The document provides information on various historical styles of furniture and architecture from the Classical Revival period to Eclecticism. It discusses the characteristics of Classical Revival furniture which featured formal symmetrical designs and geometric shapes. It also describes Shaker furniture which was simple and functional with innovative joinery and emphasis on quality. The Gothic Revival saw Gothic architecture adopted for its association with faith, spreading across England. Eclecticism was a time of mixing various styles for fashion and association, with architects choosing styles for their symbolic meanings.

1. HISTORY OF FURNITURE
CLASSICAL REVIVAL

2. CLASSICAL REVIVAL STYLE 1750 - 1800
The Classical Revival or Neoclassical style is one of the most
commonly seen across the state and the country.
The Classical Revival style was more formal and monumental
in its design.
Classical Revival style with its impressive Greek temple-like
form was most often used for courthouses, banks, churches,
schools and mansions.
It was never quite as popular as the Colonial Revival style for
more common residential buildings.

3. Characteristics of furniture in Classical Revival:
1. Formal symmetrical design
2. Furniture were into straighter lines
3. Pieces were also designed in geometric shapes
4. Motifs were simple included roses, garlands,
ribbons, and bows and darts
5. Painting, gliding and marquetry achieved
brilliance

6. SHAKERS FURNITURE
They called themselves a much more formal name – the
United Society of Believers in Christ’s Second Coming.
After the group left the Church of England, they came to the
United States in the 1770s and settled into communities that
followed strict rules which set them apart from the mainstream
culture.
Their self-sufficient communities ensured that they relied on
the land and their own hard work to survive.
The Shakers stuck close to their principles of simplicity and
humility. These areas of practice could even be seen in their
style of furniture.
The Shakers were originally a group of people who
broke off from the English Quakers. Known as a radical
group during that time, the Shakers adopted the name
through religious worship that included shaking of the
hands, arms and head.

7. SHAKERS FURNITURE
Ornamentation was seen as sinful, often promoting
pride.
Faux finishes were also avoided because they were
considered deceitful.
The history of shaker furniture meant simple,
furniture was created to meet their basic needs.
It would eventually become a sought-after style used
in many homes today.

8. Characteristics of furniture in Shakers:
1. Furniture was simple with innovative joinery,
quality, and functionality
2. Furniture was light in weight and colour.
3. Shakers used local American woods such as
pine, maple, and cherry
4. The shakers furniture had adopted some aspects
of Victorian decor, such as ornate carved
furniture in the end of 19th century
5. Furniture pieces were originally painted or
stained, both to protect the wood and to make it
more attractive.

10. HISTORY
CLASSICAL REVIVAL

11. CLASSICAL REVIVAL
Throughout the 18th century, classical architecture as an
expression of an intellectual idea was triumphant.
By the beginning of the 19th century, the more advanced
thinkers were turning away from Rome and towards the noble
simplicity of Greece.
John Nash the theatrical space-master was still transforming
the architectural landscape of London, and Sir John Soane
continued to pursue his lonely an original way, but the “Young
Greeks” – Wilkins, Smirke, Decimus Burton and Inwood –
were taking over.
The most brilliant of these was Harvey Elmes (1814-47), the
pupil of Schinkel and designer of St George’s Hall, Liverpool ;
the most scholarly, Charles Cockerell (1788-1863), who
combined a successful commercial practice with the
Surveyorship of St. Paul’s.

12. Trinity Church - Boston

13. Trinity Church - Boston

14. GOTHIC REVIVAL
Gothic became more a matter of faith than of fashion.
Its English prophet was John Ruskin, its priests the Oxford
Movement and the Camden Society, founded in 1839.
Its busiest architect was Sir George Gilbert Scott , with eight hundred
buildings, to his credit.
By 1860, to Ruskin’s dismay, it had conquered the world of commerce and
civic pomp. But its glories were over, and by 1880 it had flickered out into
the embers of eclecticism, from which sprang the sparks of the Art and
Craft movement.
It had been perhaps the most influential art movement ever to spring from
this country, changing the face of England, and leaving as its most
splendid monument the Houses of Parliament, of all English buildings
perhaps the best loved.

15. The Natural History Museum

16. ECLECTICISM
THE 19th CENTURY was a time of enthusiastic and
bewildering stylistic confusion. Picturesque Gothic, Roman
Classic, Jacobethan Commercial etc. had swept like invading
armies across Europe, leaving the battlefields strewn with
architectural debris of every size, shape, colour and style.
Much of this was picked up and enthusiastically exported to
the New World to enrich and inflate the American vernacular of
skyscraper and shack.
Improved communications, rocketing wealth and national
confidence heaped the culture and produce of the industrial
world at everybody’s feet.

17. ECLECTICISM
Styles were chosen, not just for fashion but for their
associative qualities. Historic styles were easily
recognizable, understandable and spectacular.
Roman for justice, Gothic for learning, Greek for
government, Venetian for Commerce, Oriental for
Leisure etc.
Every building told a story and pointed a moral.
The master architect in England of this period was
Norman Shaw, whose virtuosity and skill in handling
the richer surfaces and livelier skylines demanded by
the confident and rich was unrivalled.

18. Behind this picturesque play-acting glittered the iron and
glass architecture of the engineer-experimentalist –
•Bunning’s -Coal Exchange (1849),
•Paxton’s - Crystal Palace (1851),
•Labrouste’s - Paris Library (1843-50),
•the great railway arches and factories of the Industrial Age,
•the daring towers of the Chicago School (1880-1900).
The Aesthetic Movement, the Arts and Crafts movement, the
preaching's of William Morris against opulence and the tyranny
of the machine , the stirrings of Art Nouveau and the folksy
aspirations of the garden city movement can now be seen to
have been the ancestors of modern architecture, but in 1900
there was little sign of any crisis of conscience to be seen in the
flushed, confident, prosperous, face that European architecture
presented to the world.

19. The Victor Emmanuel II Monument

20. Sr.
No.
ARCHITECTS/DESIGNERS STUDENTS
NAME
1 Karl Friedrich Schinkel – Furniture & Set designs,
The Victor Emmanuel II Monument -Rome
2 Sir Robert Smirke –British Museum,
William Burges – Furniture
3 Sir George Gilbert Scott –St Pancras Hotel,
William Butterfield–All Saints Church, Margaret st
4 Jacques Ignace Hittorff - Cirque d'hiver
The Palais de Justice in Brussels - Belgium
5 House of Parliament- England
The Opera House Paris
6 Sainte-Geneviève Library - Henri Labrouste’s
Westminster Cathedral -London -J. F.Bentley
ASSIGNMENTS SCHEDULE

21. Sr.
No
PARTICULARS
1 INTRODUCTION OF THE DESIGNER/ARCHITECT
2 HISTORY IN SHORT
3 ABOUT THE STRUCTURE /PRODUCT
4 FEATURES AND STUDY OF MATERIAL OF CONSTRUCTION
5 SPECIALITY IN TERMS OF INTERIORS
6 PHOTOS
7 FREE HAND PROPORTIONATE RENDERED SKETCHES
3D FORM (3/5 NOS. MIN.)
ASSIGNMENT CONTENT

22. Thank you !!
Presented By
Jatin H Gala