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SEJARAH DESAIN INTERIOR dea widya, ST

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ERA COLONIAL ABAD KE 17 DI AMERIKA

Beginning in the seventeenth century, the American continents were settled by colonists from several European countries.

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A colony was invariably regarded as an eff ort to reproduce, insofar as possible, the European environment that had been left behind

Typically, the aim was to build new houses and new towns to recall the European past. The realities of climate, the availability of certain materials and the lack of others, and the simple necessity of managing survival in remote locations did, however, force colonists to make some modifications, often grudgingly, to the old and familiar ways of doing things.

ERA COLONIAL ABAD KE 17 DI AMERIKA

Beginning in the seventeenth century, the American continents were settled by colonists from several European countries.

1

A colony was invariably regarded as an eff ort to reproduce, insofar as possible, the European environment that had been left behind

Typically, the aim was to build new houses and new towns to recall the European past. The realities of climate, the availability of certain materials and the lack of others, and the simple necessity of managing survival in remote locations did, however, force colonists to make some modifi cations, often grudgingly, to the old and familiar ways of doing things.

Interior of Hoxie House. The interior of the typical early American house was very dark because there were only a few tiny windows. This view shows a half- attic loft, providing space for a simple rope bed. The spinning wheel in the corner of the space below and the two wool- winders in the loft refl ect the home production of woolen textiles. Corn and other provisions are hung up for drying.

The American Georgian house might be built of either brick or wood, but it generally followed Renaissance- based European models in its use of symmetrical planning and ornamental detail, including pediments, pilasters, and often a Palladian window.

American Georgian House

…there is fine wooden paneling, an ornamental plaster ceiling, and, on one wall, imported Chinese wallpaper.The tall clock, Chippendale style furniture, and oriental rug are indicative of the comfortable status ofthe owner.

Mount Pleasant Mansion, Fairmount Park, Philadelphia, In the central hall of the upper fl oor of this handsome house the carved wooden detail is based on classical prototypes and includes a Palladian window, pediments over doorways, and Ionic pilasters and capitals. The woodwork is painted in a soft gray- blue to contrast with the white plaster.

David Minitree, Carter’s Grove, near Williamsburg, Virginia, 1751. The spacious Georgian mansion is reminiscent of its English precedents. The entrance hall opens through an archway into a broad stairway. Walls are paneled in natural wood and are rich in classical detail, with Ionic pilasters and a fi nely dentiled cornice. The chandelier, furniture, and rugs are typical of American eighteenth- century practice.

10.12 Mount Vernon, near Alexandria, Virginia, from c. 1740. Mount Vernon was the Washington family plantation house. The Palladian window is in the ballroom (or State Banqueting Room as it was originally called), which was an addition to the older house developed at George Washington’s request in the 1780s. He asked for the green wallpaper and buff paint for the woodwork. The detail is not as classically perfect as some other examples, but the overall effect is dignifi ed and pleasantly decorative. A guest mentioned window curtains of “white chintz” with “festoons of green satin.”

Tall-case clock, with clockworks by George Miller, United States, 1796. This American tall-case clock, from the end of the eighteenth century is in Chippendale style. Its clock parts were made c. 1770 by George Miller. The case is of walnut with a richlycarved top with three turned fi nials. The clock face is of metal decorated with ormolu and paint.

American Georgian and Queen Anne Furniture

Highboy, Chippendale style, tiger maple, c. 1760s. The Chippendale highboy applied Rococo-style ornament to a Queen Anne-era silhouette. The elaborate scrolled pediment (supplanting the bonnet top), and virtuoso carving of fi nials and panels are typical of the fi nest examples of this genre. The highboy was often accompanied by a companion piece, the lowboy, carved in complementary fashion. Both forms fell out of favor after the Revolution, as the infl uence of Neoclassism prevailed


Queen Anne carved walnut armchair, Philadelphia, c.1740. The sculptural silhouette of this chair, with shapely splat, unbroken seat rail, and gracefully curving legs, is typical of the work of Philadelphia craftsmen in this period.


Peter Harrison, King’s Chapel, Boston, 1749–58. The Georgian church interior suggests that Harrison was aware of English prototypes. Paired Corinthian columns support sections of entablature with a partly coved ceiling above. There is a Palladian window above the altar and a fi ne metal chandelier. Placing the seating in enclosed “box” pews was an attempt to minimize winter cold and drafts.

American Georgian Public Building

Thomas Jefferson, Monticello, near Charlottesville, Virginia, 1768–81 and 1796–1809. Jefferson (1743–1826) was the architect for his house at Monticello. It was full of invention and ingenious and unusual arrangements. His bed can be seen in an alcove between the study and the bedroom, which is visible on the other side of the bed. The colors and details are simple. The book in the foreground and the microscope on a stand are reminders of Jefferson’s wide- ranging intellectual and scientifi c interests.

FEDERAL STYLES

Benjamin Latrobe, Old Senate Chamber, The Capitol, Washington, D.C., 1803–11. The semicircular room, topped by a half- dome ceiling, uses accurate classical detail for the Ionic columns, related moldings, and the coffered ceiling. Latrobe was anticipating the Greek revival when he wrote: “I am a bigoted Greek in my condemnation of Roman architecture.” The simplicity and dignity of the architecture is rather overwhelmed by the canopy with its rich red and gold ornamentation, which is draped elaborately over the chair and desk of the presiding officer.

