History Of Interior Design Research Articles

Interior design history and timeline

Interior Design history and timeline offer fascinating explorations of the evolution of design practices across various civilizations and epochs. This paper, delves into the rich heritage of interior design, tracing its trajectory from Ancient Mesopotamia and Egypt to Contemporary global trends. Drawing upon the interdisciplinary insights from Art History, Architecture, Sociology, and Technology studies, the study examines the cultural, social, and technological factors that have shaped interior design over time. Key themes include the influence of cultural contexts, the role of historical legacies, and the impact of technological advancements on design evolution. Through qualitative inquiry and comprehensive literature reviews, the research elucidates the enduring relevance and dynamic nature of Interior Design, providing valuable insights for contemporary designers and scholars.

The Women of the Architects’ Small House Service Bureau: Contributions to the Well-Designed Single-Family House

Recently, scholars have highlighted the contributions of female designers to the careers of their better-known male counterparts. The role of women in architecture in the early 20th century is largely relegated to the residential sector for which they were believed to be “naturally suited.” Despite this, when working alongside male architects in the residential arena, their contributions were often overlooked. The goal of this research was to identify and highlight the women behind the Architects’ Small House Service Bureau (ASHSB) and their contributions to the enterprise. The methods used for this work included a systematic literature review of the published resources of the ASHSB, which comprised seven years of The Small Home monthly publication, five plan books published by the ASHSB with regional and reprinted variations, and an analysis of 53 banker boxes of ASHSB headquarter original documents (correspondence, membership lists, policies, and marketing materials). The outcomes of the research confirm that women were involved in all aspects of the residential designs marketed and sold by the ASHSB to consumers. Women contributors were featured with innovative designs for the interiors of the houses including kitchen designs with substantial interior detailing and built-ins, materials and furnishing selections, and advice to homeowners. Articles written by men were frequently credited while significantly fewer women received attributions, leaving the majority of articles and house design descriptions unattributed and anonymous. These women are an important part of the history of interior design in North America.

ACTOR OF THE GERMAN CITY THEATRE IN RIGA – ALEXANDER DEUBNER AND HIS FAMILY

The research stage prior to historic building restoration more often comes with essential discoveries in the field of construction and the history of interior design, however, occasionally more fragile historical evidence, such as photographs and documents, are found. This is the case of the Deubners’ House, located at Skārņu Street 6 in Riga. Many family’s historical documents covering the period from the middle of the 19th century to 1940 were found during the restoration work undertaken on the Deubner’s House in the 1980s. In 2020, these historical documents were handed over to researchers. They revealed a great deal of unknown about the German City Theatre actor Alexander Deubner, who was once famous all over the world and now forgotten.Riga St. Peter's Church records made it possible to unearth the details of the branch of the Deubner’s family tree. While, the Deubner’s family archive materials that were accidentally discovered during the restoration, as well as the information published in periodicals and provided by museums allowed outlining particular aspects of Alexander Deubner’s creative work and life. Whereas, his family correspondence revealed some exciting facts about daily life of Rigans and dwellers of other European cities.

May Morris, Dorothy Walker, and the Legacies of the Arts and Crafts Interior

The designers of the Arts and Crafts movement attempted to articulate the democratic power of the domestic interior. The legacies of these ideas are shaped by house museums such as Kelmscott Manor (home of William Morris) and 7 Hammersmith Terrace (Emery Walker’s House, publicized as “The Arts and Crafts Home”). Lived in and maintained by female descendants, May Morris and Dorothy Walker, and their female companions, these house museums invite a reassessment of the role of the Arts and Crafts movement in feminist and queer histories of interior design. In this article, I demonstrate some of the ways in which house museums and the Arts and Crafts movement can offer opportunities to expose some of the disciplinary structures that hinder an inclusive history of interior design. Situating its case studies in the context of the history of heritage preservation, and engaging with feminist scholarship, I argue that one strategy for exposing and challenging hidden biases in the field is to recognize homemaking, preservation, and curating as forms of creative labor that have made crucial contributions to the history of interior design. Focusing primarily on gender but also paying attention to questions of class, race, and sexuality, I consider the potential and the limits of the Arts and Crafts house museum’s capacity to contribute to intersectional histories of interior design.

