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decoration, funiture and history in architecture

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renaissance - villa foscari
baroque -chateau de versailles
rococo - claydon houe

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decoration, funiture and history in architecture

  1. 1. ERNA-AUDREY MANGALEU TOUKAM 127476 Arch 371 Decoration, Furniture And Fashion History Spring semester 2017-2018 Lecturer :Assoc. Prof. Dr. Netice Yıldız
  2. 2. Renaissance 3 Decoration, Furniture And Fashion History 371 Renaissance building VILLA FOSCARI “La Malcontenta’’ Name : Villa Foscari Location : Mira, Italy. Date: 1556-1560 Function: residence Architect: Andrea Palladio The villa designed by Palladio for the brothers Nicolò and Alvise Foscari around the 1559, rises as an isolated block and lacking agricultural appurtenances at the border of the Lagoon on the side of the river Brenta. Brief history Showing lagoon on both sides could easily be reached by boat from the center of Venice. the reason for its nickname “Malcontenta” is the legend of a woman from the Foscari family, who was confined here to make up for her infidelity. The villa lacks the agricultural buildings which were an integral part of some of the other Palladian villas. It was used for official receptions, raised on a pedestal, which is characteristic of Palladio's villas; this pedestal is more massive than most of Palladio's villas (the base is 11 feet high, more than twice the height Palladio normally used) because it was not possible to construct a subterranean basement on the site. The villa sees the coexistence of motifs that recall the building traditions of the Lagoon while also evoking ancient architecture: like in Venice, the main façade is turned to the water, but the model for the pronaos and the large stairways is definitely the small temple at the mouth of the Clitumno which was well known to Palladio. villa which appears isolated and imposing like a castle. And has a monumental look 1
  3. 3. 3 Decoration, Furniture And Fashion History 371a hip roof with two attic gables Building Analysis The villa rises on a high basement that separates the first or ‘noble’ floor from the damp ground, augmenting the magnificence of the building that is lifted up as though on a podium, like an ancient temple. The main façade overlooking the water, like the palaces on the Grand Canal, The villa combines typical elements of Venetian architecture and schemes of the classical art in a singular way. hexastyle ionic portico, reproduces the typology of a temple of ancient Rome. Cylindrical chimney The rear front, which overlooks the garden and the countryside, Window of three lights with thermal window creating transparency forming an arched shape and breaking the pediment and bringing south light deep into the hall. Material used Bricks Stone Marble effect plaster The majestic twin access ramps forces visitors to walk along a ceremonial pathway: having approached the front of the building they would ascend to meet the owner who awaited them at the center of the pronaos. The solution traditionally adopted by Palladio to present stiff sides to the jutting proanos is set aside in order to provide access to the stairways.
  4. 4. 3 Decoration, Furniture And Fashion History 371 Plan Analysis a system of gaps makes the interior plan visible; think of they using a ‘free form’ that leans on the villa, a bent image emerges. The ‘blob’ creates a new perspective for people to interpret dimensions and symmetry. central plan character in evident controversy with the Venetian tradition - with a structural system of Roman conception. The floors – both of the piano nobile as well as the intermediate level above the piano nobile – are in fact structured by brick vaults that unload their weight and forces on the walls which thicken as they near the ground. vaulted wall of the central hall in a shape of a greek cross that is almost see-through thanks to the thermal glass panel overlapping a three- light window
  5. 5. 3 Decoration, Furniture And Fashion History 371 Decoration Style Furniture The interior of the villa is richly decorated with frescos by The entire Main room of the villa is decorated with a fresco cycle mostly inspired by Ovid's 'Metamorphoses', Battista Franco (1498-1561) and Giambattista Zelotti (1526-1578 Theme : mythology. the walls divided into panels by dummy Doric columns. Monochromatic statues Plafond and grotesque Trompe oeil and grotesque Ionic capital on its giant columns, uniquely solving a method of turning corners in a handsome way. Villas in Palladio’s day were sparsely furnished by our standards. Furniture was limited to large marriage chests, which were portable and they were often elaborately carved and exquisitely painted (cassoni). There were tables of monumental proportion often topped with coloured inlaid marbles (pietra dure) and cupboards with doors intricately decorated with intarsia (inlay).
