FURNITURES BESTOWED BY 12 ERA'S by Anant Agrawal

PREFACE In the following magazine we have placed before the reader an account of the evolution in the design of furniture in different era and woodwork, from the earliest period. A careful selection of illustrations has been made from examples of established authenticity, the majority reflections of which are to be seen, in the current furniture typology, that will convey an idea of the character and disposition of the furniture of the periods to which they refer. These illustrations are arranged, so far as is possible, in chronological order, and the descriptions which accompany them are explanatory of the historical and social changes which have influenced the manners and customs, and directly or indirectly affected the furniture of different nations. These Furniture have been gathered, and are being displayed to you, in what is today's common feature of furniture, the home. An endeavor is made to point out the main movements of the development of furniture, employing methods employed to preserve the integrity of the historical pieces and the authenticity of the furniture, that are used to represent them, in order to convey an idea of the installation of the furniture of each era, the designs and styles, and their real significance for the time in which they have come into being. The fascination of this business, is "the thing itself", as the French said. The furniture is integrated to the architectural ensemble, where it consists of the environment of daily life and its culture, and the history of humanity, as I already said, is that of man's relationship with the environment of his life. It will be obvious that within the limits of a single volume of moderate dimensions it is impossible to give more than an outline sketch of many periods of design and taste which deserve far more consideration than is here bestowed upon them; the reader is, therefore, asked to accept the first chapters, which covers a period of several centuries, as introductory to that which follows, rather than as a serious attempt to examine the history of the furniture during that space of time. Numerous acts of kindness and co-operation, received while preparing the work for the magazine, have rendered the task very pleasant; the hope is, that this work will contribute, in some small way, to this task which has been accomplished, by enabling the history of the world's furniture to be appreciated and better understood. and while the author has endeavoured to acknowledge, in a great many instances, the courtesies received, when noticing the particular occasion on which such assistance was rendered, he would desire generally to record his thanks to the owners of historic mansions, the officials of our Museums, the Clerks of City Companies, Librarians, and others, to whom he is indebted. The views of many able friends have been carefully examined who have trodden the same field of enquiry have been adopted where they have been confirmed by the writer's experience or research, and in these cases, we hope we haven’t omitted to express acknowledgments for the use we have made of to portray history of furniture. The expressions of goodwill and confidence beforehand, have been very gratifying, and have afforded great encouragement during the preparation of the work. If the present venture is received in such a way as to encourage a larger effort, the editors and writers hopes both to multiply examples and extend the area of his observations. i

INTRODUCTION TO FURNITURE DESIGN Ever since the existence of humans on earth, self-protection has been the rudimentary motivation of humankind. Initially, basal were the home, then the place improved gradually as mankind developed. The rise of culture diversified human needs and gave birth to the concept of a place having multi-functions/purposes. It differed according to the geography and culture. The word furniture has been derived from the word “mobile”. Mobile means active in Latin. The word stem “mob” may be used to refer to anything active and portable. Furniture is the intersection that adapts a place to humanitarian life conditions. It has existed and developed since the formation of houses, continuously influenced by subjective factors that shaped the community and individuals. As we all know that the world is full of traditions, cultures and uniqueness but, then the question arises, how one can identify the particular furniture with their respective era. We got the answer for you! – materials, colours, design, selection, all these factors give clues about its period. The concept of furniture first developed as early as 3100-2500 B.C. The first items created for household use were made of stone, as wood was not readily available during the Neolithic time period. Dressers, cupboards and beds were amongst the first forms of furniture. All the experiments/ styles have often been introduced on chairs before other furniture. The chair is not a very big object to experiment on- it is the easiest to touch and try. Earlier, “the oldest and most important function of furniture was the prestige its owner gained, such that thrones were used to accentuate the excellence of the kings. Royal furniture has always been the symbol of superiority. Countries used to furnish their palaces with the best furniture in order to showcase their stature”. The design change in furniture, in a way, shows the evolution of our society from mere survival to lives of luxury and privilege. How We Use Furniture The way we use the furniture in our home not only tells a story about our society but also about our personal preferences and tastes. This multiple-purpose furniture was undoubtedly influenced by architectural movements of the age. Material, colour, reliability, economy, ergonomics, and durability were the features that contributed to the development of furniture and were demanded by the end consumer. Later, furniture began to take its modern forms in Egyptian, Mesopotamia, Greek, and Roman civilizations. In this study we have chosen a particular furniture and explored the eras they belong to. So, let's start with the first form.

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ANCIENT EGYPTIAN FURNITURE Fig A- Aristocratic pharaonic design

he ancient Egyptians had sophisticated furniture for their time period; tomb paintings show Egyptians using chairs, tables, couches, chests, stools, and beds. In fact, some well-preserved pieces of ancient Egyptian furniture have been recovered from tombs of Egyptian queens, Pharaohs, and other wealthy ancient Egyptians, and can be seen today in museums. There was a big difference between the furniture of peasants and the wealthy and it is largely due to the burial rituals of the wealthy that pieces of furniture from ancient Egypt have been preserved and can be seen today.

Fig 27- Bed

Fig A

History “The style of Ancient Egyptian Art is transcendently clear, something 8 year-olds can recognize in an instant. Its consistency and codification is one of the most epic visual journeys in all art, one that lasts 30 dynasties spread over 3000 years." — Jerry Salty Egyptian furniture designs of this age often incorporated metal Fig 1- Tutankhamun tomb work. Also inlay was increasingly used, as well as relief carving, and gilding.

Fig 2- Headrest platform

Fig 3- Egyptian chair

Fig 4-Golden bed

Most Old Kingdom furniture relied on shape, line, proportion, and texture for its decorative effect. The ancient Egyptians placed on decoration, as well as comfort.

Fig 5- Royal altar

Fig 6- Royal stool

Fig 7- Household Stool

The presence of stools, chests, footrests, small cabinets, small tables, and even vase stands, points to a fairly high level of organization in living arrangements, even at this early stage in the development of Egyptian culture. Middle kingdom The Middle Kingdom saw further development of earlier trends, with a marked sophistication evident. Decorative effects such as inlay, paint, gilt, and veneer became more prominent. Fig 8- Decorative inlaid stool

New kingdom The Empire, or New Kingdom period, 1570 B.C to 1085 B.C, witnessed the growth of magnificent cities. The New Kingdom saw the Egyptians extend their empire to new lands from Nubia to the Euphrates River and this contact with foreign cultures seems to have had its effect on furnishings. 4

1_Ancient Egypt

Revival time

Fig 9- Revival inlaid

Fig 10- Revival chair

Egyptian Revival furniture and Egyptian Revival home decor became extremely popular in France, called Empire furniture, and this fashion quickly spread to the rest of Europe as well as to England, Regency furniture and America, American Empire. This began the Neoclassical era in furniture design.

General Characteristics

Fig 11- Organized Book shelf

• Heavy, rigid wood • Connection with beauty of natural world • functionality and practicality • Uncomfortable • Mortise, tenon and dovetail joints common

Fig 12 Fig 13 Fig 14 Stools classified as per social hierarchy

Different parts of furniture

Fig 15- Ancient Egyptian artifacts

• Carved in form of animal legs of the fore and hind parts of some animal. • first dynasties: generally legs and hooves of bulls. • from III dynasty onwards: lion paws (sometimes whole stylized lions) • three and four-legged types

Ornamentation

Fig 18- Marquetry Fig 17- Chest/storage

Fig 16- Tools and equipment's

Inlaid with bone, ebony, exotic woods, ivory, glass and stones • clear or dark vanish Fig 19- Silver and • usually painted gold leaf

1_Ancient Egypt

Influences They put emphasis on clean lines and symmetry that helped inspire Art Deco. The ancient Egyptians underscored symmetry in their perfected columns and pyramids, formal garden complexes and well-thought- out house layouts, down to their highly organized writing system, decorative motifs and intricate furniture and jewelry to help maintain harmony.

Fig 20- Papyrus marsh Fig 21- Papyrus columns, And ceiling fragment Temple of Esna

Fig 22- Sainsbury wing,UK

Fig 23- Chryster Building,New york

Furnitures

Fig 24- Tutankahamen Chair

Fig 25- Stool

Fig 27- Bed

Fig 26- Chest and box designs

Fig 28- Headrests 1_Ancient Egypt

Process Within the ancient carpenter’s mind, technical prowess was as important as aesthetic appeal, with equal attention being paid to both structural and decorative mastery. With the development of stronger, more accurate tools came the development of superior production methods and techniques.

Fig 29- Egyptian working

Joint with barefaced tenon

Stub tenon joint

Common mortise

through

Barefaced tenon with single shoulder

Common through mortise and tenon

Fig 30- Wooden joineries

Intricate joinery saw the light alongside artistic decorative innovations.

Fig 31- Timber species

The use of certain timber species, inlays and decorative materials can provide us with insights into international trade, supply and demand, tradesman skill as well as the social economical factors influencing furniture ownership.

Fig 32- Mortice and tenon

Materials used The Ancient Egyptians used the following materials to make their furniture: Sycamore, Wood from the fig tree, Rushes, Mud from the Nile was used to make pots and jars, Stone, Colored fabrics. The furniture of wealthy Ancient Egyptians was inlaid with ebony and ivory Furniture was also inlaid with Faience. Semi-precious stones, gold, silver and bronze was also used to decorate the fine furniture of the Pharaoh. 1_Ancient Egypt

Fig 33- Egyptian chair

The cultural aspects (cultural hierarchy)

Fig 34- cultural hierarchy

Egyptian society was highly stratified, and social status was expressly displayed. Farmers made up the bulk of the population, but agricultural produce was owned directly by the state, temple, or noble family that owned the land. Farmers were also subject to a labor tax and were required to work on irrigation or construction projects in a corvée system. Artists and craftsmen were of higher status than farmers, Scribes and officials formed the upper class in ancient Egypt, known as the "white kilt class" in reference to the bleached linen garments that served as a mark of their rank. The upper class prominently displayed their social status in art and literature. Below the nobility were the priests, physicians, and engineers with specialized training in their field. It is unclear whether slavery as understood today existed in ancient Egypt; there is difference of opinions among authors.

Fig 35- Social status amongst general public

Fig 36- Social status in kingdom of pharaoh

1_Ancient Egypt

Interior design aspects (elements of interior design) Egyptian style in interior design Egyptian culture is one of the most developed in the world. You can bring the beauty of this culture in his home by a few ideas of the good life. If you're wondering what it might be, then read on! We can say that other cultures have taken virtually little symbols and Egyptian motifs.

Fig 37 – Symmetrical geometrical character

Strict symmetry and geometric shapes are also of fundamental importance. Geometric shapes us symmetry Only in the nineteenth century, transformed interior and exterior architecture to it. So in this period, we find most of the ideas for decorating Egyptian style.

