History of Interior Design Powerpointe for High school design class

1. HISTORY OF INTERIOR
DESIGN

2. ENGLISH PERIOD FURNISHINGS:
Elizabethan Style 1558­1603
• Named after Queen
Elizabeth of England last
of the Tudor Monarchy
• Nicknamed “Good Queen
Bess”
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flirtatious and extravagant
• Queen during Religious
unrest between Catholics
and Protestants
• Shakespeare was writing

3. ENGLISH PERIOD FURNISHINGS:
Elizabethan Style 1558­1603
• Oak
• “Heavy”
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• Carved cornerpost beds
• Canopy Beds
• Velvet Drapery
• Bulbous table legs

4. ENGLISH PERIOD FURNISHINGS:
Jacobean 1603­1649
• Under the rule of James I
and later brother, Charles I
• After the English
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• Puritans began to slightly
influence design

5. ENGLISH PERIOD FURNISHINGS:
Jacobean 1603­1649
• Oak
• Simple
• Functional
• Chest of drawers designed
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• Writing table designed
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• Chairs with no arms for the
large dresses
• Gate-leg table introduced
• Panel Beds
• X-crossed chairs
• Carpets being introduced

6. ENGLISH PERIOD FURNISHINGS:
Commonwealth or Cromwellian 1649­1660
• 1642 Civil War broke
between the ruling class
and the Puritans, led by
Oliver Cromwell
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“commonwealth” or
Republic society in
England until 1660

7. ENGLISH PERIOD FURNISHINGS:
Commonwealth or Cromwellian 1649­1660
• Puritan extremely
influential
• Simplicity
• Functionality over
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• Utility over comfort
• Leather covered chairs
instead of upholstered

8. ENGLISH PERIOD FURNISHINGS:
Restoration 1660­1689
• Reestablishment of
the throne in England
with Charles II
• Prior to this he and
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Commonwealth years
in exile to France
• Styles taken from
French Baroque

9. ENGLISH PERIOD FURNISHINGS:
Restoration 1660­1689
• Walnut for carving
• Ornamental
• Caning in chair backs
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• Japanese influence on
veneering furniture

10. ENGLISH PERIOD FURNISHINGS:
William and Mary 1689­1694
• King William III came
from Holland and ruled in
England with his wife
Mary
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• Brought with him his
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• Highly opposed King
Louis XIV of France but
stayed very competitive
with him, even to the
point of speaking French
over Dutch or English

11. ENGLISH PERIOD FURNISHINGS:
William and Mary 1689­1694
• Walnut
• Veneers, and veneer inlay
• Turned legs
• High back lavishly
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upholstered chairs
• Some caning of backs
(influenced from Asia)

12. IN AMERICA AT THIS TIME:
Early Colonial
• Log Cabin
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• Early Colonies settling
• Styles influenced and
brought over by the
early settlers
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13. ENGLISH PERIOD FURNISHINGS:
Queen Anne 1702­1714
• Brought England to
par with France and
Italy with design
• Baroque style of
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at the very end of her
reign
• Middle class was
growing in aesthetics
and wealth

14. ENGLISH PERIOD FURNISHINGS:
Queen Anne 1702­1714
• Walnut some beech and in
the country-oak
• Claw and ball feet
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top rails
• Cabriole legs -curved
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• Comfort of most importance
• First Winged Back chairs
• Gesso furniture- furniture
applied with sizing which
was white and could be
easily carved in to.

15. ENGLISH PERIOD FURNISHINGS:
Three Georgian Styles 1714­1812
• Influenced by Kings’
George I. II, and III
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• Early Georgian: Roman
Architecture
• Middle Georgian:
Rococo Style
• Late Georgian: Greek
influence and
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Chinoiserie

16. ENGLISH PERIOD FURNISHINGS:
Early and Mid Georgian
• Mahogany replaced
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walnut
• Roman architectural
elements like friezes,
pediments, sphinxes,
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symmetry
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“grotesque” or highly
elaborate Rococo style of
France
• Chippendale famous
furniture maker of the
time

17. ENGLISH PERIOD FURNISHINGS:
Late Georgian
• Travels to Rome and
Greece with excavations
of Pompeii
• Neo Classical Style
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• In France Louis XIV was
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already dominating this
style
• Famous: Adams as the
prominent furniture and
interior designer
• Light and straight lines,
inlay, marquetry