The Historical Literature of Australian Domestic Interior Design 1945-1975

ABSTRACT This article surveys the formation of the historiography of Australian domestic interior design and decoration from 1945 to 1975. The review aims to understand the inclusions and omissions of Australian interior design history, indicate their possible causes and propose methods for re-evaluation. From its inception, the history of interior design in Australia was framed on architectural lines and its practitioners viewed as tangential to the central disciplines of the built environment and decorative arts. Despite a subsequent flowering of community and museum interest in mid-century design, scholarship on professionally designed interiors has been limited. Amongst thousands of post-war Australian practitioners, all but Marion Hall Best have escaped substantial attention. Diminished by a lower status in history’s hierarchies of practice, professional interior design in Australia remains largely unstudied. It is ripe for mining by scholars open to new perspectives on global debates and the shaping of contemporary practice.

Material characteristics of historic scagliola interiors in Vienna: A view through the microscope.

Composition and microstructure of four Viennese scagliola samples, originating from the early 18th to early 20th centuries, were analysed by different methods of microscopy. Results indicate a similar composition in all samples; only minor differences could be observed in the porosity and grain-size-distribution. While, the calcium sulphate raw material was fired at low temperatures (<200°C), the presumable presence of anhydrite II in two samples may indicate hot spots (200-300°C) during the calcination. To achieve 'marble-like' patterns mineral pigments were used to dye the ground mass. The first results show that scagliola surfaces of this study were produced by using the same or very similar technology between the 18th and early 20th centuries. The present study focuses on scagliola interiors in Vienna, Austria from different stylistic periods between the early 18th and early 20th centuries. Scagliola, also called stucco marble, imitates natural stone. It is produced by a mixture of gypsum (CaSO4 ·2H2 O), different pigments, animal glue and water. In the history of interior design, the material played an important role in the 18th and 19th centuries in Central Europe. The aim of the research was a detailed investigation of four selected samples in order to identify the raw materials and manufacturing technology of the stucco marbles used over time in Vienna. As a first step thin sections (i.e. polished, transparent samples with a thickness of 0.03 mm) were prepared from the samples and analysed by different microscopic techniques. All samples showed similarities in their bulk properties, but detailed investigations revealed also some differences in their mineralogical composition. The gypsum binders contained typical air voids and so-called secondary pores which were formed by dissolving larger binder-related particles during the preparation of the mixture. The macroporosity (i.e. the amount of the pores in the samples which are larger than 0.01 mm) measured on microscopic images varied in a narrow range between 14.1% and 19.3%. The raw materials of all samples were fired at relatively low temperatures (i.e. below 200°C), but in two samples we could also determine a few anhydrite (CaSO4 ) crystals that normally form at higher temperatures in the kiln. This indicates that the distribution of temperature in the kiln was heterogeneous during the firing process. The amount and appearance of some minor mineral constituents such as dolomite (CaMg[CO3 ]2 ) and celestine (SrSO4 ) suggest that they were naturally occurred in the raw material and not deliberately added to the binder as a filling material. To achieve different colour hues and imitate natural stone surfaces, fine-grained mineral pigments and charcoal powder were used. Although we have no distinct information about the gypsum sources of these stucco marbles, several small historical gypsum quarries existed southwest of Vienna. Some of them were already in operation in the 16th century, thus a local gypsum occurrence used as a raw material is very probable. Due to the fact that the main features of the analysed samples were very similar, we assume that the scagliola surfaces of this study were produced by using the same or very similar technology between the 18th and early 20th centuries.

Scagliola Interiors in Vienna 1800–1900: Material, Development and Conservation

ABSTRACT In the Central European context the imitation of natural stone is called stucco marble or scagliola. During its manufacture, the mixture of gypsum, animal glue and pigments produces a marble-like structure and after several sanding and polishing processes it attains a glossy surface. Scagliola plays a significant role in the history of interior design in the eighteenth and nineteenth centuries in central Europe. Originally, it was used during the first half of the seventeenth century to imitate stone inlaid work, pietra dura, for table tops and as antependia. Scagliola interiors in the eighteenth century, the main period of use, have individual designs, colours and shapes. This technique was substituted for stone because coloured marble was expensive, and some types of natural stone have a limited colour range. In the first half of the nineteenth century, scagliola found little or no application, but it was rediscovered in the second half of the century. In Vienna, high-quality stucco marble was used extensively in public buildings or private palaces. Recent research is focusing on the interior of churches during the Baroque and Rococo periods in southern Germany. Studies on conservation methods for scagliola barely exist at an international level. In order to ensure the preservation of these valuable surfaces, a catalogue is being compiled of nineteenth-century scagliola works in Vienna, as well as an overview of recent and present conservation measures.

