Furniture timeline assignment

FURNITURE STYLES & TIMELINE
ASSIGNMENT
PERIODS
INTD 1060 JILLAINE THOMSON JANUARY 15, 2013

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ANCIENT EGYPT
CHAIRS
 Royalty only; great richness and splendor
 Some with seat pads and cushions – plush and stuffed with goose
down or leafs
1500 – 1200 B.C.
 Heavy, rigid wood
 Connection with beauty of
natural world
 Functionality & practicality
 Uncomfortable
 Mortise, tenon and dovetail
joints common

Details
Legs
High society or royalty chair; Straight Chair, New Kingdom, Dynasty 18, 1479 -1473 BC.  Carved in form of animal legs
back, raised feet on cylinder pedestals or the fore and hind-parts of
some animal.
 First dynasties: generally legs
and hooves of bulls.
 From III Dynasty onwards: lion
paws (sometimes whole
stylized lions)
 Three and four-legged types

Ornamentation
 Inlaid with bone, ebony,
exotic woods, ivory, glass and
stones
CURVED SEATS OFTEN USED LEG DETAILS  Silver and gold leaf
 Marquetry
STOOLS  Clear or dark varnishes
 Most common and earliest piece furniture  Usually painted
 Seating and ceremonial use
 Commoners and royalty Motifs
 Animals (scarab, serpent,
vulture) and plants (lotus,
palm, papyrus)
 ankh, sphinx and sun disk.



Simple Lattice Stool, New Kingdom Folding or X-Stool, Thebes, 1400-1500 BC


ANCIENT GREECE
STOOLS

DIPHROI OR FOLDING PORTABLE STOOL
1500 – 1200 B.C.
Greek Stool Reproduction; T.H. Robsjohn-Gibbings,
1961
 Simple, elegant, tasteful
 sometimes terminating in hoofs or  Development of the couch,
claw feet. chair, and even the stool to
 often had four perpendicular some extent
turned legs and a rectangular seat  Wood construction
 often with a cushion or rug for  Subtly decorated
padding.  Practical use and comfort ;
not decoration
 Based on a concern for
human form in their designs
DIPHROS OKLADIAS  Stools, chairs, couches

Diphros Okladias stool, T.H. Robsjohn-
Gibbings, United Kingdom, 1963

 legs cross, as in the modern stool Motifs & Ornamentation
 sometimes quite elaborate in  Leaf borders and scroll
design motifs particularly
 straight legs or curved legs ancanthus motif
ending in animal feet  Greek fret, guilloche, dentil
moulding, egg and dart

CHAIRS

KLISMOS CHAIR

th
Klismos Chair, c. 5 Century BCE

 Comfort over ceremony
appears in furniture design or
“western comfort”

 delicately curved back and legs
 curvature of back for comfort


ANCIENT ROME
STOOLS

SELLA (stool)
 ordinary seat for one person, used by men and 1200 - 1500 B.C.
women resting or working, and by children and slaves at their meals
 most common type of seating in the Roman period  Types and styles of ancient
Roman furniture followed
SELLA CURULIS those of their Classical and
Hellenistic Greek
 . portable folding seat of office predecessors
 descendant of Egyptian X-chair  Stools most prevalent form
 widely used as a symbolic throne of of seating
power for government officials

Motifs & Ornamentation
 Wealthy - precious woods,
ornamented with inlay,
metal fittings, ivory, and
CHAIRS silver and gold leaf.

SOLIUM
The Solium, Drawing from the Vatican Manuscript of Vergil

 First improvement upon the sella
 Not upholstered
 Used by house ruler
 Stiff, straight
 High backed with solid arms; so high that
a foot stool was necessary

Left: THRONE CHAIR:
Reconstruction Drawing of a
Roman throne, 60-20 B.C.E.; based
on stone carving

Right: WICKER CHAIR
Reconstruction Drawing of Roman
wicker chair, third century C.E.

Chairs of lighter and more
simple, functional design were
often made of wicker


RENAISSANCE
ITALY


RENAISSANCE - ITALY
SAVONAROLA CHAIR

Savonarola Chair, c. 1500

 Folding armchair [Type
1400 -sidebar title]
 Made up from many curved strips
of wood pivoted at center of seat [Type the sidebar content. Ahomes
 Largely restricted to sidebar
 Named after famous preacher of the wealthy and powerful
is a standalone supplement to the
 Wealthy would have seating
who, it is thought, favored this
made very sumptuous and
design main document. It is often aligned
grand
 Poorer people’s chairs often
on the left or right of the page, or
had x-shaped backs and
some could only afford
located at the top or bottom. Use
simple three-legged stools
or sgabelli
the Drawing Tools tab to in
 Chairs appeared change the
SGABELLO
increasing variety as
formatting of the sidebar text box.]
alternatives to benches and
stools
Sgabello Chair, Florence, Italy
 Increasing elegance to
 Stool with a wooden slab back accommodate new tastes
for luxury and artistic
 Often three-legged
expression
 Seat might be octagonal  Rich in style
 Elegant versions might have richly
carved details Details
 Leg support design is trestle base  Primarily constructed of
wood – often walnut or
willow


Motifs & Ornamentation
DANTE CHAIR  Many inlays of ivory, gold,
stone, marble or other
precious elements
Dante Chair, Italy  Marquetry
 Much furniture was
 Similar to Savonarola but with a relatively grotesque (a
more solid frame, pivoted in French variation of the
same way but with cushioned Italian word grottesco),
seat and stretched cloth back often creating sculpted odd-
looking gargoyles and
monsters


MEDIEVAL
BYZANTINE, EARLY CHRISTIAN,
ROMANESQUE & GOTHIC


EARLY MIDDLE AGES
EARLY CHRISTIAN, BYZANTINE AND ROMANESQUE

 Simple chests common


Chair designs often the result of modification of chest construction
Chair primarily a symbolic object – a throne used by royalty,
410- 1200
bishops, possibly the lord of a castle
 Stools and benches MEDIEVAL
 Simple and sturdy
 Not comfortable
 Solid, massive and severe in
character
 Mostly for church and
palace
 Forms rectilinear
 Vertical emphasis
Ivory Throne, c. 6th century; throne for
archbishop of Ravenna, Maximian.  Timber construction - mostly
oak or indigenous wood
Displays the technique of relief
carvings with ivory inlays. The carvings
are of religious symbols and saints
which were often gilded and painted.