  6. 6. 3 Decoration, Furniture And Fashion History 371 Gonzaga family painting Painting Artist Andrea Mantega Year 1470 Medium Oil on canvas Location Ducal Palace, Mantua Gonzaga Family in reunite Flat hat Knee length tunic Nether hose or stockings jerkin Padded shoulders Leg of mutton sleeves V-shape waistline Golden velvet textile embroidery Trompe oeil dome sky Illunistic frescos tapiserie Woman hair wear
  7. 7. Decoration, Furniture And Fashion History 371 Duckbill shoes • similarity of design • for villa plan, furniture shape such as the bedstead here, • circular hall, • modular organisation of space, • panelling of the • walls as well as furniture surface for various decorations, • geometry (rectangles, circles, triangles) of the building, • interior decoration as well as furniture. similarity of design for dome and ceiling pa intings , Renaissance plate, hair design and jewellery.
  8. 8. Baroque 3 Decoration, Furniture And Fashion History 371 French Baroque building CHATEAU DE VERSAILLES Name : Chateau de Versailles Location : Date: 1556-1560 Function: residence Architect: Andrea Palladio Brief history Aerial view The young Dauphin – the future Louis XIII – came to Versailles for his first hunting trip on 24 August 1607. He discovered a forest and meadows with plenty of game, which also pleased his father, Henry IV. According to Héroard, however, the doctor who recorded the visit, the Dauphin did not return until 1617. Crowned king in 1610, he next came in 1621, and his liking for the location only grew stronger. Ideally situated between his principle residence at Saint-Germain-en-Laye and Paris, it was surrounded by woods that were noisy with pheasants, boars and stags. In late 1623 the king decided to build a small hunting lodge where he could stay the night and which he first used in June 1624. It was a small country residence and, according to the Maréchal de Bassompierre, “a mere gentleman would not have been overly proud of the construction.” Louis XIII decided to rebuild it in 1631. Construction continued until 1634 and laid the basis of the Palace we know today. The king also bought part of the fiefdom of Versailles in 1632. These two small palaces, whose architectural style was neither distinctive nor particularly fashionable, were royal residences of leisure. Despite this seemingly humble role, it was here that the Day of the Dupes, a major event in the history of the French crown, culminated in November 1630. The king rarely invited guests here and, although the second palace contained apartments for the queen, Anne of Austria never slept in theme because her husband, the king, always ensured she had transport back to Saint-Germain or Paris... Besides the pleasures of hunting, Versailles also constituted a location to retreat to, where the king would come in search of solitude, notably after his relationship with his platonic mistress, Mlle de La Fayette, ended in 1637.
  9. 9. Building analysis 3 Decoration, Furniture And Fashion History 371 Façade in bricks and stones Slate roof of the Loire Valley decorated with lead ornaments. Red brick panel and marble statue. Black and white marble paving. Sandstone pavers. Wrought ironwork in gilded bronze. Group carved lead Ionic capital stone Saint- Leu. Stone maskLead roof Wooden window painted in ocher-yellow. Limestone facade from the quarries of Saint-Leu (Val d'Oise)
  10. 10. 3 Decoration, Furniture And Fashion History 371 Plan Analysis The building was planned round a series of geometrically controlled spaces –circles, squares and ellipses, within, imposed upon, adjoining one another, rhythms of convex against concave curves, exterior lines contrasted or harmonized. Surrounded by 800 hectares of immaculate gardens, with beautiful vistas, fountains and statues, the palace contained several symmetrical suites of apartments for the public and private use of the king and queen, as well as numerous other U-shaped lay out with Corp de logis Cours royale asymmetrical wings that result in a facade
  11. 11. Decoration, Furniture And Fashion History 371 Decoration Style The Palace of Versailles's interior designwork and decoration was legendary in its range, quality and expense. It featured the finest furniture and furnishings, beautiful ceramic art including Sevres porcelain, as well as tapestry art and small-scale bronze sculpture. The initial salons and the Hall of Mirrors even contained lavish displays of silver table pieces, gueridons and other furniture, though these were later melted down to finance further military campaigns. Not surprisingly, Louis XIV's astronomical expenditure stimulated a huge expansion of French crafts and specialist applied art, led directly to the emergence of Rococo art (dominated by France), and created an impetus in French painting and sculpture that paved the way for Paris to become the arts capital of the world. Hall of mirrors ceiling and gilded stucco decorations with paintings. baroque interior and door. The principal feature of this hall is the seventeen mirror-clad arches that reflect the seventeen arcaded windows that overlook the gardens. Each arch contains twenty-one mirrors with a total complement of 357 used in the decoration of the galerie des glaces. The arches themselves are fixed between marble pilasters whose capitals depict the symbols of France.These gilded bronze capitals include the fleur-de-lys and the Gallic cockerel or rooster. Louis XIV style: This elaborate bench showcases the style of Louis XIV at Versailles, which is characterized by richly woven red and gold fabrics or brocades, heavy gilded plaster molding, large sculpted side boards, and heavy marbling.