The evolution of wallpaper interior design schemes in a commercial setting: the interiors of the St Pancras Renaissance Hotel (Midland Grand Hotel), London 1870s–1980s

The refurbishment of the St Pancras Renaissance Hotel (formerly the Midland Grand Hotel) provided a unique opportunity to investigate the interior design history of this iconic London landmark. During the refurbishment, wallpapers were uncovered from the initial decorative schemes of the hotel in the 1870s and from later interior design schemes until the building’s closure in the 1980s. This article demonstrates how the CoBRA (Conservation-based Research and Analysis) methodology can be applied to increase our understanding of the history of interiors. The conservation process adds a new perspective to the historiography of the papered interior and its significance in the interior design process. By combining archival research with access to the original wallpapers during the retrieval and subsequent conservation process, it has been possible to construct an account of this commercial building’s decorative schemes. Many of the earliest wallpapers were supplied by Jeffrey and Co., a London firm that worked with William Morris and other prominent designers. The wallpapers illustrate how the approach to the interior design of this building evolved over time, moving away from the Gothic Revival style of interior.

Jules Wabbes (1919–1974): Creating Total Works of Art in Interiors

Despite the remarkable success achieved during his lifetime, the Belgian self–made designer and interior architect Jules Wabbes (1919–1974) is still poorly represented whether in museum collections or in interior design history. However, he is now being acknowledged as a multi–talented creator and for his particular vision of interior design and space. Wabbes believed design is a construction of meaning for life, advocating responsible design. The intention of this paper is to: (1) interpret to what extent Wabbes’ interiors were based on a personal conception of interiors as total works of art and (2) to reflect on his high–quality furniture as contributing to interior concepts. On the basis of the available writings and mainly on his body of work, our goal is to portray his practice as interior designer. Our research perspective stems from a concept present in all of his works, design quality, and attitudes, from which we can derive the main thesis of this paper: for Jules Wabbes, each piece of furniture or decorative object should hold value in itself in order to be integrated in an ensemble, creating an atmosphere of well–being and fruition of space, in literal and metaphoric terms. On the basis of the simplicity of forms and flawless manufacture, his work exemplifies a feeling of timeless aesthetics. Case studies include Wabbes’ own home and two public interiors: Live at School as at Home, and Drugstore Louise.

The Danish School of Interior Architecture: A Visionary Functionalist, a Visionary Aesthete, and their Women Students1

Recently there has been a growing international interest in the history of interior design. Danish design owes much of its international renown to a few prominent architects and their iconic products. One of them was Finn Juhl, who earned an international reputation mainly through his elegant furniture design. However, an important aspect of his work has received virtually no attention: his seminal work as a visionary teacher and leader at the school for professional interior design in Copenhagen in the 1940s and 1950s. Harald Willerup, architect as well, and Juhl's equally visionary predecessor, had initiated this work in 1934, but has remained largely unknown. This article offers a historiographical mapping of the professional education of Danish interior designers in the period from 1934 to 1955—a subject, which has so far remained unexposed. Despite the fact that the leading figures and pioneers of the education of interior design were men, the students were almost exclusively women. The article seeks to explain this and to explain the consequences for the general image of the profession. The research into the development of interior design education in Denmark shows how the change of leadership from Willerup to Juhl resulted in a shift in the educational focus from functional and social issues toward a greater focus on aesthetics. The fact remains, however, that this work was informed by prevalent functionalist ideas at the time. A particularly fascinating aspect of the Danish history of interior design education is the hard struggle its pioneers had to fight cultural prejudice and conventional thinking.

The First Interior? Reconsidering the Cave

As a relatively new conceptual narrative, the history of interior design has various potential starting points. Thus far, interior design histories have followed either art, architectural or decorative arts histories in order to establish a coherent, progressive narrative that might both contextualize and frame possibilities for contemporary practice. While older historical surveys of the discipline typically located the origins of interior design in ancient civilizations such as Greece or Rome, recent historical surveys have followed an art historical convention in locating the origins of interior design in the Paleolithic caves of Europe. This paper contains a review of literature on the beginnings of interior design's historical narrative, as well as a reconsideration of the cave as a conceptual foundation for interior design theory and practice. The Paleolithic cave is here re–evaluated as both an historical origin that distinguishes interior design history from architectural and art history, and as a speculative, theoretical space rich with possibilities.

