Architecture and Interior Design Through the 18th Century: An Integrated History / Edition 1

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Overview

Exceptionally comprehensive, this single- source reference allows readers to compare and contrast architecture, interior design, interior architectural features, design details, motifs, furniture, space planning, color, lighting, textiles, interior surface treatments, and decorative accessories through many centuries--from antiquity to the 18th century--from the many regions of the world. Additionally, it includes later interpretations of architecture, interiors, and furniture to illustrate the evolution of each stylistic influence. Each period is placed within a conceptual, cultural, historical, and social context, and the broad range of examples depicts high-style and domestic structures and furnishings that reflect residential, commercial, and institutional projects. The volume is extensively illustrated and features many illustrations diagrammed with explanatory notes highlighting specific design features. Cultural Precedents. Oriental (China, Japan). Antiquity (Egypt, Greece, Rome). Middle Ages (Early Christian, Byzantine, Islamic, Romanesque, Gothic). Renaissance (Italian Renaissance, Spanish Renaissance, French Renaissance, English Renaissance, American Colonial: England, American Colonial: Spanish, American Colonial: France, American Colonial: Germany, Holland). Baroque (European Baroque, Louis X1V, English Restoration). Rococo (Regencey & Louis XV, Neo-Pal & English Georgian, American Georgian). Early Neoclassic (Louis XVI, French Provincial, Late Georgian, American Federal). For interior design practitioners, furniture designers, design consultants, design manufacturers, and theater and film set designers, as well as those in the related fields of art history, architecture, material culture, museum studies, and history. Also of interest to historical societies, preservation groups, crafts people, design journalists, and the lay person with interest in design.

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Product Details

  • ISBN-13: 9780137585908
  • Publisher: Prentice Hall
  • Publication date: 1/5/2002
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 672
  • Sales rank: 512,670
  • Product dimensions: 8.48 (w) x 11.12 (h) x 1.44 (d)

Read an Excerpt

This book was written primarily to fulfill a need in interior design education and in related design disciplines. We are not aware of another book that allows the reader to compare and contrast architecture, interiors, furniture, and decorative arts through many centuries. We have tried to interweave a design analysis language with that of art and architectural history. Our intent is to provide a flexible, easy-to-use, and well-organized resource for those with a variety of interests. An extensive reference list, glossary, and index are included.

Our primary audience is students in interior design programs. However, this book will also be of use to interior design practitioners, furniture designers, design consultants, design manufacturers, and theater/film set designers, as well as to students and professionals in the related fields of art history, architecture, material culture, museum studies, and history. It may also be of interest to historical/ preservation societies, craftspeople, design journalists, and laypeople interested in design.

The development of this book evolved over a number of years through our college teaching experiences. We, and our colleagues, were continually frustrated by the lack of adequate resources to support the desired content, context, and comprehensiveness of design history. All of our shared ideas were realized here as we worked on the scope, organization, and presentation of this material. We hope that this effort fulfills a need for you and future generations who find the study of design history exciting. ACKNOWLEDGMENTS

This book has been an enormous endeavor and a formidable challenge. We would like to offer our gratefulacknowledgment to those who provided valuable assistance though its development. Special thanks to each of you for all of your wonderful contributions!

To our Prentice Hall/Pearson Education support team who had faith in us and made the book happen: Vern Anthony, Judith Casino, Elizabeth Sugg, Linda Zuk, Denise Brown, and Patsy Fortney.

To our many students who inspired us to undertake this project: those who studied with Buie at Virginia Commonwealth University, the University of Texas at Austin, and North Texas State University; those who studied with Bridget at Marymount University, the University of Georgia at Athens, and Mississippi University for Women; and those who studied with Curt at Winthrop University, San Diego State University, and Washington State University.

To our educational institutions who in various ways supported our efforts: Virginia Commonwealth University, Marymount University, and Winthrop University.

To our friends who offered their expertise, support, resources, interest, and listening ears: Alice Burmeister, Peg De Lamiter, Laura Durfresne, George Fuller, Alan Huston, Dianne Jackman, Philip Moody, Ardis Rewerts, Nancy Templeman, and our family within the Interior Design Educators Council (IDEC).

To our special library resource friends: Carl Vuncannon and his staff at the Bernice Bienenstock Furniture Library in High Point, North Carolina, who opened that resource to us; Suzanne Freeman at the Virginia Museum of Fine Arts in Richmond, who provided a wealth of information; and Ray Bonis in Special Collections, Cabell Library at Virginia Commonwealth University, who provided valuable assistance.