ORNAMENTATION & MOTIFS

 Arches and curves
 Simple geometric arrangements
 Coarsely rendered animal and plant form
 Most often timber construction - mostly oak or indigenous wood;
solid heavy timber
 Panels carved or painted with arcades of round arches, and the spaces
Were filled with saintly figures and monsters.
 Marquetry - the star, saw-tooth, checker, billet, overlapping lozenges,
battlement mouldings and diamond points.


LATE MIDDLE AGES
GOTHIC

1200 – 1700
 Lighter joined furniture
relying on mortise and tenon
joints rather
than iron fasteners
 Use of curved lines limited
to folding chair of x-form
(Roman curule form)

Ornamentation & Motifs
 Carved detail and low relief
carving
-simple and geometric
or referencing Gothic stone
architecture – pointed arch
Left: Gothic Chair, late 15th Century; typical box chest as base; forms
Solid wood in thick posts and rails holding thinner wooden panels  framed panels with figure,
animal or heraldic device
Right: Gothic throne chair, 15th Century treated in stylized form
 Linenfold
 Foliage - maple leaves,
parsley, curled cabbage and
cress leaves, vine leaves
with bunches of grapes.
 Painted decoration and
Gothic Chair, c. 15th Century turning

Linenfold on side panel, tracery (horizontal
carving at top of chair), and
buttresses on back


LOUIS XIV | Baroque
BAROQUE CHAIRS
 Formal and highly ornate
 Grand scale
 Rectilinear form 1643 - 1715
 Comfortable
 Upholstered back and seat; tapestries, large pattern, brocade,  Reflection of the so-called
velvet French Sun King, who was
the personification of luxury
FAUTEIL (open arm chair) – late 17th Century introduction and grandeur
 Reserve, emphasis on logic
and order
 Grand scale, formal, ornate
 Intended to impress
Louis XIV Chair, 1675.  Pieces designed for specific
Carved and gilded walnut rooms & room positions


Details
Legs – Early Baroque:
 straight and turned or
carved - squared effect
Legs – Late Baroque:
 cabriole shaped but
somewhat massive

Wood
 Oak and walnut

Ornamentation
 Lavish carving, gilding, and
marquetry
 Often embellished with
fancy trims and gilded nails
Louis XIV Fauteil Motifs
Cabriole style leg of Late Baroque
 Classical – satryrs, shells,
scrolls, rosettes, foliage and
masks, ram’s heads, Sun
King emblem (mask
surrounded with rays of
light)


REGENCY TO ROCOCO
 REGENCY (1710 -35) – Between reign of Louis XIV & XV
 ROCOCO (1730 – 1760) – Louis XV

REGENCY & ROCOCO CHAIRS 1710 – 1760
 Smaller scale
 Lighter and elegant  Rejection of heavy formality
 Graceful curves of Baroque style
 Influenced by a more
informal, intimate &
BERGERE (bergère en cabriolet) – introduced in Regency period comfortable way of life
 Curvaceous forms
Early Regency: Late Rococo:
 Asymmetrical
 Exuberant luxury
 Emphasis on interior as
harmonious whole

Details
 Curvaceous bombe forms
Legs:
 More elaborate cabriole leg
Feet:
 Scroll foot

Ornamentation
Armchair, 1710, Early Regency Armchair, 1760–70; Claude-Louis Burgat  asymmetrical ornament
Carved and gilded walnut, covered in Carved and gilded beechwood  inlays and marquetry of
wool, velvet exotic woods
 painted furniture
 Chinese lacquer
ROCOCO FAUTEUIL

Motifs
 Shell motif, naturalistic
foliage ( plant and flower
Classic French Louis XV-style fauteuil, motifs), rocaille, C scrolls
ca. 1900 and S scrolls.
 Oriental motifs


LOUIS XVI | Early Neoclassicism
NEOCLASSICISM

 Straight lines
 Rectilinear forms
 Academic reserve, noble and soberl 1760 - 1789
 Showing traces of influence from restrained baroque
 Romantic
 Lighter and smaller in
scale
 Straight lines and rectilinear
forms

Details
 Mahogany or ebony

LEGS:
 Straight, tapered
 Fluted
 Round or rectangular
FEET:
 Thimble or Spade

Ornamentation
 Carved detail is typical –
carving tends towards
parallel bands of moulding
 Gilding
 Classic ornamentation such
as fluting (or reeding),
Armchair (bergère en cabriolet), 1788
Jean-Baptiste-Claude Sené, Motifs
Carved, painted, and gilded walnut finely carved with acanthus Classical Greco-Roman motifs: urns,
ancathus leaves, fluted columns,
and ivy leaves, rosettes, and—on the arm supports—Egyptian term figures. oak and laurel leaf, wreaths
The back rail is crowned by a cartouche with the initials of Marie Antoinette.


EMPIRE | MID-LATE NEOCLASSIC
DIRECTOIRE (Transition Period) 1795 - 1799
EMPIRE (Late Neoclassicism) 1804 – 1830

1795 - 1830
DIRECTOIRE
 Carried on the Classicism of Louis XVI, but with greater restraint  Napoleonic rule
 Continuation of Louis XVI
and incorporating many of the symbols of equality, fraternity
but more severe in form and
and liberty associated with the Revolution.
decoration
 Often borrowed from the forms of ancient Greece and Rome  Attempt at a more austere
classicism
 Stiff forms and straight lines
 Egyptian & Greek influences
 Fascination with Pompeiian
themes
 Military and imperial
references
 Intention to blend luxury
with a sense of sternness
and rigor
 Dignifed furniture
 Rectinlinear forms take on
grand proportions

Details
Legs:
 Sabered or splayed legs
Curule Armchair, Jacob Freres, France Directoire painted and carved bergére Feet:
1796-1803, Mahogany France, late 18th century
Tapered and fluted legs with acanthus
leaf decoration


EMPIRE | MID-LATE NEOCLASSIC
EMPIRE

1795 - 1830
Details
 Brass or gilt mounts,
sumptuous fabrics,

Motifs
 Swags, laurels, medallions,
sphinxes Gold ‘N’ initial,
wreaths, rosettes, and
Napoleon’s personal
emblems: the crown and
Empire period Bergere, France the bee
Empire Fauteuil, France, 1805,
19th century, carved mahogany
Ormolu mounts
Colors
 Rich red (considered to be
Pompeian), gold and black
DIRECTOIRE & EMPIRE STYLE FORMS


