chrysler Building,
chairs
Stumpf
100-1
89, 90;
146, 147
136
Maorian
John 136
Calv-in,
A Century
New York
252; Robie
CathoUdsm
Monadock
calligraphy, Arabic 53
Coleman
Colombo,
Exhibitions:
Oregon
Francisco
France (ZHahk-
of,
KOERl 69-70.69
350.350
Carmei
49, 50, 70
CBS.
Carlos Borromeo,
Quny, France
(DROH-goh)
S.
KLOO-
48
Lafitte},
Chicago
caves 10
California;
163
[religious sect]
122.151.170
The
122.
Qoister,
Paris(me-2AW"l 113,113.114.115
Chateau de Malmaison, Paris MAHL-meZ.\W"l 128, 128
342
docks
\'AY) 10
KAH-DAWR-
20-35
nee
i
cities
castles,
Venice. Italy
towns and
261. 264
Ca d'Oro.
cities see
41-2.
rah"-ZHAY) 231,231
58
TOH-duh-kaw"-P\TNl 127
132, 133
{KAH-suh-mee-L\H) 232
Iowa 501
Charlem^ne SR\HR-luh-MAYN)
shahrtl 56.58.59.60.61
Cass^GUberl 255
William 183
Butterfield.
buttresses. fl>ing
kahr-RAHT-chee)
{IC-KH-sah-daW-PAW-poh-loh) 308-9.
308
Casa Mila [La Pedrera], Barcelona
83-4
Carrere,
Burgundy
coQStructi\Tsts, Russian
369
[9u^]
cooking appliances
KOHN-
181
see kitchens
269
Copenhagen, SAS Royal Hotel 331, 332
Copernicus 72
Cotta^ Residences [Dowmngl 180
Cotte. Robert de. cfaapet Versailles
New York
341-2
(kawtl
118
391
Index
Counter-Reformation (Catholic) 92
Craftiinm. Tde |niagazine| 220,220
Cragside, Northumberland, England
DEE-duh-
ROH) 183
diners 299, 300
263, 264
Modernist
lighting
339
DEE-poh-
galleries:
70,371
Ellis,
(
an
and museums
exhibitions
258-9
World's
1930) 306
Fairs:
190, 190,
Empire
Philadelphia (1876)
crematoria 331
England
Crane
223
Crete 20
Cristobal [ocean liner], interior design
298, 299
London
Cubism
Cubitt, Lewis
186
Cumming, Rose
256, 324
Cunard
ships
liners
st'c
Cuvillies, Frani;oi5
333,333
lee)
dolmens 12
domes: ancient Rome 27-8; Renaissance
76, 76, 94, 94; Baroque 96-7, 96, 98-9,
Modernism 311-12
buildings: de la Warr
dams
Dreyfuss,
5,
1 1
London
290. 296
Italy 84,
84
facility
TSAH-tee) 75, 75
Davis, Alexander lackson
12, 12;
churches:
2;
354, 355;
72;
Stonehenge
Decoratifs
et
Paris (1929)
Industriels
Modernes.
L',
290
Expressionism 306
University of Cambridge,
Durham
Low Countries;
see
330;
352, 352
317,317,339
56, 62
houses: Belton
(fahr-NAY-zay) 82-4,
(19361 312
House
146; Castle
Rome
45, 154;
80
York,
Netherlands
12
Dumas offices
Brighton 172,
New
Dutch design
298,
dating, radio-carbon
Faber and
229
Durham
301
45-6
Henry (DRIGH-fuhs)
12
300, 303
da Cortona, Domenico
1925)
prehistoric structures
(KUE-vee-YAY) 106,
196-7;
buhrg) 270-1
Doge's Palace, Venice (DOH-jiz) 97, 97
Dohner, Donald (DOH-nuhr) 300
123
127-30, 169
style
Illinois
177,
277.314,323
fascism 263. 304. 306, 308
12
181, 1S2;
140;
de
De Wolfe,
De Wolfe,
Elsie
Elsie,
(duh-WULF) 255
The House
Good
Taste
Gothic
style
216,2;/
Denmark
Hedingham
Locke 197,216
Ebel [iewelry shop] New Y'ork 368
Eberson, lohn (EB-uhr-suhn) 261
Orchard, Chorley
Modernism 304-13
Edifices
de
Rome Moderne
Edis,
Robert
W.
392
Wood
New York
The
2\S.2I8;
Tampere
148,
49; Tyntesfield
Cathedral,
193;
universities
fire
educational buildings
254 31 1,324
and colleges: 66, 256-7,
[Erick
Van
Giza 17-18,
/7, /8;
Karnak, Egypt
J8,
Temple of Amon,
19; tombs 10, H,
176
Gustave(lGH-Rihl,e-FEL) 189
Abbey of, Zurich (IGHN-ZEE-
Van
375,
ING
Escorial, El,
Finnish Pavilion,
style 261-5;
Fair
16,
143,203
Church,
houses
Low Countries
Florence
flats see
Modernism
Einsiedein,
Europe: eclectic
299,304-13
Euston Station, London 176, 176, 184
Exeter Cathedral, England 62-3, 62
295
148,
schools 258,
300-1,321
EEA
shte-tuh) 217,236,238
88;
15
255-6, 346
Hoo
Mereworth Castle
Fiji
bunt) 225,238,272
148;
Letarouilly]
258, 25S
84
Early
300-1,321
York
7J;
style
Eastlake, Charles
255
deconstructivism 369-72
Decorated
Medici Chapel
(S.