Many Voices, One Story: Interiors through Italian Eyes

ABSTRACTIn this article I aim to investigate the Italian historiography of interior design, to turn the spotlight on a particular research tradition sometimes neglected by comparison with other, better-known contributions to the history of architecture or the history of art. Each history of interior design reflects its author's point of view and training, and so provides another unique and essential piece in the construction of an overall picture. That picture tells an enthralling story, through many voices; and from their individual tones there emerges a characteristic Italian mode of “seeing” interiors and interpreting or querying them, one frequently drawn on by practicing architects and interior designers, and one which also gives us an essential reference-point in academic work.

Enhancement of Critical and Analytical Thinking in the Context of Interior Design History

Through this study, a pedagogical case study was developed, implemented, and disseminated in which students applied interior design historical contexts to a studio project based on Beecher’s design history education framework suggesting that design history should be taught to engage students in critical and analytical thinking and to integrate the knowledge gained into current design applications.1 Students were asked to develop an exhibition design installation(Application) as a team project based on the team’s analysis of a design topic or artifact of its choice (Analytical/Critical Thinking) from the existing 1885-1925 exhibition (Accessibility). A focus group study was conducted to investigate students’ perceptions regarding design history while they worked on this project and then to investigate learning outcomes once they had completed it. Intellectual engagement and learning progress were observed in the students; these may have resulted from the integrated application of the material within an actual design problem. Three major learning outcomes: engagement, critical/analytical thinking, and understanding of design history in multidimensional contexts, were observed. Additionally, students experienced positive aspects of design skill learning due to the actual installation of the project. This study provided a comprehensive view of how the students responded to interior design history in their design problems.

Issues in Interior Design History: Guest Editors' Introduction

The study of interiors, until recently a marginalized area of historical inquiry, is currently one of the most dynamic fields of scholarship in the history of the decorative arts, design, and material and visual culture. A testimony to this are the articles in this special issue of Studies in the Decorative Arts. With one exception, they were presented at a symposium that took place in spring 2006 at The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture (BGC) in New York. The symposium, Moving Home: Exploring Future Agendas for Research in the Domestic Interior, was the result of a collaboration among BGC faculty whose work encompasses histories of the interior and two United Kingdom-based research initiatives, The Centre for the Study of the Domestic Interior (CSDI) and The Modern Interiors Research Centre (MIRC). The symposium offered a stimulating opportunity to explore new approaches and expand on the existing informal international dialogue among the organizers. As suggested by its title, Moving Home: Exploring Future Agendas for Research in the Domestic Interior, the aim of the symposium was to permit an extended discussion of methods, theories, and approaches to the domestic interior. The three headings used to organize the symposium sessions were taken from the categories and research questions that had informed CSDI in its compilation of historical sources, the Domestic Interiors Database (now online). The symposium's first theme, Boundaries and Thresholds, concerned relationships between interior and exterior, distinctions and blurrings between public and private, and challenges of access and circulation. Because boundaries defined by entrances, windows, and staircases also influence the cultural and social patterns of domestic life, the need was discussed for subsequent historical interpretation to understand the relation between the physical and conceptual senses of the division of such spaces. Under the second theme, Consumer Practices, came aspects of domesticity and the inte-

Introduction: Professionalization as a Focus in Interior Design History

© The Author [2008]. Published by Oxford University Press on behalf of The Design History Society. All rights reserved. “This is a pre-copy-editing, author produced PDF of an article accepted for publication in the Journal of Design History following peer review. The definitive publisher-authenticated version Lees-Maffei, G. (2008) 'Professionalizing interior design, 1870-1970 : an introduction.' Journal of Design History 21 (1) pp.1-18 is available online at: http://jdh.oxfordjournals.org/”

