#hstind1

[kamara-interiors]

Revivalism: Gothic Revivalist Style

Revivalism affected a lot of art forms, but it influenced architecture the most. It started in the 19th century as a reaction to the environment of the industrial revolution. 

Because of the rapid urbanization (manufacturing and mechanization), many immigrants coming in, and the Civil War, wealthy Americans embraced Romanticism. It was an urge to reexamine the "simple" ways of the past to find happiness in their complicated present. Like the Renaissance and Neo-Classical, it was going back to the classics. Still, instead of just the classics, other periods of styles were included in Revivalism. Greek Revival, Roman Revival, Rococo Revival, Gothic Revival, and so much more. In short, Revivalism in architecture was the use of visual styles that imitated the techniques of the previous architectural era.

What about the furniture and interiors during this period? A lot of them were inspired by the Rococo, Renaissance, and Gothic periods. The Rococo Revival style was thought to be elegantly French and popular for the design of drawing rooms and parlors. The Rococo revivalist furniture usually consists of two sofas, two armchairs, four side chairs, and a center table. Renaissance Revival furniture, they were primarily used in bedrooms and reception rooms.

In Gothic Revival furniture, regardless of the home's exterior, is usually used in dining rooms. A lot of the furniture designs showed straight legs, tracery, and chair splats that form pointed arches. Most pieces were made from walnut wood. Although the style wasn't as popular as the others in America, architects and cabinetmakers used this for the most part.

Furniture created in the United States between 1840 and 1860 was made to fit into Gothic Revival homes of the time. It was ornamented with tracery and other Gothic carvings such as quatrefoils and trefoils. The rose window and pointed arch, for instance, became the inspiration for several chair back designs. And that is what I used for reference in this plate.

For this plate, I chose to do an armchair made back in 1855. The chair is from Belvior, a large Gothic villa in the 1850s, New York, for a tobacco merchant named Christian H. Lilienthal. Existing photographs of the Gothic Revival library show that the chairs and bookcases are related to the works by Gustave Herter, a cabinetmaker. And like with much of the Gothic Revival furniture, it owes more to the architecture vocabulary than traditional furniture making. The furniture is made with walnut wood and has dimensions of 163.8 cm x 64.5 cm x 56.5 cm.

 I chose this piece because it's one of the styles I've enjoyed learning throughout this course. Not only that but seeing elements/motifs of architecture can be implemented into furniture and interiors. What can be seen from the exterior can also be applied in the interiors. I think what I chose is an excellent example of what Revivalist furniture is, combining the concepts and ideas of architecture into interior spaces.

 As aspiring interior designers, choosing and implementing furniture in an interior is essential, especially when designing for ourselves or a client. Knowing the types and kinds of furniture that can strike up conversations and discourse. What I liked doing throughout this course was learning about the interiors of the history of how people live and interact with each other—knowing what worked for them or how they made sense with the spaces they had—seeing the factors that affect man, his environments, and their relationship to one another. And maybe, like Revivalism, we can implement previous periods of styles to today's design.

[kamara-interiors]

Renaissance: The Vitruvian Man

The Renaissance was the era of the rebirth of the art of classical antiquity (Greek and Roman). A rebirth culturally, politically, economically, and artistically. It was freedom from the religious restraints of medieval times. It was the rediscovering and redefining of classical philosophy, literature, and art itself.

It was also the resurgence of Humanism. Humanism was the movement where because of the revival interest into the classics, it focused not on religion but focused on what it is to be human. Because of this, some of the greatest thinkers, scientists, authors, and artists thrived in this era. In this era, it was able to bridge the gap between the Middle Ages and modern-day civilization. To me, Humanism is what defined the Renaissance era.

However, to choose a piece that would best represent the Renaissance, I had to go to the man who embodies the Renaissance itself, Leonard da Vinci (1452-1519). Dubbed as the "Renaissance man," he was a painter, architect, engineer, and scientist. For him, art, was deeply connected with science and nature. Moreover, as he was self-taught, he filled many notebooks with sketches, inventions, and theories, mostly about aeronautics and anatomy. Admittedly, though, he is best known for two of his works, Mona Lisa and The Last Supper. However, the work that I think best represents him for who he is and the era is his iconic illustration of the Vitruvian Man.

The Vitruvian Man (1492) is an illustration Leonardo drew, rendered in pen and ink. The subject is an idealized nude male standing within a square and a circle. He chose to depict this man with four legs and four arms, striking 16 poses simultaneously. The text is written at the top and bottom in the illustration itself, which ultimately explains the specific measurements of every body part of the figure.

Here is it’s direct translation of the text (from top to bottom):

“Vitruvius, the architect, says in his work on architecture that the measurements of the human body are distributed by Nature as follows that is that 4 fingers make 1 palm, and 4 palms make 1 foot, 6 palms make 1 cubit; 4 cubits make a man's height. And 4 cubits make one pace and 24 palms make a man; and these measures he used in his buildings. If you open your legs so much as to decrease your height 1/14 and spread and raise your arms till your middle fingers touch the level of the top of your head you must know that the centre of the outspread limbs will be in the navel and the space between the legs will be an equilateral triangle.

