Interior Design Blog The design blog is an essential part of this course. Your blog will be used to keep track of stylistic characteristics of designs that

 

The design blog is an essential part of this course. Your blog will be used to keep track of stylistic characteristics of designs that are covered in this class and that you observe, either in person or from images.

For each style covered in the unit, find at least one example of an interior component used in a modern way. Selections may include entire rooms or specific items within an interior (furniture, fabric, use of space, etc.…). In this entry, please include styles from William and Mary, French Neoclassical, French Empire, Georgian. This will be 4 separate pages, 1 for each style listed. (at least 200 words for each page)

Good sources for this material include: Interior Design Magazine, Metropolis, Houzz.com, Elle Decor and professional associations’ publications. Do not use images from books or magazines that are specifically about the assigned style (i.e., do not Google “Egyptian furniture” and cut and paste an image).

An example of a Design Blog (Unit 2) is provided as a guide on what is expected. Note: this is one of many ways to create a blog. Do not let this example limit your creativity; the only take away from this example is the combination of text and images. Be sure to provide sufficient text and images within your blogs each week.

Include a brief description of the item/interior, where you observed it, and why you place it in the particular design style. Also include any personal thoughts; please remember to include links and images.

R E V I V E

I N D S 2 1 1 D E S I G N B L O G

C H R I S T I N E M I N
S U M M E R 2 0 2 1 | P R O F . G O N A N O | H I S T O R Y O F I N T E R I O R D E S I G N

” I A M N O T A
D E C O R A T O R .

T H E O N L Y P L A C E I
D E C O R A T E I S M Y

O W N H O U S E . ”

– F l o r e n c e K n o l l

A N C I E N T E G Y P T

A N C I E N T G R E E C E

A N C I E N T R O M E

A N C I E N T C H I N A

This leather stool from P o t t e r y
B a r n reuses a signature style of
Ancient Egypt . The X – Shaped

base is present in the modern

rendition . Additionally , leather , a

prominent material used in

ancient Egyptian culture is

featured . The smoky tones of

both the leather and the wood is

yet another way the ancient stool

has been revamped to suit a

modern interior .

It is fascinating to see that an

ancient style and the most

elemental type of seating is stil l

being used today . The X – shaped

base allows for furniture to be

collapsed and therefore portable ,

but also adds a l ight airiness to

the aesthetic of furniture .

A N C I E N T

E G Y P T

” I f y o u s e a r c h f o r t h e l a w s o f

h a r m o n y , y o u w i l l f i n d

k n o w l e d g e . ”

– E g y p t i a n P r o v e r b

S T O O L W I T H
X – S H A P E D B A S E

M O D E R N

H I S T O R I C A L4

The Klismos Chair had sabre legs ,

which meant that the legs curved out

opposite each other . This iconic chair

featured a curved back that hugged

the human body and the seats were

made of cloth or leather .

The modern T r i s t a n A c r y l i c Klismos
Chair certainly echoes the original

chair ‘ s shape and curvature of the

backing and legs . The difference l ies

in the futuristic clear material of

acrylic and the cushioned velvet seat .

Judging by the curves of the back

seat , one can deduce that the ancient

Greeks were conscious of ergonomics

and prioritized comfort , especially

when seating those in higher social

classes . The matching degree of

curving in the backing and legs is also

an admirable harmonic design choice .

A N C I E N T

G R E E C E

” W e a r e w h a t w e r e p e a t e d l y

d o . E x c e l l e n c e , t h e n , i s n o t a n

a c t , b u t a h a b i t . ”

– A r i s t o t l e

K L I S M O S C H A I R

M O D E R N

H I S T O R I C A L

5

This T r i s t a n A u e r armchair is a
dramatic piece that flaunts the

component of the sella curulis

that is most distinctive – the

double – X form . Instead of the X –

form only being used for the

base , the entire X creates the

form of the armchair . The top is

an enticing and stylish seat ,

while the bottom part of the X

serves as a sturdy base .

The sella curulis was an

important seat meant for those

in higher power such as

emperors and magistrates . The

sleek and robust modern

rendition of the sella curulis

surely emboldens users with

confidence f it for an emperor .

A N C I E N T

R O M E

” S a y n o t a l w a y s w h a t y o u

k n o w , b u t a l w a y s k n o w w h a t

y o u s a y . ”

– C l a u d i u s

S E L L A C U R U L I S

M O D E R N

H I S T O R I C A L

6

Featured on H o m e D e s i g n i n g , this
modern Chinese house exhibits a

lattice style used in ancient

Chinese interiors . Lattices were

used in the past to achieve the

integration of both the interior

and exterior , a principal

component of Chinese interior

design .

