Displaying items by tag: italianate

Piece by piece, the furnishings of the last Hawaiian queen, Liliuokalani, are returning to Iolani Palace here, on a grassy square wedged between office buildings and populated by egrets. The royal property was dispersed through auctions and giveaways around 1900, but benefactors are retrieving it from antiques stores, thrift shops, backyards, storage units, museums and government offices worldwide.

During a recent tour of the palace, an Italianate 1880s building that became a museum in 1978, its curator, Heather Diamond, and its docent educator, the historian Zita Cup Choy, described how chairs, tables, dinnerware and cuff links had ended up scattered.

During their 30-plus years in the design world, William and Phyllis Taylor, the husband-and-wife team behind the Miami Beach-based firm Taylor & Taylor, have cultivated a lush, tropical aesthetic that has become their signature style. William, a fifth-generation Floridian, creates architecture that forges strong connections between nature and the built environment, while Phyllis, a native New Yorker, designs interiors that complement and respond to the coastal climate and vibrant landscape.

Inspired by the area’s indigenous elements -- both natural and constructed -- the couple believes that Florida is not only a state but a state of mind. Though the Taylors travel widely seeking design inspiration, they always retain their first love -- Florida’s historic architecture -- from breezy seaside bungalows to brightly colored Art Deco hotels and stately Italianate palazzos.

Situated prominently at the eastern end of The Hague—not the city in the Netherlands, but a crescent-shaped inlet that feeds into the Elizabeth River as it passes through Norfolk, Virginia—the Chrysler Museum of Art’s newly renovated and expanded Italianate pile opened to the public again last week after 17 months of construction. Local firm H&A Architects designed identical, two-story porticoed gallery wings that flank the main entrance and added 10,000 square feet of exhibition space for American and European painting and sculpture and the museum’s renowned glass collection. The addition—which brings the total programmable space to 220,000 square feet—mimics the classical style of the original 1933 structure and a 1989 building project that unified the exteriors by removing asymmetrical and Brutalist additions completed in 1965 and 1974. “We wanted to maintain the balanced, palazzo house quality of the exterior,” explains museum director Bill Hennessey.

While the architecture may be conservative, not much else about the institution is, starting with its namesake, Walter Chrysler, Jr. The eldest son of the auto tycoon, Chrysler began amassing what would become a world-class art collection while still a student at Dartmouth in the early 1930s. Controversial dealings would eventually run the scion out of New York City, where he once served as the first chairman of the fledgling Museum of Modern Art’s library committee, and later the artists’ colony in Provincetown, Massachusetts, where he maintained a museum in a former church building during the 1960s.