ELIZABETHAN
JOINED CHAIRS
 Descendants of Tudor era Wainscot chairs
 Front arm supports are baluster turned
 Very low stretchers exist as foot supports
1558 - 1603
 Introduction of more carved
ornamental detail
 Many lathe turnings – spool
and ball forms

Details
 Oak
Elizabethan joined walnut great chair, c. 1575,  Mortise and tenon joint
West County, England  Massive turnings
 Low stretcher bars
Legs:
ELIZABETHAN X – CHAIR  heavy and in bulbous
 Folding chairs become commonly seen turning (Flemish)
among the rich and royalty  Melon bulb
 Cup and cover
 Textile coverings, often velvet, with the
seat being a cradle of webbing which
takes a squab cushion. Ornamentation
 X frame chairs usually came with a  Linenfold
matching footstool.  Strapwor
 S-curve and C- curve
 Extensive use of carvings
 Strap work carving (low
relief)
Oak Upholstered Chair, Late 16th century;  Flamboyant carved, turned,
Lord Amherst inlaid, and painted
decoration in the spirit of
TURNED CHAIRS the English Renaissance

 Not comfortable MOTIFS
 Made entirely of wood  Fruit and floral designs –
particularly grape and vine
 Short and small
leafs
 Handmade by turning the wood on a
 Masks, grotesques and
lathe lozenge ornamentation
 Only 3 triangular shaped legs
 Back was a large spindle with three
smaller spindles on each side

Turned Chair, c. 1580


JACOBEAN
JACOBEAN WAINSCOT CHAIR

The fleur-de-lys on the crest of the chair was 1603- 1649
commonly used in early Jacobean chairs, but the
chair conforms to Charles I period prior to the  Name from James I – 1603-
Cromwellian period 1625
 Very sturdy and massive
 Renaissance – Gothic
Designs
 Generally massive and
straight-lined
 Simpler lines
Charles I Early Jacobean Wainscot Chair, Derbyshire,  Somewhat lighter and
England smaller in scale than
Elizabethan predecessors

JACOBEAN FARTHINGDALE CHAIR Details
 Use of carving and splat
 Made of oak  Oak and walnut
 Designed to accentuate the Legs:
farthingale on a woman.  small columns: dwarfed
 Low solid, padded back columns; straight and spiral
 Legs were straight and rectangular.  lathe turnings with spool
forms or spiral twist patterns
 Seat was usually upholstered
Feet:
 Upholstery was either a fancy
embroidery, Turkeywork inspired by Ornamentation
Turkish or Persian carpets, or  Carving and splat
expensive velvet  Ornament gradually became
simpler and more
undecorated
JACOBEAN CROMWELLIAN CHAIR  More elegant

Motifs

Jacobean Cromwellian Chair, c. 1649; barley twist
turnings


RESTORATION |CAROLEAN
Baroque
CAROLEAN OR CHARLES II CHAIR

1660 – 1672
 Reign of Charles II
 Increasing emphasis on
luxury, comfort and
practical convenience

Details
 Spiral turnings
 Sugar barley twist (twisted
wood leg)
 Caning
 Walnut
 X-shaped curved stretchers
Legs
 Cabriole leg with gentle S-
curve form begins to
Jacoben Oak Hall Chair, Charles II Arm Chairs, late 17th Century, Walnut appear
17th Century.
 Caning

Ornamentation
 Veneering
CAROLEAN WINGBACK CHAIR  Elaborate carving –
sometimes lacquered and
Introduction of Wing Chair gilded
 Upholstery and fringes
became fashionable
 Scrolls
 Exotic veneers
 Carved forms appeared in
backs and legs
 Inlays of ebony and other
woods

Motifs
 Flemish S scroll

Oak Upholstered Chair, Late 16th century;
Lord Amherst


RESTORATION | WILLIAM & MARY
WILLIAM AND MARY CHAIRS
 New interest in comfort – padded and upholstered seats and
curved backs
 Highest backs of any period
 Cabriole leg and spayed leg make their appearance
1689 - 1702
 Dutch influence -William of
Orange from Holland
became King –
 Noted increase in comfort
 Baroque influence
 Dutch and Chinese
influences
 Some retreat from
elaborate extremes of
Carolean period
 Curving shapes
William & Mary Side Chair, late 17th or early
18th Century. England
Details
Spoon Back, Cabriole Legs, High Back and  Tallest back of any chair
Pied-de-Biche Feet  Double curve cross
stretchers
Legs :
 Inverted cup leg
 Bell and trumpet leg; turned
leg
 Splayed back legs
 Introduction of cabriole leg
 Introduction of rear spayed
HOOF FOOT legs
Feet:
 Ball and Spanish
 Pied-de-Biche or Hoof
Seats:
 Padded or caned seats
 Square with narrowing
Backs:
 Spoon back and splats

Ornamentation
 Marquetry often took for of
elaborate floral patterns
 Veneering

Motifs
 Cockle and scallop shell
William & Mary Dining Chairs, Walnut  Ancathus leaves
 C-scrolls and S-scrolls


QUEEN ANNE
TYPICAL QUEEN ANNE CHAIR

1702 - 1714
Queen Anne Side Chair, C. 1730, London,
England; walnut and burl walnut veneer  “Golden Age” of English
and beech furniture
 New sense of practicality,
 Yoke shaped top rail modesty and comfort
embellished with central  -Curving shapes
carved shell  Somewhat smaller, lighter
 Vase shaped central splat and more comfortable than
its predecessors
 Cabriole front legs with
carvings on knees and claw-
Details
and ball feet
 Walnut, cherry, maple
 Mahogany began to be
preferred
Legs:
 Cabriole leg – Dutch; thin
and skinny; English; more
wood and more ornate; shell
knee
QUEEN ANNE WING CHAIR Feet:
 Claw and ball foot, drake
foot, club foot, bracket foot
after 1720
Back:
 Swan neck back, solid
18th century Queen Anne walnut Wing central splat; fiddle-shaped
Chair, England. or vase shaped, cartouche
 Original tapestry coverings. back
 Step back arms lead to a scroll Seats:
arm.  cushioned
 Cabriole legs with a detailed
shell carved knee and slipper
Ornamentation
foot
 Elaborate carving
 Double turned stretchers
 Inlaid painted decoration
 Squared and tapered back legs

Motifs
 Carved cockle or scallop
shell


EARLY GEORGIAN
EARLY GEORGIAN SIDE CHAIRS

1714 -1750
 Georgian begins with
carryover of Queen Anne
style
 carving is more elaborate

Details
 Mahogany replaces walnut
as favored wood
Legs:
 cabriole
Back:
 pierced splat
Feet:
 claw and ball

Ornamentation
 Carved lion’s head and
Chair, walnut. Early Georgian. Earl of Chair, walnut, Early Georgian lion’s paw
Ancaster.
 Freer and more florid use
of decoration – influence of
French Rococo

Motifs

Chair, walnut. Early Georgian. Chair, maple. Early Georgian. W. R.
Phelips, Esq.