Lorenzo)
Index
Chapel
Lorenzo 76,
77, 85-6; S.
77, 77; S.
Miniato
Cornells (FLAWR-is)
136
Washington
(FOHL-iuhr) 259
folk art 327.347
Folkets Hiis. Stockholm (FAWL-kuhtsl.).C.
HUS)
33
TWAHR)
style (dee-rek-
127
The American
Chippendale 163
Fonda/ione Bagatti Valsecchi. Milan 91
I
127
heating; lighting
5ft'
112, 128
furniture
181. iSJ
and furnishings
ancient
German
Pavilion,
Expo
World 19,34
and
and
and
and
buildings:
298
Modernism 304, 306-7
post-war 334-5
135
late
2, 143. 143,
France
cave paintings 10
prehistoric age
Romanesque
42, 44-5,
4-J,
45
Modernism 367
Ahes Museum,
buildings:
86,
126. 127
style
Modernism
278, 325
Erectheum
]teniple|,
52
American Colonial 157-8,163
Gestaltung,
fiir
334; Schaezler
Augsburg 104-5,
24;
Temple
of Apollo, Bassae 24
Palace.
French Rococo
Berlin
Ulm
140-1
industrial design
126, 128
12
Gothic 59-62
Nouveau
145-6, 147;
85
Renaissance 73-4
334-6
Norman
54-71
medieval 50-1,67,68,69
Montreal
67,
style
275,275,276
Pavilion]
German
primitive 15
Forest
335, 335
172
Germany
Fuller,
Regent]
American Georgian
Gothic
152, 152
352, 352
Freyssinet.
Folwell. lohn
domes
French Directoire
r/ie(Chippendale|
geodesic
Frei,Otlo(frigh} 335
Washington D.C.
215
05;
post-war 334-5
216,216.2X7,217,218
Art Nouveau 227, 230, 230
Art Deco 290, 292-3, 294, 295, 297
Weser
Gruppo
modern 269,287,287
Modernist 274.279.279,282,287,
319, 319, America 325-7, 325, 326.
Vterzehnheiligen, Pilgrimage
Art
Beaux-Arts
Mont
S.
style
244-6
Michel.
Normandy
45,
S.
Cluny, Abbey
Beaune
65, 65;
366, 367;
1,
1,
42;
Aachen
Michael, Hildesheim
S.
5ce(i/50
II
Munich
[Church of theGesii],
Rome
post-modernist 359,360,361
Futurama
Exhibit,
New York
303
Gilbert, C.P.H.
Gill,
Hans(GOO-guh-LOHT) 335
Guggenheim Museum, Bilbao (GOOguhn-HlGHM,GU- 371-2,372
Guggenheim Museum, New York 340,
Gugelot,
341
Architecture 107
Futurism 304,307-8
259
Irving 314
Gaillard,
Galileo 72
Emile(gah-LAY) 230,240
and museums
California
222, 223
366-7
198
Giotto (JAWT-toh,JAHT-oh) 84
Girard, Alexander
Galerie d'Apollon,
Galle,
style
New York
deconstructivist 372
(GROOP-poh-SET-tay)
7, Italy
102
321-2,337,341
307
Gesii,
299
02, 103;
Greene, Charles
M3, 321,
industrial design
Pilgrimage Church
323
post-war 328, 329, 330-1. 335;
late
Ulm
Stadthaus,
(juh-RAHRD)
327,
342, 347
13, ii, 50
England 67. 67, 140, 140
Hadtleld, George 177
Hagenberg, Frans, 136
Hagia Sophia, Istanbul (HAH-gee-uhsoh-FEE-uh, HAH-jee-) 40,40,52
post-war
|Viollet-le-Duc|
zhee-ROH
246
Giza, Great Pyramid, Egypt 17-18,77
Girault, Charles-Louis
glass
Italian
New Canaan,
Haddon
Hall,
Glass House,
314,375.323
Globe Theatre, London 140
Godwin, Philip L. 321
Hallet, Etienne
Chaux-de-Fonds 368,369
French Revolution
Massachusetts 171
koh-dee-IAWR-joh) 72
FrancisI, King of France 108, 112. 113
Franconia [ocean
liner]
265
NYAY) 246,249
295
Frazee, John (fray-ZEE)
177
style
196
Director,
Connecticut
194
(ah-LAY) 167
Hardwick
70, 71
347
Hardenbergh, Henry
BUHRG) 205
Hardouin-Mansart,
mah"-SAHR)
Hall,
I.
