Our Services

Get 15% Discount on your First Order

[rank_math_breadcrumb]

Architecture and Design homework help

Week 04 PowerPoint presentations

Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 34

Exoticism

1830 – 1920s

If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

1) Math Type Plugin

2) Math Player (free versions available)

3) NVDA Reader (free versions available)

Exoticism

Inspired by revivalism, eclecticism, novelty in 2nd half 19th century

Designers look to non-Western cultures for inspiration & borrow their forms, colors, motifs.

Learn about other cultures through international expositions, books, periodicals, travel, advances in technology

Romantic image of faraway lands & mysterious people

Styles: Egyptian Revival; Moorish, Islamic, Turkish, Saracenic, Arab Style; Indian, Mogul

Never completely surpass other fashionable styles

Concepts

Fascination with non-Western cultures gives rise to exotic styles

Egyptian Revival, Turkish or Islamic styles, Indian or Mogul style

All adapt cultural elements to tastes & needs of Westerners

Each associated with particular building or room types

Conveys particular visual image: timelessness, monumentality, touch of exotic

Assemblages of elements & motifs applied to contemporary Western forms

Few attempts to live as other cultures

Associations & evoking an image more important

Motifs

Egyptian Revival

Geometric forms, column, architectural details

Real or fake hieroglyphs, scarabs, Egyptian figures, lotus, papyrus, crocodiles, sphinxes, sun disk

Islamic or Turkish

Onion domes, minarets, lattice, horseshoe arches, multifoil arches, ogee arches, peacocks, carnations, vases, arabesques, flat & intricate patterns

34.1

Motifs: Turkish, Persian, Indian, and Egyptian designs published in The Grammar of Ornament, 1856 by Owen Jones.

Long Description:

The first motif has a vase with different kinds of flowers in an oval and rectangle frame. The second motif has different types and different colors of flowers and a flowering plant. The third motif has four ogee-shaped flowers with different colors and alternating flower borders. The fourth motif has acanthus leaf and flower plants. The fifth motif has the flowering plant extending in a wavy manner with flowers.

Architecture

Few examples in comparison to other styles

Exotic styles, like others, used for particular building types

Conveys purpose

Symbolism important design context & characteristic

Egyptian Revival

First conscious revival c. 1810, another at mid-century, another 1920s

Forms & motifs used in other styles

Building types: cemeteries, prisons, libraries, medical buildings, fraternal organizations

Turkish or Moorish rare in architecture

34.2

Architectural Detail: Wall elevation, mid 19th century. Islamic influence.

34.3

Philadelphia County Prison, Debtors’ Wing, 1836; Philadelphia, Pennsylvania; Thomas W. Walter. Egyptian Revival.

34.4

New York City Halls of Justice and House of Detention (The Tombs); New York City. Egyptian Revival.

Long Description:

The building has a flat or low pitched roof typical, cavetto cornice, cornice or lintel, plain and rounded molding on corners, and battered or canted plain wall. Egyptian columns define entry and portico. Slanted columns frame windows in a symmetrical composition.

34.5

Egyptian Building, Medical College of Virginia (now part of Virginia Commonwealth University), 1844–1845; Richmond, Virginia; Thomas S. Stewart. Egyptian Revival.

34.6

First Presbyterian Church and nave, 1848-1851; Nashville, Tennessee; William Strickland. Egyptian Revival.

34.7

Isaac M. Wise Temple, 1866; Cincinnati, Ohio; James K. Wilson. Turkish/Exotic Revival.

34.8a

Olana, 1870–1872 house, 1888–1891 studio wing; Hudson, New York; Frederic E. Church, consulting architect Calvert Vaux. Exotic/Moorish Revival.

34.8b

Stair, 1870–1872 house, 1888–1891 studio wing; Hudson, New York; Frederic E. Church, consulting architect Calvert Vaux. Exotic/Moorish Revival.

Long Description:

The interior has stenciling with exotic motifs, pointed arches, Moorish style colors, oriental rugs from drapery, Niche with Buddha, Persian ceramics, exotic floor candlestick, Brassware decorative accents, and Moorish style table with ivory inlay.

Interiors

Most eclectic of all styles

Combine details, motifs, furniture or decorative arts of several cultures or styles.