The modern utilization of ancient

lattices brings a zen sensation to

the home due to the lattice ‘ s

calming repetitive shapes and

harmonic placements , evocative of

the satisfaction one feels when

fitting puzzle pieces together .

Just as the indoor lattices used in

the past served as screens to

divide rooms ( one of many

purposes ) , the modern lattice

usage is also used to separate

spaces and define interior zones .

A N C I E N T

C H I N A

” O n e b e a m , n o m a t t e r h o w b i g ,

c a n n o t s u p p o r t a n e n t i r e h o u s e

o n i t s o w n . ”

– C h i n e s e P r o v e r b

L A T T I C E

M O D E R N

H I S T O R I C A L
7

G O T H I C

I T A L I A N R E N A I S S A N C E

F R E N C H R E N A I S S A N C E

E N G L I S H R E N A I S S A N C E

H i n e s
o f O x f o r d

S a v e o n T a p e s t r i e s

T A P E S T R I E S

M O D E R N

H I S T O R I C A L

The cassapanca translates to ” chest –

bench ” and serves those two exact

purposes . This furniture piece

provides seating and also the seat

itself can be opened ( with the help

of hinges ) for any storage uses .

When I f irst saw images of the

cassapanca , I immediately thought

of church pews . However , I believed

the important storage feature of

this multifunctional furniture piece

was too intelligent to ignore .

Featured on W a y f a i r , this storage
bench also provides users with two

purposes . There is faux leather

cushioning for extra comfort that I

imagine the cassapanaca did not

provide in the past , and the fl ip – top

reveals ample storage space that

can be used for anything from

throw blankets to children ‘ s toys .

I T A L I A N

R E N A I S S A N C E

” I t h a d l o n g s i n c e c o m e t o m y

a t t e n t i o n t h a t p e o p l e o f

a c c o m p l i s h m e n t r a r e l y s a t b a c k a n d

l e t t h i n g s h a p p e n t o t h e m . T h e y

w e n t o u t a n d h a p p e n e d t o t h i n g s . ”

– L e o n a r d o d a V i n c i

C A S S A P A N C A

M O D E R N

H I S T O R I C A L

10

The prestige piece , armoire á deux corp ,

was a cupboard separated into two

sections . The lower section and upper

section of doors were separated by a set of

drawers in the middle . Armoire á deux

corps were usually made of oak , and the

modern revival is also made of oak .

Featured on H o u z z , the modern rendition
of the armoire á deux is not as glamorous

as the historical usage . However , the

mimicry of the original paneling is

admirable . Just as with the original design ,

there are door – l ike panels at the top and

bottom , separated by drawer – l ike panels in

the middle . Additionally , times progress ,

and humans develop different needs . I

believe that using an armoire for

televisions can be a great way to conceal

technology and even keep it out of the

reach of impressionable children .

F R E N C H

R E N A I S S A N C E

“ I g o t o s e e k a G r e a t P e r h a p s . ”

– F r a n ç o i s R a b e l a i s

A R M O I R E Á D E U X C O R P S

M O D E R N

H I S T O R I C A L
11

The English Reniassance cupboard was

highly decorative as well , with carvings ,

inlay , and architectural motifs

ornamenting every inch of the furniture

piece . Seeing the extravagant designs

in history ‘ s furniture makes me ponder

about the dedication and appreciation

we modern folk have on our own

furniture designs .

Another modern usage of a historical

cupboard – style furniture piece is bar

cabinetry . Just as the example above

was used to conceal , this cupboard

conceals wine and drinks . This modern

design suits our society in the moment

and I am positive as our society

progresses , we will see more changes

from the historic Renaissance cupboard

designs .

E N G L I S H

R E N A I S S A N C E

“ B r e v i t y i s t h e s o u l o f w i t . ”

– W i l l i a m S h a k e s p e a r e

C U P B O A R D

M O D E R N

H I S T O R I C A L
12

F R E N C H B A R O Q U E

F R E N C H R O C O C O

W I L L I A M A N D M A R Y

Parquetry is a wood veneering or inlay

arranged in a geometric pattern .

Parquet flooring originated in 16th

century France , beginning with talented

artisans f itting blocks of small wood

pieces , varying in size and color , to

create elaborate designs . The French

word ” parquetry ” means ” small

compartment . The famous Hotel de

Soubise features parquet pattern

flooring .