Fig 38- Egyptian theme used in interior design

Fig 39- Egyptian theme used in interior design

1_Ancient Egypt

EARLY MEDIEVAL AGE Fig B- Medieval age thrown in a palace

he medieval period lasted approximately from the 5th to the late 15th century. Population decline, counter urbanization, and the collapse of centralized authority, invasions, and mass migrations of tribes, which had begun in late antiquity, continued into the early Middle Ages Early byzantine architecture was characterized especially by massive domes with square bases and rounded arches, spires and extensive use of glass. A distinct style gradually emerged which imbued certain influences from the near east and used the Greek cross plan in church architecture. Building increased in geometric complexity brick and plaster were used in addition to stone. Mosaic replaced carved decoration. Complex domes rested upon massive piers, and windows filtered to softly illuminate interiors. Early Christian and Byzantine furniture were of two distinct types, very few items they had were lightly built and usually designed so that they could be easily folded and put away, leaving additional space in cramped environments. Features of Byzantine Architecture, Greek Roman and oriental elements in architecture and its decoration of Greco-Roman Columns, were arches, vaults, domes (Eastern) Rich ornamentation, rich use of colour, mosaic, poly chrome marble and stone work Play of light indoors. 13

I suppose the most marked example of color as structure is in the Byzantine use of mosaic decoration that becomes architecture. The decoration of the interiors so related to the form that they fuse. In less elaborate interior design this is always the ideal approach to color - used not only as just coloralone.” - Van Day Truex

Fig 1-byzantine interior

History Life was short and often brutal, with the average human living only into his or her thirties. The Middle Ages began in 426, when Rome fell, and lasted until 1453

Early medieval age

Fig 2-handmade table

Fig 3- byzantine chair

Fig 4chest

Much of this time is lost in the darkness of history, as record keeping was in its infancy. The daily struggle to survive left little room for art or beauty, but people still managed.

Fig 5 -bed

Fig 6- local stool

Fig 7- royal chair

Late middle age

Fig 8- decorative table

The period known as the Late Middle Ages (1300–1500) can also be considered the beginning of the Renaissance, which had its roots in the changes that began to gather speed during those two centuries.

Babylonian Empire Art and architecture flourished throughout the Babylonian Empire, especially in the capital city of Babylon, which is also famous for its impenetrable walls. 14 2_ Medieval Age

Fig 9- Babylonian chair

The Byzantine Revival (also referred to as Neo-Byzantine) was an architectural revival movement, most frequently seen in religious, institutional and public buildings. It incorporates elements of the Byzantine style associated with Eastern and Orthodox Christian architecture dating from the 5th through 11th centuries, notably that of Constantinople (present-day Istanbul) and the Exarchate of Ravenna.

General Characteristics

• • • • • •

Simple and steady Solid , massive and severe Rectilinear form Uncomfortable Vertical emphasis Timber construction

Different parts of furniture

Fig 14- Byzantine artifacts

Orientation

Fig 10- Revival Capital

Fig 12 Fig 11 Fig 13 Stools classified as per social hierarchy

Chairs started to have high adorned backrests that that recall the same architectural elements of churches at the time, predominantly using straight and severe lines. Minor people in society used a simple wood furniture, having 3 legged chairs built with raw wood.

Fig 15- Chest/storage

The artistic effect was achieved by richly decorating products with color painting, gilding, carving, ivory inserts, inlay of smalt, precious metals and stones. 2_ Medieval Age

Influences An east roman empire furniture style based in Constantinople from the fifth to fifteenth centuries. It inherited and elaborated early Christian and Hellenistic forms, blending them with Persian, Islamic, and even Chinese influences. It featured elaborate turnings, metal x-frame chairs, foot stools, lecterns, round or semicircular dining tables, canopy beds, open and closed cupboards, separate bookcases in the late period, and elaborately decorated chests.

Fig 17-roman style arches

Fig 18- simple geometry

Furnitures

Fig 16- Royal Chair

Fig 17-chest

Fig 19- Bed

Fig 18-local stool

Fig 20-Royal stool 2_medieval age

Process

Fig 21- Medieval working

Fig 25- Medieval wood working

Joineries

Viking chest

6-board chest

Pegged tongue and groove joint

Frame and paneled chest

Dugout chest

Intricate joinery saw the light alongside artistic decorative innovations. Fourteenth century hutches begin to have complex carved scenes on them, replacing the chip-carved roundels common in the thirteenth century. Reinforcing straps begin to disappear on chests and decorative ironwork is uncommon. Fig 26- intricate joinery

Fig 27- artistic decoration

Materials used Materials used for furniture normally was wood, metal, and ivory (hinting back to the trading of ivory), jewels, gold and silver. Seating often came in the form of a throne or chair which appealed greatly to the architecture of the building it was in. Textiles used consisted of silk or velvet and rarely but sometimes came from animal hide. Few pieces were adorned with draperies or soft cushions for comfort Fig 22- Ivory 2_Medieva age

The cultural aspects (cultural hierarchy)

Fig 23- cultural hierarchy

Byzantine silk is silk woven in the Byzantine Empire (Byzantium) from about the fourth century until the Fall of Constantinople in 1453. Silk was one of the most important commodities in the Byzantine economy Byzantine silks are significant for their brilliant colours, use of gold thread, and intricate designs that approach the pictorial complexity of embroidery in loom-woven fabric.

Fig 30- cultural hierarchy

Fig 31- cultural hierarchy 2_Medieval age

Interior design aspects (elements of interior design) The most common unifying element in byzantine architecture is the use of mosaics. Mosaics illustrated religious scenes and important historical figures. Byzantine mosaics decorated the walls and ceilings of many different churches from this time period. Byzantine craftsmen created mosaics not just for the byzantine empire, but also for many churches

Fig 24 – Use of arches and color aspects

Fig 34- Byzantine theme used in interior design

Fig 25- Byzantinetheme used in interior design

Fig 35- Byzantine theme used in interior design

2_Medieval age

ROMANESQUE Fig C- Furnitures of Romanesque

omanesque architecture is an architectural style of medieval Europe characterized by semi-circular arches. There is no consensus for the beginning date of the Romanesque style, with proposals ranging from the 6th to the 11th century, this later date being the most commonly held. In the 12th century it developed into the Gothic style, marked by pointed arches.

Beginning of Romanesque Era

Fig 1 - Leaning tower of Pisa, Romanesque era

Combining features of ancient Roman and Byzantine buildings and other local traditions, Romanesque architecture is known by its massive quality, thick walls, round arches, sturdy pillars, barrel vaults, large towers and decorative arcading. Each building has clearly defined forms, frequently of very regular, symmetrical plan; the overall appearance is one of simplicity when compared with the Gothic buildings that were to follow. The style can be identified right across Europe, despite regional characteristics and different materials. Romanesque was the first style since the end of Roman imperial architecture (300 CE) to be built in all of Europe. Examples are found in every part of the continent. 24

Fig2 - Lion carved out of wood used as ornamentation of chairs

Ornamentation Ornamentation was only seen in royal palaces and churches. Ornamented furniture was basically used as for representing status. The Ornamentation consists state symbol or Lion carved out of wood or welded in metal and was seen in legs of furniture Most of the ornamented furniture included of thrones and bishop chairs

3_Romanesque

Difference between the Rich and Poor

Fig 4 -Typical Rich class interior of house

Fig 3 - Typical Middle / Poor interior of house

The Poor

The Rich

Typically for most people, a bed will be simple woven pallete with some kind of mattress on top of it which would be filled with horsehair, straws, or any other materials for a bit upper class this woven pallet is laid at a place that is out of the way often times underneath a staircase Typically for most people, a bed will be simple woven pallete with some kind of mattress on top of it which would be filled with horsehair, straws, or any other materials for a bit upper class this woven pallet is laid at a place that is out of the way often times underneath a staircase

Typically for most people, a bed will be simple woven pallete with some kind of mattress on top of it which would be filled with horsehair, straws, or any other materials for a bit upper class this woven pallet is laid at a place that is out of the way often times underneath a staircase Chair legs resembled lion paw and other animal legs. Materials used were metal or walnut wood with animal hide seating. Cushions made of silk or velvet. Ornamented and gilded.

Furniture of Era Folding chair Curule Folding chair Curule is one of the most significant furniture piece. Curved features and ability to save space. They used certain chairs for sitting, eating, relaxing. Most of the chair seats were made of marble, few had cushions. Legs were decorated with ivory and precious metals, sometimes framed in solid silver. 3_Romanesque

Fig5 - Folding chair Curule

Throne The representation of authority was shown in terms of chairs representing a state known as 'Throne’. Thrones are more ornate chairs typically with square backs during the Romanesque time representing the status of the state later development of a canopy was also seen as an extension of the 'Throne’

Fig 6 - Throne for Bishop or for higher class

Ornament Chair Curule Chair legs resembled lion paw and other animal legs. Materials used were metal or walnut wood with animal hide seating. Cushions made of silk or velvet. Ornamented and gilded. Fig 7 - Ornament Chair Curule

Beds of Romanesque

Lectus Lectus was an important furniture which was a couch and bed at the same time. Headboard was furnished with cushion. Highly decorated legs with ivory inlays and sometimes tortoise-shell plates. Upholstery was made from fine fabric.

Fig 8 - Curule

Citizen Bed Typically for most people, a bed will be simple woven pallete with some kind of mattress on top of it which would be filled with horsehair, straws, or any other materials for a bit upper class this woven pallet is laid at a place that is out of the way often times underneath a staircase

Fig 9 - Citizen bed, made of straws 3_Romanesque

Beds Beds were made of walnut wood. They curved fine decorations on panels of headboard and footboard. Corinthian corbels

Fig 10 - Beds for the Rich/Higher class

Stools of Romanesque The same as that of Egyptians and Greeks, but they made it out of iron. They made it similar to their curule chair.

Fig 11 - Stools same as that of Egyptians and Greeks

Tables Abacus and Mensa are two types of tables. Low, three legged. Round table top is supported by three legs like that of the tripod. Made of wood or metal. Tables were used for cooking, art, display, etc. Fig 12 - Abacus and Mensa Table

Chests Made of wood and iron and ornamented with bronze and other inlays. They made them strong and durable to store household items, valuable and jewelries. Heavily ornamented. Fig 13 - Wooden chest

3_Romanesque

INTERIOR OF CHURCH

Fig 15

Fig 16

Fig 14

Exterior of Church

Fig 14,15,16 Dark and Solemn Interior of Church

Exterior is simple, severe

Fig 17 Simple and bright exteriors

Fig 18 Simple and bright exteriors

3_Romanesque

Construction technique

Fig 19 Riven Lumbering

Materials Wood or metals for construction of furniture Linen cushion for rich class people. Woven pallet mattress filled with horse air or straws which was used for beds for the poor

3_Romanesque

Riving is the splitting of wood in direction of long fiber. Which results in wedge shape woods These wedge like shapes are useful in making certain objects such as barrel. But are not useful for making furniture When riving the wood is tree wet having the moisture about 30%

GOTHIC ERA Fig D- Modern Gothic interior

othic art was a style of medieval art that developed in Northern France out of Romanesque art in the 12th century to the early 16th century AD, led by the concurrent development of Gothic architecture. Gothic is marked by conspicuously dark, antiquated, and homogeneous features. It is often stereotyped as frightening, mysterious, complex, and exotic. Gothic literature combines the genres of romance and horror.

Typical gothic furniture includes rich and dark colours like purple, ruby, black, ochre, forest green and gold added complemented the heavy furniture and rich design. Fabrics are often velvet or velveteen or silky texture like satin. Wallpaper was ornate and heavily patterned in natural flowers and foliage. Also popular was trompe-l'oeil architectural features or stenciled designs. This architectural style is associated with church design, and Gothic furniture was created to complement it which was later incorporated in daily life. An emphasis on vertical elements and natural light is attained. Ideally, the light should be filtered through stainedglass windows. 33

Beginning of gothic era (12th Century – 16th Century)

Fig. 1 - Interior View of Dining-Room" (1876), illustration by Bruce James Talbert.