MIDDLE GEORGIAN
CHIPPENDALE CHAIR

Thomas Chippendale – “high priest of mahogany”
 Underlying simplicity, well-made, sturdy and practical
 restrained form of Rococo 1750 - 1770
 Chippendale – Three Periods: Rococo, Chinese and Gothic
 Thomas Chippendale
 Various exotic influences
particularly Chinese
ROCOCO STYLE CHIPPENDALE CHAIR CHINESE STYLE CHIPPENDALE CHAIR
elements from furniture
and Chinese landscape
forms in wallpaper

Details
Legs:
 Curved or cabriole
 Marlborough
 Tapered or Quadrangular
Feet:
 Claw and ball
 Spade
Back:
 Open back/perforated or
pierced splats with carving
in Chinese and Gothic style
 Ladder back, Ribband back,
Gothic back (Gothic
tracery), or Chinese
Chippendale (Chinese
fretwork)
GOTHIC STYLE CHIPPENDALE
RIBBAND BACK CHIPPENDALE CHAIRS Arms:
CHAIR
 Often carved

Ornamentation
 Fretwork

Motifs
 C-scrolls everywhere
 fret work
 pediments
 Chinese - pagoda forms,
carved dragons, and
lacquer work

-


LATE GEORGIAN
SIGNIFICANT FURNITURE DESIGNERS:
Robert Adam, George Hepplewhite and Thomas Sheraton

1770 - 1810
ROBERT ADAM
 Neoclassical style led by Robert Details Early Neoclassical

Adam  Stretchers
DETAILS: ADAM
Legs:
 first “interior designer”; spaces in
 Mahogany was preferred
Refined and slender
harmony
 wood - usually squared;
Tapered
 Inspired by Roman and Pompeian Legs: sometimes round
design  straight reeded legs with
Usually tapering
 Radial back  flutings back legs
Splayed
Back:
Feet:
 Radial foot forms
Spade back
Backs: First to use lyre back

 Rectangular backs
ADAM RADIAL BACK CHAIR MOTIFSLyre back
 & ORNAMENTATION
 Vertical lines, ovals, circles,
Raised central splat
columns, urns, disciplined
GEORGE HEPPLEWHITE Ornamentation & Motifs painting
carving, gilding and
 Influenced by the Adam style  Simple carving – XVI style
related to Louis cornice
 More comfortable pieces  dentil, egg and dart,and
Painted satinwood the
 Slender and curvilinear in shape giltwood expressed the
laurel and the berry
 Shield Back  English interpretation of
Inlays – medallions, vases,
Rococo shells
fans and

HEPPLEWHITE SHIELD BACK –
HEART-SHAPED CHAIR DETAILS: HEPPLEWHITE
HEPPLEWHITE SHIELD BACK CHAIR  Removed stretchers
Legs:
 Squared, tapered legs
Feet:
 Squared, tapered feet
 Spade foot
Arms:
 Slender, more curved
Back:
 Chair splats with carved
designs
 Radial back chair-round
shaped backs – heart, camel,
round, shield

MOTIFS & ORNAMENTATION
 Carving on back of chairs:
festoon, wheat, prince of
Wales feathers, urns


LATE GEORGIAN

THOMAS SHERATON
 “The Apostle of the straight line”
 Very slender lines and rectangular shapes
 Rectangular back; various motifs


REGENCY | Late Neoclassical

Regency period painted side chair in
the chinoiserie ‘Brighton Pavilion’
manner
 Lattice work back and legs
1810 - 1837
with cross stretcher as faux-
bamboo, painted in tones of  Named for George IV’s
“regency” (1811-1820
white on blue.
 Military influence
 Influenced by French
Directoire and Empire styles,
Chinese and Egyptian
 transition period
 Oriental fantasy; Asian
influence
 Used all sorts of styles
during first 30 years

Regency Armchair, English, c. 1800-1820, Details
Mahogany  Introduction of more exotic
woods such as rosewood
 Concave cresting and back and zebrawood
support rails with scrolled and
 Caning
fan carved acanthus above
Legs:
reeded scroll arms
 Sabre legs.  Splayed
 Saber leg
Feet:
 Lion’s paw

Ornamentation
 Lacquered in black
 Gilded trimmings
 Extensive use of brass
Regency Armchair, England
moldings
 Gilded trimmings  Greater use of marquetry
and inlays than Georgian
 Black lacquer
 Ormolu – imitation gold
 Splayed rear legs
Motifs
 Dolphins, rosettes, masks


VICTORIAN
VICTORIAN – ERA OF ECLECTICISM

1837 – 1901
 Reign of Queen Victoria
 Strong Rococo and Louis XV
influence
 Relatively out of proportion
 Many influences; vulgar
 Heavy proportions
 Exaggerated curves
 Pieces mass-produced
 Heavily carved

Details
 Mahogany and rosewood
Victorian walnut roundabout conversation chair,
 Tufted upholstery
Late 19th Century, England.
 Dark Finish

Ornamentation & Motifs
 Elaborate carving and
ornamentation
 Roses

Victorian chairs

Victorian tufted chairs

Victorian balloon chairs

Victorian Balloon-Back Chair


EARLY COLONIAL
17TH CENTURY STYLE
Two branches of the furniture-making trade during the seventeenth century:
JOINERS 1620 – 1690
 "joined" together straight wood that had been shaped
with axes and saws and smoothed with planes  sturdy and massive, with
 relied on more complicated rectangular mortise-and-tenon joints low, horizontal proportions
TURNERS  outlines tend to be rigidly
 shaped wood with chisels and gouges while it spun, or turned, on lathe rectilinear
 simple round mortise-and-tenon joints that held them together.  seating: chairs, stools,
benches
 comfort is not the purpose
WAINSCOT OR JOINED ARM CHAIR CROMWELLIAN CHAIR