F R E N C H

B A R O Q U E

“ D r a w i n g i s t h e s k e l e t o n o f

w h a t y o u d o a n d c o l o r i s i t s

f l e s h . ”

– N i c o l a s P o u s s i n

P A R Q U E T R Y

M O D E R N

H I S T O R I C A L

Parquetry is widely used in the modern

world and have countless design

configurations . This wood tile sample

from L o w e ‘ s is laid out in a wonderfully
symmetrical manner and can bring a

harmonious and dynamic character to

any home . Usually seen throughout

history with a high sheen , this modern

rendition opts for a faded matte look ,

perfect for a farmhous aesthetic .

14

Along with asymmetry , rocaille , S and

C scrolls , the Acanthus leaf was a

si gnature motif used in French

Rococo furniture and interiors . The

Acanthus leaf was f irst used by the

Greeks in architectural

ornamentation , friezes , and capitals

of columns . However , during the

French Rococo period , the Acanthus

leaf was exaggerated and stylized to

be excessively elaborate .

F R E N C H

R O C O C O

” T h i s v i s i o n i s w i t h i n o u r

g r a s p . ”

– F r a n c o i s B o u c h e r

A C A N T H U S L E A F M O T I F

M O D E R N

H I S T O R I C A L

The S h a d e s o f L i g h t Acanthus Leaf
Li ght Fixture is one way this famous

Rococo motif has survived into

modern days . The style of the leaves

are not nearly as elaborate as the

Rococo version , it is instead much

si mpler in form and a great way to

integrate natural motifs into a space .

The usage of gold , however , is

reminiscent of the past ‘ s gilded

version .

15

W I N G B A C K C H A I R

M O D E R N

H I S T O R I C A L

R e j u v e n a t i o n ,

F R E N C H N E O C L A S S I C A L

F R E N C H E M P I R E

G E O R G I A N

The settee was very similar to a

chair but a horizontally expanded

version of it . Settees had less

upholstery than sofas and were

made to seat multiple people .

F R E N C H

N E O C L A S S I C A L

” T h e i n t e r e s t s o f t h e s t a t e

m u s t c o m e f i r s t . ”

– L o u i s X V I

S E T T E E

M O D E R N

H I S T O R I C A L

The modern version provided by

A r h a u s , is created of recycled
leather rather than fabric covers .

The form of the modern settee is

much simpler and exudes casual

elegance . The legs are not as

elaborate as their historical

counterpart but they do taper at

the end as a nod to the past .

Learning about the settee and

researching modern usage has been

interesting because it initially

looked so similar to a loveseat .

Through research , I discovered that

settees have indeed transitioned to

” courting settees ” or ” loveseats ” .

18

Napoleon Bonaparte ‘ s wife , Josephine ,

had purchased a small chateau in

1799 . Her room was designed with

fabrics that made the room look l ike a

tent . The fabric was draped between

posts to give the i l lusion that the posts

were supporting the tent – l ike room .

F R E N C H

E M P I R E

” N e v e r i n t e r r u p t y o u r e n e m y

w h e n h e i s m a k i n g a m i s t a k e . ”

– N a p o l e o n B o n a p a r t e

F A B R I C D R A P E R Y

M O D E R N

H I S T O R I C A L

Featured in H o u s e & G a r d e n , designer
Henri Fitzwill iam created a tent

environment in the dining room , similar

to the style in Josephine ‘ s room . Just as

the vertical stripes in the historical

example match the very thin vertical

lines in the modern example , both

environments have an elegant circus

aesthetic . Fitzwill iam used R a l p h
L a u r e n fabric to create a noise –
reducing roof to the dining room in a

country home . There seem to be more

functions of fabric usage in today ‘ s age

19

Featured on H o u z z , H i g h B y B o b o
I n t r i g u i n g O b j e c t s ‘ s Saratoga Chest is a
sleek , mid – century modern version of

the historical chest on chest . Created

from solid oak , the tiers of drawers

mimic the two ‘ chests ‘ seen in the

Georgian furniture piece . Wood

patterns were of large importance in

the Georgian era and the modern

Saratoga chest seems to have a subtle

wood grain that matches its simple

si lhouette , I believe the modern chest

looks weightier due to its lack of legs

but looks l ike a safer furniture piece

because of the cut corners .

The popular ‘ chest on stand ‘ from the

William and Mary era had been

replaced with the ‘ chest on chest ‘ . This

new kind of chest stand provided a

double set of drawers instead of one in

the previous rendition .

G E O R G I A N

” A t r a i t o r i s e v e r y o n e w h o

d o e s n o t a g r e e w i t h m e . ”

– G e o r g e I I I

C H E S T O N C H E S T

M O D E R N

H I S T O R I C A L
20

S H A K E R

T H O N E T

V I C T O R I A N

Shakers left their storage elements

without decorative elements . However ,

instead of obvious motifs , they instead

embraced the natural wood grain of

the natural materials and did not use

stains to cover it . They also used

hardware placements to bring in visual

interest .

