Design movements- Interior design 5th sem

INTERIOR
DESIGN
Presented by-
Kulsoom Begum
Kashish Ansari
Divya Singh
Parth Uttam
Harsh Bakoliya

Table of contents
ART
NOVEAU
1880s-1920s
INTRODUCTION
INFLUENCE
HISTORY
ARCHITECTURAL FEATURES
INTERIOR
FURNITURE
FURNITURE LAYOUTS
FABRICS
STYLE
ARCHITECT AND THEUR
CONTRIBUTION
EXAMPLE
ARTS AND
CRAFTS
MOVEMENT
1880s-1910s
INTRODUCTION
HISTORY
INFLUENCE
INTERIOR
FURNITURE
FURNITURE LAYOUTS
FABRICS
STYLE
ARCHITECTS AND THEIR
CONTRIBUTION
TIMELINE
DE
STIJL
1917-1931
INTRODUCTION
KEY FEATURES
INFLUENCE
MOVEMENT
FURNITURE
ARTISTS AND ARCHITECTS

ARTS AND
CRAFTS
MOVEMENT
ARTS AND
CRAFTS
MOVEMENT

Introduction
Season ticket, by Walter
Crane, 1890, Britain

1 - EMPHASIS ON HANDCRAFTED DETAILS, VALUING QUALITY OVER MASS
PRODUCTION.
2 - SIMPLE, CLEAN LINES AND MINIMAL ORNAMENTATION, AVOIDING OVERLY
ORNATE DECORATIONS.
Influences
3 - AESTHETIC IDEAS WERE ALSO
BORROWED FROM MEDIAEVAL
EUROPEAN AND ISLAMIC SOURCES.
4 - ENCOURAGEMENT OF UNIQUE,
PERSONALIZED DESIGNS RATHER THAN
STANDARDIZED FORMS.
5 - JAPANESE IDEAS WERE ALSO
INCORPORATED EARLY ART AND CRAFT
FROM.
6 - REVIVAL AND PRESERVATION OF
TRADITIONAL CRAFTSMANSHIP
METHODS AND TECHNIQUES.

7- THE INTERIOR WERE INFLUENCED IN A WAY OF INTEGRATION OF CUSTOM FURNITURE, BUILT-IN CABINETRY, AND BESPOKE
DECORATIVE ELEMENTS.
8 - CONSIDERATION FOR THE SOCIAL AND ENVIRONMENTAL IMPACT OF ARCHITECTURE, PROMOTING SUSTAINABLE AND
COMMUNITY-FOCUSED DESIGN.
9 - THE MOVEMENT ALSO GENUINELY AND HEAVILY INFLUENCED THE ARCHITECTURE OF THE PRAIRIE SCHOOL IN CHICAGO.
10 - IT STRIVED TO CREATE A NORTH AMERICAN-SPECIFIC ARCHITECTURAL STYLE.
11 - THE PRAIRIE SCHOOL PUT EMPHASIS ON USING NATURAL MATERIALS AND SIMILAR AESTHETICS TO THE ARTS AND
CRAFTS MOVEMENT, WITH NOTABLE ARCHITECTS SUCH AS FRANK LLOYD WRIGHT AND LOUIS SULLIVAN USING THIS
STYLE.
Influences

Architectural features
1 - THE ARCHITECTURE OF THE
MOVEMENT WAS MOST APPLIED TO
RESIDENTIAL ARCHITECTURE WITH AN
EMPHASIS ON COTTAGES AND
BUNGLOW
2 - LOW PITCHED ROOF
3 - OPEN FLOOR PLAN
4 - PORCHES WITH OVERHANGS AND
DORMERS.
5 - EXPOSED BEAM
6 - PAINED WINDOWS
7 - A BOXY DWELLING
8 - CRAFTSMAN STYLE BUNGALOWS
WERE COMMONLY BUILT FROM KITS.