The Gothic styles of architecture, art and furniture date from the 12th century through to the 16th century particularly a style of masonry building characterized by cavernous spaces with the expanse of walls broken up by overlaid tracery. France, Spain, Britain, Germany, Austria and Italy are the countries is which gothic style developed. Gothic motif of the pointed arch became prevalent in furniture design as well as in buildings This period is regarded as the phase of authentic or "Old World" Gothic furniture creations. Gothic art, including furniture designing was rediscovered during the 19th century, i.e., the Victorian era..

Gothic style is influenced by Roman and Medieval architecture styles. The hallmark of Gothic architecture is the use of embellished, carved-out surfaces. As Gothic furniture took inspiration from Gothic architectural style of churches, the resemblance is seen. From the 12th to the 13th century, Gothic furniture creations were a medium of expressing one’s opulence. It was only around the 14th century that Gothic furniture gained a more functional construction.

4_Gothic Era

Gothic furniture feature Pioneers of the era

Fig. 2 - Abbot Fig. 3 - William Fig. 4 - Augustus Suger Pugin Burges

Increased Durability: Gothic Furniture style stressed upon using various durable varieties of hardwood. Commonly used wood types included oak, walnut, rosewood, cherry and mahogany.

Fig. 5 - Trefoil

Greater Space: The use of multiple sideboards was introduced to create more storage space. Elaborate Carvings: Decorating the surface with intricate foliage and motif designs is common to most Gothic furniture items. Carvings of plants like vines, grapes and maple leaves is characteristic of this style.

Fig. 6 - Spires

Fig. 8 – intricate organic forms

Fig. 7 – Pointed arch

The carving had almost a geometrical character. The chief ornamentation motifs, imported from architecture, were the pointed arch, the trefoil and quatrefoil, the wheel, the rose, and the linen-fold., tracery, heavy fabrics, and heavy woods are some other characteristics of this type of furniture. Gothic Victorian furniture was made of heavy, sturdy oak, and adorned with period designs. The chairs, headboards, and cabinetry abounded with arches, legs with spiral turns, and upholstery of heavy fabrics made of dark, majestic colors.

4_Gothic Era

Fig. 9 – Wood carvings

Fig. 10 – Illustration of extravagant style of modern gothic furniture and decoration

Gothic furniture History of gothic style chair Chairs were scarce, and were associated with a sense of state majesty, being used only by the masters. In each room of the residences of the period, there was only a chair, that of the feudal lord, while persons of lower ranks were using benches, or chests. Outside the castles, the chairs, although still richly carved, were lighter, and more closely resembling the modern furniture. A Gothic chair has carved, pointed arches and a paneled construction. Gothic style was incorporated through elements such as pointed arches, s-shaped curves, and wooded lattice. Its style was revived during Victorian and Regency times.

Fig. 13 – 14th century gothic high back chair

Fig. 14 – 16th century gothic revival chair

In the 14th century they were built with canopies, becoming like the royal thrones. Usually, the back rest is elongated vertically.

Much like the castle or cathedral that inspired it, a Gothic Revival chair makes a bold design statement, having heraldic motifs and linenfold carving. Modern gothic (19th century) chair advocated simplicity and honesty of construction, and ornament derived from nature.

Fig. 11& 12 – 12th century gothic side chair

In the 12th century, chairs could be rectangular or circular, with low backs. It used to be constructed by fitting in wedges to lock its components in place. In the 13th century, the seats of the lords’ chairs of honor had a polygonal shape. Chairs became heavier and larger. Fig 15 – Gothic armchair

4_Gothic Era

Fig 16 - Alexander Jackson Davis: Side chair, 1857.

Gothic beds Starting with the 12th century, the beds became more luxurious. They evolved to massive, richly carved four posted pieces, decorated with expensive embroidered fabrics. They had refined ornaments, carved or painted, and were draped by hangings, with or without a canopy. In the 14th century, more attention was given to the precious fabrics adorning the beds, with the wooden parts being partly hidden from view, except the carved bed head, which became higher..

Fig. 19 – Wooden gothic chest, 15th Century, Carved oak wood

Fig. 20 – Late Gothic oak cabinet

Fig. 21 – Modern Gothic cabinet: Daniel Pabst, 1877

Gothic chests and cabinets Early chests were of simple, robust construction, decorated only with ornamental hinges. Initially, they were used exclusively for travel. Later in the period, as the chests grew larger and heavier, they became static, elaborately carved pieces of furniture, and main components of the Gothic interior decor.

Fig. 17 – Gothic canopy bed

Fig. 18 – Gothic Bed from Chippendale Drawings from 1753–54 in the Metropolitan Museum of Art 4_Gothic Era

The armoire became the main piece of the domestic Gothic interior. It was more luxurious than any other piece in residences of all classes. Variations like cupboards, cabinets, French armoires and buffets, all were in use during the Gothic period.

Interior design Materials used Gothic furniture was made out of oak, which was the main type of wood used in the furniture produced in Germany and England. Commonly used wood types included oak, walnut, rosewood, cherry and mahogany.

Fig. 22- oak wood

Fig. 23 - walnut wood

Fig. 24 - cherry wood

Fig. 25 - mahogany wood

Colour and Fabric Heavy fabric such as velvet, feature or silk is used. Walls were painted in flat colors, to depict stones, and often covered in wall hangings- especially tapestries. Stained glass was a significant feature, and these were ideally accented with pewter, wrought iron, suits of armor and candles.

Fig 28 – Gothic furniture making process

Planks are cut from predetermined cutsheets, then glued up to form the leg structures and pieces requiring lamination. Fig. 26-gothic fabric pattern

Fig. 27-Colours used in gothic interior

All frame joints are mortis and tenon. The trademark of the gothic furniture is the tracery that span between the legs on the table or in the frames within the doors of the cabinet. 4_Gothic Era

Fig. 29 -- Burges's design for the Summer Smoking Room at Cardiff Castle.

Fig. 30 - excess use of stain glass in the interior

4_Gothic Era

ITALIAN RENAISSANCE Fig E- Furnitures of the Italian Renaissance

he renaissance was a cultural movement that spanned roughly from the 14th to the 17th century , beginning in the Florence in the Late Middle Ages and later spreading to the entire Europe. The furniture from the Renaissance is not as well-known as its visual arts, probably because it was considered more of an aspect of everyday life. Renaissance furniture was also revolutionary and represented an important shift from the trends seen during the preceding centuries.

History The renaissance was a cultural movement that spanned roughly from the 14th to the 17th century , beginning in the Florence in the Late Middle Ages and later spreading to the entire Europe. The furniture from the Renaissance is not as well-known as its visual arts, probably because it was considered more of an aspect of everyday life. Renaissance furniture was also revolutionary and represented an important shift from the trends seen during the preceding centuries.

Fig.1- The Creation of Adam Painting

The Artists of Italian Renaissance

Fig.2- Michelangelo

Fig.3- Botticelli

Fig.4- Da Vinci

About the Furniture ▪ ▪ ▪ ▪ Fig.6- Sedia seating

Fig.5- Furniture Detai

Fig.7- Dante chair 5_Italian Renaissance

▪ ▪

Designed to be monumental Less Furniture Fine Upholstery and cushion Massive and highly decorative Decorated with marquetry Use of columns

Charecteristics

Fig.8- Gargoyle sculpted in furniture

Fig.9- Renaissance Cassone

The Italian Renaissance was a period in Italian history that covered the 14th through the 17th centuries. The period is known for the development of a culture that spread across Europe and marked the transition from the Middle Ages to modernity. Italian Renaissance painting is most often be divided into four periods: the Proto-Renaissance (1300–1425), the Early Renaissance (1425–1495), the High Renaissance (1495–1520), and Mannerism (1520–1600). The Italian Renaissance furniture adapted these painting and sculpture into its tradition. The furniture started influencing the arts if the period.

From the beginning of the Renaissance in the early 15th century, there were changes in furniture forms that were to spread over Europe. Italian Renaissance furniture shows a strong architectural bias, and the purpose of the piece, as in Roman furniture, was subordinate to its form. The furniture of the early Italian Renaissance is often restrained, with beautiful, simple designs carved in walnut For more elaborate work, sculpture in low relief and stucco modelled in intricate patterns were much used.

Influence over Art and Craft

Fig.10- The Creation of Adam Painting

Fig.11- Angle statue 5_Italian Renaissance

Fig.12- Sculpted idols on Cabinet

Ornamentation and parts of furniture Furniture was mainly made out of wood, often walnut or willow, and was usually rich in style, with many inlays of ivory, gold, stone, marble or other precious materials, often decorated with marquetry. Much furniture was also relatively grotesque, often creating sculpted odd-looking gargoyles and monsters to make these items seem more amusing. Caryatids became popular at the time, and were `out of marble Chairs such as the sgabello were considered symbols of wealth, and the wealthiest families had them made very sumptuous and grand. Poorer people's chairs had x-shaped backs, and some could only afford plain three-legged stools. Cassapanca

Fig.13- Angel sculpture

Fig.14- Gargoyle on dressing Cabinet

The Renaissance Chests and Bed

•

Combination of chests and seats

•

Mounted in a dais

•

Hinged lid served as the seats

•

It was the most important furniture used

•

Also knows as Marriage chest

•

Side panels with coloured pr glided gesso

•

Painted by fine artist

•

Carved by craftsmen.

Fig.15- Renaissance Cassapanca

Letto

•

Panelled head and footboards

•

Textile treatments in their beds

•

They were decorated with care

•

Extreme attention to details

•

Perfect proportion

•

Attention to details

Fig.16- Renaissance Letto 5_Italian Renaissance

The Renaissance Chairs Dante Chair • Derived from Roman curule • Short beans intersecting at a central joint • Linked to a stretcher. • Savonarola chairs • Upholstered in velvet or leather • Light weighted and portable.

Sgabello Chair • Small wooden slab • Front and back by solid boards • Three legs • Arm chairs and side chairs • Velvet or leather seats

Fig.17- Dante chair

Fig.18- Sgabello chair

Savonarola

Sedia

•

X-form folding chair

•

Box shaped armchairs

•

Several narrow wooden interlacing slats

•

It had runners

•

Typically wavy

•

Four legs

•

Often used by Scholars

•

Leather upholstery

Fig.19- Savonarola chair

Fig.20- Sedia chair 5_Italian Renaissance

The Renaissance Storage Credenza •

Rectangular movable storage

•

Oblong top over a freize

•

2-3 drawers, 2-3 doors

•

Massive and decorated with a long stretcher between end supports.

•

Round, Octagonal, hexagonal table top.

•

Columnar, balustered or pedestal

•

Centre of the room or occasional events

Fig.21- Renaissance Credenza

What were Renaissance Furniture made of? Furniture was mainly made of Walnut wood during this period but oak, cedar, and cypress are also typical. Construction gradually increases in complexity and some stools were even made of iron. Furniture during this time had classical ornament, and is rectilinear and massive. The most common decorations are carving, inlay, painting, and gilding

Fig.24- Walnut wood

Fig.22- Sedia seating

Fig.25- Cedar wood

5_Italian Renaissance

Fig.23- Dante chair

Fig.26- Oak wood

Cultural Aspects Intense interest in and learning about classical antiquity was "reborn" after the Middle Ages, in which classical philosophy was largely ignored or forgotten. Renaissance thinkers considered the Middle Ages to have been a period of cultural decline. They sought to revitalize their culture through re-emphasizing classical texts and philosophies and in many other ways through art like paintings and furniture. The Catholic Church commissioned most artwork during the Middle Ages, and while it continued to do so during the Renaissance

Fig.27- Book of Cultural aspects

Fig.28- Human Anotomy

Interior design aspect A distinctive feature of the Renaissance - the secular nature of culture and its anthropocentrism (ie interest, first of all, to a man and his activities). Appears interest in ancient culture, it is as if its "rebirth" - and came the term. The interiors of palaces impressed with monumental spatial effects, magnificence of marble staircases and rich decor. Living rooms and bedrooms were furnished with expensive furniture, performed in the spirit of antiquity. The floor, walls and door frames lined with marble; or log coffered ceiling trimmed with wood. Renaissance furniture is characterized by a clear form, clear construction and numerous architectural elements. Carcass furniture solved as architectural structure, as a miniature palace with columns, pilasters, cornices, pediments.

