A Dollhouse for Grownups

Italian dining room, c. 1500.  The objects in this room were inspired by both Italian sources (the Davanzetti Palace in Florence) and Viennese interiors.  The chest in the corner is one of the few pieces carved by Mrs. Thorne herself.

Italian dining room, c. 1500. The objects in this room were inspired by both Italian sources (the Davanzetti Palace in Florence) and Viennese interiors. The chest in the corner is one of the few pieces carved by Mrs. Thorne herself.

If you want to research historic interiors, where do you turn?  You could buy a book like Mario Praz’s indispensible An Illustrated History of Interior Decoration; search the internet or a digital photo archive for specific dates and locations. Or, for an especially fun field trip, you could visit the Thorne Miniature Rooms.

French Louis XV Salon, 1715-1754. The reign of Louis XV was an age of feminine influences, as seen in the gentle, curving lines of the furniture and walls. Even the corners of this room are rounded! The parquet floor is made of oak and walnut, and laid in a Versailles pattern.

French Louis XV Salon, 1715-1754. The reign of Louis XV was an age of feminine influences, as seen in the gentle, curving lines of the furniture and walls. Even the corners of this room are rounded! The parquet floor is made of oak and walnut, and laid in a Versailles pattern.

The 1:12 scale Thorne Miniature Rooms cover European, American and Asian interiors ranging in date from the late 13th century to the 1930s. The models are the brainchild of Narcissa Ward Thorne of Chicago (daughter-in-law of Montgomery Ward co-founder Richard Thorne). She began by amassing a collection of miniature furniture from around the world. By the early 1930s she had decided to have the rooms painstakingly and perfectly executed by master craftsmen, work which continued over the next decade.  Some of them replicate actual rooms that Mrs. Thorne saw in her travels, while others are simply true to period. To give an example of the level of detailed execution, in some cases period rugs were woven in miniature scale specifically to fulfill her vision! Continue reading

Material Translations: Japanese Fashion at the Art Institute of Chicago

Rei Kawakubo for Comme de Garcons, Dress, 1983.  All images courtesy Art Institute of Chicago.

Rei Kawakubo for Comme de Garcons, Dress, 1983. All images courtesy Art Institute of Chicago.

Ever since Japan was first opened to trade with the West in the mid-19th century, Japanese arts and crafts have had an enduring influence on those of the West. Fashion is perhaps the most public face of this influence. Designers such as Issey Miyake, Yohji Yamamoto and Rei Kawakubo of Comme des Garcons led the wave that continues with younger designers such as Harajuku. Japan remains a nation whose rich textile and costume traditions have translated into cutting-edge innovation.

In Japan both courtly life and samurai culture were highly stylized. In the late 17th century the cultural focus shifted from military actions to bureaucratic ones. With this shift came the popularity of dark colors, especially black, which symbolized self-discipline. Even today the same phenomenon indicates urbane good taste. Continue reading

Ottoman by Design: Branding an empire

What are the hallmarks of Ottoman style, how did this style originate, and why is it still important today?

This textile clearly reveals an ogival pattern. Fragment of green-ground kemha, Istanbul
, First half 17th century
. TM 1994.27.3. Gift of Neutrogena Corporation. All images courtesy the National Textile Museum.

This is an excellent example of a typically Ottoman stylistic interpretation of naturalistic flowers. Kemha with small-scale floral decoration (detail), Probably Istanbul, 
Last quarter of 16th century. 
TM 1.72, Acquired by George Hewitt Myers in 1952

The Textile Museum in Washington, D.C. is currently featuring the exhibition “The Sultan’s Garden: The Blossoming of Ottoman Art”. This exhibition chronicles how one of the world’s most powerful empires developed a singular artistic style and how that style gained lasting influence, just as modern brands strive to do today. In the sixteenth century, the Ottoman Empire began representing itself at home and abroad through a single, instantly recognizable visual aesthetic. Their stylized tulips, roses, carnations, and other flowers came to embody the influence of the empire, and even today continue to epitomize the arts of Turkey.
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Model Museums: Highlighting the innovative curriculum of Williams College professor Ann McCallum

Ann McCallum, a practicing architect based in Williamstown, Massachusetts, taught the Architecture II course at Williams College for twenty-four years. One of her assignments was a special favorite among students: to design a gallery façade for a hypothetical museum using the design idiom of a renowned architect. McCallum asked each student to choose an architect to study over the course of the semester; this way, students observed other professionals’ specific artistic strategies. Then, as a final project, the students were asked to produce models of their designs.  A special exhibition currently on view at the Williams College Museum of Art features a number of these models, which were produced over a span of several years by students in McCallum’s class.
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Space-Light-Structure: The Jewelry of Margaret De Patta at the Museum of Art and Design

Margaret de Patta, 1960-1964, Sterling silver, beach stones, pebbles; fabricated. Photo: John Bigelow Taylor

Margaret De Patta was a truly California designer. Originally a painter, she studied in San Diego at the California School of Fine Arts in San Francisco and briefly at the Arts Students League in New York. Always self-directed, she taught herself to make jewelry when she couldn’t find a suitably “modernist” wedding band; she eventually gave up painting entirely, preferring design in three dimensions. Like modern architecture and sculpture, for De Patta jewelry design was about “space, form, tension, organic structure, scale, texture, interpenetration, superimposition, and economy of means.”
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BRILLIANT: White in Design

All photos courtesy Linda O’Keefe and the Monacelli Press

It has been said that one of the greatest achievements of a designer is to make white look new again. Author Linda O’Keffe has accomplished exactly that in her new book Brilliant White. The pages are filled with ample and glorious photography showing the color in art, design, architecture and nature and the pictures are punctuated with thoughtful musings
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