Architectuiral features
9 - ARTS AND CRAFTS INTERIOR DESIGN FEATURES HAND-CRAFTED
ELEMENTS AND RICH WOOD DETAILS.
10 - POPULAR AMERICAN HOME STYLES LIKE THE CRAFTSMAN BUNGALOW,
THE MISSION-STYLE HOME, AND THE PRAIRIE-STYLE HOUSE.
11 - THE ARTS AND CRAFTS MOVEMENT IN ARCHITECTURE FEATURED
HOMES WITH HORIZONTAL LINES.
12 - STRONG LANDSCAPE CONNECTION.
13 - LARGE FIREPLACES.
14 -WINDOWS WERE DESIGNED FOR NATURAL
LIGHT AND VIEWS, OFTEN WITH STAINED
GLASS ELEMENTS SHOWCASING MOVEMENT
MOTIFS.

Furniture, Layouts,
Fabrics and Style

Types of Furniture
1. CHAIRS: SIMPLE, STURDY, AND OFTEN IN
FEATURING HIGH BACKS.
2. TABLES: RECTANGULAR OR OVAL, WITH SOLID
WOOD TOPS AND MINIMAL ORNAMENTATION.
3. CABINETS & SIDEBOARDS: FUNCTIONAL, WITH
PANELED DOORS AND METAL HARDWARE.
4. SOFAS & ARMCHAIRS: UPHOLSTERED WITH
SIMPLE LINES AND WOODEN FRAMES.
5. BOOKCASES: OPEN SHELVES OR WITH GLASS-
FRONTED DOORS.

Furniture Layout
1.FUNCTIONALITY:ARRANGEMENT FOCUSES ON PRACTICAL USE
AND EASE OF MOVEMENT.
2. COMFORT:SPACES DESIGNED TO BE WELCOMING AND
COMFORTABLE.
3. NATURAL LIGHT: FURNITURE PLACEMENT ALLOWS FOR
MAXIMUM NATURAL LIGHT.
4. CENTRAL FOCUS: OFTEN, A FIREPLACE OR A PIECE OF
FURNITURE SERVES AS A FOCAL POINT.

Fabrics Used
1. NATURAL FIBERS: WOOL, LINEN, AND COTTON ARE COMMONLY USED.
2. MUTED COLORS: EARTH TONES AND SOFT, MUTED COLORS DOMINATE.
3. PATTERNS: SIMPLE, NATURE-INSPIRED PATTERNS LIKE FLORALS AND LEAVES.
4. HANDCRAFTED TEXTILES: EMBROIDERED, WOVEN, OR BLOCK-PRINTED
FABRICS.

Style Characteristics
1. SIMPLICITY: EMPHASIS ON
SIMPLE FORMS AND LACK OF
EXCESSIVE DECORATION.
2. NATURAL MATERIALS: USE
OF WOOD, METAL, AND
NATURAL FIBERS.
3.CRAFTSMANSHIP:
HANDCRAFTED PIECES,
SHOWCASING SKILL AND
QUALITY.
4. HONESTY IN
CONSTRUCTION: VISIBLE
JOINTS AND CONSTRUCTION
DETAILS.

Architects and their Contributions
2. PHILIP WEBB (1831–1915)
- ACTIVE PERIOD: 1850S–1900S
- NOTABLE CONTRIBUTIONS: OFTEN REGARDED AS THE FATHER OF ARTS AND CRAFTS
ARCHITECTURE, WEBB DESIGNED THE RED HOUSE (1859) FOR WILLIAM MORRIS, WHICH IS
CONSIDERED A SEMINAL ARTS AND CRAFTS BUILDING. HE EMPHASIZED THE USE OF LOCAL
MATERIALS AND SIMPLE, FUNCTIONAL DESIGNS.