(HAHR-dn-
Jules
(ahr-dwe"-
393
Index
Harris, Harwell
Hamilton 319
KAHR-nuh-vah-LE) 115
duh-DYOE)
BEEZ)
321
Hastings,
Thomas
124, 124
252, 255
LEE) 115
Hotel de
65, 65
YET)
Villette, Paris
J
(oh-TEL-duh-vee-
09
Rome
Illinois:
375
40, 52
196
Italianate style
Italy
Gothic
64
style
Renaissance 72-91
Baroque
114, 115
igloos 13, 14
166
style
Modernism
67-8
94-100
304, 307
modern
illusionism,
Baroque 92.97
illustrations 123, 136,229
377
Hedingham Castle, Essex, England 47. 47
Hedquist, Paul(HED-kvist) 311
Henry
England 71
Hepplewhite. George 152. 153. 169; The
Cahmct Maker and Upholsterer's Guide
Ititerior
174, 175
Fiji,
Hugh
65.
65
Company
326-
Herrera. Juandeler-RER-ah)
132
Herman (HERTS-BER-
88,
Lugano 308
interiors
primitive 15
Jacquard
James
high-tech 351-7
Art
Hill
Nouveau
197,216
Hitchcock, Henry-Russell 273. 304, 314
Gestaltung, Ulm,
jazz
Jeckyll,
Jefferson,
3/J,312;functionaIism 304;
Modernist 365,366
Hope, Thomas
humanism
174, /75
(HA WR-tuh)
228, 229-30
(1937)309
363
h>'postyle halls 19
TEL-boh-DAHR-duh-se''-ZHEMS,
ZHAHM)
126
LOH)
394
123
ture
furni-
London (1862)
215
Jones, Inigo
lones.
Owen
142-3, 149
207
internationalism 348
Invalides, Les,
Center 294
International Exhibition,
Finn(yool) 297,331
luillard
School of Music,
Juvarra, Filippo
342,
(yoo-VAHR-rah) 99
121, 121
ISD
343
KAH-
le-vah) 333,334
New York
343
see also
Illinois
339
337,
369
Johnson Wax Building, Racine,
Wisconsin 318-19, 3iS
order 94
Jesuit
post-war 329,331
houses
Jekyll,
John Deere
late
1,
Thomas 215,216
Thomas 88.165-6
deconstructivist 372
Horta, Victor
music 290
Household Furniture
268,
deconstructivist 371-2
174;
and Art
Modernism
321,323;LeCorbusier
363, 363
361-2,362
226; and
Nouveau
Holland
late
306
Tokyo
post-war 339
30-
199,200,206-9.208,209
Shaker 200-3,20/
128. 170
style 313,
197,
(YAH-kawp-suhn) 331
textiles
160, 166
Greek Revival 178
fiir
styles 249,
231
Hochschule
91, 139
BRAHNT) 104
142-3, 158
st>'le
Jacobean
Jacobsen, Arne
muhr) 306
Henry 13
(zhah-KAWB) 127
prehistoric 10-15. 15
Jacob, Georges
lackson. William
346
168-9
and
cities
names of Italian
towns
interior designers
280
see also
medieval 68-71,69, 71
Federal American
86, 86;
318,333
Mantua
American
15
Byzantine period 41
Romanesque 49-50
Hertzberger.
traditional
Institut Heliotherapeutique,
31-4. 126
9, 308;
Indiana.
houses
Herculaneum (HUHR-kyu-LAY-nee-uhm)
del
ING
Miller Furniture
New
152, 153
Herman
India,
Vlll. king of
Herland.
Kaufftnann, Angelica
(KOUF-mahn)
149
Springs,
Index
California
Kennedy
(KOUF-muhn)
New
Airport.
339, 339
York 337, 337,
342
America 132,154-6
(luh-TROHB)
143, 148
Abbey
149
Lievende(duh-KAY) 136
galleries,
Tokyo (kee-DOH-SAH-
kee) 374
(KKES-luhr) 295
England 63,66
313;
duh-BROE")
Lebrun, Charles
115. 116,
Provincial
!30\
301-3,
324
Adam
Kaare 297
337
Rome Moderne
New York
Rome
/S. 189;
20th
Liedet,
the
late
modernist 366
Two Sons
of St.
Mary 68
lighting
La Cartuja. sacristry
of.
Granada
(lah-
mahd-LEN)
La
Scala.
129-30, 129
BROOST) 188-9.249.251
Home Journal. The magazine)
Ladies'
uhr) 177
269
Larsen Design Studio. Rainbow
Rockefeller Center,
Room,
House
Lovell
343
10.
Antonio Francisco |0
Aleijadinhoj (leez-BOH-ah) 154
Lisboa,
[V^sd.r\\
Loewy,
Angeles 319,320
New York
Low Countries
London
Netherlands. The
353-4, 353
Lur^at,
Jr.
205
Spitalfields
Church,
St.
Paul's
St. Paul's,
113.
16
Queen of France
125,
127
336
Annunciation 68
materials: prehistoric 10, 12-13; ancient
36;
Romanesque
Christian
130-1;
American 156-7;
Nouveau
226,
Deco 290;
20th century
351,372,376-7
Matthew, R.H. 336
see palaces,
M
McArthur, John,
302. 303
London
(mah"-SAHR)
120,205
houses
50, 70-1;
180
298-9,300,
mansions
world 16-17.