  12. 12. Decoration, Furniture And Fashion History 371 Painting Duckbill shoes The Queen is dressed in an elaborate golden white dress. Her hair is piled high and she wears a feathery headdress. All around her are the accoutrements of her station: huge columns, a marble bust of her husband, Louis XVI, displayed high atop a pedestal and behind a table on which sits a crown. The painting was originally meant for the queen’s brother, Emperor Joseph II of Austria, but Marie- Antoinette was so pleased with it that she ordered copies made for Catherine the Great of Russia and her own apartments at Versailles. Archduchess Marie Antoinette, Queen of France Portrait of Marie Antoinette (Vienna, 1755-Paris, 1793), Archduchess of Austria and Queen consort of Louis XVI (1754- 1793), King of France, painting by Elisabeth Louise Vigee-LeBrun (1755-1842), 1780. Vienna, Kunsthistorisches Museum
  13. 13. Decoration, Furniture And Fashion History 371 similarities of design (type of linear, geometrical, shape of the spaces or forms, colour, texture) etc. characteristic. Also, show the linear character of decoration, dresses and furniture; colour tones used etc. separately. linear character of decoration, dresses and furniture; colour shape of the spaces or forms, colour, texture
  14. 14. 3 Decoration, Furniture And Fashion History 371 ROCOCO building CLAYDON HOUSE Name : Claydon House Location :Aylesbury Vale, Buckinghamshire, England Date: 1757 and 1771 Function: residence Brief history FRONT FAÇADE OF THE BUILDING ROCOCO STYLE Claydon House is a country house in the Aylesbury Vale, Buckinghamshire, England, near the village of Middle Claydon. It was built between 1757 and 1771 and is now owned by the National Trust. Claydon has been the ancestral home of the Verney family since 1620. The church of All Saints, Middle Claydon lies less than 50 yards (46 m) from the house and contains many memorials to the Verney family: among them Sir Edmund Verney, who was chief standard bearer to King Charles I during the English Civil War. Sir Edmund was slain at the Battle of Edgehill on 23 October 1642, defending the standard. His ghost is reputed to haunt the house. In 1661, following the Restoration of the Monarchy, Sir Edmund's son (Sir Ralph Verney) was awarded a baronetcy by King Charles II for his and his father's loyalty and bravery during the preceding period of unrest. He was later, in 1703, made Viscount of Fermanagh and his son was, in 1743, created an Earl. The original house was rebuilt by Ralph 2nd Earl Verney between 1757 and 1771.The house as it stands today is a fraction of its original planned size. The original conception was of a mansion to rival the richer Earl Temple's huge mansion at Stowe, a few miles away near Buckingham. All Saints' parish church, Middle Claydon, in the grounds of Claydon House What remains today is the 'west wing'; this at one time had an identical twin, which contained the ballroom, and other state apartments. The twin wings were separated by a huge colonnaded rotunda surmounted by a cupola.The 2nd Lord Verney ran into financial problems before the latter two wings were entirely completed, and had to spend the final years of his life on the continent to escape his creditors.[9] Following his death in 1792 his estate was inherited by his niece Mary Verney (later created Baroness Fermanagh, in the second creation): a parsimonious woman, unlike her extravagant uncle, she had the house reduced to its present size. BUILDING AND ITS ENVIRONS