The History of Women in Interior Design: A Review of Literature

The purpose of this study is to analyze the development and current state of literature regarding the history of the interior design profession, particularly as it relates to the female decorators and interior designers of the 20th century. Currently, a masculine narrative of architects constitutes the identity of a field dominated by women in number, but by men in perceived significance. With the growth and development of the feminist movement over the past few decades, numerous scholars have re–examined the role of women within their individual disciplines. As a result, histories have been rewritten and professional identities have been redefined. However, the field of interior design–specifically the writing of its history—has not been affected by feminist scholarship to the same degree as many other fields. This has prevented a fully–developed history of the profession. The following literature review identifies three types of publications: 1) general surveys of women in design, 2) critiques of the current state of the history of interior design, and 3) specific case studies/biographies. A comparative content analysis of the texts is conducted with the intent of identifying major themes and issues. The presentation of materials in chronological order sets up an opportunity to analyze evolving attitudes and theories. The findings are twofold. First, a cyclical trend of survey–critique characterizes the last three decades of the 20th century with little advancement. Second, five major concepts dominate those poststructuralist case studies that demonstrate a 21st–century shift in methodological approaches regarding the evaluation of women and design. These concepts include: gender, taste, consumerism, identity, and modernism. The overall conclusion is encouraging. Scholarship has momentum in a positive direction, but there is still much to be done.

Book Review

A History of Interior Design, Interior Design and Decoration, Architecture and lnterior Design through the 18th Century 46 Reviewed by Mary Anne Beecher, M.A.