82
Raymond (LOH-ee)
ocean liners
Lion Panel, Chauvet cave, France
196
of Music,
st>'le
Mansart, Fran<;ois
Martin.
198
Mansardic
liners see
319
Los Angeles: Aline Barnsdall House
oil
138;
Mannerism 84-91
manor houses 66-7
311,331
97
artificial:
Marie-Antoinette,
Malaysia 351
Modernist 287
natural 205, 319, 348, 350, 373;
vee-YAW") 292
(mah-yaw-REL) 230
Maki, Fumihiko(MAH-kee) 373
Majorelle, Louis
maps
late
(mah-YAHR) 304,308
Maison Carre, Nimes, France (me-ZAw"kah-RAY) 30,30, 165
Maison de Verre, Paris (me-ZAw"-duhVER) 309.3/0
Maillart, Robert
Moscow
(KOOR-skuh-yuh-mee-TROH) 262
Underground
modernist 360;
346
Liebes.
142;
ground
Houses of Parliament
81
industrial revolution
Kroll, Boris
142, 142;
(LEE-vuhr) 324
310,368
353
buildings: Banqueting House
[New
84;
slate
libraries:
194,
offices 353-4,
Lever House,
in
engraving of Tempietto,
New York
195
Lee. Sarah
Edifices de
272.308
3J/;
174,360
Georgian 150;
house
Street,
Room now
117, 119
129. 168,
Old Church
311; Peacock
135
Wing
SHEE-mah) 373.374
Globe
336
(
leather crafts
176;
115,
Museum
116
entertain-
museums and
ment: British
New Architecture
278
Kiesler. Frederick
Kingscote,
348, 365
63, 63
KAWR-bue-ZYAY) 238,266.272.278,
(KHAWR-
sah-UAHD) 17
Klint,
167-9,
171. 184
Kent. William
Key,
Latin
Latrobe. Benjamin
Maugham.
Syrie
(mawm) 301,324
Mauretania [ocean
Mauritshuis. the
HOEis. -housj
Mayan
liner]
265. 296
architecture 314
395
Index
Medici Chapel
Lorenzo) Florence
S5
(S.
(MED-i-chee).
itaty 85,
summary
(MIGH-uhr) 366-7
Meier, Richard
Melk. Abbey
of.
Memphis group
monasteries:
Romanesque
iOi;
New York
178, !7S
Baroque
metalwork
135.258
Metropolitan Museum of Art,
147, 149.
New York
160,249
S. Jose,
352
Montuori, Eugenio
mosques
lohm-MAY-oh) 78-9
(mohn-TWAWR-ee)
II
93
Munich:
migration 12-13, 14
233. 235;
Milan:
buildings: Fondazione Bagatti
Pirelli
Building 330
churches: Milan Cathedral 64;
Ambrogio
S.
exhibitions: Triennale
80
1936) 308;
Museum
128
Hermann 326-7
Miller House.
|House
IIIl,
Assis.
nee-ah-TOO-rah) 314
minimalism 277, 335, 346
Minoan
Furniture,
[MOMA], New
Hermann (moo-TAY-zee-us)
22
style
missionaries. Catholic
MIT
154,156
(Massachusetts Institute of
396
181, /S2
54!;
178.
Museum of Art
249; Museum of
Modern
Museum
162-3;
Whitney Museum
Church
N
Napoleon
[Bonaparte
St.
Audubon
New York
Society Headquarters,
truh-DAHM) 30,309
Notre Dame, Paris (NAW-truh-DAHM)
58, 60, 64
ocean
299. 336
and
hotels
Morgans
Hotel [interior] 368; New York
Colony Club 255, 255; Paramount
Palace Hotel 345, 346;
Deco
Dyckman House
167.
De
366;
National
New
liner!
France
see
168
Normandy
15
63
Paul's Chapel
121.127
style
hjhn-BOORK)
Restaurant 325
Nadelman.Elie(NAHD-l-muhn) 342
Nancy. France, Art Nouveau 230
Norman
London
Metropolitan
178;
Normandie (ocean
and museums:
Guggenheim Museum 340,
Merchant's House Museum
Cinema
and museums
140,290
20. 22,
154;
Laguna 156
164; St.
Muthesius.
Acoma
Mycenae
Estevan,
16
Nippur, Sumeria(ni-POOR) 16
359, 366,
Santa Fe 154;
255
370
273,304,306.314,319;
139;
Countries
Balthasar (NOI-
225
Minos, King 20
Low
Cathedral 179;
32i, 351,375;
culture 20, 22
Hilversum 306,
Hall,
36
of Modern Art
museums
Town
369-70,371
Lakeville,
Robert 177
Minas
Palace and
Connecticut 370-1.370
Mills,
Italy 361.
Nymphenburg
251. 375;
271;
art galleries
Parliament!.
