[1] From the Roth, Harwood, and Massey readings, select an ARTIFACT you believe to represent revolution in design. SPECULATE about the type of revolution this artifact symbolizes. Supplement your answer with a beautifully hand rendered image of the artifact you selected, citing source and page on your image. [10 POINTS POSSIBLE]
I chose a chair on page 26 of the Harwood book. The chair has language of a revolution in design, and ingenuity. It introduces mechanics representative of the machine/industrial age. With the introduction of the railways/trains technology took a new path along side it, riding its way to greater and better things. Prior to this time in history furniture was stationary within itself. With this chair in particular it not only can swivel from side-to-side, but you can also adjust the height of the chair to fit yours. While the chair has four legs, they are not traditional legs, they are modified and have a distinct shape. There are no arms, which is not traditional. Over all I believe the design is forward thinking. It is thinking more about function vs. high style and merely having something in your home to show status, and wealth. These were all new ideas of the time period, no longer looking as much to the past, and therefore revolutionary.
[2] Using the internet, LOCATE and ANALYZE an image for an ARTIFACT, a SPACE, a BUILDING, and a PLACE, drawing the idea of eastern influences as understood by nineteenth-century minds (China, Japan, India, Middle Eastern) on western design and architecture. Each answer must include an appropriately annotated and cited image in addition to a well-crafted essay to defend your choice of each image and the ways (more than one) that the material item responds to design influences from the east. [20 POINTS POSSIBLE]**
During this time period Europe was borrowing Asian influence from China, Japan, India, and the Middle East. This was when the silk road trade route was established. The Asian cultures' design had refinement, elegance, and long tested forms of art being one of the oldest cultures. The Europeans were now incorporating those ideals into their own.
Artifact
https://www.invitinghome.com/store/product.php?productid=20703
This is an example of Chinoiserie design. The imagery alone depicted on this piece of furniture is of an Asian garden which is a prime example of Asian influence. Also the use of legs elevating the object is a new introduction to European culture from the Orient. Previous items sat directly on the ground, in this time it showed cleanliness, and space with the elevation of the furniture on legs. The gold leafing, and intricate design has not been seen prior to this time either in the manner in which it was executed with this piece.
This is an example of Chinoiserie design. The imagery alone depicted on this piece of furniture is of an Asian garden which is a prime example of Asian influence. Also the use of legs elevating the object is a new introduction to European culture from the Orient. Previous items sat directly on the ground, in this time it showed cleanliness, and space with the elevation of the furniture on legs. The gold leafing, and intricate design has not been seen prior to this time either in the manner in which it was executed with this piece.
Space
http://www.sageworks.com/portfolio.htm
The wallpaper combines real elements with fantasy which is a direct influence from the Orient.The floral patterns, and the choice in color is of equal influence. This has not been previously seen until this design period.
The wallpaper combines real elements with fantasy which is a direct influence from the Orient.The floral patterns, and the choice in color is of equal influence. This has not been previously seen until this design period.
Building
http://www.hamiltongardens.co.nz/index.asp?PageID=2145837919
It was now of importance to provide gazebos and pavilions in European garden spaces. They acted as a mixture of romanticism, nature, and fantasy. This one in particular resembles the Chinese palace design type. The coloring no longer depicts the old world of Greece, Rome, or Pompeii, instead they were embracing the old world of the Orient. This in my opinion is bringing about another wave of classicism, just in another form, another culture. Europe was still borrowing ideas and modifying them. I question if we will ever lose the classical language, or design influence, or if we will always be trying to recreate the past in some way.
Place
It was now of importance to provide gazebos and pavilions in European garden spaces. They acted as a mixture of romanticism, nature, and fantasy. This one in particular resembles the Chinese palace design type. The coloring no longer depicts the old world of Greece, Rome, or Pompeii, instead they were embracing the old world of the Orient. This in my opinion is bringing about another wave of classicism, just in another form, another culture. Europe was still borrowing ideas and modifying them. I question if we will ever lose the classical language, or design influence, or if we will always be trying to recreate the past in some way.
Place
I believe this structure is marrying classicism with the design elements of the Orient. Sanssouci has gazebos on the grounds as well as expansive gardens. These were new introductions.
This building is called the Dragon House, located on the northern edge of the property of Sanssouci. The designer referenced architectural books on the topic of Chinese buildings when developing plans for this structure among the others. This structure in particular again parallels the Chinese palace design type.
The video link below is by Rufus Wainwright, an artist I've enjoyed for some time now. He sings about the place above..Sanssouci. I thought it would be an interesting addition to this post. Enjoy! =)
http://www.youtube.com/watch?v=0QRu6Ck0e3g
[1]good [2] good images and responses (push your space essay a little further). The costumes on the rufus wainwright video were appropriate, too!
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