A History of Interior Design

Preface.Acknowledgments.1. Prehistory to Early Civilizations.Prehistoric Interiors.Archeological Evidence.The First Shelters.Dolmens and Barrows.Evidence from Tribal Cultures.Pattern and Design.The First Permanent Settlements.Mesopotamia: Sumeria.Ancient Egypt.Geometry and Proportion.Egyptian Temples and Houses.Egyptian Furniture and Other Interior Furnishings.Pre-Columbian America.2. Classical Civilizations: Greece and Rome.Minoan and Mycenaean Cultures.Knossos.Mycenae and Tiryns.Greece.The Temple.Secular Interiors.INSIGHTS: THE GROWTH OF ATHENS.Rome.Arches, Vaults, and Domes.Amphitheaters and Baths.Temples.Secular Buildings.INSIGHTS: THE COST OF LIVING IN ANCIENT ROME.Furniture and Other Interior Furnishings.The Legacy of Rome: Technology.3. Early Christian, Byzantine, and Romanesque.Early Christian Design.Byzantine Design.INSIGHTS: THE RAVENNA MOSAICS.Ravenna.Constantinople.Hagia Sophia.Secular Buildings.Early Medieval: The Dark Ages.The Romanesque Style.Churches.Germany.Italy.France.England.Scandinavia.Fortresses and Castles.Monasteries and Abbeys.INSIGHTS: THE ABBEY AT CLUNY.Houses.Furniture and Other Interior Furnishings.Islamic Influence in Spain.The Mosque in Spain.Moorish Elements in Spanish Romanesque.4. Islamic and Asian Traditions.Islamic Influence.Mosques and Palaces.Islamic Influence in Spain.The Mosque in Spain.Islamic Furnishings.India and Pakistan.Buddhist, Hindu, and Jain Architecture.Hindu Religious and Secular Buildings.Jain Architecture.Northern and Southern Styles of Temple.Islamic Influence in India.INSIGHTS: BERNIER'S ACCOUNT OF THE TAJ MAHAL.Indian Furnishings.Western Influence.Cambodia.Java.Thailand.China.Chinese Architecture.Chinese Furnishings.Korea.Japan. Japanese Furnishings.5. The Later Middle Ages.Elements of Gothic Style.New Construction Techniques.Gothic Cathedrals and Churches.France.England.Elsewhere in Europe.Secular Gothic Buildings.INSIGHTS: CONSTRUCTION WORK IN A MEDIEVAL BUILDING.Castles and Palaces.Medieval Houses.Innovations in Domestic Comfort.6. The Renaissance in Italy.The Rise of Humanism.Renaissance Interest in History.Elements of Renaissance Style.The Early Renaissance.Brunelleschi.Michelozzo.Alberti.The High Renaissance.Bramante.Palaces.INSIGHTS: VASARI'S ACCOUNT OF THE FARNESE PALACE.The Late Renaissance and Mannerism.Michelangelo.Romano.Palladio.Vignola.Interior Furnishings.Furniture.Coverings.7. Baroque and Rococo in Italy and Northern Europe.Elements of Baroque Style.The Baroque in Italy.Rome.Bernini.Borromini.Venice.Longhena.Turin.Guarini.Juvarra.Baroque in Northern Europe.Austria.Switzerland.Germany.Furniture and Other Interior Features.8. Renaissance, Baroque, and Rococo in France and Spain.France.Early Renaissance.High Renaissance.Baroque.Versailles.INSIGHTS: LOUIS XIV AND VERSAILLES.Louvre.Baroque Churches.Furniture and Furnishings.Regency to Rococo.Paris Htells.The Petit Trianon.Regency and Rococo Furniture.Rococo to Neoclassicism.The Empire Style.INSIGHTS: THE EMPIRE STYLE.Provincial Style.Spain.Plateresco.Desornamentado.Churrigueresco.Furniture and Other Interior Features.9. Renaissance to Georgian in The Low Countries and England.Low Countries.Civic Buildings.Private Dwellings.England.Tudor.Elizabethan.Elizabethan Furniture.Jacobean.Jones.Jacobean Interior Furnishings.From Carolean to William and Mary.Wren.Carolean and William and Mary Interior Furnishings.Queen Anne.Queen Anne Furniture.Georgian.Robert and James Adam.INSIGHTS: ROBERT ADAM AND SYON HOUSE.Georgian Town Houses.Other Building Types.Georgian Furniture and Interior Furnishings.10. Colonial and Federal America.Colonial Styles in Latin America.Colonial Styles in North America.Early Colonial Houses.Early Colonial Furniture and Interior Furnishings.Churches and Meeting Houses.American Georgian.American Georgian Houses.American Georgian and Queen Anne Furniture.Late Colonial Public Buildings.Federal Styles.Jefferson.Bulfinch.Thornton and LatrobeFurniture of the Federal Period.Other Furnishings of the Federal Period.11. The Regency, Revivals, and Industrial RevolutionRegency.Nash.Soane.Regency FurnitureRevivals.Greek RevivalGermany.England.United States.Gothic Revival.United States.England.The Industrial Revolution.Early Industrialization and Inventions.Industry and Interiors.Iron and Glass.England: Paxton.INSIGHTS: THE PUBLIC'S PERCEPTION OF CRYSTAL PALACE.France: Labrouste, Baltard, and Eiffel.12. The Victorian Era.The Roots of Victorian Style.Britain.Mansions.Middle-class Houses and Public Buildings.Shaw and the Queen Anne Revival.United States: Victorian Variations.Mansions.Vernacular House Styles.Shingle Style.Adirondack Style.Shaker Design.INSIGHTS: THE SHAKER PHILOSOPHY.Early Skyscrapers.Public Buildings.Furness.Furniture and Other Interior Furnishings.13. The Aesthetic Movements.Britain: Arts and Crafts.Ruskin and the Roots of Arts and Crafts.Morris.Webb.Other British Designers.INSIGHTS: ROSSETTI AND THE AESTHETIC HOUSE.Links to Modernism.Voysey.Mackmurdo.Mackintosh.United States: The Craftsman Movement.Stickley and the Roycrofters.Bradley.Richardson.Greene & Green and Maybeck.Developments in Continental Europe.Germany: Muthesius.The Netherlands: Berlage.14. Art Nouveau and the Vienna Secession.Roots and Characteristics of Art.Nouveau.Belgium.Horta.INSIGHTS: VICTOR HORTA AND ART NOUVEAU.Van de Velde.France.The School of Nancy.Guimard.Other French Designers.Spain.Gaudi.Germany: Jugendstil.Endell.Riemerschmid and Behrens.Scandinavia.Austria: The Vienna Secession.Olbrich.Wagner.INSIGHTS: OTTO WAGNER AND MODERN ARCHITECTURE.Hoffmann.Loos.United States.Tiffany.Sullivan.15. Eclecticism.The Ecole des Beaux-Arts, Paris.United States.Key Architects and Designers.Hunt.McKim, Mead, & White.Public Buildings.Early Skyscrapers.The Rise of the Interior Decorator.De Wolfe.Wood.McMillen.Other American Decorators.Eclecticism in Professional Practice.Saarinen and Cranbrook Academy.Stripped Classicism.Eclecticism for the Masses.Houses and Apartments.Furniture and Accessories.Movie Theaters.Europe.Scandinavia.Britain.Lutyens.INSIGHTS: SIR EDWIN LUTYENS AND THE VICEROY'S HOUSE IN NEW DELHI.Ocean Liners.The Spread of Eclecticism.16. The Emergence of Modernism.Frank Lloyd Wright.The Early Commissions.INSIGHTS: THE PHILOSOPHY OF FRANK LLOYD WRIGHTDe Stijl.Mondrian and van Doesburg.Rietveld.Pioneers of the International Style.Gropius and the Bauhaus.Mies van der Rohe.Work of the 1920s and 1930s.INSIGHTS: MIES VAN DER ROHE: THE TUGENDHAT HOUSE.Emigration to the United States.Later Commissions.Le Corbusier.Paris: Developing the Machine Aesthetic.Early Houses, Villas, and Apartments.INSIGHTS: THE PHILOSOPHY OF LE CORBUSIER.Town Planning.Post-War Years.Late Commissions.Aalto.INSIGHTS: THE VISION OF ALVAR AALTO.17. Art Deco and Industrial Design.Art Deco.France.Furniture Designers.Textile Design.Ocean Liners.United States.Designers from Europe.Deco Architecture.Britain.Scandinavia.Industrial Design.Loewy and Other Designers.Design Training.Residential Design.Kitchens and Bathrooms.Lighting.Textiles, Carpets, and Furniture.18. The Spread of Early Modernism in Europe.The Netherlands.Germany and Austria.Italy.Switzerland.France.Scandinavia.England.19. Modernism in America.Architects and Designers.Gill.Wright: 1920s and 1930s.Schindler and Neutra.Lescaze.Goodwin and Stone.Gropius and Breuer.Mies van der Rohe.Johnson.Skidmore, Owings, and Merrill.Eero Saarinen.Interior Decoration: The Reaction to Modernism.Furniture and other Interior Furnishings.Knoll.Herman Miller Furniture Company.20. The Ascendency of Modernism.Italy 328.INSIGHTS: GIO PONTI: PIRELLI TOWER.Scandinavia.France.Germany.The Netherlands.Britain.United States.Urban Office Buildings.Office Planning.Office Furniture.Interior Designers.Furniture and Other Interior Furnishings.Textiles.21. Contemporary Design.Prophets of Future Design.Kahn.Pelli.High-tech.Fuller.INSIGHTS: ROGERS AND PIANO AND THE CENTRE POMPIDOU.Rogers and Piano.Foster.Stirling.INSIGHTS: JAMES STIRLING.Post-modernism.Venturi and Scott Brown.Graves.Johnson.Post-modernism in Europe.The Revival of Tradition.Greenberg.Stern.Late Modernism.Pei.Gwathmey and Meier.Individual Stylists.Starck.Putman.Deconstructivism.Eisenman.Gehry.Other Trends.East-West Crossovers.Preservation.Green Buildings.A New Century.Glossary.Bibliography.Picture Credits.Index.