5. EDWIN LUTYENS (1869–1944)
- NOTABLE CONTRIBUTIONS: WHILE LUTYENS' WORK EVOLVED BEYOND THE ARTS AND
CRAFTS MOVEMENT, HIS EARLY WORK WAS HEAVILY INFLUENCED BY ITS PRINCIPLES.
HE DESIGNED SEVERAL HOUSES WITH A FOCUS ON CRAFTSMANSHIP AND TRADITIONAL
MATERIALS, SUCH AS DEANERY GARDEN (1901).
4. CHARLES VOYSEY (1857–1941)
- NOTABLE CONTRIBUTIONS: VOYSEY WAS KNOWN FOR HIS RESIDENTIAL
ARCHITECTURE, WHICH OFTEN FEATURED SIMPLE, UNADORNED FORMS AND A
STRONG EMPHASIS ON HARMONY WITH THE LANDSCAPE. HIS WORKS INCLUDE
THE ORCHARD (1899) AND OTHER ICONIC HOUSES.

Example of prominent work
RED HOUSE
BUILDING: RED HOUSE
FUNCTION/USE: RESIDENCE/VILLA
LOCATION: BEXLEYHEATH
DATE OF CONSTRUCTION: 1859-60
ARCHITECT: PHILIP WEBB
HISTORICAL INFLUENCE: QUEEN ANNE
STYLE
KEY FEATURES:
SLOPED ROOFS.
TOWERING CHIMNEYS.
ARCHES
MATERIALS USED: BRICK

Example of prominent work
STRUCTURE:
THE RED HOUSE EXHIBITING VERNACULAR APPEAL IS AN ARTS AND CRAFTS HOME OF THE ARTIST (AND POET) WILLIAM
MORRIS AND HIS FAMILY.
1.
IT FOCUSES ON THE ADVANCEMENT OF THE WORK OF INDIVIDUAL CRAFTSMEN THAT WAS NECESSARY DURING
MEDIEVAL TIMES. BUILT IN RED BRICK, THE HOME GETS ITS NAME FROM THE MATERIAL COLOR.
2.
FAÇADE:
3.
THE HOME HAS STEEPLY PITCHED ROOFS WITH CHIMNEYS PROJECTING THE ROOF THAT BREAK THE MONOTONY.
4.
WINDOWS ARE PLACED ACCORDING TO THE FUNCTION OF THE ROOM, THUS GIVING THE EXTERIOR AN IRREGULAR AND
ASYMMETRICAL FORM.
5.
THE CONICAL ROOF CONTINUED TO BE A PART OF MANY HOUSES IN THE ARTS AND CRAFTS STYLE OF ARCHITECTURE.
6.

Introduction
LAMP BY GERMAN
ARCHITECT FRIEDRICH
ADLER (1903–04)
MEXICO CITY GRAN HOTEL INTERIOR, BUILT IN 1918
BY JACQUES GRÜBER
PARIS 16 CASTEL BÉRANGER 10

History
ART NOUVEAU EMERGED IN THE LATE
19TH CENTURY, APPROXIMATELY FROM
THE 1880S TO THE OUTBREAK OF
WORLD WAR I, AROUND 1910 TO 1914.
1.
THE TERM "ART NOUVEAU" WAS FIRST
USED IN THE BELGIAN JOURNAL L'ART
MODERNE.
2.
THE NAME WAS POPULARIZED BY THE
PARISIAN ART DEALER SIEGFRIED BING,
WHO OPENED A GALLERY NAMED L'ART
NOUVEA.
3.
THE MOVEMENT WAS INFLUENCED BY
THE ARTS AND CRAFTS MOVEMENT
AND THE AESTHETIC MOVEMENT,
WHICH EMPHASIZED CRAFTSMANSHIP
AND BEAUTY OVER INDUSTRIALIZATION1
4.
THE MAISON DE L'ART NOUVEAU
GALLERY OF SIEGFRIED BING (1895)
WILLIAM MORRIS PRINTED
TEXTILE DESIGN (1883)

