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This week we explore the shifting design impulse between the curve (rococo) and the straight line (classicism)
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Design Before Design: A Quick and Dirty History
of Style to 1800
The Parthenon, Athens (448-432 BC)
Pantheon, Rome (2nd century AD)
Andrea Palladio’s Villa Almerico-Capra "La Rotonda"in Vicenza, Italy, 1550
Mannerism and the Late Renaissance
Michelangelo, Laurentian Library, San Lorenzo, Florence, Italy from 1524
Borromini, Dome of San Ivo della Sapienza, 1642-62, Rome, Italy
Baroque Architecture, Italy
Borromini, Dome of S. Carlo alle Quattro Fontane, 1643-43, Rome, Italy
Baroque Architecture, Italy
Bernini and Roman Baroque
Bernini, Baldacchino, St. Peter’s 1624-33, Rome, Italy
Bernini and Roman Baroque
Bernini, Throne of St. Peter 1657-66, St. Peter’s, Rome, Italy
Design for a frameJohann Paul SchorRomec. 1670s
Mirror with sunflower motifAnonymousRomeSecond half of seventeenth century
State bed of Maria Mancini ColonnaJohann Paul SchorRomec. 1663
“the bed’s innovation and magnificence filled all the world with admiration”
Rococo
Print from Tableaux d’ornements et rocaillesDesigned by Jacques LajoueFrench c.1740
Centerpiece and terrines for the Duke of KingstonJuste-Aurèle MeissonnierParis1735
CandelabreJuste-Aurele MeissonierParis, 1734
We should be infinitely obliged to (metalsmiths) if they would be good enough not to alter the intention of things and to remember for instance that a candlestick out to be straight and perpendicular in order to support its light, not twisted as if someone had forced it out of shape; that its pan ought to be concave so as to hold the wax than runs down and not convex so as to let it drop in a sheet on the candlestick, besides a quantity of other charming devices no less unreasonable which it would take too long to mention.
Charles-Nicholas CochinMercure de FranceDecember, 1754
ormolu chénetsunidentified makerFrancec. 1730
Nothing is monstrous, as Horace observes, than to couple together beings of different nature; and yet ‘tis what many of our artists at this time glory in doing. A cupid is the contrast of a dragon; and a shell of a bat’s wing; they no longer observe any order. . . they heap cornices, bases, columns, cascades, rushes and rocks in a confused manor, one upon the other; and in some corner of this chaos, they will place a cupid in a great fright, and have a festoon of flowers above the whole.
Abbé le Blanc
Mantel clockAttributed to Jean-Pierre LatzFrenchc. 1730’s
Mantle clock Maker unknownFrenchc. 1745-1750
. . . Be pleased not to make a scythe smaller than an hour-glass, a hat ot tambourine larger than a bass viol, a man’s head smaller than a rose, a bill hook as large as a rake, etc. It is with much regret that we find ourselves obliged to beg them (artisans) to confine their genius within these laws of proportion.
Charles-Nicholas CochinMercure de FranceDecember, 1754
Rococo cartel clockattributed to Jacques CaffieriFrancec.1750
What do the pendulum clocks, so much in fashion, resemble; which have neither basis not console, but seem to spring out of the wainscot . . . those stags, dogs, huntsmen, or Chinese figures, which they dispose in so odd a manner about the dial-plate; are they its natural ornament?
Abbé le BlancLetter to Comte de Caylus1737-44
commodeAntoine Gadreaux and Jacques CaffieriFrancec. 1738
Casket (coffres de toilette)Maker unknownFrance1755-1760
. . . We furnish them with fine straight wood and that they ruin us with expense by working it into all these sinuous forms, that in bending our doors in order to subject them to circularities which it pleases the good taste of our modern architects to give to all our rooms, they make us spend much more than if they were to make them straight, and that we find no advantage in them since we pass just as well through a straight door as through a rounded door.
Charles-Nicholas CochinMercure de FranceDecember, 1754
The Cabris roomGrasse, France1775-72Metropolitain Museum
WeiskircheJ. B. ZimmermannGermany1745-54
Robert CleeTrade card for liqour dealerEnglish 18th century
Title cartoucheA New Book of OrnamentsAntonioVisentiniEngland, 1753
Critiques of the rococo• Illogical, Irrational or “unnatural” (material,
structure and ornament)• Corrupting, seductive, luxurious,
ephemeral, fashionable• Dysfunctional, decorative• expensive
The Continuing Curve
Rococo Classical• Curvalinear, organic• Exuberant and emotional• Feminine, private• Amoral and irrational• Synthetic and inclusive• Artist as servant, artisanal• Ahistorical
• Rectilinear, geometric• Restrained and rational• Masculine, public• Moral and rational• Reductive and exclusive• Visionary and academic• Ancient pedigree
CandelabraJuste-Aurele MeissonierParis, 1734
Rococo
Hot water urnJean-Babtiste-Claude OdiotFrancec.1800
Neoclassical
Title cartoucheA New Book of OrnamentsAntonioVisentiniEngland, 1753
Rococo
John Baskerville, Title page for Virgil’s Bucolica, England, 1757
Neoclassical
Hôtel TasselStaircaseVictor HortaBrussels1893
Sitting room furnitureGeorges De FeureParis1900
Parody of Art Nouveau /Jugendstil Interiors, Berlin, c.1900
Art Nouveau Lyre-GuitarLuigi MozzaniItalyc. 1910
A decorative disease?
MT8 table lampWilhelm WagenfeldGermany1924
Cover for Elementare TypographieJan Tschichold, Germany, 1925
Marcel Breuer, Wassily-Chair, Bauhaus, 1926
Le Corbusier, Villa Savoye, Poissy-sur-Seine, France, 1929-31
Seagram BuildingMies van der RoheNew York 1958
Eero Saarinen, TWA Terminal, JFK Airport, New York, 1956-62
La ChaiseCharles and Ray EamesUSA, 1948-present
Organic Mid-century Modernism
Concert poster for “The Association”Wes WilsonUSA, 1966
TeakettleMichael Graves for AlessiUSA, 1985
Postmodernism
Heatwave radiatorJoris Laarman, The Netherlands2003
Altermodernism
Cinderella Table Jeroen VerhoevenThe Netherlands,2004
Imac G3,1990’s
Isub subwooferJonathan Ive for Harman KardonUSA, 1999
PowerMac G4Jonathan Ive for Apple ComputersUSA, 1999