S H A K E R

” D o a l l y o u r w o r k a s t h o u g h

y o u h a d a t h o u s a n d y e a r s t o

l i v e ; a n d a s y o u w o u l d i f y o u

k n e w y o u m u s t d i e t o m o r r o w . ”

– M o t h e r A n n L e e

D R E S S E R

M O D E R N

H I S T O R I C A L

The modern armoire from W a y f a i r has
the clean and simple look of Shaker

storage furniture . The hardware of this

piece is also placed in functional parts

of the armoire but also brings rhythmic

patterns that excite the eyes . Due to

the modern method of widely

accessible manufacturing , this

furniture piece also embraces its wood

grain but the wood is not as matte as

the historical piece was . I believe that

having a shinier quality to the storage

piece makes it look more modern .

22

The modern Wave Bentwood Rocking

Chair from B 2 H mimics the
curvil inear l ines of the original

Bentwood Rocker , but simplifies the

lines . Instead of more curves and

scrolls , the modern rendition opts

for a cleaner look . The use of metal

and leather cushioning of the

seating allows for durability and a

long l i fe in a home or office .

This furniture invention was the f irst

bentwood rocker ever made . Michale

Thonet found inspiration for this

piece after attending the Crystal

Palace exhibition in Hyde Park ,

London . Thonet is famous for his

method of gluing thin strips of wood

together and attaching metal straps

to beech rods . This allowed for

bending wood without splintering . In

the case of the Bentwood Rocker ,

this method proved to be crucial for

the many curves present .

T H O N E T

I n 1 8 5 3 , T h o n e t f o u n d e d h i s

o w n c o m p a n y , G e b r ü d e r T h o n e t

( T h e T h o n e t B r o t h e r s ) , w h i c h

a t i t s p e a k i n t h e m i d – 1 8 7 0 s

p r o d u c e d 2 , 0 0 0 u n i t s a d a y

a n d e m p l o y e d o v e r 4 , 0 0 0

w o r k e r s .

B E N T W O O D R O C K E R

M O D E R N

H I S T O R I C A L
23

The modern l incrusta featured on

L i n c r u s t a . c o m is similar to the historical
example in that it is meant to decorate the

lower areas of the walls ( dados ) and the

motifs and designs are flowing and

vertically elongated . Although the designs

are also very similar to each other , I feel

that the modern rendition is much l ighter

and fresh than the heavier Victorian

lincrusta . The modern l incrusta seems to

be less raised and adds visual interest to a

room rather than weighing it down .

In 1877 , Frederick Walton invented

lincrusta . This wallcovering was originally

marketed as l inoleum that was placed on

the wall . This was a valuable feature for

fastidious Victorians because l inoleum was

easy to clean and maintain . Lincrusta was

the f irst washable wall covering . This wall

covering was made of l inseed oil and

canvas , it could be painted , or even faux –

f inished to mimic other materials .

V I C T O R I A N

” W e a r e n o t i n t e r e s t e d i n t h e

p o s s i b i l i t i e s o f d e f e a t ; t h e y d o

n o t e x i s t . ”
– Q u e e n V i c t o r i a

L I N C R U S T A

M O D E R N

H I S T O R I C A L
24

E U R O P E A N A R T S & C R A F T S

A M E R I C A N A R T S & C R A F T S

A R T N O U V E A U

J A P A N E S E

This modern Bow Arm Morris Recliner

featured on H o u z z is a modern
rendition of the original Morris chair .

The arms are much longer than the

original , but this allows for more

comfort . The sides are slatted just as

the original was although the

individual slats are much simpler and

sleeker . Lastly , the adjustable back

has been refined to be easier to use .

One of Morris & Co . ‘ s most famous

inventions was the Morris chair .

Created in 1866 , this chair had an

oak frame with wool tapestry

upholstery . This design was

revolutionary because the back was

adjustable . By moving the pegs on

the back of the chair , the back could

be moved to suit any user . This chair

was plagiarized often by Gustav

Stickley . Even to this day , there are

chairs that resemble the Morris

Chair but are labeled as Stickley .