Renaissance Colour pallete

Fig.29- Paintings on walls and ceiling

Fig.30- Influence of Furniture on Walls and ceiling

Fig.31- Colour pallete of Renaissance

5_Italian Renaissance

BAROQUE ERA

Fig F- Modern baroque interior

he Baroque is a period of artistic style that started around 1600 in Rome, Italy, and spread throughout the majority of Europe during the 17th and 18th centuries. The most important factors during the Baroque era were the Reformation and the Counter-Reformation, with the development of the Baroque style considered to be linked closely with the Catholic Church. The popularity of the style was in fact encouraged by the Catholic Church, which had decided at the Council of Trent that the arts should communicate religious themes and direct emotional involvement in response to the Protestant Reformation. Baroque art manifested itself differently in various European countries owing to their unique political and cultural climates. The work that distinguishes the Baroque period is stylistically complex, even contradictory.

Pioneers of the movement:

Fig.2Caravagio

Fig.1-Facade of the Hospice of San Fernando

Baroque Architecture:

Fig.5-General characteristic

General Characteristics:

Origins in the Counter-Reformation. When the Catholic Church launched an overly emotional and sensory appeal to the faithful through art and architecture. Complex architectural plan shapes, often based on the oval, and the dynamic opposition and interpenetration of spaces. Other characteristic qualities include grandeur, drama and contrast (especially in lighting), curvaceousness. Architects unabashedly applied bright colours and illusory, vividly painted ceilings. The late Baroque style is often referred to as Rococo or, in Spain and Spanish America, as Churrigueresque. 54

Fig.3-Gian Fig.4-Rambandt Bernini

In Baroque furniture the details are related to the whole; instead of a framework of unrelated surfaces Each detail contributes to the harmonious movement of the overall design. The most distinctive being the elaborate ornamentation. Furniture pieces had plenty of details, and the designs featured an exuberant and sometimes exaggerated decoration. The furniture pieces were usually symmetrical, and all the details were replicated on both sides. Layout often included twisted columns, which incorporated plenty of curves for giving a sense of dynamism.

6_Baroque Era

Cultural aspects: That arts should communicate religious themes in direct and emotional involvement. To evoke emotional states in the viewer by appealing to the senses, often in dramatic ways Baroque paintings often tend to dramatize scenes by using “chiaroscuro” (lightobscure) light effects. The second tendency was the consolidation of absolute monarchies Baroque palaces were built on an expanded and monumental scale in order to display the power and grandeur of the centralized state. The third tendency was a new interest in nature and a general broadening of human intellectual horizons.

Fig.6 Counter-Reformation

Fig.7-Royal palace and garden at Versiallies

Chairmaker and Louis xiv armchair: To make a chair, for instance, first a design or drawing was made by a draftsman or designer. For a special commission, a small model of wax or wood could be produced for the approval of the client before the menuisier would be able to start cutting the basic form of the chair. An upholsterer would cover the seat furniture with leather, silk, velvet, or other materials and fine trimmings. The Louis IV armchair is 1175mm high and its the seat height is 500mm. The legs of the Louis XIV armchair are carved with scroll patterns, they seem to be slightly moving, and the four legs are connected by an „os-de-mouton’ „H‟ stretcher. The backs: the back of the Louis XIV armchair is upholstered with colorful fabric, its shape is a flat „C‟. 6_ Baroque Era

Fig.8- Parts of Royal Chair

Fig.9 - Louis xiv armchair

Baroque commode: The Baroque chest of drawers is a low storage cabinet with large drawers. Inspired by a fashion from the Renaissance. Some have marble tops and are adorned with gilt or silver bronzes. The sides of commodes being slightly convex, or bombé, and the front serpentine. Most had long cabriole legs.

Fig.10-Parisian commode Paris, 1760–65; in the Victoria and Albert Museum, London.

Fig.11-French commode Gilles Joubert, circa 1735, made of oak and walnut, veneered with tulipwood, ebony, holly, other woods, gilt bronze and imitation marble, in the Museum of Fine Arts (Boston, United States).

Fig.12-Commode, from the bedchamber of Louis XV at Versailles

The typical carved ornaments: Category

Plants

Animals

Persona

Others

Pattern Acanthus leaves Acanthus scrolling Rosettes Lilies Lion (head, leg, paw) Eagle Dolphin Shells

Apollo Putti (little angels or children) Other elements of Roman mythology

Significance symbolism Ancient Roman inspiration, from the imperial period Symbol of power Symbol of power Symbol of monarchy Symbol of wealth Symbol of Louis XVI, the Sunking Purity, innocence Royal and/or imperial power

Geometric patterns from ancient Rome From the Renaissance Scrolls and acanthus scrolls Turned elements Vase balusters – various shapes 6_Baroque Era

Color palette: Back in the 17th century in Europe, Baroque is one of the most important painting movements in the history of Western art Use of rich and vibrant colors for color palette Used mostly deep red, greens, and blues for the painting and deep and luminous in earth tones. Rich color was used to show the texture and surface of the object like gold, silk, and velvet. Juxtaposition of light and shadow made the subjects in the painting pop up black and bright color made the paintings clear Aims to bring the emotion and power combinations of deep red or green with gold and using extreme dark and light is a signature Baroque technique. Red is a rich color. It was considered to be a color of intense emotions, ranging from anger, sacrifice, danger, and heat, through to love, passion Green is a color that closes to nature. Green is the color of nature and health and it also has close ties with emotions of empathy, kindness, and compassion.

Baroque in modern Graphic Design:

Fig.13-Complete color palette Fig.14-Dark color palete Fig.15-Medium color palete Fig.16-Light color palete

Fig.17-Landscape with a calm

The interior design business wasn’t the only one inspired by the Baroque movement. Baroque flair added to almost any design project with elements like lush florals, rosettes as a repeating motif in a frieze and many more ornaments with a clear Baroque influence specific ornaments have the ability to make artwork look richer. Fig.18- Baroque inspired graphics 6_ Baroque Era

French baroque furniture: For the court of Louis XIV in France Created by André Charles Boulle Embellished with inlays made of combined metals with gilded columnar legs Tortoise shell and ebony designs. Thin sheets of brass and tortoise shell veneer on an oak frame. Made of intricately hand carved mahogany finished in majestic gold leaf.

Fig.19-Absolorn Roche

Fig.20-Boule console commode 1701

Italian Baroque Furniture: The classical design disappeared, as the furniture or art was ornamented and highly detailed, with mermaids, nymphs, cherubs, angels, and mirrors. The chairs were carved and gilded, upholstered with silks and stamped leathers. The furniture of the Italian Baroque was influenced by the East since at that time Venice still held a vast sea empire.

Fig.21- Rhombus

Fig.22- Florentine cassone from the 15th century (M.A.N., Madrid) 6_Baroque Era

Interior design and its elements: Baroque home design is associated with opulence, grandeur and luxury. Intricately designed furniture, gilded accessories and sleek materials such as marble and granite are characteristic of this European-influenced style. Irregular curves, elaborate scrolls, oversized moldings and twisted columns can be found on pieces such as sofas, dining chairs, tables and cabinets to create a sense of motion. Decorative marriage chests called Cassini also incorporated many of these organic details. Candles and lanterns are frequently used light fixtures with this home style. Iron lanterns line the walls of hallways and candles flicker on wood, brass and pewter stands. Gold frames and gilding on statues and pottery are common Large mirrors, crystal chandeliers, door knobs, and pulls are commonly used. Luxury fabrics in damask and floral prints are used for upholstery, wall coverings, and floor-to-ceiling window coverings.

Fig.23-Interior of Baroque house

Fig..24- interior of royal house.

Evolution of baroque interior design: Extravagant in concept, exuberant in spirit, and elaborate in detail used today as inspiration. When it comes to decorating a home in a rich manner. Style is well known for being dramatic and over the top, characteristics can transform a simple into a flamboyant abode. Ideas that are incorporated: using baroque patterns to enrich cushion covers, linen, upholstery, curtaining and much more. 6_ Baroque Era

Fig.25- Interior of house, France

Fig.26- Interior of semi-Rococo house, Italy

CLASSICAL Fig G- Antique Furniture Dining Room Set

n the middle of the 18th century, Europe began to move toward a new style in architecture, literature, and the arts, generally known as Classicism. This style sought to emulate the ideals of Classical antiquity, especially those of Classical Greece. While still tightly linked to court culture and absolutism, with its formality and emphasis on order and hierarchy, the new style was also “cleaner”. It favoured clearer divisions between parts, brighter contrasts and colours, and simplicity rather than complexity. The search for intellectual and architectural truth characterized the period. The search for intellectual and architectural truth characterized the period.

A shift from baroque to nelassicsmoc

Fig.1-robert Adam: detailing work

Classical architecture: Fig.5-american Georgian furniture

. Benjamin West PRA (October 10, 1738 March 11, 1820) was an American artist who painted famous historical scenes such as The Death of Nelson, The Death of General Wolfe, and Benjamin Franklin Drawing Electricity from the Sky. Entirely self-taught, West soon gained valuable patronage, and he toured Europe, eventually settling in London.

General Characteristics:

Stylistically this began with an onslaught against Fig.6-detail of a gustavian mirror Baroque architecture, which—with its emphasis on illusion and applied ornament—was felt to be manifestly untruthful. The traditional curved lines and flounces of the Rococo style disappeared, replaced by simpler and more severe rectilinear designs. Designers initially only sparingly applied classical motifs to furniture and to establish a Fig.7-detail of louis XVI dressing table relationship between every element.

Fig.2-louvre museum

Fig.3u.S capitol building

7_Classical Era

Fig.4-marble arch, 1883

Neoclassical furniture provides a more streamlined style than the Rococo which came before it. Scrolls, medallions, tapered legs, etc. Fabrics and upholstery are rich but subtle, with colors like moss green, dusty blue and pink, a n d c r i s p, c l a s s i c w h i t e . Greek Key: The Greek key pattern is a timeless pattern that became extremely popular during this period. It’s a basic geometric layout used to accent temples in ancient times, but we find it on Neoclassical upholstered pieces often.

Fig.9 features used

Fig.8 motifs on mirror

Veneer: Inlays, previously critical to furniture, made way during the Neoclassical period for carvings in high relief, gilding, stenciling, and stamped-brass plaques. Impressive and beautifully wood carved and gilded mirror. The gable of this Gustavian giltwood mirror is decorated with an antique inspired tropaion. On both sides of the mirror are Egyptian-style columns. This elliptical giltwood mirror (7173) illustrates the decorative motifs of Adam’s oeuvre, such as the anthemion or honeysuckle at the top which gives way to a Grecian style vase with pendant drapes surrounded by swirling foliates and a continuous strand of campanula or bellflower, leading to the ram’s head at the bottom.