History
5. GEOGRAPHIC SPREAD :
FRANCE: KNOWN AS ART NOUVEAU, IT WAS A SIGNIFICANT
FORCE IN PARISIAN DESIGN AND CULTURE.
BELGIUM: IN BRUSSELS, VICTOR HORTA’S ARCHITECTURE
BECAME A HALLMARK OF THE MOVEMENT.
SPAIN: REFERRED TO AS MODERNISME, IT WAS
CHAMPIONED BY ANTONI GAUDÍ IN BARCELONA.
GERMANY AND AUSTRIA: CALLED JUGENDSTIL, IT
EMPHASIZED YOUTHFUL, INNOVATIVE DESIGNS.
ITALY: KNOWN AS STILE LIBERTY, NAMED AFTER THE
LONDON STORE LIBERTY & CO. WHICH POPULARIZED THE
STYLE.
JEWELLERY SHOP OF GEORGES
FOUQUET AT 6, RUE ROYALE,
PARIS, DESIGNED BY ALPHONSE
MUCHA, NOW IN THE
CARNAVALET MUSEUM (1901)
6. IT BEGAN TO DECLINE AROUND WORLD WAR I, AS NEW MOVEMENTS LIKE ART DECO, WHICH FAVORED
MORE STREAMLINED AND GEOMETRIC DESIGNS, ROSE IN POPULARITY.
7. ART NOUVEAU'S LEGACY IS ITS INFLUENCE ON MODERN ARCHITECTURE AND DESIGN, INSPIRING ARTISTS
WITH ITS NATURAL FORMS AND DECORATIVE DETAILS.
STRADA DIMITRIE RACOIȚA IN
BUCHAREST, (2010)

Architectural features
ART NOUVEAU ARCHITECTURE IS KNOWN FOR ITS SMOOTH, FLOWING
LINES INSTEAD OF STRAIGHT EDGES.THIS GIVES BUILDINGS A NATURAL,
ORGANIC FEEL.
1.
COMMON DESIGN ELEMENTS INCLUDE SHAPES INSPIRED BY NATURE,
SUCH AS LEAVES, FLOWERS, AND INSECTS, WHICH ADD DECORATIVE
CHARM.
2.
STRUCTURES OFTEN USE ASYMMETRICAL DESIGNS, CREATING A
DYNAMIC LOOK THAT MIMICS NATURAL FORMS AND MOVEMENT.
3.
ARCHITECTS UTILIZED VARIOUS MATERIALS LIKE IRON, GLASS, AND
CERAMICS TO CREATE INTRICATE, NATURE-INSPIRED DESIGNS
4.
5. BUILDINGS TYPICALLY FEATURE ORNATE
DECORATIONS, INCLUDING ELABORATE WROUGHT
IRONWORK, STAINED GLASS, AND MOSAIC PATTERNS.
6. ART NOUVEAU DESIGNS OFTEN INCORPORATE
EARTHY COLORS ACCENTED WITH RICH JEWEL TONES,
REFLECTING HUES FOUND IN NATURE
MUNICIPAL HOUSE IN PRAGUE BY OSVALD POLÍVKA AND
ANTONÍN BALŠÁNEK (1905–1912)
DOORWAY OF THE
LAVIROTTE BUILDING

1.
2.
3.
4.
Interior
SWAN, RUSH AND
IRIS WALLPAPER
DESIGN BY WALTER
CRANE (1883)
OAK CHAIR
MADE BY
CHARLES
ROHLFS, 1898
MAISON HANNON
CERAMIC PUTTI IN
THE MUNICIPAL
MUSIC
CONSERVATORY
OF BARCELONA BY
EUSEBI ARNAU
CERAMIC FIREPLACE ON
RUSSIAN FOLKLORE THEME
BY MIKHAIL VRUBEL (1908)
STAINED GLASS WINDOWS BY KOLOMAN
MOSER FOR THE CHURCH OF ST. LEOPOLD,
VIENNA (1902–1907)

Interior
WHIPLASH MOTIFS AT VITEBSKY
RAILWAY STATION IN ST.
PETERSBURG (1904)
LIVRARIA LELLO BOOKSTORE IN
PORTO (1906)
FRESCOES OF
MUNICIPAL HOUSE
BY ALPHONSE
MUCHA