18. ENGLISH PERIOD FURNISHINGS:
Other Georgian Style
• Chinoiserie
• This type of furnishing
would typically be
found in one single
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home (to look
“cultured”) often the
tea room or a lady’s
dressing room
• Faux Bamboo

19. ENGLISH PERIOD FURNISHINGS:
Regency 1812­1830
• Prince Regent George
• Tried to make actual
replicas of ancient
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Greek and Roman
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• Egyptian influence too

20. ENGLISH PERIOD FURNISHINGS:
Regency 1812­1830
• Beech
• Faux finishes, faux
marbling
• Egyptian, Greek and
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Roman influences:
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Sphinxes, claw and ball
feet
• Chinese influences:
• Pagodas, dragons, gold
and black

21. ENGLISH PERIOD FURNISHINGS:
Victorian 1837­1901
• Luxury and Ease
• Comfortablity
• Middle Class rise as
Industrial Revolution
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Increases
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• “Plush”
• Combination of all early
style influences

22. ENGLISH PERIOD FURNISHINGS:
Victorian 1837­1901
• Oak returns with beech
wood
• Famous Windsor chair
– Saddle back seat and
straight slatted spindles in a
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• Late Victorian took on
Asian influence of black
straight and simple and
also was decorated with
painting instead of inlays

23. THE ARTS & CRAFTS MOVEMENT 1851­1914
A return to naturalism & craftsmanship Victorian England
– "Forget six counties overhung with smoke, Forget the snorting steam and piston
stroke, Forget the spreading of the hideous town; Think rather of the pack-horse
on the down, And dream of London, small, and white, and clean."
The Earthly Paradise William Morris
The main figure associated with the Arts and
Crafts Movement is William Morris -designer,
writer and poet. A Victorian, also a Romantic,
he was a man idealizing the traditional life
of England while all around him raged
the Industrial Revolution; a totally new
phenomenon, his being the first nation to
experience rapid industrialization.

24. Product design was driven by
technology and was treated as
a process of decorating the
surface of the product, an
afterthought rather than
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Morris and his contemporaries
who rejected this use of
unnecessary decoration, seeing
instead the need for a new
design to clearly express the
function of the thing itself, and
to emphasize the materials and
quality of construction.
A High Victorian Decoration, when used, was to
piece in the 1851 be in harmony with these
principles.
Great Exhibition

25. "If you want a golden rule..this is it: have nothing in your
houses
that you do not know to be useful or believe to be
beautiful."
William Morris saw the over-
ornamentation of mass
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“alienated” the workers from
the products they made. In the
factories, designs were drawn
from pattern books and
workers and designers had no
individual control over the
finished article, so quality
suffered. The answer, Morris
believed, lay in a return to the
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are needed to see this He wanted to return to the
mediaeval tradition of the
Guild, the association of
craftsmen working together.
He was most known for his
wallpaper designs.

26. THE ARTS & CRAFTS MOVEMENT 1851­1914
In America
• Gustav Stickley
• Craftsman style Furniture
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• Prairie and Mission
– Frank Lloyd Wright
– Influenced by Spanish
missions and Japanese Low
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28. ART NOUVEAU 1880’s
The importance of new decoration.
Art Nouveau is French for new art.
The art form began in the 1880s
as a result of the Arts and Crafts
Movement, which rejected the
mass-produced techniques of
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industrialization. Art Nouveau
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exuberant curving lines,
asymmetrical design and
elements of fantasy.

29. Art Nouveau
resurrected the lines
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of Celtic art and the
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fluid arches and
curves of Gothic
architecture
in exuberant style,
but the arts and
artifacts of Japan were
the crucial inspiration.

30. "Lean upon the staff of line - line determinative, line emphatic, line
delicate, line expressive, line controlling and uniting."
Originating in France as a
decorative art movement in the
1880s and evolving to different
forms up to 1914, it is
remembered mainly for its
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asymmetrical use of of whiplash
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lines reminiscent of intertwining
plants and organic forms. It
reached its highpoint at the 1900
trade fair, the Paris Exposition
Universelle.

31. Henry van de Velde also called for the unification of art. He
wished to see the re-evaluation of the role of craftsman
and designer; the recognition that we are able:
"to impress beauty upon every aspect of our lives, that the artist
should no longer simply paint pictures, but rather create whole
rooms, or even whole dwellings, with wallpapers and furniture as
well as paintings".
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32. Modernism
1910­1930’s
Form follows function, and the aesthetic of the machine.
Le Corbusier (the Raven)
-French architect who created
"machines for living," they are
designed around the needs of
the people who occupy them
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designed independent of nature
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so that it would not be tied to
any one environment.