The length of a man's outspread arms is equal to his height.

                 From the roots of the hair to the bottom of the chin is the tenth of a man's height; from the bottom of the chin to the top of his head is one eighth of his height; from the top of the breast to the top of his head will be one sixth of a man. From the top of the breast to the roots of the hair will be the seventh part of the whole man. From the nipples to the top of the head will be the fourth part of a man. The greatest width of the shoulders contains in itself the fourth part of the man. From the elbow to the tip of the hand will be the fifth part of a man; and from the elbow to the angle of the armpit will be the eighth part of the man. The whole hand will be the tenth part of the man; the beginning of the genitals marks the middle of the man. The foot is the seventh part of the man. From the sole of the foot to below the knee will be the fourth part of the man. From below the knee to the beginning of the genitals will be the fourth part of the man. The distance from the bottom of the chin to the nose and from the roots of the hair to the eyebrows is, in each case the same, and like the ear, a third of the face.”

Why the Vitruvian Man? It illustrates what Leonardo believed to be a divine connection between the human form and the universe. Second, it was his reflection on human proportion and architecture through words and images. The illustration aims to integrate ideas about art, architecture, human anatomy, and symmetry. Leonardo creates a meaning that could not be created through words or images alone; instead, by merging text and illustration. Many others had already illustrated Vitruvius's theory, but his work differs because he could incorporate two different positions within the same image.

How does this represent the Renaissance? Well, it reflects a lot of what the Early Renaissance developed in the first place. Namely the extensive study of the human form and the development of the scientific perspective. He used dissection of the human form in work and used mathematical calculations to create the human form. That is what a lot of Renaissance works are, not only is it about the art (creativity) but also the science of it. It is also reflected during the High Renaissance, where almost all the artists were concerned with the human form and its shape. For example, Michelangelo and Raphael's works (painting) was always concerned with the human body.

When I think of the Renaissance, I think of its artists and their works. I think about their ideal human forms rendered in different ways. I think of the techniques and materials they developed during that era. Finally, I think about how they could marry two distinct themes, science and the arts, which I wish more artists could integrate into their art. As a result, Renaissance ultimately cultivated a new change in art, culture, and knowledge.

[kamara-interiors]

Biedermeier Period: Writing Desk Cabinet

Biedermeier Period focused on domestic and home-based subjects since this was the time to capture the pleasures of middle-class everyday life. 

In its interior design, there was an emphasis on clean lines and minimal ornamentation compared to the previous periods/eras from the Biedermeier Period. So, a lot of its furniture is much simpler but still retains its elegance. Which focused on comfort and practicality. There was a big emphasis on the quality of craftsmanship and usually used quality wood (cherry, walnut, birch, mahogany).

For this plate, we were tasked to do one of the famous pieces of furniture during this period, a writing desk/cabinet. Like how laptops are a necessity for online classes, writing desks were a necessity for homes. For my reference, I chose a writing desk sold online since apparently, people still buy these types of furniture.

For the plate, I did a Biedermeier Desk in Walnut Veneer that dates to the 19th century. The desk includes two rows of lockable drawers and a leather cover on the top. The extension can be removed. In the upper half, there are nine drawers with gorgeous brass fittings and key locks, as well as four extra drawers. The piece is finished with shellac polish, which is done by hand with a tampon and protects and nourishes the wood and gives an excellent visual impression.

[kamara-interiors]

Neo-Classical: Gondola Chair

A Gondola chair is a low chair often used at a writing desk, and it comes in different styles.

Compared to the Rococo period, Neo-Classical was less excessive and focused on the simplicity of its geometric forms evident in its interiors and furniture. A lot of the Neo-Classical were inspired by Greek and Roman details. For this plate, we were tasked to do a Gondola chair.

The common feature of this chair is that it has a downward curved back that forms the chair's arms. It was named after the 18th-century Venetian gondola rowboats that had the same curvilinear shape. The chair was to look comfortable, and it was a smaller size, so it was easy to move.

For my reference, the gondola chair is from the late Neo-Classical period, more specifically, the Empire Style. Furniture during this time period was characterized by motifs from Egypt, Rome, and Greece. As well as aggressive elements, like symbols of war and victory, imperial emblems (golden eagle, classical palm leaves, etc.). This specific gondola chair was made by Jacob Frères and designed by architect Charles Percier. It can be seen very familiar Greek and Roman motifs are in the chair, and it has swans as its armrests.

[kamara-interiors]

Baroque: Chest of Drawers

The commode is a type of furniture similar to the English chest of drawers popular in France in the late 17th century. 

The majority of commodes had marble tops, and some had pairs of doors. André-Charles Boulle was among the first to create commodes.