E U R O P E A N
A R T S & C R A F T S

” H a v e n o t h i n g i n y o u r h o u s e

t h a t y o u d o n o t k n o w t o b e

u s e f u l , o r b e l i e v e t o b e

b e a u t i f u l . ”

– W i l l i a m M o r r i s

M O R R I S C H A I R

M O D E R N

H I S T O R I C A L
26

This Robert Louis Tiffany Tropical Birds

Pendant Lamp from L a m p s P l u s is a
modern example of a stained glass

Tiffany Lamp . Instead of the widely

accessible lamps that were produced in

the past , this rendition is meant to be

hung from the ceiling . Although the

placement of this lamp differs , the

stained glass elements can stil l be

admired by users . This lamp paints a

narrative of a family of birds that can

add movement to a dining or l iving room .

Louis Comfort Tiffany and Associated

American Artists had designed many

interiors with stained glass designs . To

become more accessible to the public ,

these designs were introduced as

stained glass lamps . Today , it is common

for any stained glass lamp to be called a

Tiffany lamp because of the f irm ‘ s

historical contributions .

“ T h e a r t o f f u r n i t u r e w i l l b e t h e
e x p r e s s i o n o f t h e i n d i v i d u a l a r t i s t
t h r o u g h t h e p o w e r s o f t h e m a c h i n e
— t h e m a c h i n e d o i n g a l l t h o s e
t h i n g s t h a t t h e i n d i v i d u a l w o r k m a n
c a n n o t d o .

– F r a n k L l o y d W r i g h t

T I F F A N Y L A M P

M O D E R N

H I S T O R I C A L

A M E R I C A N
A R T S & C R A F T S

27

The modernized Cobra Chair was created

by C a r l o C o l u m b o who sought guidance
from Bugatti ‘ s interior designer , Etienne

Salome . The shape of the cobra is stil l

present but the obvious ” head ” of the

cobra is disguised into the motif instead of

the form of the back of the chair itself . The

gap between the seat and the b ack of the

chair is stil l present and can stil l prevent

clothing from being wrinkled in today ‘ s

modern culture . I think that the essence of

the original cobra chair is present but this

modern take resembles much more of a

chair than the historical version .

The Cobra Chair , created by Carlo Bugatti ,

was given this name because the chair was

shaped l ike a cobra . The medallion on the

back of the chair featured Islamic motifs .

The intentional space left between the

back and seat of the chair was to

accommodate for men and women ‘ s long

clothing such as coattails and dresses .

A R T N O U V E A U

” T h e c r e a t i o n c o n t i n u e s

i n c e s s a n t l y t h r o u g h t h e m e d i a

o f m a n . ”

– A n t o n i G a u d í

T H E C O B R A C H A I R

M O D E R N

H I S T O R I C A L
28

N o r t h S i s t e r ,

K A I D A N – D A N S U

M O D E R N

H I S T O R I C A L

I N T E R N A T I O N A L S T Y L E

D E S T I J L

A R T D E C O

Featured on I n t e r i o r D e s i g n , A r t
G r o u p created a new interior for a
Moscow Home with a

contemporary international style

aesthetic . There is certainly more

color integrated into this version .

However , there are stil l smooth

planes , minimal accessories , and

unadorned furniture . I personally

like this playful rendition of the

austere style ; although the walls

and ceilings are smooth , the

angles integrated into the space

bring interest into an otherwise

plain room .

The International Style

emphasized volume over mass ,

l ittle to no ornamentation , and

standardization of elements . The

Farnsworth House features

smooth flat ceilings , excessive

glass , leather furniture , and steel

tables .

I N T E R N A T I O N A L

S T Y L E

” A r c h i t e c t u r e i s t h e w i l l o f a n

e p o c h t r a n s l a t e d i n t o s p a c e . ”

– L u d w i g M i e s v a n d e r R o h e

I N T E R I O R

M O D E R N

H I S T O R I C A L31

On the site H o m e D e s i g n i n g , the
modern De Stijl home visualized by

D a r i a Z i n o v a t n a y a features subtler
notes of the famed geometric and

primary color attributes . The 1927

design of Cafe Aubette showcases bold

triangles and integrates vivid colors .

The contemporary rendition opts for

sli ght variations from the primary color

palette . Darker tints make the space

more modern and inviting for a home .

The rug also adds more visual interest

with the addition of a variety of

geometric shapes . The tasteful stripe

in the ceiling is a wonderful touch that

provides another pop of color and

symmetrical l ine .

Characteristics of the De Stijl style are

strong horizontal and vertical l ines ,

geometric shapes , and an emphasis on

primary colors . Piet Mondrian and

Gerrit Rietveld are famous De Stijl

artistis that have greatly influenced De

Stijl interiors .

D E S T I J L

” A r c h i t e c t u r e b e l o n g s t o

c u l t u r e , n o t t o c i v i l i z a t i o n . ”

– A l v a r A a l t o

” T H E S T Y L E ”

M O D E R N

H I S T O R I C A L
32