Fig.11-Satinwood Harlequin Pembroke Table

Fig.10 motifs used in detailing

Building upon the classical motifs of columns, pediments, Egyptian terms, interlocking borders of Greek key or fretwork, acanthus leaves, urns, hearts, and arrows; the Adam brothers, commonly used themes of the anthemion, the urn, the husk, festoons (decorative chain of foliage or fruit hanging between two points), the ram’s head, and the sphinx.

Fig.12-Elliptical Giltwood Mirror Fig.13 Different kinds of sofa style 7_Classical Era

Elements and significant changes After the Civil War, Americans began to look more closely at the most current high-style designs coming from Europe. While European design had always been influential, ordinary Americans began to tour Europe more often, and young American architects and designers entered the schools and ateliers thereand started .. The estimed Philadelphia Centennial Exposition of 1876 was instrumental in bringing beautifully designed objects from all over the world to the attention of the American consumer. The exhibits from England and Japan were particularly esteemed .

Elements

Fig.14-Tiger Maple Queen Anne High Chest

Queen Anne furnishings also typically bear some form of an “S-curve” element, from the gentle curve of the characteristic cabriole legs to the subtle swoop of the Scurve chair backs with a yokeshaped top rail and a more organic vase-shaped back. .

The Art of the United Kingdom refers to all forms of visual art in or associated with the United Kingdom since the formation of the Kingdom of Great Britain in 1707 Fig.17-The Death of General Wolfe (1770)By and encompass English Benjamin West. National art, Scottish art, Welsh Gallery of Art, Ottowa. art and Irish art, and forms part of Western art history. During the 18th century Britain began to reclaim the leading place England had played in European art Fig.18 Thomas Gainsborough, Mr. and during the Middle Ages, Mrs. Robert Andrews, c. being especially strong in 1748–1750 portraiture and landscape Queen Anne furniture art. Increasing British is "somewhat smaller, prosperity led to a greatly l i gh te r , a n d mo r e increased production of comfortable than its both fine art and predecessors," and the decorative arts the examples in common latter often being exported. use include "curving Cressent opts for a shapes, the cabriole simplified marquetry, a leg, cushioned seats, curling generating a rich wing-back chairs with effect of light on which fine wood art. develops the preponderant decoration of gilded bronze. The typology of his creations is extensive: bookcases, wardrobes, medallions .

Fig.15-Tiger Maple Queen Anne High Chest

Artistic painting:

7_Classical Era

Fig.16-American Colonial Desk

Color Palette:

Fig.19-Color palette theme related to ancient history, building, cathedral

Fig.20-Color palette theme related to ancient history, building, cathedral

Fig.21-Color palette theme related to ancient history, building, cathedral

Interior Design and its elements: Features that anticipated the rococo style: 1. 2. 3.

Fig.22-A Parlour Loom

Large mirrors used more frequently Depressed arches for doors and windows The use of goldhighlighted crosshatching

Mirror Reflect and shiny ornamented spaces will dominate the place because of the use of mirror that gives a feeling of transparency and openness to the space. And, with the same royalty and elegant of rococo style gold color will Fig.25-French Neoclassical obviously seen, also many curve lines and asymmetry shaped will use. bedroom Federal style “salon” ( a reception room in a large house) A regular social gathering of eminent people (especially writers and artists) at the house of a Fig.26-Federal Style woman prominent in Interior high society. 7_Classical Era

Fig.23-Detailing of interior walls, ceilings

Fig.24-Detailing of interior walls, ceilings

Complete room- empire style This room from the metropolitan museum of art is called the “ Richmond room” and recreates a luxurious room in Richmond, Virginia around 1810. consider this room a high point of early 19th century elegance.. The chairs are matched by the sofa also from the Duncan Phyfe workshops. The card table features an elaborate winged woman carving and hairy paw legs. This particular table was owned by Phillip honeymooned of new York in the 1st quarter of the 19th century.

ART NOUVEAU Fig H- Art nouveau interior design and furniture

he Art Nouveau, ornamental style of art that flourished between about 1890 and 1910 throughout Europe and the United States. Art Nouveau is characterized by its use of a long, sinuous, organic line and was employed most often in architecture, interior design, jewelry and glass design, posters, and illustration. Art Nouveau furniture was particularly influenced by the British Arts and Crafts Movement, with its emphasis on fine craftsmanship. It also adapted certain features from earlier historical styles. Art Nouveau was aimed at modernizing design, seeking to escape the eclectic historical styles. The style went out of fashion after it gave way to Art Deco in the 1920s, but it experienced a popular revival in the 1960s.

History Art Nouveau can be said as, rapidly developed as a transition between old and new. Art Nouveau marks a moment in time when new young artists wanted a radical change in various areas, and it’s is often referred to as the first modern style. Fig.2- Staircase Designed By Horta

Fig.3- Casa Battlo

Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces. Aside from curving lines and shapes inspired by natural forms, the use of glass and wrought iron brings sculptural elements to Art Nouveau structures.

Fig.1- Art Nouveau Interior

It started as a response to the rapid development of technology, mass production and the academic arts of the 19th Century. Art Nouveau had an impact primarily on architecture, graphic art, painting, and sculptures, but it also left its mark on applied art and interior design, especially in decoration.

Art Nouveau Elements

⮚ Asymmetrical shapes ⮚ Extensive use of arches and curved forms ⮚ Curved glass ⮚ Curving, plant-like embellishments ⮚ Mosaics ⮚ Stained glass ⮚ Japanese motifs

Art Nouveau Architecture Art Nouveau, ornamental style of art that flourished between about 1890 and 1910 throughout Europe and the United States. Art Nouveau is characterized by its use of a long, sinuous, organic line. Art Nouveau was influenced by experiments with expressive line by the painters. It was often inspired by natural forms such as the sinuous curves of plants and flowers. 72

Fig.4- Casa Battlo Roof

8_Art Nouveau

Fig.5- Stucco Moulding

Artist Of Art Nouveau

Fig.6 - Henry van de Velde

Famous Belgian Art Nouveau furniture designer Apply English principles in design. He believed in working with the lines dictated by an object, rather than imposing artificial ornamentation Fig.7 - Émile Gallé onto existing features. Louis Majorelle was a French decorator and furniture designer who manufactured his own designs. He was one of the outstanding designers of furniture in the Art Nouveau style.

Fig.8 - Louis Majorelle

Fig.9 -Alphonse Maria Mucha

Émile Gallé was a French artist who worked in glass, and is considered to be one of the major forces in the French Art Nouveau movement. Gallé had emphasis on naturalism and floral motifs. A Czech Art Nouveau painter and decorative artist, most well known for his images of women. He worked at decorative painting jobs in Moravia, mostly painting theatrical scenery.

Furniture style Art Nouveau not focused only on exterior architecture but it is a complete style that includes furnishings and interiors. Furniture design in the Art Nouveau period was closely associated with the architecture of the buildings; the architects often designed the furniture, carpets, light fixtures, doorknobs, and other decorative details. It was usually made by hand, with a fine polished finish, rare and expensive woods, and fine craftsmanship. Art Nouveau furniture was particularly influenced by the British Arts and Crafts Movement, with its emphasis on fine craftsmanship. It also adapted certain features from earlier historical styles, particularly the curling lines. Another significant influence was Japanese furniture design, which featured light and fragile forms, and marquetry.

Fig.10- Modern Chair Fig.11- Desk Cabinet Fig.12- Furnitures 8_Art Nouveau

Fig.13- Door Knobs & Handles

Elements

Features

• • •

Natural forms Geometric shape and pattern Decorations related to nature: flowers, trees, leaves, vines, plants, and females with long hair

• • • •

Curved & wide lines Ornamental motifs (pattern) Lines without sharp angles The use of everyday objects

• • • • • • • • •

Polished or Varnished Elegant finish Sturdy Timber construction Ornamentation Intricate and delicate carvings Organic Lines Flowing lines and curved edges Embellished and intricate styles

Beds Bed typically bears the organic curves of other art nouveau furniture. As this type of furniture has fewer structural considerations when compared to other large functional items, an art nouveau bed is often more free to express asymmetry and open curves. The most common material for this type of bed is wood, but iron may have been used as well. Possibly the most defining characteristic of an art nouveau bed is its shape. Many of these beds feature a high headboard and a lower footboard designed to match the headboard. Fig.14 - Bed

Tables Tables created in the Art Nouveau style had simple lines, inlays and an organic feel that can be seen replicated in artwork, architectural elements and other types of furniture in this period. Art Nouveau tables can be recognized by their whiplash lines, which are curving and swirling lines that are found in nature. These lines, rarely found in furniture except in the Art Nouveau style. The table tops are often not square or rectangular but instead have rounded or concave edges with curvy corners. This provides a graceful visual appeal to the piece of furniture. Some Art Nouveau tables have elaborate carving on the legs or table tops.

Fig.15- Table

Many Art Nouveau tables have inlays in the table tops. These inlays were made out of various types of organic materials, such as shell, stained glass and stone, to give the top of the table a unique and decadent look. 74

8_Art Nouveau

Furniture, as well as doorknobs, carpets, and other interior details, was mostly designed by the architects. It was polished or varnished, but the shiny, elegant finish was essential. Most of the Art Nouveau furniture was produced in factories using typical techniques of manufacture.

Fig. 16- Art Nouveau Chair, 1900

Carved walnut, upholstered in embossed and stained leather. This dining chair was shown at the Paris Exhibition of 1900 by the entrepreneur and art dealer Siegfried (Samuel) Bing.

Fig. 19- Interior

Fig. 20- Carpet

Art Nouveau Color Palette Fig. 17- Art Nouveau Armchair, 1900.

Carved walnut, stained green; back and seat covered with embroidered and painted mauve satin with a fringe. This is by the cabinet-maker Louis Majorelle, one of the most influential designers of the Art Nouveau movement. The design is carefully wrought to give the effect of flowing, branch like forms.

Art Nouveau colours were very subtle. Almost never garish or fully-saturated. Mostly warm, mid-toned tints and shades, always muted and subtle. Most seemed to be derived from the natural world of plants, animals, insects and flowers. When a colour was intense, it nonetheless was invariably warm-toned and perfectly in balance with the rest of the composition. Pure black and stark colour contrasts almost never used. Letter-forms on posters often sinewy, plantlike and curvaceous.

Fig. 18- Display Case, 1900

Oak, with metal and glass. The glass top showcase shows the spare, abstract motifs, based on natural forms, that were the hallmark of the style. Art Nouveau furniture was often made in tropical hardwoods, with very delicate carving. On this display case, the same motifs have been carried out in a more substantial fashion on the oak stand. 8_Art Nouveau

Fig. 21- Colour Palette

Cultural Hierarchy Artistic movement that, with different declinations, spread in Europe and the United States between 1890 and 1910, and which interested in particular the applied arts and architecture. Art Nouveau is part of the broader current of modernism for the objectives it set itself in developing a new style: overcoming historical eclecticism and the hierarchy of the arts; unitary design capable of redeeming the deterioration and degeneration of taste caused by the spread of industrial production processes; diffusion of aesthetic values in every type of product, from wallpaper to jewellery, from illustration to furniture. The various denominations of this style are significant: the term Art Nouveau derived from the shop-gallery opened by S. Bing in 1895 in Paris, is properly referred to France and Belgium, which refer to the modern, to conscious detachment from the past especially academic, to the new, to the young , or refer to formal elements that characterize it .