Furniture
ART NOUVEAU FURNITURE HAS SMOOTH, FLOWING CURVES THAT
IMITATE SHAPES FOUND IN NATURE, SUCH AS VINES AND
FLOWERS
1.
PIECES OFTEN RESEMBLE BIOLOGICAL SHAPES, LIKE LEAF AND
PETAL DESIGNS, MAKING THEM FEEL NATURAL AND ALIVE
2.
FURNITURE FEATURES INTRICATE CARVINGS, INLAYS, AND
COLORFUL ARTWORK, ADDING BEAUTY AND UNIQUENESS TO
EACH PIECE
3.
4. MATERIALS: INCLUDE HARDWOODS LIKE OAK AND MAHOGANY, AS WELL AS
GLASS AND METAL, WHICH ENHANCE DURABILITY AND ELEGANCE.
5. MANY PIECES INCORPORATE STAINED GLASS, PROVIDING BOTH FUNCTION AND
ARTISTIC FLAIR THROUGH COLORFUL DESIGNS
MEXICO CITY GRAN HOTEL INTERIOR,
BUILT IN 1918 BY JACQUES GRÜBER
THE PEACOCK ROOM BY JAMES MCNEILL
WHISTLER (1876–77)
SNAIL CHAIR AND
OTHER FURNITURE
BY CARLO BUGATTI
(1902)
COBRA CHAIR AND DESK BY CARLO
BUGATTI (1902), IN THE BROOKLYN
MUSEUM, NEW YORK CITY

Furniture Layout

FURNITURE LAYOUTS IN ART NOUVEAU EMPHASIZE
SMOOTH, FLOWING ARRANGEMENTS THAT MIMIC
NATURAL FORMS AND CURVES.
1.
SEATING IS ARRANGED FOR COMFORT AND
RELAXATION, OFTEN FOCUSING ON COZY, INTIMATE
SPACES FOR CONVERSATION.
2.
LAYOUTS MAY BE ASYMMETRICAL, AVOIDING STRICT
SYMMETRY TO CREATE A MORE DYNAMIC AND
ORGANIC LOOK.
3.
4. FOCAL POINTS: FURNITURE IS OFTEN ARRANGED AROUND A
CENTRAL FOCAL POINT, SUCH AS A FIREPLACE OR ARTISTIC PIECE,
TO DRAW ATTENTION AND CREATE BALANCE.
5. LAYOUTS INCORPORATE NATURAL ELEMENTS, LIKE PLANTS OR
WATER FEATURES, SEAMLESSLY BLENDING INDOOR AND OUTDOOR
SPACES.
DINING ROOM(1903-1906)
LIVING ROOM
DINING ROOM BY
EUGÈNE VALLIN
(1903)
A BEDROOM BY LOUIS
MAJORELLE (1903–04)

Fabric

ART NOUVEAU FABRICS FEATURE DESIGNS INSPIRED BY
NATURE, INCLUDING FLOWERS, VINES, AND LEAVES, OFTEN
WITH STYLIZED AND EXAGGERATED FORMS.
1.
THE PATTERNS IN ART NOUVEAU FABRICS OFTEN INCLUDE
SMOOTH, CURVY LINES THAT REFLECT THE MOVEMENT OF
PLANTS AND ORGANIC SHAPES.
2.
FABRICS TYPICALLY USE RICH, VIBRANT COLORS LIKE DEEP
GREENS, BLUES, AND EARTH TONES, CREATING A WARM AND
INVITING LOOK.
3.
4. ART NOUVEAU TEXTILES ARE MADE FROM
HIGH-QUALITY MATERIALS, EMPHASIZING
CRAFTSMANSHIP AND DURABILITY,
APPEALING TO THE AESTHETIC VALUE.
5. MANY ART NOUVEAU FABRICS CAN BE
USED FOR BOTH UPHOLSTERY AND CURTAINS,
ALLOWING VERSATILITY IN INTERIOR DESIGN
WHILE MAINTAINING STYLE.
SILK AND WOOL TAPESTRY DESIGN,
WHIPLASH MOTIF BASED ON THE STEM
OF A CYCLAMEN FLOWER (1895) A CARPET BY VICTOR
HORTA
CISELÉ VELVET COMMISSIONED BY
QUEEN MARGHERITA, 1902, RUBELLI
ARCHIVE, VENICE
RUBELLI ARCHIVE, VENICE