Book Review

Journal of Interior DesignVolume 25, Issue 1 p. 60-60 BOOK REVIEW First published: 02 June 2008 https://doi.org/10.1111/j.1939-1668.1999.tb00338.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Abstract History of Interior Design and Furniture (From Ancient Egypt to Nineteenth-Century Europe) Reviewed by Mary Anne Beecher Volume25, Issue1May 1999Pages 60-60 RelatedInformation

Prejudice as an Obstacle to Multiculturalism in the Teaching of Design History

The traditional approach to teaching interior design history is an examination of the dominant styles developed by and for politically dominant groups within western European societies. This approach emphasizes the unity of cultures and conflicts with the concepts of diversity and multiculturalism prevalent in American higher education. It also ignores contributions to design history by a variety of important ethnic groups. The goal of this discussion is to increase educators’ awareness of subtle and overt preiudice contained in design history literature. This prejudice is against ethnic groups that made significant contributions and comprise a large portion of the American populace. By adopting standard texts and assigning readings from major works, teachers of interior design history may be perceived by students as champions of the status quo and opponents of multiculturalism, and they may be identified with the narrow Eurocentrism evident in the work of many significant historians. Interior design history texts currently used by American colleges and universities were reviewed to identify prejudice in the literature that creates obstacles to multiculturalism. The means by which design contributions of some ethnic groups are marginalized, devalued, or ignored are highlighted. Rather than avoiding texts that display prejudice yet provide important information and insight, teachers can broaden student understanding of the nature of historiography by discussing these subtle and overt prejudices. They can stress the vitality of historiography as a process that constantly reevaluates and reinterprets the past's impact on the present, stimulating student interest in and appreciation for nondominant groups.