Materials ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚

Aluminium Stained glass Cast iron Steel Ceramic Glass Jewels & Ornaments Marble Terra cotta Brass Bronze Paint

⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚ ⮚

Rosewood Walnut Oak Teak Ebony Beechwood Ivory Cane Leather Silk fabric Velvet Gold & Silver

Fig. 22- Leather

Ornamentation Fluid lines, sweeping curves and exaggerated decorative motifs, an innovative style of modern art took over Western Europe and America at the turn of the 20th century. ART NOUVEAU or New Art, was revolutionary, and propagated the idea of art in everyday objects, no matter how functional their purpose. The movement had an influence on art, architecture, furniture, glassware, jewellery and other forms of applied art .Art Nouveau practitioners believed in fine craftsmanship and quality goods, they adopted technological advancements and produced furniture in factories. There was also a focus on fine finish with polished or varnished surfaces, and curved forms. Decorative marquetry and gilt work were also incorporated within furniture and sculpture pieces. Many other architects of the time such as Antoni Gaudi and Victor Horta made curvy nature-inspired furniture specifically for the buildings that they designed.

Fig. 24- Cabinet Influenced By Japanism

Fig. 23- Ivory

8_Art Nouveau

Fig. 25- Stained Glass Windows

Interior Style

Art Nouveau Interior Design is a beautiful style that requires dedication to decorate. Different art styles influenced art nouveau. From Celtic art to Japanism, art nouveau could be applied to many artistic aspects including architecture, decoration and fine art as well as Art nouveau furniture, were popular forms of interior decoration. Both elongated curves and linear shapes were a major part of the nouveau art. Art nouveau decor should be decorative and ornamental. Furnishings can feature curved or straight lines growing upwards from the ground while doors can sport stained glass and leaf and stalk shaped leading. Walls - Art Nouveau design typically uses colors which are muted and soft. Copy this style with a palette of grays, mustard yellows, browns, olives, and lilacs. Spectacularly patterned wallpapers were popular. Light - The art nouveau interior can be summed up by the Tiffany lamp. Spectacularly stained glass shades on a heavy bronze base are the iconic look of the period.

Interior Characteristics Flowing lines - This is the hallmark of Art Nouveau. Designers stepped away from strict and boring geometry and got inspired by natural organic forms. Wrought iron - This material was very popular even before, but in Art Nouveau metal acquired airiness and lightness. Inspiration from nature - Nature has become the main muse for all artists Stained glass - This is perhaps one of the most recognizable element of Art Nouveau. It became extremely popular and was used for window decorations, wall decor, furniture. Insects - Artists were inspired by beauty of nature and used most of its creations as inspiration for their work. I must say that never before insects were so often utilized as decorative motif. Whiplash curve – a hallmark of Art Nouveau movement, created by German sculptor Hermann Obrist. It was a part of the artist’s most famous work: wall hanging called “Cyclamen”

Fig. 26- Walls In Art Nouveau Decor

Fig. 28- Use Of Flowing Lines

Fig. 27- Art Nouveau Decor 8_Art Nouveau

Fig. 29- Stained Glass

Stairs.- During Art Nouveau period common staircase in dwellings has transformed from a dark and dull place to the beautiful and brightly decorated piece of interior decor. Innovation of that period that architects started to put windows on every floor which provided a lot of natural light.

Ceiling - Usually ceiling is painted in white and decorated with stucco and paintings. Decorative ornaments can be very different: thus in Latvia were mainly flowers and plants, Shehtel took inspiration from underwater world, while Gaudi used abstract convex shapes.

Fig. 30- Ceiling With Stucco Moulding

Flowers – were used practically everywhere. The most popular were lily, irises, orchids and some local flowers as well.

Fig. 31- Circular Staircase

Fig. 32- Art Nouveau Style In The Interior

8_Art Nouveau

Ancillary product Posters & graphic art

Metal art

Fig.33- Sarah Bernhardt By Alphanso Mucha

The graphic arts flourished in the Art Nouveau period, printing, particularly colour lithography, which allowed the mass production of colour posters. The most popular theme of Art Nouveau posters was women; women symbolizing glamour, modernity and beauty, often surrounded by flowers.

Glass art

Fig.35- Gate Of Villa Knopf In Strasbourg (1905)

Art Nouveau architects added iron decoration in curves inspired by floral and vegetal forms both in the interiors and exteriors of their buildings. These became some of the most distinctive features of Art Nouveau architecture. The use of metal decoration in vegetal forms soon also appeared in silverware, lamps, and other decorative items.

Art Nouveau Influences

Fig. 34- Stained Glass Windows By Koloman Moser For The Church Of St. Leopold

Glass art was a medium in which Art Nouveau found new and varied ways of expression. Intense amount of experimentation went on, particularly in France, to find new effects of transparency and opacity: in engraving win cameo, double layers, and acid engraving.

The art nouveau style was born during the Industrial Revolution and was boosted by the new ability to mass produce household goods at affordable prices. It was similar in concept to the Arts and Crafts movement, except the latter, favored unique, one-off items, whereas art nouveau was all about replicated convenience. With a hint of Rococo style, the major emphasis was on botanical influences, which were faithfully studied and reproduced in art nouveau designs. Art nouveau prints often feature these organic images.

8_Art Nouveau

ADOLF LOOS Fig I- Ornament and materiality by Adolf Loos

dolf Loos (1870–1933) was one of those rare artists whose ability in his creative fields of architecture, and furniture and interior design was matched by his facility with the pen. In Vienna, a group of Austrian artists resigned from the Association of Austrian Artists to form the Vienna Secession in 1897. Painters, sculptors and architects soon joined the movement under the first president of the Secession, Gustav Klimt. The artists rejected the Association of Austrian Artists' conservatism. Loos agreed with the Secessionist's exploration of art beyond the boundaries of the academic tradition but rejected the ornamental trend in much of Secessionist work. In his lecture of 1910 entitled Ornament and Crime, Adolf Loos made his opinion clear: he would rather eat plain gingerbread than ‘one shaped like a heart, or a baby, or a Cavalryman’. However, there is more to Ornament and Crime than Loos’ taste in biscuits. Adolf Loos expressed his intention to break from the Vienna Secession and their ideas of decadent decoration in pursuit of the simple, the plain, his vision of ‘smooth and precious surfaces’. From the Vienna Secession to a Rationalist revolution, Adolf Loos paved the way to Modernism. From humble beginnings in Moravia to widespread international acclaim, Loos was one of the first architects to abandon excessive architectural decoration. .

Background ( 10 dec 1870 – 23 august 1933) Adolf Loos was an an Austrian architect and one of the most influential European architect. He was a theorist, writer, teacher, photographer, architectural critic of the late 19th century He was one of the pioneers of modern architecture. Born in Brünn (Brno), now in the Czech Republic but then in the Austro-Hungarian Empire the son of a stone mason and sculptor. Loos was deaf until the age of 12 and was hearing-impaired until the end of his life; this physical disability influenced his character, and he remained a loner as an individual and as an artist. In 1890-1893 Loos studied at the Technical University of Dresden. Between 1893 and 1896 he lived in the United States. In 1896 Loos returned to Vienna and devoted himself to architecture. In 1898 he was associated briefly with the Vienna Secession. In 1917 he participated in World War I. Between 1920 and 1922 Loos worked as chief architect of the Department of Housing of Vienna in the newly established Austrian Republic. Emigrated to France and then returned in 1928 to Austria. Although

Fig 1 – Adolf Loos

he began practicing in the late 1890s when Art Nouveau was at its peak, Loos was not affected by it at all. The fact that he had lived in the United States and thus had become aware of the advances in the commercial and domestic architecture of that country may account for this. Earliest commissions were interior remodeling of stores and cafes from the 1890s to the early 1930s, he wrote prolifically on architecture and on many aspects of design in a journalistic style that was engaging, witty.

Works ( 1898 – 1930)

Fig 1 – Goldman and Salatsch shop, 1989

Fig 2 – Café Nihillsmus, 1999

Fig 4 – Steiner

Fig 5 – Goldman

House, 1910

and Salatsch, 1911

Fig 3 – Karma Villa, 1902

Fig 7 – Scheu House, 1912 9_Adolf loos

Fig 4 – Karma Villa , 1907

Fig 8– Villa Muller, 1930

Ideology and thought process His most memorable essay title was ‘ornament und verbrechen’ (‘ornament and crime’), 1908, in which he elaborates on his theory that ‘the evolution of culture is synonymous with the removal of ornamentation from objects of everyday use’ armed with ideas about the modern era requiring a more minimal, rational aesthetic. He argued buildings we design reflect our morality as a society. For loos, the form and aesthetics of a design must come from the innate qualities of the materials used— nothing more. Loos questioned “what was the need for things to match and to come from the same source, or to be put together by the same professional eye?”

American and Anglo-Saxon lifestyle manifesting itself in domestic architecture and interiors, Importance of material, Adapting to the market, Mixing historical furniture in modern interiors, Designing for the affluent middle classes, not for aristocrats.

Furnitures (1890 – 1930)

Fig 10- Cabinet, 1890-1919

Fig 11 - Café-Museum chair, 1898

Fig 8– Villa Muller, 1930

He saw clearly that the market can and will determine what is produced and that the client should chose furnishings. His writings on interiors and design give clear expression to his intentions and thinking. He placed the individual needs of the future occupants at the forefront in interior designing. Loos-designed homes featured straight lines, clear and uncomplicated walls and windows, and clean curves. His architecture became physical manifestations of his theories, especially raumplan ("plan of volumes"), a system of contiguous, merging spaces. He designed exteriors without ornamentation, but his interiors were rich in functionality and volume

Fig 12 - Elephant Trunk table 1900

9_Adolf loos

Fig 14 - A ceiling lamp, 1900

Fig 16 - Foot rest, 1913

Fig 15 - Bar cart, 1902

Fig 13 - Langer’s suite, 1903

Fig 17 - Liquor glasses, 1930

Elephant trunk table

Variations

Fig 19,20 –Elephant Trunk table tops

Creator: Adolf loos (designer) Manufactured by: Friedrich otto Schmidt, Vienna Dimensions Height: 25.79 in. (65.5 cm) Diameter: 37.41 in. (95 cm) Style: Jugendstil (of the period) Materials and techniques: Oak, brass, marble Place of origin: Austria Period: Early 20th century Date of manufacture: Circa 1900 Condition: Wear consistent with age and use

This furniture piece was featured in the Object of the Week series in a post titled Finding Animals in Furniture 86

1. Eight-trunk legs carved out of solid walnut, top veneered with approximate 3 mm thick mahogany veneer, surface stained and professionally repolished, brass and cast brass fittings, excellent condition 2. Carved and veneered mahogany, molded and iridized glass, sheet brass. The table top is centered by a square of iridescent yellow glazed tiles surrounded by striated grained veneered wood panels. 3. Oak, stained brown, brass fittings and brass feet, redbrown marbled stone inlay

9_Adolf loos

Fig 21, 22, 23 –Elephant Trunk table variations

Fig 18 –Elephant Trunk table, 1900

Loos used the “elephant trunk” table for the first time in 1902 to furnish Dr. Hugo Haberfeld’s study. The table’s design is inspired by Anglo-Saxon models, such the "occasional table” by the London company Hampton & Sons that was depicted in the 1899 issue of the "Cabinet Maker".. this was a model developed by Loos from English furniture. Adolf Loos used this table model in different variations (6 and 8legged models, size of the table top, with and without brass appliqués as well as tabletop inlays.) An example of this model series is preserved in the collection of the Museum of Applied Arts, Vienna (in the permanent exhibition “Design/Arts and Crafts 1890 – 1938”).

