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Adam style American Empire and Archigram
| American Empire is a French-inspired Neo-classical style of American furniture and decoration that was initiated just before 1800 and is most notably exemplified by the furniture of Duncan Phyfe and Paris-trained Charles-Honoré Lannuier. Their work in this style is characterized by antiquities-inspired carving, applied, gilded brass mounts, and inlaid decorative elements such as stamped brass banding with egg-and-dart, diamond, or Greek key patterns, or individual shapes such as stars or circles. The most elaborate examples were made before around 1825, and incorporate carved columns and figures finished with a combination of gilding and vert-antique. A more plain version of American Empire furniture, usually referred to as the Grecian style, generally demonstrates curved forms, figured mahogany veneer, and sometimes stenciled decorations. This American version of the Central-European Biedermeier style, continued to be made in conservative centers past the mid-nineteenth century. Two major centers of American Empire style cabinet-making were New York and Baltimore. | |
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The Adam style (or Adamesque) is a style of neoclassical
architecture and design as practiced by Scottish architect Robert
Adam (1728- 1792) and his brothers. A book of engraved designs made
the "Adam" repertory available throughout Europe. A parallel
development of this early phase of neoclassical design is French
"Louis XVI style. Robert Adam's main rivals were James Wyatt, whose many designs for furniture were less known outside the wide circle of his patrons, because he never published a book of engravings, and Sir William Chambers, who designed fewer furnishings for his interiors, preferring to work with able cabinet-makers like John Linnell, Thomas Chippendale and Ince and Mayhew. So many able designers were working in this style in London from ca. 1770, that the style is currently more usually termed Early Neoclassical. It is typical of Adam style to combine decorative neo-Gothic details into the classical framework. So-called "Egyptian" and "Etruscan" design motifs were minor features. The "Adam style" is identified with: Roman style decorative motifs such as framed medallions, vases, urns and tripods, arabesque vine scrolls, sphinxes and gryphons. Flat grotesque panels Pilasters Painted ornaments such as swags and ribbons Complex color schemes The Adam style found its niche from the late 1760s in upper-class residences in 18th century England, Russia, and post-Revolutionary War United States (where it became known as Federal style and took on a variation of its own). The style was superseded from the end of the 1780s by a more massive and self-consciously archeological style, connected with the First French Empire. A revived "Adams" style, initiated by a spectacular marquetry cabinet by Wright & Mansfield exhibited at the Paris Exposition of 1867, competed with revived Sheraton and Hepplewhite styles that lost momentum after World War I. Archigram Archigram was an avant-garde architectural group formed in the 1960s - based at the Architectural Association, London - that was futurist, anti-heroic and pro-consumerist, drawing inspiration from technology in order to create a new reality that was solely expressed through hypothetical projects. The main members of the group were Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene. The pamphlet Archigram I brought out in 1961 proclaimed their ideas. Committed to a 'high tech', light weight, infrastructural approach that was focussed towards survival technology, the group experimented with clip-on technology, throwaway environment, space capsules and mass-consumer imagery. Their works offered a seductive vision of a glamorous future machine age, however social and environmental issues were left unaddressed. The works of Archigram had a Futurist slant being influenced by Antonio Sant'Elia's works. Buckminster Fuller was also an important source of inspiration. The works of Archigram served as a source of inspiration for later works such as the High tech 'Pompidou centre' (1971) by Renzo Piano, Richard Rogers, Gianfranco Franchini and Future Systems. Some famous projects of Archigram are Ron Herron's "Walking Cities" and Peter Cook's "Plug-in-City", both of 1964. Plug-in-City, Peter Cook, 1964 Plug-in-City is a megastructure with no buildings but just a massive framework into which dwellings in the form of cells or standardised components could be slotted into. The machine had taken over and people were the raw material being processed, the difference being that people are meant to enjoy the experience. The Walking City, Ron Herron, 1964 The Walking City is constituted by intelligent buildings or robots that are in the form of giant, self contained living pods that could roam the cities. The form derived from a combination of insect and machine and was a literal interpretation of Corbusier's aphorism of a house as a machine for living in. The pods were independent, yet parasitic as they could 'plug in' to way stations to exchange occupants or replenish resources. The citizen is therefore a serviced nomad not totally dissimilar from today's executive cars. The context was perceived as a future ruined world in the aftermath of a nuclear war. |
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