Style

ART NOUVEAU IS KNOWN FOR ITS SMOOTH, CURVED LINES
THAT CREATE A FLOWING, NATURAL APPEARANCE.
1.
THE STYLE USES DESIGNS INSPIRED BY NATURE, FEATURING
FLOWERS, LEAVES, AND OTHER ORGANIC SHAPES.
2.
ASYMMETRY IS COMMON, GIVING A SENSE OF MOVEMENT
AND CREATIVITY RATHER THAN RIGID STRUCTURE.
3.
4. ART NOUVEAU FEATURES RICH, VIBRANT COLORS, OFTEN COMBINED IN HARMONIOUS
WAYS TO ENHANCE BEAUTY.
5. THE STYLE INCLUDES INTRICATE AND DECORATIVE DETAILS, SHOWCASING
CRAFTSMANSHIP AND ARTISTIC EXPRESSION.
TRENCADÍS FAÇADE OF CASA
BATLLÓ IN BARCELONA (1904–1906)
STAIRWAY OF TASSEL HOUSE,
BRUSSELS
BREEZEWAY OF THE CASTEL
BÉRANGER, WITH WALL PLATES BY
ALEXANDRE BIGOT
STAINED GLASS AND SCULPTURES
BY ERCOLE PASINA IN CALISE
HOUSE IN BUENOS AIRES (1911)

1.
Architects and their contributions

1893 1901 1913 1918
Timeline
Hotel Tassel by Victor
Horta and Maison
Hankar by Paul
Hankar were
completed in Brussels
Lluís Domènech i
Montaner built his own
house in Canet de
Mar
Victor Horta finished
his own house and
atelier in Brussels
Episcopal Palace was
finished by Antoni
Gaudí in Astorga

1. Arts and Crafts developed in England in the
1860s.
2. Arts and Crafts focuses on direct,
handcrafted creations.
3. The movement represents in some sense a
revolt against the hard mechanical
conventional life and it's insensitivity to beauty.
4. Arts and Crafts designers reacted against
these influences of the industrial revolution,
insisting on hand techniques rather than
assembly lines.
5.Primarily a decorative arts movement about
"how" things are made.
Arts and Crafts
Movement
Art Nouveau
1. Art Nouveau arose in the Belle Epoque
of the 1890s inParis, Munich (Jugendstil),
and Wiener (Sezession).
2. Art Nouveau fully embraces mass
production with brightly colored posters
and décortive style.
3. Art Nouveau is a rejection of the
European Academic Style
4.Art Nouveau artists began to bend
metal and glass into strange, new
shapes.
5.An art movement about *what is made.

6. William Morris, naturally, was
extremely adamant about staying far
from industrialized products.
7. While Morris' style was more botanic
and decorative.
8. Morris was customized
Arts and Crafts
Movement
Art Nouveau
6. Henri de Toulouse-Lautrec, work were almost
completely mass-produced, as he was responsible
for creating posters for the Moulin Rouge cabaret.
7. Lautrec relied on flat, bold colors and strict
outlines.
8. L6autrec was commercial

Key Features
1. ABSTRACT REPRESENTATION: THE MOVEMENT EMPHASIZES PURE
ABSTRACTION AND THE REDUCTION OF FORMS TO THEIR BASIC GEOMETRIC
SHAPES.
2. PRIMARY COLORS: THE USE OF PRIMARY COLORS (RED, BLUE, YELLOW)
ALONGSIDE BLACK, WHITE, AND GRAY.
3. GRID-BASED COMPOSITION: ARTWORKS OFTEN USE A GRID STRUCTURE,
WITH COMPOSITIONS BASED ON VERTICAL AND HORIZONTAL LINES.
4. BALANCE AND HARMONY: DE STIJL WORKS AIM TO ACHIEVE HARMONY
AND BALANCE THROUGH THE INTERPLAY OF COLORS AND FORMS.
5. FUNCTIONAL DESIGN: THE MOVEMENT ALSO EXTENDED TO
ARCHITECTURE AND DESIGN, FOCUSING ON FUNCTIONAL
, MINIMALIST FORMS.