Langer’s suite sideboard

The two-meter-high mahogany wall paneling Designer: Adolf Loos constructed from a Place of is origin: Austria 1903 square grid design Furniture: Sideboard, long-case clockthat, and in thisthe Langer earlyapartment example of paneling, from 1903 Materials: mahogany, mirror glass, brass, the fitted furniture, offers clock mechanism convenience of Dimensions:201.2 x 194.5 x 59.3 cm (overall); incorporating both a 200.6 x 403.7 x 36.9 cm (overall) long-case clock and a sideboard into the architecture of the room.

Fig 24 - Langer’s suite, 1903

The sideboard, paneling and long-case clock are fitted together via the wall paneling as one piece of furniture, on the one hand a convenient and space-saving concept for an apartment, and on the other hand an aesthetic choice to let the furniture merge into the wall. The square grid rhythm of the paneling is repeated on the clock case, and in a rectangular variation on the front of the sideboard. The mahogany is modestly embellished by the fitted brass candlesticks and door furniture.

Derivational study Highlights of furniture: • Space saving • No ornamentation • Design itself acts as an ornament • Functional • Aesthetic • Minimal Elements of furniture: • Bow window- like shape sideboard • Visible pendulum • Candle stands • Mirrors • Mahogany grid • Different decoration of drawers

x 5x

Keyhole detail

The Langer's suite follows a 5x5 grid for the paneling 9_Adolf loos

Handle detail 87

Cuboidal mass Mahagony wall panelling The mass is covered with ‘Mahogany paneling’. loos used the grid pattern of the material to create aesthetics in the furniture, instead of opting for an ornament to do the same. Thus implementing his ideology of functional, simple and aesthetic design without the use of ornamentation.

Breaking through cuboids After making required protrusions as per function, loos further tries to experiment with the shape in order to break through the cuboidal character the furniture currently has. Sideboard: further extruding two points of the sideboard to give it a polygonal shape, which differentiates itself from the overall furniture. Clock bar: making two voids to house the clock in one, and make the moving pendulum visible in other, imparting a sense of movement to an otherwise still furniture in the room.

Extruding blocks for clock and sideboard Taking reference of grid divisions, he uses 3x3 block grid from the panel to extrude them into a sideboard; and one column of blocks to form the clock bar. 88

Breaking monotony Loos always believed in having functional ornamentation where the design itself becomes an ornament and that concept can be seen in almost all his projects. Thus, adding candlestick stands and 3 mirrors to add another ‘functional ornament’ to the furniture. 9_Adolf loos

Ornament and materiality in the of adolf loos Marble Exterior pillars of the bar clad in Skyros marble. naturally have a gray base and a red shaft, acts as a subtle reference to the classical order of a column. The veins and imperfections of the marble imply a type of authorless ornamentation. Wall facing the street constructed of onyx marble, light from the street filters through this material and transformed it into the color of whiskey, thereby referencing very goods that are sold Fig 25 – Kartner Bar

Wood Used as a cladding for the interior walls, used dark oak wood in the public interiors of his domestic projects. And wood such as cherry or mahogany in commercial projects fascinated with English culture. Lady’s room at the villa muller- this room is faced in a light lemon wood because of natural graphic quality. Loos often used lighter woods for the most private parts of the house Fig 26 – Bedroom Of Villa Muller

Fig 27 – Lina Loos Bedroom

Textile Mostly floral patterns typical of the English arts and crafts movement. In the karntner bar he imagined using green automobile leather for the seating. Used curtains to divide rooms. Lina Loos’s bedroom-The parquet floor was covered with a pale blue wall-towall carpet, above which a large angora rabbit fur rug lies. This rug occupied most of the floor and continued up over the bed.. The walls were completely covered to the door height by white curtains

Mirror Loos typically used the mirror as a method of extending space. This is most clearly seen in the karntner bar in Vienna, where the illusionistic clerestory helps to expand the upper volume of the space. Looshaus on the Michaele Platzwhere two mirrors located opposite each other in the entry foyer, reflect the occupant into infinity. Use mirror in different ways like security devices, ornamentation for eg. Knize shop 9_Adolf loos

Fig 28 – Mirrors in Kartner Bar

DE STIJL Fig J- Modern interior inspired by the de stijl movement

The de stijl or the neoplasticism movement was a Dutch art movement founded in 1917 in Leiden. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to vertical and horizontal, using only black, white and primary colors. The advocates of this movement namely, piet mondrian, Theo van doesburg, gerrit rietveld inspired many such iconic features in terms of art, design and architecture. In many of the group's three-dimensional works, vertical and horizontal lines are positioned in layers or planes that do not intersect, thereby allowing each element to exist independently and unobstructed by other elements. This feature can be found in the Rietveld Schröder House and the Red and Blue Chair.

. 93

Pioneers of de stijl The founder of this movement, Theo van Doesburg, first formed De Stijl on 1917, not as an art movement but as a Dutch fine art magazine, which later on become the name of the art movement that has become big influences in the design world. The other artists who constituted the original formation in 1917, under Van Doesburg’s leadership – the the painter Bart Van Der Leck, Georges Vantongerloo and Vilmos Huszar , the architect JJP.Oud and poet Anthony Kok.

Fig.1: theo van doesburg (1883 to1931)

The movement which was brought upon by Pablo Picasso and Georges Braque initiated a new class of art style which focused on three dimensional views rather than a flat projection, this new method challenged the previously dictated norms of how an art style should work, as this began to utilize pure geometric forms into a bigger narrative.

Fig-2-piet mondrian (1872 to1944)

Fig-3-Gerrit Rietveld (1888 to 1964)

Rietveld was born in Utrecht on 24 June 1888 as the son of a joiner. He left school at 11 to be apprenticed to his father and enrolled at night school before working as a draughtsman for C. J. Begeer, a jeweler in Utrecht, from 1906 to 1911.he designed his Red and Blue Chair in 1917 which has become an iconic piece of modern furniture. Hoping that much of his furniture would eventually be massproduced rather than handcrafted, Rietveld aimed for simplicity in construction. In 1918, he started his own furniture factory, and changed the chair's colours after becoming influenced by the De Stijl movement, 10_De Stijl

Timeline of the concept The landscapes mondrian began to paint of the surroundings of Amsterdam, mainly of the Gein River, show a pronounced rhythmic framework and lean more toward compositional structure than toward the traditional picturesque values of light and shade. This vision of harmony and rhythm, achieved through line and colour, would develop toward abstraction in later years, but during this period his painting still remained more or less within the traditional boundaries of contemporary Dutch art. in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of neoplasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue.,

Fig-4-Piet Mondrian, Evening; Red Tree

Fig-5-View from the Dunes with Beach and Piers,

Fig-6-Composition II

Fig-8-Composition No. 10

1939 10_De Stijl

Fig-7-Tableau I,

1908

1910

1921

1930

THE RED AND BLUE CHAIR The Red and Blue Chair is Rietveld’s most famous piece of furniture. The first design of this chair dates back to 1917. With this lounge chair, Rietveld reduced the traditional armchair to 13 squareprofiled battens, two armrests with a rectangular profile and two rectangular panels that form the seat and the back rest. As such, he stripped the traditional chair of its volume and emphasized functionality and purity.in form.

Fig-9- the red and blue chair

Fig-10- exploded view of the chair

Fig11 - Rietveld on his first version of the Red-Blue chair from 1917, photo Central Museum

Fig 12 - the original version

Rietveld added the colours red, blue, yellow and black around 1923 and removed the side panels. It was during this period that he was active at De Stijl, where he had previously published comparable colored interiors. Fig 13 - the modern version with cushions

Fig15 - orthographic view of the furniture

10_De Stijl

Fig14 - alternate colour version

Elling buffet cabinet The Elling buffet cabinet represents, together with the Red and Blue, the essence of the new spatial concept of neoplasticism. A key benchmark in the establishment of the Modern style, this sideboard, designed in 1919, was originally used in the model home designed by J.P Oud in Spangen, Rotterdam, and in various interior design projects, including the project for P.J Elling in Amsterdam. Fig16- the Elling buffet cabinet

The berlin chair

Fig 17- orthographic drawings of the furniture

In 1923 Gerrit Rietveld designed his iconic Berlin chair for the ‘Juryfreie Kunstschau’ in Berlin. In addition to the Red-Blue chair, this is one of Rietveld’s most famous chairs. In 1960 Rietveld designed two new versions of the chair for the boardroom of the Rijksacademie van Beeldende Kunsten in Amsterdam. In this second version, a cushion was used and one of the chairs (that of the chairman) was fitted with a higher backrest. Fig-9-The Berlin Chair

Fig18- exploded view of the furniture

Fig19- Elevations of the furniture 10_De Stijl

The zig zag chair Designed by Gerrit Thomas Rietveld in 1934 and quickly deemed a design icon, the Zig Zag chair is one of the first examples of a cantilevered solid wood chair, formed by four flat pieces of wood joined in rhythmic sequence to create an extremely sophisticated appearance of instability. In the early 1930s, Dutch department store Metz & Co. asked Gerrit Rietveld to do something unprecedented: design a chair for mass production. The architect agreed, proposing a Z-shaped perch made from four slices of sturdy elm supported by dovetail joints and metal screws. It was no standard seat, but to everyone’s surprise the armless, legless, cantilevered form—a mere sliver in profile— was simultaneously comfortable and sturdy.

Fig20 -the zig zag chair

Several decades later, artist Donald Judd placed five around a dining table at his New York place, 101 Spring Street, and two more at his Architecture Office in Marfa, Texas. In an arty advertising campaign, Karl Lagerfeld deemed it a favorite.

Fig21- A Zig-Zag punctuates Andrea Notaro and Serena D’Antuono’s Milan apartment.

Fig22-exploded view

10_De Stijl

Fig2 3- versions

The steltman chair Gerrit Rietveld designed his last chair for jeweller Steltman shop at the age of 75. With this design he once again proved his status as a pioneering designer. The chair owes its name to the The Hague jeweller and royal purveyor Steltman who commissioned Rietveld in 1963 to rebuild and furnish his shop at Noordeinde in The Hague.

Fig24 -steltman chair

The two mirrored chairs, placed in front of a showcase with jewellery, appealed directly to the imagination. From these chairs customers were able to select their jewellery and wedding rings. This way the chairs also acquired a symbolic meaning: two separate, opposite forms that together form a unity. The asymmetrical chair, which produces a surprising image from every angle, is made up entirely of lines and planes.

Fig 25 - drawings of the furniture

Fig 26- different versions 10_De Stijl

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101

BAUHAUS Fig K-Redefinition What Design Could Do for Society

severe but elegant geometric style carried out with great economy of means has been considered characteristic of the Bauhaus, though in fact the works produced were richly diverse. Hence, We have tried to incorporate all the famous designers, architects , artisans and many more who played a major role in the whole movement. Starting from the types of materials to use of furniture made by the materials of that era. Further , we have talked about one particular table which created a great impact on the movement and is still used world wide. With innovation and different styles the furniture is remodeled and sold. With furniture study , color theory by Josef Albers played a major role in the Bauhaus movement which brought the color palette for the era.

103

The evolution of an idea (1919 - 1932) Bauhaus, in full Staatliches Bauhaus, school of design, architecture, and applied arts existed in Germany from 1919 to 1933. A severe but elegant geometric style carried out with great economy of means has been considered characteristic of the Bauhaus The Bauhaus was founded by the architect Walter Gropius, who combined two schools, the Weimar Academy of Arts and the Weimar School of Arts and Crafts, into what he called the Bauhaus, or “house of building,” a name derived by inverting the German word Hausbau, “building of a house.”