Details
 Frequently made of straight
oak members joined at right
angles
 Right-angled mortise and
tenon construction
 Oak and sometimes maple
or hickory for turned parts
 Turned spindles and broad
slats
 Some inset wainscot
paneling
Legs:
 Turned columnar legs.
1650 – 1700, Massachusetts, Oak Seats:
Cromwellian Chair, mid 17th C
 Cane, rush , leather or
needlepoint
CARVER CHAIR
BACKSTOOL BREWSTER CHAIR Ornamentation
 Abundant surface
ornamentation in the form
of low-relief carving
 applied moldings
 Turnings
 Painted surfaces

Motifs

Backstool – side or dining 1640-80; Massachusetts
chair, Walnut, 1660

EARLY COLONIAL
WILLIAM AND MARY - EARLY BAROQUE

CANED-BACK CHAIR
[Type sidebar title]
William and Mary caned-back chair - George Wythe
House, Williamsburg, Va.  Named after William and
Finials and Turned stiles , Flemish front legs Mary of England (1689-
1694)
 high backs, caned seats and backs; 1680’s  1660 restoration of Charles
onwards II, who had been in exile in
 Stile and Panel - Wood or cane back panel France, brought to England a
framed between two straight or turned new design sensibility based
stiles on the court fashions of
Louis XIV.
 Flemish, Dutch, French and
Chinese influences
BANISTER-BACK CHAIR  Richer, more curvilinear,
with more vertical
Banister-back chair; 1715-35, New Hampshire; Poplar, proportions.
maple, ash, Spanish feet, rush seat, turned split banisters
Details
 with and without arms
 Chairs became more slender
 replaced the cane back chair and vertically oriented, with
 chair’s name refers to the back supports that tall backs
the chair demonstrates  Turning, Dovetailing (allows
 distinctly American in design for lighter framework and
 typically features a Spanish type foot used verticality)
on the front legs, while the back legs remain  Padded or caned chair seats
footless.  American black walnut and
 seats were typically made of twisted rush. maple
 usually painted darker colors such as dark Legs
red and black  boldly turned legs,
Flemish scroll,
columanar or spiral leg
Feet
 Ball, bun or Spanish
LADDER-BACK CHAIR
Ornamentation
William and Mary black-painted ladder-back side  Oriental lacquer-work
chair; Delaware Valley, 1750-1780  Opulent veneered surfaces

Rectangular rush seat covering rails on all sides,
Motifs
bun feet, Paired stretchers on sides, front  elaborate floral patterns,
stretcher turned in ball-and-ring pattern cockle shell and acanthus
leaf, or seaweed


GEORGIAN | QUEEN ANNE
LATE BAROQUE | EARLY GEORGIAN

TYPICAL QUEEN ANNE CHAIR QUEEN ANNE SIDE CHAIR
1720 - 1750
Details
 Walnut, cherry, maple and
imported mahogany
 *cabriole or “bandy” legs
(influence of Rococo &
Charles Boule)
 Small, graceful - *pad foot or
spade or trifid feet
 Turned stretchers
 *Splat back chair - *solid
vasiform splats
 Yoke shaped crest rail?
 Cyma or ogee curve
 Cushioned seats

Queen Anne Side chair, 1730–90, New Ornamentation
Queen Anne Carved Walnut Side Chair
England, Walnut, cherry  Relatively unadorned
Philadelphia, 1740-1755
 Emphasize verticality and
negative space of object
 Richly polished surfaces
SLAT BACK CHAIR WINGBACK CHAIR either unadorned or
embellished with simple
shell or fan-shaped carving

Motifs
 Carved shell or fan-shaped
( and scroll)

Turned Slat-Back Chair with Easy chair, 1715–30, Boston, Massachusetts
cabriole legs, Pennsylvania type, Maple, oak, black tupelo
1725-50.


FEDERAL | Neoclassical
 Dubbed the “American period” – first totally distinct American period
 Spare, formal, restrained with great attention to detail
 Renewed interest in classical precedents
 Simple geometric shapes
 Lighter in construction and more delicate in design than those of the 1790- 1830
preceding periods
 Furniture is usually described as either Sheraton or Hepplewhite THOMAS SHERATON STYLE
 Sheraton style is square,
SHERATON STYLE CHAIRS straight lined, solidly
constructed furniture
Details
 Preferred wood - Mahogany
Legs:
 Slender straight legs were
. either rounded (distinction
from Hepplewhite, who
preferred a square shape),
or squared and tapered
toward the foot.
 Frequently have reeded
edges, in imitation of
Classical columns
 Sometimes joined with
stretchers
Feet:
 Usually simple: Rectangular
spade foot, cylindrical foot
or tapered arrow foot
New York Sheraton Armchair. Sheraton side chair, apx. 1800 Backs:
Americanized version of a design
 Square- backs; often with
in Sheraton's Drawing Book
central panel above top rail
 High S shaped arms.

Ornamentation
“FANCY” CHAIRS:
 Carvings and inlays
 Made in New York in considerable
quantities between 1800 and 1830
 Light chairs of soft wood, with rush or
Motifs
cane seats, straight, turned legs, stiles  urns, swags, ribbons, floral
bending slightly back, with or without motifs ,fan shapes, leaves,
arms, and with two or more horizontal and stars
slats across the back, sometimes Designers
ornamented with spindles or balls  John and Thomas Seymour;
 Usually painted black and decorated Samuel McIntire; Boston
with gilt, and a yellow or gilt design of Duncan Phyfe, NYC – all
fruit or flowers was painted on the masters of Sheraton art
broad slat at the top of the back form


FEDERAL | Neoclassical
HEPPLEWHITE STYLE CHAIRS
 Only partially adopted in America, with the notable exception of
the shield-back chair
 Delicate, ornate, with substantial carving and curvilinear shapes. 1790 - 1830
 Considered "city furniture," Hepplewhite was especially popular in
American states along the Eastern Seaboard, from New England
to the Carolinas. GEORGE HEPPLEWHITE
Details
Legs:
 usually straight leg – tapered
or square, often with reeded
or fluted edges, in imitation
of Classical columns
Feet:
 usually simple: a rectangular
spade foot or a tapered
arrow foot
Back:
 Shield, oval or hoop back
Seat:
 Horseshoe shaped

Woods
Left: Typical chair with HEART-SHAPED BACK  Pieces often contain more
than one type of wood
Middle: Philadelphia-made chair with SHIELD-SHAPED BACK (veneers and inlays)
 Wood of choice: mahogany
Right: Boston chair employing the Prince of Wales feathers in the OVAL BACK sycamore, tulipwood , birch
and rosewood