Architectural Characteristics
PRECISE GEOMETRIC FORMS OF FLAT. SQUARES AND RECTANGLES
1.
PLAY ON POSITIVE AND NEGATIVE EMPHASIS
2.
ASYMMETRY
3.
COLORS: PRIMARY, BLACK, WHITE AND GRAY. HORIZONTAL AND
VERTICAL LINES.
4.
PAINTINGS WERE NEVER FRAMED AS THEY WERE BELIEVED TO BE
INTIMATE PART OF THE WORLD.
5.

Architectural Characteristics
FIAT ROOF, ASYMMETRY, GEOMETRIC FARMS, WHITE OR GRAY WALLS WITH DETAILS HIGHLIGHTED BY PRIMARY
COLORS.
1.
COMPOSITIONS GENERALLY EMPHASIZE THE SEPARATION OF PLANES, THE APPLICATION OF PRIMARY COLORS,
AND THE SPATIAL RELATIONSHIP OF SOLIDS TO VOIDS.
2.
RECTANGULAR SHAPES DEFINE THE GEOMETRIC REPETITION OF WINDOWS, DOON, AND BLOCKS OF COLOR.
3.
WINDOW SIZES VARY: ON AN INDIVIDUAL BUILDING FROM LARGE TO SMALL.
4.
THEY MAY BE ARRANGED IN PATTERNS OR ONE UNIT ON A LARGE WALL.
5.
FLAT ROOFS ARE TYPICAL, AND DISTINCTLY DIFFERENT FROM OTHER STRUCTURES.
6.

Furniture
FURNITURE AND DECORATIVE ARTS ARE CONCEIVED
AS ONE WITH THE ARCHITECTURE AND INTERIOR
DESIGN.
1.
DESIGNERS SIMILARLY EMPHASIZE STRUCTURE,
CONSTRUCTION, PROPORTION, AND THE BALANCE
BETWEEN SOLID AND VOID RELATIONSHIPS.
2.
THEY CAREFULLY PLACE INDIVIDUAL PARTS TO
DEVELOP VISUAL BALANCE AND HARMONY SO THAT
ALL PARTS ARE APPRECIATED ALONE AS WELL AS IN
CONTEXT WITH THE WHOLE FURNITURE PIECE.
3.
CHAIRS AND TABLES ARE THE MOST IMPORTANT
CONVEYORS OF CONCEPTS.
4.
FURNITURE COMPLEMENTS THE ARCHITECTONIC
CHARACTER OF AN INTERIOR THROUGH ITS
EMPHASIS
5.
ON STRAIGHT LINES, RECTANGULAR PLANES, AND
GEOMETRIC FORMS.

Artists and Architects
BART VAN DER LECK
VILMOS HUSZAR
J.J.P OUD

The Arts and Crafts movement emphasized handcrafted quality and natural materials in interior design. It valued simplicity
and functionality, creating warm and personalized spaces. This approach continues to influence contemporary design,
promoting craftsmanship and sustainability.
Conclusions
Conclusion 1
Arts and Crafts movement
Art Nouveau in interior design celebrated nature, craftsmanship, and fluid forms. Its emphasis on organic shapes, rich
materials, and intricate details transformed spaces into harmonious environments.
The movement's influence continues to
inspire modern design, promoting beauty and artistry in everyday living.
Conclusion 2
Art Nouveau
De Stijl in interior design embraced simplicity, abstraction, and geometric forms. By prioritizing primary colors and clean
lines, it created harmonious and functional spaces. This movement profoundly influenced modern design, promoting a
minimalist aesthetic that values unity and clarity.
Conclusion 3
De Stijl

Design movements- Interior design 5th sem

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