Although most French cabinet furniture at the beginning of the 18th century was heavy in form, the outlines were gently curved, with the sides of commodes being slightly convex. Almost all of them had long cabriole legs. Marquetry and parquetry veneers, or japanning (Eastern or "oriental" lacquer work), covered the commode's carcass and legs, while richly worked gilded bronze fittings protected the vertical edges, following the curved outlines and frequently concealing the drawer edges.

During the Louis XV period, elegant Rococo curves became widely known, and ormolu surface ornament became more flamboyant.

For my reference, I referred to Louis XV's Commode (1739) developed by Antoine-Robert Gardreaus (1682-1746) and Jacques Caffieri (1678-1755) in France. Its dimension is 88.8 cm in width, 195.5 cm in length, and 80.6 cm in height. It was made up of Oak veneered with kingwood and satine, having mahogany drawers and mahogany lining inside cupboards, red linen lining inside drawers, and cupboards. It also had gilt bronze, gilded brass hinges, brass lock plates, and lock bracket in between drawers. And with most of the commodes, it had a marble top.

This commode, which Gaudreau delivered in April 1739 for Louis XV's new bedchamber, is perhaps the finest and most important example of the Rococo style in the decorative arts. The mounts were initially intended to be much more symmetrical, according to a design for the commode attributed to sculptor Sébastien-Antoine Slodtz. However, when executed by Caffiéri, they are wildly exuberant and appear to grow organically in every direction across the surface of the commode. The commode was passed down to the King's First Gentleman of the Bedchamber, who most likely replaced the original red and grey marble top with this serpentine marble top.

[kamara-interiors]

Gothic Rose Windows

A Rose window, also known as, wheel window, is a decorated circular window prominent during the Gothic period.

It is also can be seen in existing Gothic cathedrals. It is made up of glazed stained glass and usually resembles wheel spikes or flower petals, hence its name. They can be found in two locations, at the west end of the nave and the ends of the transepts. 

It was developed out of the oculus, a small round window found in Ancient Roman architecture. In the 12th century, alongside the development of Gothic architecture in France, rose windows began to emerge. Soon later was spread throughout Spain and England. Prominent rose windows are filled with geometric shapes that create a cohesive design that is aesthetically pleasing to look at. Not only that but they were also filled with secular icons and motifs of the church from Christ to known people in the Bible.

I chose to use the enormous Notre Dame Cathedral’s North rose window for this plate as a reference. The Notre Dame is considered a great architectural accomplishment in many ways, and their rose windows are one of them. Architect Jean de Chelles built it ca. 1250-1260 at the time. Its glasswork is still very much intact with various colors, blues, reds, greens, and yellows. It also has one of the highest ratios of glass and stone than any other known rose window. 

The rose window itself is about 33 feet in diameter, with a spiderweb-like frame for support. In the center of the oculus is the image of Mary holding the Christ Child. They are surrounded by images of kings and prophets of the Old Testament.

[kamara-interiors]

Roman Dome

The Romans perfected a form through logical engineering and advancements and have had a significant impact on many large-scale western civilization structures since.

During the time of the Romans, engineers were always looking for ways to improve the design of structures so they could provide more usable space. One of the most notable examples of their work is the concrete dome. 

A dome is a hemispherical structure that forms from an arch. It generally includes a roof or ceiling for a building. Despite its slender appearance, it is considered one of the most solid structures in existence. They were called the "king of all roofs" in ancient times and are known for their massive size and curved design. Domes are curved structures with no angles and no corners, and they enclose an enormous amount of space. The Ancient Romans saw the domes as a way to build incredible structures without the help of a single column. They're typically seen at their temples, bathhouses, basilicas, and churches.

These monumental domes started to appear around the 1st century B.C. It was a structure replacing the traditional post and lintel construction method. These domes were built by a specific type of concrete, known as opus caementicium. The creation of domes started in an era called the Roman Architectural Revolution or the Concrete Revolution. These allowed Ancient Romans to build buildings that challenged the norms during that period. Not only did they develop domes but also amphitheaters, aqueducts, bathhouses, bridges, circuses, dams, and places of worship. For my work, I used the Pantheon as an example of a Roman Dome.

The Pantheon is one of the best-preserved monuments of ancient Rome. It was completed around 126-128 A.D. It features a rotunda with a massive domed ceiling that was the largest of its kind when it was built. The Pantheon was thought to have been designed as a temple for the Roman gods. Unfortunately, due to a lack of written records, who created and how the construction took remains unknown.

The dome is made primarily from bricks and concrete. It consists of a portico with granite columns, a massive domed rotunda, and a rectangular area connecting the other two sections. The dome itself measures 142 feet in diameter, and the top of the dome is an opening, or oculus, with 27 feet in width. The oculus lets light, as well as rain, into the Pantheon. The walls and floor of the space are decorated with marble and gilt. The dome ceiling contains five rings of 28 rectangular coffers.

Its design has influenced countless buildings throughout history. In the present day, it functions as a church and a great tourist destination.