Klassicismens interiörer : Inredningskonst och arkitekturprofiler från Vitruvius till Tessin
Sammanfattning: The aim of this thesis is to describe and analyse the design and development of the classical interior detail and its theoretical background from its Italian origins through its development into a shared European style around 1700. It mainly presents a close study of some forty chosen interiors in Italy, France and Sweden dating from antiquity to the close of the seventeenth century. A point of departure is the descriptions of the ancient architectural theoretician Vitruvius. The role of Vitruvian theory in the history of interior detail has until now received relatively little attention. By comparing the interiors and their components with local tradition as well as contemporaneous architectural theory and Vitruvius’s rules the actual impact of Vitruvius on Classical interior detailing is investigated.The thesis is divided into ten chapters. Chapter one develops a model, which can be used to describe the relationship between interior detail and the Classical room as a whole. Chapter two deals with the ancient origins of architectural profiles. Chapter three systematises the ancient proportional system that came to be used for Classical interiors. Chapter four outlines the ancient vis-à-vis the Medieval frame profile. Chapters five to nine describe the development of interior detail from 1400 to 1700 as seen in a selection of the most renowned interiors and buildings in European interior architecture. Each chapter concludes with a summary of the principles and ideals behind the proportion and design of the rooms and their parts for the period in question. Chapter ten examines the treatment of mouldings in European architectural theory from 1450 to 1990.Interior detail is described using two variables, one of which is its factual form and the other is the way it has been proportioned in relation to the structure of the room. The design of architectural detail and its ancient heredity plays an important role to form continuity in the tradition of Classical architecture. This thesis shows that small variations in the shape of architecture profiles causes new possibilities for interplay between the whole of the building and the form of the room, walls and details. This possibility has to a great extent been used to adapt Classical detail to the artistic language of different times and spirits.
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