Ornamentation
 Contrasting veneers
 Inlay patterns

Motifs
 Flat and simplified classic
ornament pateras,
SHIELD BACK CHAIR bellflowers, urns of flowers,
columns, feathers, and
American Hepplewhite shield-back chair, patriotic symbols; executed
ca. 1795-1805 in low relief, inlay, veneer or
paint
 Made references to the new
federal government and
classical precedents;
arrows, ancathus leaves,
eagles, lyres


EMPIRE | Neoclassical
GREEK REVIVAL OR AMERICAN REGENCY
 Neoclassicism, but heading toward ancient Roman decadence


and away from Greek austerity.
Luxurious interpretation of ancient classical forms based on the
1820 – 1880
French Empire style
 More massive, grand and
heavier look than Federal
 Chair and couch forms
suggestive of images on
Greek vases
 Adaptation followed
American tendency to be
simple and inornate

Details
 Characterized by dark woods
Legs:
 Concave-curved front legs,
often with projecting knees,
and raked or sabre-curved
rear legs
Feet:
 Claw and lion’s paw feet
Scroll-back chair, Duncan Phyfe, circa Side chair with lyre back, Duncan Arms:
1807-1818, New York, New York, Phyfe, 1815–20, New York City  Scroll-carved chair arms
Mahogany Mahogany, ash, tulip poplar Backs:
 Lyre and curule (x-form)
chair backs

Ornamentation
 Carving replaces inlay
Motifs
 Some brass ornamentation,
and sparse use of Egyptian
sphinxes or Roman
allegorical figures and
military symbols, such as
fasces and laurel wreaths
Designers
 Duncan Phyfe - NY; generally
identified with the American
Empire style of which he
became perhaps the leading
representative.
 Charles Honore Lannuier
Side chair with ‘Curule’ base, Duncan Charles-Honore Lannuier; 1815-19  Hitchcock (Lambert) chair –
Phyfe, mahogany, cherry, white oak “fancy chairs”
and ash


VICTORIAN
(POST-FEDERAL, GOTHIC REVIVAL OR ITALIANITE)

ERA OF DESIGN ECLECTICISM
1835 – 1900
ROCOCO REVIVAL STYLE
 probably the most recognizable style of furniture from this era
VICTORIAN - PERIOD REVIVALS
 Early Victorian furniture – copying period in France
 Ornate with many intricate carvings, extensive scrollwork, flowers
 Industrial Revolution – first
and animals
furniture style of mass
 Scroll feet popular, cabriole legs production (machine made
 Revivals in many historical
styles including Gothic,
Renaissance,
Colonial and Rococo
 Most designs ornate, formal
and elaborately detailed
and massively sized
 First time furniture was sold
in America in sets, with
matching pieces

Details
 Heavy proportions and dark
finish

Ornamentation
Armchair, John Henry Belter, New Armchair, Attributed to John Jelliff,
York, c. 1860; Rococo revival 1868–70, Rosewood, ash, mother-  balloon shaped back
of-pearl  upholstery is dominant
element
 thick, bulging cushions with
quilting and tufting
 metal springs under
GOTHIC REVIVAL STYLE cushions to create soft and
 More medieval look. bouncy surfaces
 Most gothic revival Victorian
pieces were produced from
about 1840 to 1865 Motifs

Armchair, Attributed to Gustave Herter,
circa 1855, Walnut


VICTORIAN
VICTORIAN WICKER
The 1800s brought immense popularity for wicker in Europe, England,
and North America. 1835 – 1900
VICTORIAN WICKER

 Wicker documented as far
back as Ancient Egypt,
Ancient Rome
Late 19th century Victorian Wicker  By the 1500s and 1600s,
Side Chair wicker was "quite common"
in European countries like
Portugal, Spain and England
 Used outdoors as well as
indoors.
 People in the Victorian Era
believed it to be more
sanitary than
upholstered furniture
 United States - Cyrus
Wakefield began
constructing rattan furniture
in the 1850s. Wakefield's
company became one of the
leading industries
in wicker; later merged and
became Heywood –
Wakefield,
Massachusetts, one of the
oldest and most prominent
North American
wicker manufacturers
Victorian Wicker Rocking Chair, c. 1880’s


VICTORIAN | SHAKER
SHAKER PRINCIPLES OF HONEST, UTILITY AND SIMPLICITY

1835 – 1900
VICTORIAN SHAKER

SHAKER SIDE OR DINING CHAIR  Widely admired for its
simplicity, innovative
Side chair, 1840–60
joinery, quality, and
American; Watervliet, New York, and functionality
New Lebanon, New York,Maple  Shaker principles of honesty,
utility, and simplicity
 Low, single-slat back, which
 Before the late nineteenth
could slide under the dining
century, they rarely
table or hang on wall pegs
fashioned items with
when not in use
elaborate details or extra
decoration, but only made
things for their intended
uses.
 Light in color and weight.
 Early 19th century - austerity
and simplicity
 End of 19th century - Shakers
adopted some aspects of
Victorian decor, such as
ornate carved furniture

Woods
SHAKER ROCKING CHAIR  Shakers used local American
woods such as pine, maple,
Rocking chair, 1820–50
and cherry
American, Maple, birch
Ornamentation
 Most Shaker pieces were
originally painted or stained,
both to protect the wood
and to make it more
attractive


VICTORIAN | THONET

MICHAEL THONET – BENTWOOD CHAIRS
Bentwood: Unique steam-bending technology 1835 - 1900
Michael Thonet | German-
Austrian Cabinetmaker

Chair Nr. 14
 With its affordable price and
THE 1859 CHAIR NR. 14 – Thonet simple design, it became one
of the best-selling chairs ever
better known as Konsumstuhl Nr. 14, made. Some 50 million No.
coffee shop chair no. 14 14s were sold between 1859
and 1930, and millions more
 still called the "chair of have been sold since
 Could be mass
chairs" with some 50 million
produced by unskilled
produced up until 1930 workers and disassembled
"Chair no. 14" ("Konsumstuhl Nr.  Yielded a gold medal for to save space during
14") from 1859 Thonet's enterprise at the transportation, an idea
1867 Paris World's Fair. similar to flat pack Ikea
furniture.
 The design was a response to
a requirement for cafe-style
chairs.
 The seat was often made of
woven palm or cane
because the holes in the
seat would let spilt liquid
drain off the chair

THONET ROCKING CHAIR

Thonet, Rocking Chair No. 1, Schaukel-Fauteuil No. 1, c. 1860,
Bentwood, Birch


GENERAL PRINCIPLES OF MODERNISM

Common Themes Of Modern Architecture Include:

 "Form follows function", a dictum originally expressed by Frank Lloyd Wright's early mentor Louis
Sullivan, meaning that the result of design should derive directly from its purpose

 Simplicity and clarity of forms and elimination of "unnecessary detail"

 Visual expression of structure (as opposed to the hiding of structural elements)

 "Truth to materials", meaning that the true nature or natural appearance of a material ought to be
seen rather than concealed or altered to represent something else
 Use of industrially-produced materials; adoption of the machine aesthetic

 Particularly in International Style modernism, a visual emphasis on horizontal and vertical lines

 Emphasis on function and accessibility

 Western design generally, whether architectural or design of furniture had for millennia sought to
convey an idea of lineage, a connection with tradition and history. The modern movement sought
newness, originality, technical innovation, and ultimately the message that it conveyed spoke of the
present and the future, rather than of what had gone before it.


