The Chippendale Chair from the mid 1700’s is one of the most common pieces of furniture that was widely copied in the American Georgian and Colonial Revival periods. Similar features include intricate carving and a rectangular back. Later interpretations feature similar characteristics but alter other areas of the chair such as the arms or legs. Some later interpretations take the legs of the chair and pair it with a new back. Other interpretations may include the same back but different legs. Some chairs may eliminate the arms of the chair completely. This artifact represents revolution in design because through different interpretations, uniform variations occur. As the chair continues to evolve people take certain parts of the chair that will make it better for the current time. The revolution of the Chippendale chair coincides with the American Revolution. The transition from the colonies to the United States parallels the revolution of the chair. Early designs include human qualities appearing as though the chair could actually walk. The shoulders of the chair seem to have ears while the intricate carvings on the legs look like they are bent. Later interpretations seem lighter as though it floats off the floor. The legs are straighter without as much of a distinct frame. This suggests that styles begin to mix and there is a less cohesive style as the revolution continues. Questions arise of what the right answer is because so many various styles occur. The Chippendale chair is one of many examples that is a revolutionary artifact. A new nation is forming as well as the correct style. People continue to try and figure this out and what works best for the time. Different interpretations of past designs define the style and the reconstruction of the word and the views people have towards it.
2] Using the internet, LOCATE and ANALYZE an image for an ARTIFACT, a SPACE, a BUILDING, and a PLACE, drawing the idea of eastern influences as understood by nineteenth-century minds (China, Japan, India, Middle Eastern) on western design and architecture. Each answer must include an appropriately annotated and cited image in addition to a well-crafted essay to defend your choice of each image and the ways (more than one) that the material item responds to design influences from the east. [20 POINTS POSSIBLE]**
With trade from the eastern world becoming more accessible to the western world, many later interpretations incorporate eastern influence motifs and forms.
The Anglo-Japanese sideboard from 1867 by Edward M. Godwin reflects Japanese furnishings. This piece of furniture responds to design influences from Japan because of its simplicity and strong sense of geometric shapes. The straight legs relate to many Japanese furnishings hat are low to the ground. The dark ebonized wood also shows similarity to the oak and chestnut wood popular in Japanese furnishings.
The Royal Pavilion interior at Brighton shows much of an eastern influence. This interior space is filled with color ad textiles. As trade from China becomes more prevalent in the western world, surface decoration and textiles from the eastern world becomes more common. Silk is introduced, with the idea of brightening the space in such a gloom area. This idea of the eastern world is a fantasy. People enjoy the idea of creating an artificial world in a different place. Entertainment and dinners were prominent to show off these spaces. The world becomes available and interiors showcase this.
The Tea house at Marble House in Newport, Rhode, Island is a later interpretation of Chinese architecture. This building embraces some Chinese motifs such as latticework, and upward curving roofs. This interpretation seems to copy Chinese gateways to create an exotic element and a fantasy world as one walks into the space. Symmetry and geometric ordering occur throughout the building. The bright color symbolizes happiness. The animal motifs on the roof derive from Chinese culture in which the animals would protect from evil spirits.
Nice work!
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