33. At the turn of the century,
technology and new industrial
processes were spreading; and in
Europe designers were becoming
agreeable to the possibilities of
mass-produced well-designed
products as artists, architects and
industry increasingly worked
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production being developed in the
United States were seized upon
and the concept of ‘Functionalism’
was becoming an important
Le Corbusier Chaise Lounge influence.

34. In architecture,
Functionalism meant the
elimination of
ornament so the
building plainly
expressed its purpose,
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principle led to the idea
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of designing buildings
from the inside
outwards, letting the
essential structure
dictate the form and
therefore its external
appearance

35. ART DECO
1920’s­30’s
Organic form, space ships, cars & the rise of youth culture
It is a term that covers a range of
designs popular in the inter-war
years. Art Deco sought to portray
through design the essence of modern
living. This could embrace the age of
machines, technology, jazz, and other
QuickTimeª and a symbols of 20th century progress.
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were a boom time of jobs, money
and consumerism and people
bought goods that had ‘consumer
appeal’. They looked for
goods that exhibited status, more
than just functionalism.

36. This new style took inspiration
from modern art, traditional
sculpture, and ancient Egypt.
Tutankhamen’s tomb was
unearthed in 1922,
and its complete collection
of treasures inspired popular
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designs everywhere.
Coiled adders, chariots,
porcelain goddesses, and
other old Egyptian styles
became part of Art Deco as a
result.

37. A new profession
emerged in the 1930s, as
industrial
designers applied art
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deco styling to consumer
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attract Depression
buyers. This new styling
was alluring and
looked expensive,
but it could be mass-
produced by machines
at lower cost.

38. 1950’s/60’s Mid ­Century Modern
High technology is just around the corner;
youth, and the impact of consumerism.
The United States didn’t suffer the
economic devastation of the
war as did the European countries, and
by the 50's it had established itself as the
world leader in economic and political
power. America provided financial aid to
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the world's most advanced consumer
culture, with consumers enjoying an
enormous growth in spending power.
One of the most enduring images of
design for consumer luxury was in the
appearance of 50's American cars which
combined the hugesweeping forms of
streamlined luxury with chrome detail
and space age tail fins.

39. "The situation now is the exact opposite of the past when
design was only sold in a few deluxe shops. Clients do not
exist any more. Instead there are consumers, and we have to
think in terms of mass production."
The Second World War had halted
the development of product
design, but manufacturing during
the war years saw the rapid
development of technology. New
materials such as fiberglass,
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processed woods -especially
plywood used in warplanes, and
metal alloys. After the war,
designers turned to bright colors
to remove the drabness of
wartime colors and shortages.
Bright pinks, oranges, blues and
yellows appeared on walls, carpets
and furniture.

40. The Herman Miller
Company was a leader in
furniture manufacturing;
pioneers in the
development of
innovative contemporary
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radical rethinking of
function and materials.
Their
products embodied
technical innovation.
Miller produced works of
Charles Eames.

41. The 50s saw the benefits of
wartime technical
innovation, and plywood
became more
versatile with the
introduction of new
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bent and shaped into
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dramatic sculptural
forms. Charles Eames
had used it for medical
equipment, creating
leg splints for the US
Navy, and also for aircraft
sections. He
experimented with it
together with Eero Saarinen
to develop his famous series
of plywood stacking chairs

42. POSTMODERNISM 1970’s ­present
The aesthetic of ‘less is more’ was sounding more like ‘less is a
bore’.
What had happened to
personality and imagination
among all this homogeneity?
Modernist design had produced
inner city buildings that all
looked the same and were
socially detrimental in their
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general shift in design away
from a focus on problem
solving and improvement,
towards a wider
engagement with the world of
imagination, with ideas,
humour and visual excitement.

43. Design is no longer seen as a unity but as a sum of parts. We
concentrate more on the elements that determine an
object than on the object itself.’
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44. Naturalist 2000+
Designing for comfort and
ergonomics and sustainability
became an increasing concern
for designers as
environmental issues grow.
Many designers are working
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• Non toxic textiles and materials
• Biodegradable materials
• Materials that are fair trade
• Recyclable materials