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"Judith Neiswander explains that during these years liberal values - individuality, cosmopolitanism, scientific rationalism, the progressive role of the elite and the emancipation of women - informed advice about the desirable appearance of the home. In the period preceding the First World War, these values changed dramatically: advice on decoration became more nationalistic in tone and a new goal was set for the interior - "to raise the British child by the British hearth." Neiswander traces this evolving discourse within the context of current writing on interior decoration, writing that it is much more detached from social and political issues of the day."--BOOK JACKET.
Pink has become the hottest color in interiors. Quartz Pink was the Pantone color of 2016 and since then the hue has gone from strength to strength, playing a starring role at the 2018 Milan Design Week. "From advertising to design and fashion, millennial pink has taken popular culture by storm, and it isn't going anywhere" House & Garden Pink House Living is a beautiful, practical guide to decorating with pink by Emily Murray of the award-winning The Pink House blog. Emily draws on her recent interiors projects to guide the reader through their own rose-tinted renovations and includes case studies on well-known interiors experts that reveal their use of pink, their go-to paint shades and where they glean "pinkspiration". Pink House Living is not about decorating your home in pink from rooftop to rugs, but a look at how the color can be used alongside other hues—sometimes sparingly, sometimes in spades. Divided up by room, the book uses the color pink and its history as a starting point from which to discuss the decorating process. Readers will be entertained by Emily’s interiors insights and witty turn of phrase while gaining invaluable advice on adding pink—and color in general—to their homes.
In the act of enclosing space and making rooms, we make and define our aspirations and identities. Taking a room by room approach, this fascinating volume explores how representations of domestic space have embodied changing spatial configurations and values, and considers how we see modern individuals in the process of making themselves 'at home'. Scholars from the US, UK and Australasia re-visit and re-think interiors by Bonnard, Matisse, Degas and Vuillard, as well as the great spaces of early modernity; the drawing room in Rossetti's house, hallways in Hampstead Garden Suburb, the Paris attic of the Brothers Goncourt; Schütte-Lihotzky's Frankfurt Kitchen, to explore how interior making has changed from the Victorian to the modern period. From the smallest room - the bathroom - to the spacious verandas of Singapore Deco, Domestic Interiors focuses on modern rooms 'imaged' and imagined, it builds a distinct body of knowledge around the interior, interiority, representation and modernity, and creates a rich resource for students and scholars in art, architecture and design history.
The first monograph on the interior design work of the New York–based architect and an essential resource for those seeking to create luxurious modernist spaces. Inson Wood is renowned for designing elegant interiors with richness, texture, and impeccable proportions. A masterful use of architectural elements in the way he treats and defines space has been a hallmark of his aesthetic since graduating from Harvard Graduate School of Design. Wood’s subtle tonality, with colorful accents, creates sophisticated rooms that are equally inviting and perfect for a modern family lifestyle. With roots in the United States, Thailand, and France, Wood’s cosmopolitan perspective incorporates diverse antiques and modern furniture to create interiors that are luxuriously comfortable. Lavishly illustrated, Wood’s first monograph profiles a sumptuous range of the designer’s work, from the opulent Waterfall Mansion in New York to a family-oriented home in Greenwich and a charming villa in Saint-Tropez on the French Riviera. Offering a wealth of original design ideas, Inson Dubois Wood: Interiors is an essential addition to any respectable library of interior design.
Since the publication of Edward Said's groundbreaking work Orientalism 35 years ago, numerous studies have explored the West's fraught and enduring fascination with the so-called Orient. Focusing their critical attention on the literary and pictorial arts, these studies have, to date, largely neglected the world of interior design. Oriental Interiors is the first book to fully explore the formation and perception of eastern-inspired interiors from an orientalist perspective. Orientalist spaces in the West have taken numerous forms since the 18th century to the present day, and the fifteen chapters in this collection reflect that diversity, dealing with subjects as varied and engaging as harems, Turkish baths on RMS Titanic, Parisian bachelor quarters, potted palms, and contemporary yoga studios. It explores how furnishings, surface treatments, ornament and music, for example, are deployed to enhance the exoticism and pleasures of oriental spaces, looking across a range of international locations. Organized into three parts, each introduced by the editor, the essays are grouped by theme to highlight critical paths into the intersections between orientalist studies, spatial theory, design studies, visual culture and gender studies, making this essential reading for students and researchers alike.