To our individual family members who offered ongoing support, listened to complaints, and provided expertise when needed: Judy Sherman Endeman, Frith Harwood, Robert Harwood, Hope Harwood Liebke, Dottie May, and Henry May. To those early illustrators and photographers who recorded their environments as well as earlier ones of the 18th, 19th; and 20th centuries. As shown herein, their depictions of architecture, interiors, furnishings, and costumes were of enormous value in providing a resource archive of the past.

And, finally, to our wonderful and talented artist and former interior design student: Chris Good. You did a great job!

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Table of Contents

INTRODUCTION.

1. Cultural Precedents.

ORIENTAL.

2. China.

3. Japan.

ANTIQUITY.

4. Egypt.

5. Greece.

6. Rome.

MIDDLE AGES.

7. Early Christian.

8. Byzantine.

9. Islamic.

10. Romanesque.

11. Gothic.

RENAISSANCE.

12. Italian Renaissance.

13. Spanish Renaissance.

14. French Renaissance.

15. English Renaissance.

16. American Colonial: England.

17. American Colonial: Spain.

18. American Colonial: France.

19. American Colonial: Germany and Holland.

BAROQUE.

20. European Baroque.

21. Louis XIV.

22. English Restoration.

ROCOCO.

23. Le Regence and Louis XV (Rococo).

24. English Neo-Palladian and Georgian.

25. American Georgian.

EARLY NEOCLASSIC.

26. Louis XVI and French Provincial.

27. Late English Georgian.

28. American Federal.

Bibliography.

Glossary.

Index.

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Preface

This book was written primarily to fulfill a need in interior design education and in related design disciplines. We are not aware of another book that allows the reader to compare and contrast architecture, interiors, furniture, and decorative arts through many centuries. We have tried to interweave a design analysis language with that of art and architectural history. Our intent is to provide a flexible, easy-to-use, and well-organized resource for those with a variety of interests. An extensive reference list, glossary, and index are included.

Our primary audience is students in interior design programs. However, this book will also be of use to interior design practitioners, furniture designers, design consultants, design manufacturers, and theater/film set designers, as well as to students and professionals in the related fields of art history, architecture, material culture, museum studies, and history. It may also be of interest to historical/ preservation societies, craftspeople, design journalists, and laypeople interested in design.

The development of this book evolved over a number of years through our college teaching experiences. We, and our colleagues, were continually frustrated by the lack of adequate resources to support the desired content, context, and comprehensiveness of design history. All of our shared ideas were realized here as we worked on the scope, organization, and presentation of this material. We hope that this effort fulfills a need for you and future generations who find the study of design history exciting.

ACKNOWLEDGMENTS

This book has been an enormous endeavor and a formidable challenge. We would like to offer our grateful acknowledgment to those who provided valuable assistance though its development. Special thanks to each of you for all of your wonderful contributions!

To our Prentice Hall/Pearson Education support team who had faith in us and made the book happen: Vern Anthony, Judith Casino, Elizabeth Sugg, Linda Zuk, Denise Brown, and Patsy Fortney.

To our many students who inspired us to undertake this project: those who studied with Buie at Virginia Commonwealth University, the University of Texas at Austin, and North Texas State University; those who studied with Bridget at Marymount University, the University of Georgia at Athens, and Mississippi University for Women; and those who studied with Curt at Winthrop University, San Diego State University, and Washington State University.

To our educational institutions who in various ways supported our efforts: Virginia Commonwealth University, Marymount University, and Winthrop University.

To our friends who offered their expertise, support, resources, interest, and listening ears: Alice Burmeister, Peg De Lamiter, Laura Durfresne, George Fuller, Alan Huston, Dianne Jackman, Philip Moody, Ardis Rewerts, Nancy Templeman, and our family within the Interior Design Educators Council (IDEC).

To our special library resource friends: Carl Vuncannon and his staff at the Bernice Bienenstock Furniture Library in High Point, North Carolina, who opened that resource to us; Suzanne Freeman at the Virginia Museum of Fine Arts in Richmond, who provided a wealth of information; and Ray Bonis in Special Collections, Cabell Library at Virginia Commonwealth University, who provided valuable assistance.

To our individual family members who offered ongoing support, listened to complaints, and provided expertise when needed: Judy Sherman Endeman, Frith Harwood, Robert Harwood, Hope Harwood Liebke, Dottie May, and Henry May. To those early illustrators and photographers who recorded their environments as well as earlier ones of the 18th, 19th; and 20th centuries. As shown herein, their depictions of architecture, interiors, furnishings, and costumes were of enormous value in providing a resource archive of the past.

And, finally, to our wonderful and talented artist and former interior design student: Chris Good. You did a great job!

Read More Show Less

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