Decorative Electricity: Standen and the Aesthetics of New Lighting Technologies in the Nineteenth Century Home
Decorative Electricity: Standen and the Aesthetics of New Lighting Technologies in the Nineteenth Century Home
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装饰性电力：斯坦登和十九世纪新照明技术的美学
DOI：
10.1080/08905495.2013.822687
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发表时间：
2013
期刊：
影响因子：
--
通讯作者：
Moore A
中科院分区：
文献类型：
--
作者：
Moore A
从保持器中的灯心草灯到艺术支架中的明亮电灯，两者相差甚远，文明的进步和电灯的进步可能是一个有趣的类比。（“Electric Lighting”，Art Journal，1900年1月，第23页）本文探讨了一个电气照明设计方案的独特意义。该设计方案于1891年至1894年安装在苏塞克斯郡东格尔斯特德的斯坦登乡村别墅中，由其所有者，新富夫妇詹姆斯和玛格丽特·比尔（James and Margaret Beale）设计。斯坦登，由艺术和手工艺建筑师菲利普韦伯设计，已被引用为第一个国家的房子有电力照明完全融入其室内设计计划。[1]我们将斯坦登置于其社会背景中，并将其与爱丽丝·戈登夫人1891年出版的《装饰性电力》一书所激发的其他同时代的家庭用电美学项目进行比较。2这篇文章考察了韦伯的工作，他为客厅定制了照明方案，还有本森，他的灯是为房子里的许多房间买的。它特别关注客厅，可以说是房子里最公共的房间。看到韦伯和本森在斯坦登的美学作品与人们对这种新照明技术提出的更广泛的问题有关，将展示这项工作如何证明将电气照明引入家庭工作的固有保守主义，同时反映了“令人心悸的现代”设计理念（Jope-Slade 16）。因此，斯坦登的照明方案为我们提供了一个有趣的演示，展示了工艺美术运动中心的悖论：在庆祝过去的工艺传统的同时，在系统地使用电力方面保持现代化。韦伯和本森在斯坦登的工作提供了一个引人注目的案例研究，
It is a far cry from the rush-light in its holder to the brilliant electric light in its artistic bracket, and an interesting parallel might be made of the march of civilisation and the march of electric lighting.(‘Electric Lighting’, Art Journal, January 1900, 23).This article explores the unique significance of a design scheme for electric lighting that was installed in the country house, Standen, East Grinstead, Sussex, 1891-4, by its owners, the newly monied couple James and Margaret Beale. Standen, designed by the Arts and Crafts architect Philip Webb, has been cited as the first country house to have had electric lighting fully integrated into its interior design plans. 1 We place Standen in its social context and compare it to other contemporaneous projects to aestheticize electricity for the home as stimulated by Mrs Alice Gordon’s 1891 book Decorative Electricity. 2 The article examines the work of Webb, who custom designed a lighting scheme for the drawing room, and WAS Benson, whose lights were purchased for many of the rooms in the house. It focuses specifically on the drawing room, arguably the most public room in the house. Seeing the aesthetic work of Webb and Benson at Standen in relation to the wider questions that were being asked about this new lighting technology will show how that work attests to the inherent conservatism that characterised the introduction of electric lighting into the home–work that simultaneously reflected “palpitatingly modern” design ideas (Jope-Slade 16). As such, the lighting scheme at Standen offers us an interesting demonstration of the paradox at the centre of the Arts and Crafts movement: to be modern in its systematic use of electricity while celebrating the craft traditions of the past. Webb’s and Benson’s work at Standen provides a compelling case study,
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电气照明
影响因子：
64.8
作者：
W. P.
通讯作者：
W. P.
驯化电力：专业知识、不确定性和性别，1880-1914 年（评论）
影响因子：
0.7
作者：
C. Goldstein
通讯作者：
C. Goldstein
现代设计的先驱：从威廉·莫里斯到沃尔特·格罗皮乌斯
DOI：
--
发表时间：
1936
期刊：
影响因子：
--
作者：
N. Pevsner
通讯作者：
N. Pevsner
艾尔西·德·沃尔夫 (Elsie de Wolfe) 1913 年的《高品味之家》中的“理想”和“真实”内饰
影响因子：
0.2
作者：
Pennv Sparke
通讯作者：
Pennv Sparke
英国电气工业，1875-1914
DOI：
10.2307/2594818
发表时间：
1980
期刊：
The Economic History Review
影响因子：
--
作者：
I. Byatt
通讯作者：
I. Byatt