Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

The identity and design of the modern British home under the influence of
the ‘feminine territory’ and Japanese Art
YOSHIMURA,Noriko / PhD / Miyagigakuin Women’s University / Japan
Domestic Interior / Feminine Territory / Japanese Art / Nineteenth-century
Britain
The home is a place for the family. In nineteenth century Britain,
however, the models for middle class houses were the country
houses of the aristocracy, which at that time were places primarily
for the reception of visitors. In establishing the modern
identity of the house as a family home, a territorial ‘feminine’
principle and the great influence of Japanese art can be seen as
a very significant element. This is the perspectives from which
this paper examines the process and establishment of the modern
family house.
1. Introduction
Studies of domestic interiors in Britain clearly indicate that “the
private interior of the nineteenth century middle-class home was
defined as feminine territory” and “the key rooms tended to be further
grouped together on either side of a male-female divide.” This
was reflectedʺin contemporary literature which emphasised "the
importance of masculinity” in the dining room and "feminine delicacy"
in the drawing room. Meanwhile the present writer's study
of the nineteenth century British enthusiasm for Japanese Art
in the domestic sphere finds a clear tendency for Japanese objects
and style to be adopted into the drawing room, boudoir and
bower, in other words the ‘feminine territory’ of houses. This can be
easily understood from stereotyped codes or associations: exotic
objects – informality – femininity.
Beyond this view, however, the feminine or Japanese style can
be seen as a significant element in establishing the modern
identity of the house as a family home. Clearly, the house is a
place for family. But in the second half of the nineteenth century,
the model for the middle class house was still the country
house of the aristocracy, which would not be a dwelling simply
for a family but a place primarily for the reception of visitors.
The middle-class houses tended towards designs based on
the plan of the country house. Towards the end of the century,
however, the social function of the house came under much
criticism and scrutiny, and primary consideration began to be
given far more to the daily routine of its occupants. In this process,
what was required was ‘homely comfort.’ The living environments
developed through the application of the feminine or
Japanese style were always associated with ‘comfort,’ which is
the central image of the modern house today. Therefore it is certainly
worth examining the growth and influence of the feminine
territory, particularly the influence of the Japanese style, from
the perspective of the modern family house.
This paper first examines ‘feminine’ and ‘masculine’ territories in
the nineteenth century home and their relation to Japanese Art. It
then analyzes those elements as a key inspiration in the development
of the modern family house and discusses the design values
created through them at the end of the nineteenth century.
2. ‘Feminine’ and ‘Masculine’ Rooms
In the nineteenth century middle class house the key central area
of space was created to impress ones neighbours and peers,
as the house was entirely linked with the symbolism of worldly
success. The ‘nouveau riche’ middle classes, particularly the
industrialists and the professional classes, were wealthier than
they had ever been, and imitated the style of their social superiors.
They followed the style of the houses of the aristocracy and the
life and customs of the country house. Observing the purpose of
each room, we see that the hall, the dining room, and the drawing
room were designed for receiving outsiders; the bedrooms were
for family; the kitchen and the scullery were for servants.
The study on the domestic interior 1 as mentioned above clearly
indicates that the hall , dining room and billiard room etc. were
‘masculine’ rooms. They were serious, substantial, dignified (but
not ostentatious) and always dark-toned, while the drawing
room, boudoir, bower and the bedroom as ‘feminine’ rooms,
were lighter, colorful, refined, delicate and decorative to quote
contemporary literature 2 ;
(in the dining room) the style of finish both for the apartment itself
and the furniture, is always somewhat massive and simple […]
the whole appearance of the room ought to be that of masculine
importance. The character to be always aimed at in a Drawingroom
is especial cheerfulness, refinement of elegance, and what
is called lightness as opposed to massiveness. Decoration and
furniture ought therefore to be comparatively delicate; in short
the rule is – if the expression may be used – to be entirely ladylike.
The comparison of Dining room and Drawingʺroom, therefore is in
almost every way one of contrast. (Kerr 1871:107).
After the Industrial Revolution, the more productive work was
transferred to factories, offices and shops, and the house became
a refuge, a place apart from commercial life with different
morals, rules and guidelines to protect the soul from the rigors
of the workplace. To answer this desire, a vast amount of handbooks
and periodicals were published to suggest or advise on
the ‘ideal home.’ In order to represent the ideal, especially the
interior, the furnishings had to be seriously considered. And the
best known book on this subject is Charles Eastlake’s Hints on
1 Juliet Kinchin, “Interiors: nineteenth-century essays on the ‘masculine’ and the
‘feminine’ room,” The Gendered Object, 1996.
2 Robert Kerr, The Gentleman’s house, (London, 1871), p.107.
Design Frontiers: Territiories, Concepts, Technologies / Proceedings of the 8th Conference of the International Committee for
Design History & Design Studies - ICDHS 2012 / São Paulo, Brazil / © 2012 Blucher / ISBN 978-85-212-0692-7