Associations important for choosing an exotic interior style

Particular rooms associated with particular styles

Egyptian Revival not common in residences, but some in public buildings

Turkish, Islamic, or Indian: billiard or smoking rooms, reserved for males

Turkish or cozy corners popular 1870s-1890s

Usually only a room or two in houses or particular building type

34.9

Hotel lobby, 1902; United States. Turkish Style.

34.10

Proscenium, Ada Theater, 1926; Boise, Idaho; Frederick C. Hummel. Egyptian Revival.

34.11

Arab Hall, Lord Leighton House, c. 1865; London, England; George Aitchison. Islamic Revival.

34.12

Smoking room, John D. Rockefeller House, c. 1885; New York City, New York. Turkish Revival.

Long Description:

The tables and chairs are arranged. The tables are decorated with vases. A balustrade is in front of the mantelpiece.

34.13

Elsie de Wolfe in her cozy corner, Irving House, 1896; New York. Turkish/Exotic Revival.

34.14

Textiles: Paisley patterns, mid to late 19th century; England and United States. Islamic/Exotic Revival.

34.15

Rugs: Examples from the mid- to late-19th century; Turkish, Persian, Caucasian; Islamic Revival.

Furnishings & Decorative Arts

Egyptian evident as motifs in classical styles, a deliberate revival, or copies of extant ancient pieces

Applies Egyptian motifs to contemporary forms with varying accuracy

Moorish- or Turkish-style furnishings introduced in 1870s

Imported screens, small tables, Koran stands

Most common in upholstery or built-in seating

Upholstery deeply tufted with fancy trims

Wicker, associated with Exoticism, popular 2nd half of 19th century

Imported furniture, rugs, decorative arts add touch of exotic to any room

34.16

Turkish parlor and armchair, late 19th century. United States; parlor from the 1876 Centennial International Exhibition in Philadelphia; armchair by S. Karpen Brothers, exhibited at the World’s Columbian Exhibition in 1893. Turkish Revival.

34.17

Slipper chair and armchair, c. 1875; attributed to Pottier and Stymus Manufacturing Company, active c. 1859-1910. Egyptian Revival.

34.18

Horn furniture, late 19th century; California. Exotic Revival.

34.19

Wicker seating, c. 1880s–1910s; United States.

Long Description:

The first chair has a tall and wide back, an armrest descends from the back, and the legs have a curvy shape to enhance the shaking of the chair in front and backward motions. The second chair has a tall and wide back with a spiral frame from the back to the legs. The seat is pivotal. The back has geometrical patterns. The seat has lines. The legs have a stretcher and curve shaped legs to enhance the shaking of the chair in front and backward motions. The third chair has a tall back with an arched top and geometrical patterns on the back. The seat is flat. The legs have stretchers. The legs are curved. The fourth chair is basket type with a spiral frame from the back to the legs. The apron is below the seat. The legs are straight.

34.20

Decorative Arts: Clock and vases, exhibited at the 1876 Centennial International Exhibition in Philadelphia, Pennsylvania. Egyptian Revival.

Long Description:

The first vase has a circular bottom, a tapered bulb shape from the top to the bottom with a spiral handle. The second clock is fixed between the two human sculptures and the female sculptures are on the left and the right. The third vase has half handles, and bulb shape reservoir.

This work is protected by United States copyright laws and is provided solely for the use of instructors in teaching their courses and assessing student learning. Dissemination or sale of any part of this work (including on the World Wide Web) will destroy the integrity of the work and is not permitted. The work and materials from it should never be made available to students except by instructors using the accompanying text in their classes. All recipients of this work are expected to abide by these restrictions and to honor the intended pedagogical purposes and the needs of other instructors who rely on these materials.

Our Services

Week 04 PowerPoint presentations

image5.jpg

image1.jpeg

image6.jpg

image7.jpg

image8.jpg

image9.jpg

image10.jpg

image11.jpg

image12.jpg

image13.jpg

image14.jpg

image15.jpg

image16.jpg

image17.jpg

image18.jpg

image19.jpg

image20.jpg

image21.jpg

image22.jpg

image23.jpeg

image24.jpg

image25.jpg

image26.jpg

image27.jpg

image28.jpg

image29.png

image4.png

Share This Post

Related Questions