Publisher Description

This book examines the formative relationship between nineteenth century American school architecture and curriculum. While other studies have queried the intersections of school architecture and curriculum, they approach them without consideration for the ways in which their relationships are culturally formative—or how they reproduce or resist extant inequities in the United States. Da Silva addresses this gap in the school design archive with a cross-disciplinary approach, taking to task the cultural consequences of the relationship between these two primary elements of teaching and learning in a ‘hotspot’ of American education—the nineteenth century. Providing a historical and theoretical framework for practitioners and scholars in evaluating the politics of modern American school design, the book holds a mirror to the oft-criticized state of American education today.

This is volume three in a four-volume edition of primary source materials that document the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the third volume considers the issues of design production and practices including debates about the role of machine and craft, the impact of new materials and technologies as well as issues of marketing and mediation. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.

This book explores the beginnings of the interior design profession in nineteenth-century France. Drawing on a wealth of visual sources, from collecting and advice manuals to pattern books and department store catalogues, it demonstrates how new forms of print media were used to ‘sell’ the idea of the unified interior as a total work of art, enabling the profession of interior designer to take shape. In observing the dependence of the trades on the artistic and public visual appeal of their work, the book establishes crucial links between the fields of art history, material and visual culture, and design history.

This is volume two in a four-volume edition of primary source materials that document the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the second volume looks at the designed objects, images, and spaces that were created in the period. These include discussion of design in interiors, industry, fashion, graphics, and architecture amongst others. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.

A twenty-first century renaissance is emerging in architecture. After a century of building designs characterized by high energy demand, low quality lighting and poor thermal comfort, the fundamental questions must be asked again: is there a better path to designing the most energy efficient, comfortable, functional and beautiful buildings for a sustainable future? While seeking solutions for the future, are there lessons to be learned from the best buildings of the past? Sustainable Building Design explores outstanding buildings and building designs of the twenty-first century, with an emphasis on the artistry of masters of architecture who came before. By dissecting and analyzing great public buildings of the nineteenth and twenty-first centuries, materials, techniques, and methods are discovered. This book presents the reader with clues and suggestions that will reveal the secrets of these buildings and by doing so provides the reader with a thorough understanding of how these architectural masterpieces work. Using photographs, drawings, sections, plans and diagrams which are painstakingly redrawn for consistency and clarity based on a wide range of documentation, Vidar Lerum compares works of architecture from the nineteenth and twenty-first centuries. The reader is presented with a careful analysis of each building, providing a compelling sourcebook of ideas for students and professional architects alike.

The nineteenth century - the Era of the Interior - witnessed the steady displacement of art from the ceilings, walls, and floors of aristocratic and religious interiors to the everyday spaces of bourgeois households, subject to their own enhanced ornamentation. Following the 1863 Salon des refuses, the French State began to channel mediocre painters into the decorative arts. England, too, launched an extensive reform of the decorative arts, resulting in more and more artists engaged in the production and design of complete interiors. America soon followed. Present art historical scholarship - still indebted to a modernist discourse that sees cultural progress to be synonymous with the removal of ornament from both utilitarian objects and architectural spaces - has not yet acknowledged the importance of the decorative arts in the myriad interior spaces of the 1800s. Nor has mainstream art history reckoned with the importance of the interior in nineteenth-century life and thought. Aimed at an interdisciplinary audience, including art and design historians, historians of the modern interior, interior designers, visual culture theorists, and scholars of nineteenth-century material culture, this collection of essays studies the modern interior in new ways. The volume addresses the double nature of the modern interior as both space and image, blurring the boundaries between arts and crafts, decoration and high art, two-dimensional and three-dimensional design, trompe-l'oeil effects and spatial practices. In so doing, it redefines the modern interior and its objects as essential components of modern art.

An exploration of the parallel development of product and graphic design from the 18th century to the 21st. The effects of mass production and consumption, man-made industrial materials and extended lines of communication are also discussed.

This is volume two in a four-volume edition of primary source materials that document the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the second volume looks at the designed objects, images, and spaces that were created in the period. These include discussion of design in interiors, industry, fashion, graphics, and architecture amongst others. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.

The author takes a detailed look at the design and decoration of domestic interiors in Europe and America during a period that has never before been considered in its own right. The homes protrayed include those of aristocrates and artists, members of fashionable society and the bourgeoisie. Their salons, studios, bedrooms, libraries, and bathroom - from architectural framework to choice and arrangement of furniture, to the minutiae of personal taste - provide fascinating insights into the domestic life and fashion of the time.