131
style
136, 138,
New York
mud-brick 16-17. 18
158;
S. Jose,
Mucha.Alphonse(MUKH-ah) 229
Mudejar
Hague
New
314,321,322-3,324.326
Alexandria, Virginia
161, 162
Rome
New
New
Grand
Kennedy
transportation buildings:
Mauritshuis, the
new
52-3, 52
Gesu,
319-20,339.348
Amsterdam Stock
Neumann. lohann
mahn) 103-4
Station 262
Mount Vernon,
duhr-ROH
buildings:
330
Moorish culture 52-3, 131
Moosbrugger, Kaspar (MOHS-BRUG-uhr)
Mount
253;
modernism 306
335. 352.
Am
Netherlands
post-war 335
Bartolommeo (BAHR-toh-
1 1
DeStijl 270
165-6, 165
12
mosaics 32, 39
85-6.92, 132
CBS tower
Michelozzo
242, 245;
154
showroom 330
Pan
102. 103
City, Cathedral
Olivetti
Nepvau, Pierre
Teptzollan 154
Mexico
Society
131,
Audubon
National
Neoplasticism 270
322
(nah-TWAHR)
neolithic period
Iowa 243
Mesopotamia 16-17
361
Offices,
124
New York
Monadnock
office buildings:
285
240. 240
section
7S
Hudson
162;
Olana. Hudson.
Index
06, 24
auditoriums
Wood, England
218,2)^
orders (classical architecture) 23. 23. 24,
27. 30. 35. 36; Renaissance 79, 83. 89,
136;
Empire
st>'le
Modernism
MO. Public
86,
86
ArtNouveau
Rome
84
78,
226;
Patladio,
centur)' 373-6
Palladianism
362;
Am
Qtianw Lihn
Building.
Panama
Panama
ciell'Architcnum 87
New York
341
Arts
Francisco 223
Paris (ptAHS-vah"-
126
Plas
140, 140
post-war 328
plastic,
pU-ivood 206.287.310.312.327
plumbing
see
Ohio
32J, 324
77
Peacock Room, London [now in
San
Vendome,
New York
(
Ponte.
Run
Academy
325
Pont du Gard. Nimes. France paw"due-GAHR) 28
12
174
DOHM)
Palace
paleolithic period
Pan
Place
324
'sister'. 11
78
Mrs Henn'
170
Scroll style
Place de
Parish,
and
Piranesi (PEER-ah-NAY-zee)
(MED-ee-chee-reek-KAHR-deel
Seri-ices
Pirelli
Palazzo
tsoh-KAH-ree-NYAH-noh) 97-8
Palazzo del Te. Mantua. Italy (dayl-TAY)
LOHN-nayl
189, 189
du Quai
d'Orsay 246, 246. 375; Metro
Germany 41. 41
Carignano. Turin (pah-LAHT-
Bon Marche
232. 240;
houses
also
Palazzo
Modernism
American
197-8;
237, 237
ijIso
GiolPOHN-Iay)
3.30
Giacomo
della
(PAWR-tah) 92
French Rococo
Post.
26; Federal
st>-le
69;
ArtNouveau 215,226,
Oud,
I.I.
(out! 306
Pantheon,
Rome
Pantheon.
60. 64;
Genevieve]
[S.
S.
Abbey of
Denis,
55,
60
333. 334
323.
cave
Villette
Compiegne
127:
Lafitte]
138:
Low Countries
136.
97, 101,
94
Pre-Raphaelite 210.213
American 251
Modernist 270-1.272.278.322
Palace of the Governor. San Antonio,
New
Mexico 154
7,
42. 66-9;
127, 175
Iree-ah-N.W") 124-5
128;
buildings: Christ
Church
Mount
163-4; City
Pleasant
Museum
160.
of Art 160.
Fund
(Place de Louis
Vendome
XV]
la
124-5
Concorde
367
290
shops: Bing's Art
Philadelphia
Museum
of Art 160.163
Fund
Society JPSFSj
220,
Magi
172
[Gozzolil 78. 78
130-1
Deco
295;
II.
King of Spain
Philippe. P.
250.250.251
Pugin. Augustus
Welby N. (PYOO-jin)
Christian Architecture
Building320-1. 32)
132. 136
138
Putman.Andree(PUHT-muhn) 368
Pyramid. Louvre Museum. Paris 364. 364
pyramids. Egypt 17-18.
//.
18
Renzo(PYAH-noh) 353-4
278.323
Frank 296
Piermarini, Giuseppe p^ FR-mah-REE(
neel
Nouveau Shop
Pick,
Picasso. Pablo
20. 22
Piano,
126; Place
126
).5.
Philadelphia Saving
10-19.
prehistoric period
Bibliotheque Nationale
112-13, /12.
pretabrication 231-2
Philadelphia
330
Deco
Procession of the
Unesco headquarters
280, Villa
236
choh) 112
Societ)-
libraries:
18
de Monzie] 279-8
Ca\Tois. Paris 309
330, 330
Versailles
1 .
203
People's Savings
palaces: Fontainebleau
Texas 156
ancient world
15;
office buildings.