William Thornton, Octagon House, Washington, D.C., 1799–1800. A circular entrance hall opens through double doors topped by a lunette window into a central hall where a stair leads to the floor above.

Furniture of the Federal period is sometimes classifi ed as “early”—dominated by the late Georgian styles of Hepplewhite and Sheraton— or “late,” showing the influence of French Empire fashions as interpreted by English cabinet makers and Regency design . Design of the early phase tended toward the delicate, straight- lined forms of Sheraton. Veneered surfaces often have decorative inlays and small carved details using shell, leaf, fl ower, and basket motifs. Legs are usually tall and slim, straight or turned. Mahogany remained the favored wood, with banding and inlays in contrasting woods such as maple or satinwood. Tambour doors are often used for desk or sideboard storage compartments.

Furniture of the Federal Period

Duncan Phyfe, sofa, c. 1810. This mahogany-framed sofa designed by Duncan Phyfe is an example of the early Federal style, from c. 1810.



Lambert Hitchcock, side chair, 1826–9. This much-admired chair design is an American adaptation of the Empire style as developed by Lambert Hitchcock. The example here, of 1826–9, was made by the Hitchcock fi rm and has the black-painted frame with decorative painting, turned legs, and rush seat typical of the type made in quantity by Hitchcock and his many imitators.


Duncan Phyfe, side chair, mahogany, New York City, 1810–20 Phyfe was the leading cabinetmaker of the Federal and American Empire eras in the late Neoclassical period. Many of Phyfe’s furniture designs used the classical lyre motif, as seen in this chair back.


Gardner- Pingree House, Salem, Massachusetts, 1804–5. A view from the dining room into a parlor showing wallpaper and decorative trim with Adamstyle infl uence. The furniture is of Hepplewhite character (note the shield-back chairs) while woodwork (the work of Samuel McIntire) is of related design. There is a square piano at the front wall of the parlor and a round framed mirror above with an eagle crest, a favorite ornament of the Federal period. Elaborate drapery contributes to the sense of opulence.

Other Furnishing of the Federal Period

Entrance hall of “The Hermitage,” Nashville, Tennessee, USA, 1819. The elegantly curving staircase dominates the room while the walls are covered with pictorial wallpaper imported from Europe and illustrating the legend of Ulysses’ son Telemachus.

THE INDUSTRIAL REVOLUTION

The impact of the early phases of the Industrial Revolution on interior design was more technical than aesthetic. First steps toward modern plumbing, lighting, and heating appeared, making some important elements of earlier interiors obsolescent. Cast iron became an inexpensive and practical material for the making of stoves. Stoves heated with wood, and then coal, had major advantages in terms of effi ciency and convenience over the open fireplace The Industrial Revolution brought new ways of building that resulted from the interaction of new needs and new technology.


Lewis Cubitt, train shed, King’s Cross Station, London, 1850–2. The two parallel train sheds (one of which is shown here) that Cubitt designed are typical of the engineering achievements developed to meet the demands of the Industrial Revolution. The semicircular arches supporting glass skylights were originally constructed in laminated wood and later replaced with iron. Victorian ornamentalism here gives way to a functional emphasis that points toward the modern era.


Joseph Paxton, Crystal Palace, London, 1851. The famous building, seen in a contemporary lithograph, housed the Great Exhibition, a showcase of Victorian prosperity and taste. It occupied one of the first buildings of truly modern concept. Its iron frame and the glass walls and roof, with their functional simplicity, contrast strangely with the display of fl orid, overdecorated goods and sentimental statuary. The great tree in this interior predated the building and remained


Household furniture display, Crystal Palace Exhibition, 1851. In the furniture exhibits illustrated in this contemporary colored view, extreme ornamentation and ostentation are here being viewed and admired by the upper-middle class Victorians. The exhibits contrast with the advanced functionality and simple structure of the building.


H. Clay, Dressing table and chair, from Crystal Palace Exhibition Catalogue, London, 1851. This illustration shows a highly decorative chair and dressing table made of papier mâché. It exemplifi es the kind of ornate artifact that contrasted with the innovative modern design of the exhibit building.


Pierre- François- Henri Labrouste, Bibliothèque S. Geneviève, Paris, 1844–50. The reading room, the main space of the library, has one of the fi rst all- iron structural systems to be put to architectural use. The outer walls are stone, but the support structure is iron, with the slim row of columns down the center of the space supporting the iron arches of the roof. The detail of the arches is ornamental but also suited to the wrought- iron structure.


Pierre-François-Henri Labrouste, Bibliothèque Nationale, Paris, 1859–67. A square reading room is topped by nine domes, each with an iron frame supporting panels of tile. Light comes from the oculae in the domes. The extreme thinness of the columns, permitted by the strength of the iron, makes for an open and beautiful space..


Louis- Charles Boileau and Gustave Eiffel, Bon Marché, Paris, 1876. Grand stairways lead to the upper levels of this Paris department store, seen in an engraving. The slim and elegant iron structure permits spectacular views of the open central space and supports the roof of glass skylights. The crowds of fancily dressed shoppers found the store a source of entertainment as well as a place to purchase goods.

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