EARLY MODERNISM
ARTS AND CRAFTS MOVEMENT
1860 – 1930 (predominately 1910 – 1925)

 Simple in structure, sturdy, unadorned and comfortable [Type sidebar title]
 Traditional materials, fine craftsmanship and attention
to detail and materials EARLY MODERNISM
 Natural, organic  Industrial Revolution -
availability of newly-
FRANK LLOYD WRIGHT (USA) available building materials
Organic Architecture combined with Arts and Crafts such as iron, steel, and
sheet glass drove the
invention of new building
techniques
 Around 1900 architects and
designers around the world
began developing new
solutions to integrate
traditional precedents with
new technological
possibilities

ARTS AND CRAFTS MOVEMENT
Colors
 Never painted - rich stains
that preserve and showcase
Barrel Chair, Frank Lloyd Wright, 1904 Robie House Chair, Frank Lloyd natural beauty of grain
Wright, 1904  Subtle muted colors inspired
by nature
Details
GUSTAV STICKLEY – Craftsmen Style (USA)  Bold marquetry
 Exposed construction –
hardware and joints
 Decorative cutouts
 Carved designs
 Rich textiles inspired by
nature – stylized nature
 High quality woods such as
oak and mahogany; grain of
wood accentuated; pine,
maple and other indigenous
species
Motifs
 Geometric and natural forms
Designers
 William Morris, Gustav
Cube Chair, Gustav Stickley Morris Chair, Gustav Stickley, c. 1901 Stickley, Frank Lloyd Wright


EARLY MODERNISM
ART NOUVEAU
CHARLES RENNIE MACKINTOSH : Scotland

1890 - 1910
ART NOUVEAU (“New Art”)
 organic motifs

HILLHOUSE 302 ARGYLE CHAIR DS3 DINING CHAIR
LADDERBACK CHAIR

ANTONI GAUDI : Spain VICTOR HORTA: Brussels

CALVET CHAIR
HORTA CHAIR Horta Chair, circa 1904


EARLY MODERNISM
VIENNA SECESSION
1895 - 1920
VIENNA SECESSION
JOSEF HOFFMAN
No. 371 Side Chair
 Union of Austrian Artists, or
Vereinigung Bildender
Künstler Österreichs)
 hoped to create a new style
that owed nothing to
historical influence
 rejected the styles of the
past and the ornamental
details based on nature that
typified the Viennese Jugend
style.
 sought inspiration in
abstract geometrical forms

Motifs
JOSEF HOFFMAN  squares and checker
Sitzmaschine Chair, 1905
patterns in black and
white or in solid and void
renditions like dots,
repetitive geometric
designs, medallions,
circles, carved floral
ornament, sunflowers,
philodendrons, roses, and
laurel trees or leave

Designers
OTTO WAGNER  founded on 3 April 1897 by
Wagner Arm Chair, 1902
artists Gustav Klimt,
Koloman Moser, Josef
Hoffmann, Joseph Maria
Olbrich, Max Kurzweil, and
others. Although Otto
 Wagner is widely recognised
as an important member of
the Vienna Secession he was
not a founding member


EARLY MODERNISM
BAUHAUS & INTERNATIONAL STYLE

IDEALS OF STYLE: Commonly summed up in three slogans: 1919 - 1933
 Ornament is a crime
 Truth to materials BAUHAUS & INTERNATIONAL STYLE
 Form follows function
 Forms frequently simple and
light without decorative
MARCEL BREUER: Germany additive
 Functionalism

Details
 Used are: steel, glass, bent
wood, leathers and plastic
 Colors are: generally black,
white, brown, grey and
chromium. Sometimes the
primary colors of the
furniture are used
sporadically to accentuate
and to give entirely the less
dark appearance

Designers
Cesca S32 Chair, Marcel
Wassily Chair or Model B3, Marcel
Breuer, 1928 Breuer, 1920`s

LE CORBUSIER: Switzerland

LC2 Petit Modele Armchair, Designed by
Wassily Chair or Model B3, Marcel
Le Corbusier,Pierre Jeanneret and Breuer, 1920`s
Charlotte Perriand, 1928


EARLY MODERNISM
BAUHAUS & INTERNATIONAL STYLE
MIES VAN DER ROHE: Germany | USA 1919- 1933

Barcelona Chair, Mies Van der Rohe Brno Flat Bar Chair
Designed by Ludwig Mies van der Rohe,
produced by Knoll®

WALTER GROPIUS: Germany

Walter Gropius D 51 Armchair F51, Walter Gropius, 1920
and Sofa, 1922-23


EARLY MODERNISM
ART DECO
 Not strongly concerned with with issues of functionalism
and technology 1920 – 1940
 Strongly decorative and fashion-oriented style
 Represented Luxury, glamor, exuberance and faith in social  First appeared in France
and technological progress during the 1920s, flourished
internationally during the
30s and 40s, then waned in
JACQUES-EMILE RUHLMANN: France the post-World War II era
 Eclectic style that combines
traditional craft motifs with
Machine Age imagery and
material
 Reflected a key moment in
modern cultural history—
the age of jazz, streamlined
cars, elegant costumes, and
those classic early
skyscrapers

Details & Ornamentation

 Often characterized by rich
colors, bold geometric
Chaise Défenses, 1927
shapes and lavish
Bois laqué, cocquille d'oeuf, bronze
ornamentation.
argenté
 sleek, streamlined forms;
geometric patterns
 experiments with industrial
JEAN DUNAND: France materials such as metals,
plastics, and glass
 Furniture – stepped forms
suggest the architecture of
skyscrapers
 Symmetry rather than
asymmetry
 Rectilinear rather than the
curvilinear
 Rich materials – macassar
ebony, zebrawood with
inlays of ivory, tortoise-shell
and leather
 Polished metal, glass and
mirrors
JEAN DUNAND , France
Lacquered wood, partially-painted metal,
original upholstery and later silk upholstery