  15. 15. Decoration, Furniture And Fashion History 371 Building analysis Duckbill shoes The fenestration is of sash windows The ground floor windows are crowned by small round windows suggesting a non-existent mezzanine. The centre bay contains a large central venetian window on the ground floor Bricks used
  16. 16. Decoration, Furniture And Fashion History 371 Decorations Duckbill shoes North hall double cube room extravaganza of rococo architecture lost its adjoining hall under the lost dome. However, its magnificence remains. The broken pedimented door cases are adorned with rococo carving, by Luke Lightfoot, the most talented wood carver of the era, who worked extensively on the great mansion The adjoining saloon is slightly more restrained in its decoration. However the ornate carving continues into the dado rails, and onto the Corinthian columns supporting the huge venetian window. Niche in the wall A staircase of inlaid ivory and marquetry leads to the first floor. The walls of the staircase hall are ornamented with medallions and carved garlands reflecting the theme established in the main reception rooms. The wrought iron balustrade of the stairs contains ironwork ears of wheat, which rustle like the real thing as one ascends the flights The Chinese Room in Claydon House is the most elaborate Chinoiserie interior surviving in Britain. It was designed in 1769 by Luke Lightfoot. Above each door is a pagoda motif supported by Chinese figures. Oriental faces also appear among the flowers around the chimney-piece. The most remarkable part of the room is the tea alcove which is painted with a latticework design and covered in an abundance of Chinoiserie details. Chinoiserie was closely related to the Rococo style. Asymmetry, scrolling forms and an element of fantasy characterize both styles. Rococo and Chinoiserie styles were often used together in interior decoration or even combined in a single object.
  17. 17. Decoration, Furniture And Fashion History 371 Painting Duckbill shoes Pilgrimage to Cythera by Antoine Watteau: Watteau’s signature soft application of paint, dreamy atmosphere, and depiction of classical themes that often revolve around youth and love is evident in his work Pilgrimage to Cythera.
  18. 18. 3 Decoration, Furniture And Fashion History 371 CONCLUSION REMARKS 14th and 17th centuries. 1300-1600 • Simple Symmetry • Rectangles, cricles • triangels 17th until the late 18th century 1600-1750 Throughout 18th century 1700-1800 asymmetry Curved line ans s- shaped, flowing • Geometrical / symmetry • Contrast light and dark. • Rich colours • Bright monocolur Colour pastels • Natural colours Curvaceous lines Lighter colour palette Parallel lines
  19. 19. References 3 Decoration, Furniture And Fashion History 371 - https://www.google.com.cy/search?q=palladian+villa+la+malcontenta&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjPm56jz77aAhUFlxQKHQ_qB 6EQ_AUICigB - https://en.wikipedia.org/wiki/Villa_Foscari - https://www.google.com.cy/search?q=palldian+villa+la+malcontenta&oq=palldian+villa+la+malcontenta&aqs=chrome..69i57.20747j0j4&sourceid =chrome&ie=UTF-8 - http://www.ilburchiello.it/en/villa-foscari-la-malcontenta - http://tweedlandthegentlemansclub.blogspot.com.cy/2016/02/the-chinese-room-claydon-house-video.html - https://www.google.com/search?biw=1366&bih=637&tbm=isch&sa=1&ei=5DjVWrLjEYalUaH3hPAH&q=claydon+house+chinese+room&oq=claydo n+house+chin&gs_l=psy-ab. ab..8.6.868...0i24k1j0i67k1j0i30k1j0i8i30k1.0.9kqR2qbMVmU#imgrc=R0_tvMsFXbU9QM: - https://www.google.com.cy/search?q=chateau+de+versailles+plan+explained&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiIi6607r_aAhVEuBQK HUvzAJcQ_AUICigB&biw=1366&bih=588#imgdii=ZR4oXqEj0vc_lM:&imgrc=8XODKCqVEvRLOM: