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DESIGN SERVICES OF
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Inspired by revivalism, eclecticism, and a quest for nov-
elty in the second half of the 19th century, Exoticism
looks to non-Western cultures for inspiration and bor-
rows their forms, colors, and motifs. International expo-
sitions, books, periodicals, travel, and advances in
technology acquaint Europeans and Americans with
other cultures while creating a romantic image of far-
away lands and people. Egyptian Revival, Moorish or
Islamic, Turkish, and Indian join, yet never completely
surpass other fashionable styles.
HISTORICAL AND SOCIAL
By the middle of the 19th century, Europeans and Ameri-
cans (Fig. 9-1) begin to lose interest in the prevailing
styles, such as Greek Revival and Gothic Revival. Their
desire for new and novel styles opens the door for exotic
influences. At the same time, designers are looking for new
sources of inspiration apart from the rampant historicism.
Eclecticism, a dominant force in design during the time,
encourages the exploration and appreciation of the archi-
tecture and decorative arts of other cultures. Although
exotic-style public and private buildings, interiors, and
furnishings appear in both Europe and North America,
they are not overridingly popular.
Exotic influences are not new in Europe or even North
America because they have been present in varying
degrees since the Middle Ages. What is new is the wide-
spread fascination, arising from art, travel, literature (such
as guidebooks, novels, and travelogues), international
expositions, trade with other countries, colonialism
(particularly in France and England). Equally important
are archaeology, scholarship, and publications, which in-
crease interest in and create design resources for exotic
C H A P T E R 9
Exoticism
1830s1920s
In this room Messrs. Louis C. Tiffany and Co. have
made an elaborate attempt to assimilate the Moresque
idea to modern requirements, and no expense has
been spared to attain the most prefect result in every
respect, even the grand piano being made to assume a
Moresque garb. . . . The fireplace is lined with old
Persian tile in blue, blue-greens, and dark purplish-
red on a white ground, making a valuable sensation in
the surrounding opal tile, of which the hearth is
composed. . . . All the woodwork above [the floor] is
executed in white holly, the panels in which are filled
with various incrustations of stucco in delicate
Moresque patterns re-enforced with pale tints, gold,
and silver. Such portions of the walls as are not
otherwise occupied are covered with stamped cut and
uncut velvet on satin ground, in tones of pale buff,
red, and blue. . . . The furniture is all of white holly,
carved, turned, and inlaid with mother-of-pearl,
making rich effects with the olive plush coverings
embroidered in cream and gold-colored floss.
A. F. Oakley, Harpers New Monthly Magazine, April 1882, describing
the salon in the George Kemp House, New York City
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Architecture and Interior Design from the 19th Century: An Integrated History, Volume 2, by Buie Harwood, Bridget May, Ph.D., and Curt Sherman.
Published by Prentice Hall. Copyright 2009 by Pearson Education, Inc.
cultures. This intense scrutiny engenders myths about
the lives, people, customs, architecture, and objects in
other countries. Exotic styles arise mainly from the Egyptian
and Islamic cultures, which have centuries of artistic tradi-
tions that are largely unknown to Westerners until the
19th century.
Antwerp, Belgium:
Elephant Pavilion, Antwerp Zoo, 18551856;
Charles Servais. Egyptian Revival.
Atlanta, Georgia:
Yaarab Temple Shrine Mosque (Fox Theater),
19271929; Marye, Alger, and Vinour. Islamic
Revival.
Boise, Idaho:
Ada Theater, 1926; Frederick C. Hummel.
Egyptian Revival.
Cincinnati, Ohio:
Isaac M. Wise Temple, 1866; James K. Wilson.
Turkish/Exotic Revival.
Devonport, England:
Egyptian Library, 1823; John Foulston. Egyptian
Revival.
Glasgow, Scotland:
Templetons Carpet Factory, 18891892.
Exotic/Byzantine Revival.
Leeds, England:
Temple Mill, 1842; Joseph Bonomi, Jr. Egyptian
Revival.
London, England:
Arab Hall, Lord Leighton House, c. 1865; George
Aitchison. Exotic/Islamic Revival.
The Egyptian Hall, Piccadilly, 1812; P. F.
Robinson. Egyptian Revival.
Nashville, Tennessee:
First Presbyterian Church, 18481851; William
Strickland. Egyptian Revival.
Paris, France:
Palais de Justice, 18571868; Joseph-Louis Duc.
Egyptian Revival.
Philadelphia, Pennsylvania:
Pennsylvania Academy of Fine Arts, 18711876;
Frank Furness and George W. Hewitt. Exotic
Revival.
Pennsylvania Fire Insurance Company, c. 1839,
John Haviland, and 1902, Theophilus Parsons
Chandler, Jr. Egyptian Revival.
Philadelphia County Prison, Debtors
Wing, 1836; Thomas U. Walter. Egyptian
Revival.
Richmond, Virginia:
Egyptian Building, Medical College of Virginia
(now a part of Virginia Commonwealth
University), 18441845; Thomas S. Stewart.
Egyptian Revival.
Millhiser House, 18911894; William M.
Poindexter. Turkish/Exotic Revival.
Washington, D.C.:
Washington Monument, 1833 (designed),
18481884 (built); Robert Mills.
Egyptian Revival.
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Architecture and Interior Design from the 19th Century: An Integrated History, Volume 2, by Buie Harwood, Bridget May, Ph.D., and Curt Sherman.
Published by Prentice Hall. Copyright 2009 by Pearson Education, Inc.
218 VI CTORI AN REVI VALS
100938 C PH/OH/CHET A H d P N 218 C/M/Y/K
DESIGN SERVICES OF
DESIGN SPOTLIGHT
Architecture: New York City Halls of Justice and House
of Detention (The Tombs), 18351838; New York City,
New York; John Haviland. Egyptian Revival. This building
is one of the most significant Egyptian Revival structures
in the United States. The attributes and visual character-
istics of ancient Egyptian buildings are intended to
convey security, monumentality, terror, and the misery
awaiting those to be incarcerated there. Reminiscent of
the massive gateways at the entrances of Egyptian
tombs, the faade emphasizes symmetry, volume, simple
geometric forms, and minimal ornament. Two wings
with battered walls and a center entrance portico carried
by Egyptian-style columns compose the facade. Slanted
moldings carrying a lintel form the window surrounds.
A plain or half-circle molding emphasizes the corners
and the cavetto cornice that caps the composition.
Haviland derives the architectural vocabulary from sev-
eral scholarly books on ancient Egypt that he owns. The
building also is a model prison for its day, incorporating
fireproofing, natural light and air, sanitary facilities, a
hospital, and individual cells for inmates.
Flat or low pitched roof typical
Egyptian columns define entry and portico
Symmetrical composition
Slanted columns frame windows
Battered or canted plain wall
Plain, rounded molding on corners
Cornice or lintel
Cavetto cornice
9-5. New York City Halls of Justice and House of Detention (The Tombs); New York City.
Architects rarely try to re-create authentic Egyptian or
Middle Eastern buildings, preferring instead to apply forms
and motifs to contemporary forms. These details may mix
with other styles. The belief that Egypt influences Greece
prompts Egyptian details in Greek Revival. Islamic pat-
terns sometimes mix with Gothic Revival in the work of
some designers, such as William Burges, and the Queen
Anne style in the late 19th century.
Never achieving a full revival, Turkish or Moorish de-
tails may define homes and a wide range of public buildings
from the 1860s onward. Picturesque, hedonistic, and erotic
allusions limit the Turkish context for use to those build-
ing types possessing romantic ideals, some tie to the Mid-
dle East, amusement, or entertainment.
Public and Private Buildings