EARLY MODERNISM
STREAMLINE MODERNE
(ART MODERNE – INDUSTRIAL DESIGN)

Streamlining Concept - first created by industrial designers who stripped
1930’S
Art Deco design of its ornament in favor of the aerodynamic pure-line
concept of motion and speed STREAMLINE MODERNE

 Geared towards simplicity -
the idea that less is more.
 Emphasized curving forms,
long horizontal lines, and
sometimes nautical
elements.
 As the 1930s progressed,
American art deco became
increasingly identified with
the imagery of technology
and speed: This sleeker
version of art deco, known
as streamlined moderne,
supplanted the detailed
geometric patterns of early
art deco.
 Usually a blend of of Art
Deco ornamentation with
the slick forms of
streamlining
 It emphasized the use of
modern glossy materials,
smooth seamless surfaces,
Lounge Chair, Kem Weber, 1934 and aerodynamic horizontal
The Liliane and David M. Stewart Collection lines
 Use of crisp, symmetrical
geometric forms

 Best-known exponents—
Norman Bel Geddes,
Henry Dreyfuss,
Raymond Loewy and
Walter Dorwin

Sofa, Kem Weber, 1932
Lounge Chair, Kem Weber, 1934
The Liliane and David M. Stewart Collection


EARLY MODERNISM
DESTIJL (“THE STYLE”)
1917 - 1931
GERRIT RIETVELD: DUTCH
DESTIJL

 Dutch translation: “The
Style”
 Also known as
RED AND BLUE CHAIR,
neoplasticism - the new
plastic art (or Nieuwe
Gerrit Rietveld, 1917
Beelding in Dutch).
 Members: Theo van
Doesburg, painters Piet
Mondrian (1872–1944),
Vilmos Huszár (1884–1960),
and Bart van der Leck
(1876–1958), and the
architects Gerrit Rietveld
(1888–1964), Robert van 't
Hoff (1887–1979), and J.J.P.
Oud (1890–1963).
 Mies van der Rohe was
among the most important
proponents of its ideas

 Sought to express a new
Utopian ideal of spiritual
harmony and order
THE ZIG-ZAG CHAIR
 Advocated pure abstraction
and universality by a
Gerrit Rietveld, 1934
reduction to the essentials
of form and color
 Simplified visual
compositions to the vertical
and horizontal directions
 Used only primary colors
along with black and white


MID-CENTURY MODERN
MIDCENTURY MODERN 1933-1965 (Post WWII)

CHARLES & RAY EAMES - USA 1933 – 1965
 Post WWII
 Mostly associated with
designers working in US and
Scandinavia
 Natural extension of
Modernism – designers had
looser, more sculptural
approach to furniture
 The term, employed as a
style descriptor as early as
the mid-1950s, was
reaffirmed in 1983 by Cara
Greenberg in the title of her
book, Mid-Century Modern:
Furniture of the 1950s.
 As the International Style
ETHNOS CHAIR
MOULDED PLASTIC CHAIR took hold, others architects
reacted to or strayed from
its purely functionalist
forms, while at the same
time retaining highly
modernist characteristics

RICHARD NEUTRA - USA ISAMU NOGUCHI - USA

 Continued to make use of
latest technological
advances – molded plastics
foam padding, lightweight
aluminum frames
 Experimentation with
innovation, often organic
shapes and bolder use of
color

NEUTRA BOOMERANG CHAIR NOGUCHI ROCKNG STOOL


MID-CENTURY MODERN

GEORGE NELSON - USA

1933 - 1965

NELSON COCONUT CHAIR ARMCHAIR NO. 41; solid birch & birch
plywood

EERO SAARINEN - FINLAND

SAARINEEN WOMB CHAIR SAARINEN ARMLESS TULIP CHAIR


MID-CENTURY MODERN

VERNER PANTON - DENMARK

1933 - 1965

THE CONE CHAIR, Verner Panton. 1958 S CHAIR, Verner Panton

FLORENCE KNOLL BASSET - USA EILEEN GRAY - IRELAND

KNOLL LOUNGE CHAIR BIBENDUM CHAIR, Eileen Gray


MID-CENTURY MODERN

GEORGE JENSEN - SWEDEN HANS WEGNER - DENMARK

1933 - 1965

DANISH ROCKING CHAIR, Soren WISHBONE CHAIR, Hans Wegner
George Jensen

HARRY BERTOIA - ITALY

BERTOIA DIAMOND CHAIR BERTOIA WIRE SIDE CHAIR


POST-MODERN

1960’s – 1990’s
ROBERT VENTURI
POST-MODERN
CHIPPENDALE CHAIR, Robert  response to the formalism of
Venturi, the International Style of
Manufactured by Knoll, New modernism.
York, 1978-84  began in America and
then spread
internationally across the
globe
 returned to embrace the
historical references
that modernism shunned,
 Looked to past for
inspiration – not
interested in structural
qualities but the symbolic
message they conveyed
 Eclectic designs
 shuns minimalism in favor
MICHAEL GRAVES of decorative surfaces and
designs
 rejects the functional,
minimal use of materials
and lack of embellishment
adopted by modernist
designers.
 form over function when
desired
 Wit and humor
 mixture of various design
styles, unexpected design
materials, and
unconventional angles


CONTEMPORARY | DECONSTRUCTIVISM

1980’S - Onwards
DECONSTRUCTIVISM
FRANK GEHRY

WIGGLE SIDE CHAIR  Opposed to the ordered
Corrugated cardboard, edges rationality of Modernism
and Post-Modernism
made of hardboard, natural or
 Takes a confrontational
lacquered
stance to architectural
history wanting to
"disassemble" architecture
 Rejected the postmodern
acceptance of historical
references, as well
as the idea of ornament as
an after-thought or
decoration
 Characterized by
fragmentation, an interest in
manipulating a structure's
surface or skin
 Non-rectilinear shapes
which appear to distort and
ZAHA HADID elements
dislocate
of architecture such as
ZAHA HADID structure and envelope
Z CHAIR
 The finished visual
Z CHAIR, 2011, Stainless Steel appearance is characterized
by unpredictability and
controlled chaos


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