Pakistan 285
palaces,
B.
posters. Art
Iowa 243
Lambert
Mannerist 85
Victorian
George
post-modernism 357-62
Nouveau 229
Timo 333
Petit
doh-FEEN) 231
perspective 80. 92
la
tombs 10
New York
250.251.375
Pentagram 336
Penttila.
Nouveau
primitive 15
medieval 67-8. 6
Arts 190.
10. 10. 12
205
Pennsylvania Road Station.
)9).
(pe-ROH) 120
Perret. Augustelpe-RAY) 308-9
Perriand. Charlotte (per-YAH") 282
painting
Academyof Fine
Pennsylvania
Perrault. Charles
325
of Fine Arts
perpendicular style 63
Pennsylvania
Pietilii.
106
Quattro
Liliri
[Palladio]
deU'Architettura.
87
196
397
Index
KWIK-) 334,335
Romano, Giulio(roh-MAH-noh
Radio City Music
New York
Hall,
Rome
Termini,
80-1, S)
churches:
Carlo
Deco 296;
Modern 296,312,3)2;
S.
36; S. Paul
St. Peter's
see also
Rome,
Italian
Vitale 39,
towns and
Rome, ancient
S.
S.
tay-TYEN) 58,58
Florian, Monastery of Linz 100- 1 )00
Foy, Conques, France (se"t-FWAH)
S.
S.
Francisco de Assis,
cities
24, 27-35,
199, 302
R^gence [Regency)
style,
21, 30-1,
France 123-5,
1-30;
style,
delli
62
world 16-17,
S.
S.
roofs: ancient
reliquaries,
medieval 50-1
Renaissance 24,35,72-91
Renwick, James,
Residenz,
179
Jr.
S.
367
Toronto 333
Pennsylvania 350
Richardson, Henry
Hobson 200,221,
223,239,241,249
Richmond, Virginia 165
306
Roycrofters,
The 219,220
92-9; Austria,
Switzerland,
1
Germany
398
Baroque
Paul's Cathedral,
Rome
(sahnt-EE-
Laguna,
New Mexico
(SAN-hoh-
154, 756
Leopold
New York
London
S.
S.
168
Paul's Chapel,
St. Paul's,
Rome
Cathedral,
St. Peter's
S.
294. 295.
100-7; France
S.
S.
S.
S.
mahd-LEN) 44,45
Marco, Venice (sahn-MAHR-koh)
Thomas's Church,
New York
256,
256, 257
nz) 251
GEE-nah-TOH-buhl) 304,304
Salon des Artistes Decorateurs, Paris
37,
290, 290
Anthony 193
Panama
city
house 339;
223
97
Sangallo, Giuliano da
BLAHNG-kah)
52-3
S.
Maria Maggiore,
Rome (SAHN-tah-
S.
tah-KRAY-oosI 53
Sant'Elia, Antonio (sahnt-AYL-yah) 307
Santiago de Compostela (sahn-TYAHgoh-dhay-KAWM-poh-STEL-ah) 44, 50
GOO)
S.
Michael, Corvey-on-the-Weser,
Sargon, Palace
Germany 42
SAS Royal
S.
vee-ER-del-BAHK) 154-6
Younger (sahng-
GAHL-loh) 82
mah-REE-ah-mah-IOH-ray) 36
48, 48
Germany 43. 43
(SAHN-mee-NYAH-
of, at
Hotel,
1 1
(SAHN-
Khorsabad
Copenhagen 331,332
S.
Michael, Hildesheim,
joh) 43
S.
Miniato, Florence
79
S.
S.
Philibert,
S.
Rome
36
Scandinavia:
Romanesque
296-7;
Modernism
war 331-4;
see
rt/so
Deco
304, 310-1
Finland;
1;
post-
Sweden
80,80
PEL-lah-DEL-lah-SAHN-tah-SEENdoh-nay) 98.99
S. Spirito,
Florence (SAHN-SPEE-ree-toh)
S. Vitale,
(san-KAHR-lohs-BAWR-uh-MAY-oh)
39,39
York
162-3
Ravenna (SAHN-vee-TAH-lee)
Schiller Building,
Schindler,
76
Rome
lee-BER) 42
S. Satiro,
36,39
Carlo alle Quattro Fontane,
165
toh) 43, 43
95
156
S.
79,
S.
179
)44, 145,
S.
S.
style: Italy
St.
53
St.
(ROOL-
(sahn-KAHR-loh-AHL-lay-KWHT-
347
Rococo
Patrick's Cathedral,
DHOH-roh)
St.
S.
mahn) 209
York 239
New York
St.
DEEN) 36,36,38
say)
Rockefeller Center,
88
New
St.
88,
Salvin,
S.
Rochrane, Irvington-on-Hudson,
234, 234
236
S.
142
Tampere, Finland
uh) 77
Robie House, Chicago 270, 270, 289
Robsjohn-Gibbings, T.H. 325
Roche, Kevin (rohsh) 337,339
James's Palace.
Roth, E. 308
SHMIT) 234
Rietveld, Gerrit (REET-velt) 271-2,
S.