A revealing guide to a career as an interior designer written by New York Times bestselling author Kate Bolick and based on the real-life experiences of the cofounders of the acclaimed Brooklyn firm Jesse Parris-Lamb—required reading for anyone considering a path to this profession. Becoming an Interior Designer takes you behind the scenes to find out what it’s really like, and what it really takes, to become an interior designer. This artful profession combines visionary creativity and taste with architecture, engineering, and business savvy. Acclaimed Brooklyn-based studio Jesse Parris-Lamb specializes in crafting warm, textured room designs shaped by the people that inhabit them. Bestselling author Kate Bolick shadows founders Amanda Jesse and Whitney Parris-Lamb to show how this dream job becomes a reality. Visit their studio as they as they map out new projects. Watch as they inject beauty and atmosphere into open air lofts and historic brownstones. Decide on the perfect shade of blue that will complete a serene reading room. Gain professional wisdom as Bolick traces the founders’ paths to prominence, from attending design school and starting a studio, to building top-tier clients and planning landmark redesigns.
From Robinson Crusoe’s cave to Henry Selwyn’s hermitage, the domestic interior tells a story about "things" and their relation to character and identity. Beginning with a description of a typical middle-class interior in America today—noting how its contents echo interiors described in literatures of the past—Julia Prewitt Brown asks why certain features persist, despite radical changes in domestic life over the past three hundred years. The answer lies, Brown argues, in the way the bourgeois interior functions as a medium, a many-layered fabric across which different energies travel, be they psychological, political, or aesthetic. In this way, objects are not symbols but rather the materials out of which symbols are made--symbols that constitute the very soul of the bourgeois. In a wide-ranging analysis, moving from works by Daniel Defoe, Jane Austen, Charles Dickens, and Henry James to those by Virginia Woolf, Ingmar Bergman, John Updike, and W. G. Sebald, Brown shows that what is at issue is less the economic basis of class than the bourgeoisie’s imagination of itself. The themes explored include the middle class’s ever-increasing desire for more wealth, as well as Victorian women’s identification with the domestic interior and the changes that took place when they began working outside the home. Brown also examines the ambivalence of economically determined objects both as repositories of memory and dreams and as fetishized commodities that become detached from everyday reality. Does the bourgeois possess the interior and its objects, or do the interior and its objects possess the bourgeois?
Focusing specifically on portraiture as a genre, this volume challenges scholarly assumptions that regard interior spaces as uniquely feminine. Contributors analyze portraits of men in domestic and studio spaces in France during the long nineteenth century; the preponderance of such portraits alone supports the book's premise that the alignment of men with public life is oversimplified and more myth than reality. The volume offers analysis of works by a mix of artists, from familiar names such as David, Delacroix, Courbet, Manet, Rodin, and Matisse to less well-known image makers including Dominique Doncre, Constance Mayer, Anders Zorn and Lucien-Etienne Melingue. The essays cover a range of media from paintings and prints to photographs and sculpture that allows exploration of the relation between masculinity and interiority across the visual culture of the period. The home and other interior spaces emerge from these studies as rich and complex locations for both masculine self-expression and artistic creativity. Interior Portraiture and Masculine Identity in France, 1789-1914 provides a much-needed rethinking of modern masculinity in this period.
Richard Gillette is one of America.s leading interior designers, lauded for his comprehensively conceived and exquisitely detailed rooms. A volume rich in sumptuous detail, this book is a sublime integration of aesthetics and form in the realised contemporary interior.
Histories of the Gilded Age and Progressive Era tend to characterize the United States as an expansionist nation bent on Americanizing the world without being transformed itself. In Consumers' Imperium, Kristin Hoganson reveals the other half of the story, demonstrating that the years between the Civil War and World War I were marked by heightened consumption of imports and strenuous efforts to appear cosmopolitan. Hoganson finds evidence of international connections in quintessentially domestic places--American households. She shows that well-to-do white women in this era expressed intense interest in other cultures through imported household objects, fashion, cooking, entertaining, armchair travel clubs, and the immigrant gifts movement. From curtains to clothing, from around-the-world parties to arts and crafts of the homelands exhibits, Hoganson presents a new perspective on the United States in the world by shifting attention from exports to imports, from production to consumption, and from men to women. She makes it clear that globalization did not just happen beyond America's shores, as a result of American military might and industrial power, but that it happened at home, thanks to imports, immigrants, geographical knowledge, and consumer preferences. Here is an international history that begins at home.