Janoschka magazine_Linked_V2_2017

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4 i n s i g h t s where walls speak volumes A roll to set the stage Anyone who would like to make their walls eye-catching today has a seemingly endless selection of wallpapers to choose from. Paper wall coverings originated as a cheap alternative to wickedly expensive tapestries. But, as time has gone by, they have become luxury items themselves. Quilted velvet or just paper after all? “Collection Pleats” from the House of Élitis, France elitis.fr
issue #2 © l i n k e d 5 In 1803, King Ludwig I. of Bavaria did not exactly move into student digs, in the everyday sense of the word. At that time, he was still the crown prince and had gone to study in Landshut. His accommodation was the previously modernised, so-called “Birkenfeld Rooms” of the Wittelsbach family’s town residence, which was a Renaissance palace. Empire furniture and, above all, classical French wallpapers made the suite of rooms the “dernier cri”. Some of the wallpapers came from the renowned wallpaper manufacturer, Jean Baptiste Révellion in Saint-Antoine, near Paris. Révellion was one of the first craftsmen to be celebrated as an artist. He took his inspiration from the grotesque motifs in Raphael’s studios, from frescoed ceilings and ancient paintings. Exuberant flowers in streamlined vases adorned his designs, graceful swans and birds seemed to fly out of a central medallion motif and swoop up to the ceiling. He introduced vibrant colours – deep shades of red, ochre, azure blue and strong green tones. His workshop developed and produced the most elegant and beautiful “paper tapestries” for the French aristocracy and received the title of “Manufacture Royale” in 1783. The French wallpapers of this time were, despite machine production and printing, lucrative luxury articles. Their manufacture required a high level of craftsmanship and skill. Their design attained unimagined artistry. Perfected techniques afforded a stylistic idiom with many variations. It stretched from mythological tales, through hunt settings and on to deceptively realistic reproductions of architectural elements, such as columns and capitals, or illusionary, iridescent silk draperies gathered with golden braids. Finely elaborated “paysages” opened up the salons onto seemingly Arcadian vistas, while a crowded collection of blue chinoiserie appeared between tendrils that crept from floor to ceiling – and still, it was all just paper. The supremacy of France in the design and production of wallpapers reached its zenith in the 19th century. Over 140 manufacturers employed around 33,000 workers. Christophe-Philippe Oberkampf developed the first printing machine for repeating segments of pattern (rapport) for his calico fabric. Almost at the same time, in 1799 in fact, his fellow countryman, Nicolas- Louis Robert, obtained a patent for a method to manufacture continuous rolls of paper on a Fourdrinier machine. The way was paved for the industrial production of printed wall paper rolls and Révellion understood how to tread this path with all his skill. Inspiration for the reception room of the “Birkenfeld Apartments” were draped wall coverings in sumptuous silk fabrics of intense, vivid colour: these wallpapers were the result of block printing in seven colours on a blue background. The sheets of paper would then be pasted together into lengths.
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Page 4 and 5: 2 c o n t e n t index issue #2 10 1
Page 8 and 9: 6 i n s i g h t s On a Roll In the
Page 10 and 11: 8 i n s i g h t s Never too late fo
Page 12 and 13: 10 i n s i g h t s Glitz and Glamou
Page 14 and 15: 12 i n s i g h t s a clear statemen
Page 16 and 17: 14 i n s i g h t s A short history
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Page 20 and 21: 18 f a c e t o f a c e Team effort:
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