St John's Cathedral,
ZAY)
;72
Island;
St.
zhuhn-VYEV)
S. Jose,
112
247, 247:
London
S. Jose,
S.
voh-DEL-lah-sah-PYEN-tsah) 96-7, 96
165,175
St.
42. 103
Fiorentino)
Gallen), monastery,
[S.
St
40
Munich 106
18:
65, 65-6;
Egypt 17
Minas
{sou"m-frah"-SEESPreto,
lAWR-joh-mah-IOH-ray)
medieval
religion, ancient
Ouro
LAY-uh-PAWLT-ahm-SHTIGHN-hohf)
England 169,172-4
Cinque Onitni Vignola) 89
Rekh, Lilly (righkh) 274,306
Reims Cathedral, France (re"s, reemz)
Regency
Gall
GAWL)
39
154
Gerais, Brazil
14, 17
169
Minas
Ouro
koo-dee-ah-SEES) 154
250, 251;
i36
GRAH-dhah-fah-MEEL-yah) 232
Sainsbury Centre, University of East
Anglia, England 354. 354
Gerais, Brazil
S.
Gesii,
II
93
Preto,
S.
Estevan,
44, 44, 50
names of
Rhode
Maria
Maria
Outside the
Cathedral 81-
Maggiore
Walls 36;
TOH-ray) 88
Regale
Cosmedin
Apollinarein
39
Red House, London 210, 212. 213
Redentore, II, Venice (eel-RAY-daynS.
in
Rome
S.
alle
38: S. Ivo
S.
330; Tempietto
refrigeration
Massimo
Eliel
55,60
II
alle
95, 96: S.
Modernist 330
Rome
Rome
Colonne,
176, 176^
Nouveau 231-2,
S.
STAHN-tsah) 38,38
Denis, Abbey of, Paris (SE"-duh-NEE)
86-7,
92
Saarinen,
Costanza.
Romanticism 175-83,317,319
Early
Rome (SAN-tah-koh-
S.
247, 242
set'
educational buildings
Index
Schuyler. Hartley
& Graham
shop,
New
York 202
Scotland: Hill House, Dunbartonshire
Glasgow
185
Scully,
132
Vincent
199
J.
Alhambra. Granada
Alhambra. Toledo 132
palaces:
Speyer Cathedral,
style 205,
181.210
Spain h4
Germany
366. 367
Maker atui
199, 213,
houses
Upholsterer's
Drawing Book
199
State
Tiffany. Louis
tiles
Stickley,
Stirling,
135
Stirling,
Gustav 219-20
James 356-7
Patrick 209
luhs) 25.26
Stockholm
Telford.
stools, ancient
Egypt 19
strapwork 113. 136, 140
Edmund
210
Street,
Strickland, William
177
Stuart,
Hugh
Sumeria 16-17
Sun House, Hampstead, London 311,
64
Renaissance 131-5
311
Granada
132. /33;
J3J;
52;
System of Architectural
Ornament 243
Spain
style
266. 319;
107
Leon
53; S.
Maria
la
traditionalism 244
185-6
Trajan,
Rome (taym-PYET-toh)
80-
Emperor
31
(TRAHNS-pah-REN-tay) 132
muhnl
Temple
Temple
Temple
Temple
IS. 19
of Apollo, Bassae 24
242. 249
travel
houses 177-8
travel
bureaux 361-2,362
and transport: medieval 69;
Industrial Revolution
184,186;
roads, ships
19;
ancient
Rome
18-
Tris Riches
Hemes du Due
279-81,250
Texas: furniture
showroom, Houston
Antonio
156;
Sunar Furniture
Company, Houston
textile block,
359,
360
concrete 314
textiles:
146;
126;
rail-
de Berry, les
54,54
rribnne (newspaper] 257
Trinity Church. Boston, Massachusetts
185
Paris (lay-te-RAHS)
design 303
trial
221,227.239
New York
Suger,
111
198, 202;
Triumph of Venice,
16;
cities
towns and
129
Trinity Church,
341
Netherlands 306,
Thomas
Tempielto.
Hall, Hilversum,
306
Stubbins.
Ettore(SAWT-sahs) 361
facques-Germain (soo-FLOH)
24
162
late
[Le
226;
1,81
George
Nouveau
telephones 205.266
361. 36i
telegraph 205
D.C. 179
34-5; nine-
Hus 332
7,
Rome
New Architecture
Corbusier] 278
Town
Modernist 266;
377
troh-oh-LEEM-pee-koh) 88-9.59
A.M. 362-3
TREK) 229
Towards a
centers 341-2
(TAHS-uhl) 228,
229
technology: ancient
132
122
loh) 25
Stern, Robert
373, 373
Museum
Tom^, Narciso(toh-MAY)
National
stele
stave churches 46
194
136
139
17,
(TAL-ee-ES-in) 3/6,317,319
Stazione Termini.
Comfort 238-40
New York 240, 240
Tiffany Residence,
20,22
Tokyo: Asahi Building 368. 368; Imperial
Taft. Robert
House
19, 79, 51
Tiryns,
TAG
thrones
Thumb.
loh) 104
Gothic
Chaux
Connecticut 158
Starck. Philippe 367-8
Space,
Massachusetts 166
DOH)
Stanley
[Sullivan] 243
214
263-4
Soufflot,
Seville Cathedral,
Sottsass,
stage design 92
113, 165
Stadthaus, Ulm,
244
and Rococo
Germany
(SHTAHT-hous) 357,357
stadiums 335
Serlio.Sebastiano(SER-lyoh)
silk
Germany SHPIGH-
331, 333
uhr) 43
Staatsgalerie, Stuttgart,
Philadelphia 177
Second Empire
53. 53;
T/ie
179,779
(Veronese] 97
181
(TROO-lee)
14, 17
Headquarters.
New York
UN
297
Tudor
style
140
99,
399
Index
Turin shroud 99
Turku, chapel
at
Ca d'Oro
Venice;
97;
Tutankhamen
Giorgio
S.
286
Redentore 88;
II
37. 40; S.
(ven-CHOOR-ee,
Brown
u
Headquarters,
New York
331
87, 97;
283, 283,
285.289,334
United States: Georgian 148. 159-63.
260; Greek Revival 176-8ArtDeco
194-5; Gothic Revival 178-80;
Victorian style 195-209; Craftsman
movement
219-23; Art
Nouveau 238-
Modernism
TAY-tUH-bee-tah-SYAW")
New
US,
Versen, Kurt
(VUHR-suhn) 303
Queen of England
186,209
Brow] 3/6,317,319
wood
70-1; colonial
167, 168;
John's
St.
Church
Versailles
150;
236;
S.
Leopold
Am
Steinhof 236;
Rome
16;
92,94
19;
15, 15;
power looms
ancient Egypt
roh) 87.87
skah-ree) 88. SS. 280
Villa Mairea, Finland
281, 289
Eugene-Emmanuel
(vyaw-Li>luh-DUEK)
Habitations of Man
in All
The
Ages 13,
13,
50
Associated Architects
Eyck. Aldo (vahn-IGHK, van-) 335
and Mary
146
164;
77;
165-6, 165;
(vah-ZAHR-ee) 82
[ocean liner, renamed
Vasari. Giorgio
Vaterlarid
Rome
Romanesque
27-8. 30;
Gothic
400
Westmorland
165,166;
Leviathan] 265
vaults: ancient
(vi-
218.226,229
Vries,
see also
Financial Center,
New York
348,
II
325-6,328
WPA style
151
groupl (VIGH-suhn-HOHF-ZEED-
259
Wren, Christopher
Wren
style
164
225,
238,272.306,308
Werkbundsiedlung [housing design exhibitionl (VERK-bunt-ZEED-lung) 306
Westminster Abbey, London 63, 63
Westminster Hall, London 65. 65
westworks 42
Wctmore, Charles D. 252
Wharton, Edith 249
Whipple House, Ipswich, Massachusetts
A Guide
to
51
writing: hieroglyphic
17, 19;
Greek
Wyman, George
157
Whistler, lames McNeill 215.216,219
van-BROO)
281-
and 1930s,
Werkbunden (VERK-BUN-duhn)
(sah-VWAH)
Fairs 1920s
exhibitions
World War
2,
losiah
300
World
351
lung) 306
(MIGH-ray-ah)
Villa
duh) 230
Van
Mira (FOH-
287, 287
Wedgwood,
World
Van de
(BAHR-bah-
Finland 286
255-6, 324
89,
145, 145;
Works
Webber, lohn 15
Webber, Kem 299
194, 199;
Villa
34;
Vallin,
Nouveau 238,
Savings Bank 235,
upholstery 206-7
Modernist 287
180;
169;
50,
Revival
Peacock
259, 350
in buildings:
767; Freer
colleges
Building,
interiors: carving
181,
and
Wax
Wisconsin: Johnson
Victoria,
universities
Forest, Illinois
268. 268
London] 2/6;
Vertue, William 63
medieval 67,70-1;
140, 140
344
Warren, Whitney 252
Washington: Capitol 166-9,
Woman
UN
Mawr
Associates 359
Wales, Plas
windows
-TOOR-ee) 206,357-9
19
Herbert 253
Y
Yorke, F.R.S. 312
Young
Woman
[Vermeer]
yurts (gers)
Standing at a Virginal
139
14, 14
wigwams
13, 14.
Zakharov, Grigorh
156
Owen
Williamsburg
Willis Faber
290, 296
style
361
260
and Dumas
offices.
England
354. 355
Wills. Royal Barry 260
Wilton House, England 143, /43
(zuh-KHAHR-uhO
262
Ziegfeld Theater,
New York
(ZlG-feld,
ZEEG-) 295
Zimmerman, Johann Baptist (TSIM-uhr
MAHN) 106, 123
Zimmermann, Domenikus 102, 103
was
itt
career.
He
is
most
of his teaching
of
interior design.
Monaster/
1718-24
I'Enclus (Orroir),
Jacket design by
JOHN WILEY
in
&.
Hong Kong
SONS, INC.
^i^pfip^iPiS
r-tup^""";
''
ISBN 0-M71-3Sbbh-2
90000
780471"356660