Fig 1 – View of Nesting Tables

Fig 2 - The Bauhaus Building

These early designers were revolutionary in their experimental designs, which had a simplicity, harmonious geometry, and industrial-like practicality; the idea was that high design should be cheap enough to be utilized by the masses. Mass production was the aim, and the school's slogan and its core raison d'etre became Art into Industry. 104

The style had a tremendous impact on 20thcentury furniture design and beyond, as into the 21st century, its influence is still strong among contemporary architects and designers, not to mention the number of Bauhaus furniture reproductions that continue to be manufactured in many parts of the world.

11_The Bauhaus movement

Pioneers of bauhaus Under the leadership of Gropius, the Bauhaus movement made no special distinction between the applied and fine arts. Painting, typography, architecture, textile design, furniture-making, theater design, stained glass, woodworking, metalworking—these all found a place there. Fig 3:- Walter Gropius

Fig 4:-László Moholy-Nagy

Fig 7 – Work by Nagy

Fig 10:- Josef Albers

Fig 13 – Work by Albers

Fig 5:-Wassily Kandinsky

Fig 8 – Work by Kandinsky

Fig 11:-Paul Klee

Fig 14 – Work by Klee 11_The Bauhaus movement

Fig 6:- Oskar Schlemmer

Fig 9 – Work by Schlemmer

Fig12:- Mies Van Der Rohe

Fig 15 – Work by Van Der Rohe

105

Common Materials

Fig 16:- Walnut and maple veneers

Fig 17:- Ash veneers

Fig 18:- Black lacquer ash veneer Fig 19- Self illustrated –iconic furniture's of Bauhaus movement

He is best known for his iconic color square paintings, also know as his Homage to the Square series. These works, along with his writings, are considered invaluable contributions to

Josef albers

Principles 1. In 1949, he created an ongoing series of paintings titled Homage to the Square. The paintings were all of the same shape and size, which allowed him to explore the visual effects of color and space. He painted more than a thousand of them, each exploring color relationships. 106

Fig 20:- Josef alber explaining color theory

11_The Bauhaus movement

2. Each square included a series of nested squares of different colors, one inside of another and placed toward the bottom of the canvas. Some were variations of the same color -- for example, a series of darker and lighter yellows. Others were juxtapositions of dark and light colors, like light greens nestled in dark blues 3.It was the relationships and changes the colors caused to each other that Albers was exploring. He made careful notes about the colors he used, sometimes on the back of the painting. Although at first glance they may sound simple, each work was a sophisticated color exploration -- of contrasts in tone, of warm colors like reds and yellows, and cool colors like blues and black

Furnitures by Josef albers (1923 -1940 )

Fig 23:- Nesting Table Fig 24 :- Arm Chair

Fig25- Side Board, 1927

Fig 27- Mexican chair, 1940

Fig 26:- Double Armoire , 1927

Fig 28- Bedroom Stool,1927

Fig 21:- Colour Theory Experimentation Fig 29- Bed 1927

Fig 22:- Example of Colour Theory

4.To Albers, it was the interplay of color that was important. He wasn't interested in portraying something other than the relation of color in the painting. Or, to quote him: 'Abstraction is real, probably more real than nature.

Fig 30 - Office Desk,1927

11_The Bauhaus movement

Fig 31:- Tea Table.1928

Fig 32:- Writing Desk , 1927

107

Interaction of colors Interaction of color is an essential piece of visual literacy, exploring such fascinating subjects and phenomena as color recollection and visual memory, the relativity of color, transparence and space-illusion, temperature, and humidity in color and the afterimage effect

INFLUENCE BY ARTIST

A strong or dominant color will subtract itself from a smaller or less dominant color. in other words, looking at the square below, the Y-O on the intense orange background seems more yellow because the orange (the dominant color) has been subtracted” from it.

Suprematism

Futurism

Expressionism

Fig 34:- Complementary reaction or effect

Fig 35:- Light dark value Contrast

In the square on the left, the yellow green appears much more saturated.

Colors look lighter against a dark ground, and darker against a light ground.

Also, the yellow green appears more yellow than green . this is because the highly saturated purple background makes our eyes seek out of the compliment yellow.

The black / white contrast makes the different obvious ,but using grays values as backgrounds also yields different color perceptions.

Josef Albers

Pop Culture

Bauhaus

Color field painting

Constructivism

Geometric Abstraction

108 11_The Bauhaus movement

INFLUENCE ON ARTIST

Fig 33:- Subtraction

Details: Dimensions: light blue (S): 42 x 40 x 40 cm, Orange-red (M): 48 x 47,5 x 40 cm, Yellow (L): 54 x 55 x 40 cm, Turquoise (XL): 60 x 62,5 x 40 cm

Delicate looking yet sturdy, simple yet colorful, these tables stand the test of time Joinery detail

Colour: Different colours Dimensions: Height: 62.5 cm, Depth: 40 cm, Length: 60 cm

Glass

Weight: 15.9 kg For outdoor use: No Foldable: No

Lacquered Beech wood

Because of the different sizes, which are optimally adapted to each other, the Nesting Tables by Josef Albers can be stored spacesavingly one inside the other

Lacquered Oak wood

The friendly pastel colours give the Nesting Tables a positive charm and add cheerful colour accents to the otherwise plain tables

Turquoise(xl) 60cm x 62.5cm x 40cm

Yellow(l) 54cm x 55cm x 40cm

Orange red(m) 48cm x 47.5cm x 40cm

Light blue (s) 42cm x 40cm x 40cm

109 11_The Bauhaus movement

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111

MINIMALISM Fig L-Identify Essentials, Eliminate the rest

inimalism began as an art movement after

World War II and rose to prominence as a design aesthetic in the 1960s and 1970s. Ludwig Mies van der Rohe as being the first leader of minimalist design, and his basic, yet striking structures are constructed simply to maximize space and a feeling of openness.. His architectural style is referred to as minimalism and is regarded as one of the most sought-after genres of design even today. He gave us the famous concept of “less is more”, which has led to the most thoughtprovoking designs until date. He believed that clean and simple imagery depicts a design that is functional as well as reasonably accessible. In reference to 'minimalism', involves the use of simple design elements, without ornamentation or decoration. Proponents of minimalism believe that condensing the content and form of a design to its bare essentials, reveals the true 'essence of architecture'. 113

Mies

Mies van der rohe and significace of facts (1919 - 1932) FORM FOLLOWS FUNCTION

Timeline 1886

Mies was born in Germany

1924

First met Lily Reich at Deutscher Werkbund

1928-29 The Barcelona Pavillion

1929

Barcelona Chair

CLARITY & SIMPLICITY

TRANSPERENCY

SKIN AND BONES

1929

Barcelona Stool ottoman

1929

Barcelona Table

NEW MATERIALS

1930

Barcelona Couch

RADICAL & CONSERVATIVE

1969 LESS IS MORE

ORDER, SPACE & PROPORTIONS

Philosophy •He introduced steel and glass as design elements in his buildings •He created radical and conservative structures: radical because his constructions reflected scientific and technological character and conservative because they were based on the external laws of architecture- ‘ Order, Space and Proportions’. •Mies believed that elements should be designed with the least amount of fixed elements so as to be as flexible as possible and ready to adapt as their functional requirements 114 change over time. 12_Minimalism

The barcelona chair Date of first exhibition – 1929 – Barcelona Pavilion, Spain Designed by – Ludwig Meis Van der Rohe & Lily Reich Designed for – King Alfonso the 13th MEIS VAN DER ROHE

• •

Early works are neoclassical. Only made furniture when working with Reich

Collaborative Designs

MR Lounge Chair (1927)

LILY REICH

•

Trained under Josef Hoffman and was present during the design of the Kubus Chair. • Has only become acknowledged in Tughendhant Chair (1928) the past decade.

Figure 1. Collaborative design of Meis & Lily

Construction and details • The frame is made from • Upholstery straps are a single piece of either cowhide betting stainless steel or chrome leather. Sides are dyed in the style of a scissor to match specified chair with a low seating upholstery color. 17 height and the weight straps are used for being distributed to the cushion support. sides and 17 elastic • Frame is polished straps to support two chrome hand-ground cushions. and hand-buffed to a • Upholstered with 40 mirror finish. Figure 2. Barcelona Chair individual panels. they Upholstery straps are cut, hand-welted, attached with and hand-tufted with aluminum rivets. leather buttons produced from a single cowhide. Cushions are premium quality, highly resilient urethane foam with down-like Dacron polyester (fiberfill). Figure 3. Barcelona Chair Dimensions 115 12_Minimalism

Inspiration from history Egyptian seat

Serra curule

Weight distributed to the sides

Ivory colour used for original upholstery

Curved Chair Legs Chair back is the same dimensions

Low Seating

Figure 4. Barcelona Chair design inspiration from history

Inspiration from contemporaries Kubus chair

Lc4 – chaise lounge • Circular section in frame • Same materials • ‘Skin and Bones’ design

Grid layout for the upholstery

Waissily chair

• Tilted Seating • 2 materials • ‘Skin and Bones’ design 116

Figure 5. Barcelona Chair design inspiration from contemporaries 12_Minimalism

What were they exploring ? Traditional techniques

Modern materials

COMBINING THE OLD AND THE NEW

Figure 6. Explorations in Barcelona Chair

Movements that have influence on the chair • MODERNISM – Bent steel frame – Circle and square shapes present like contemporaries • ART DECO – It’s deliberately decorative – It’s expensive – Many elements are hand made and not factory produced • NEO- CLASSICAL – The frame is based on the serra curule and Egyptian seating – It was a throne made for a King

Figure 7. Barcelona Chair Set in Interiors

Figure 8. Barcelona Chair Illustration

117 12_Minimalism

Barcelona chair –(1929) All Barcelona Chair Circle Arcs The two large circles have the same radius as the side of the square. The small circle arc has a radius of one half the side of the square. The squares and circles are all in proportion to each other which yields particularly harmonious proportions. Barcelona Chair Side View The side view of the Barcelona Chair can be enclosed in a square and the side of the square is the key to the chair's proportions.

Barcelona Chair Seat Support The circle arc of the front seat support can be described by a circle arc. Similar to the chair back the circle arc has a radius of the side of the square that encloses the side view of the chair. Barcelona Chair Back The large curve of the chair back is made by a circle arc. The circle arc has a radius of the side of the square that encloses the side view of the chair.

Barcelona Back Leg Support The smaller curve of the chair back leg support is made by a circle arc. The circle arc has a radius of one half of the side of the square that encloses the side view of the chair.

118

Figure 9. Barcelona Chair Ratios 12_Minimalism

The barcelona stool /ottoman Ludwig Mies van der Rohe's Barcelona Chair and Stool (1929), originally created to furnish his German Pavilion at the International Exhibition in Barcelona, have come to epitomize modern design. Mies van der Rohe designed the chair to serve as seating for the king and queen of Spain, while the stool was intended to accommodate their attendants.

Figure 10. Barcelona Stool

Barcelona Stool •Height (in): 14.75 •Width (in): 25

Figure 11. Barcelona Stool Dimensions

Barcelona is of quality fit for royalty. The cushions – welting and buttons included – come from a single Spinney beck Volo cowhide and are supported by cowhide belting straps, dyed to match the color of the stool. To create the deep, precise tufting, individual panels of leather are cut, hand welted and hand tufted. The chromed-steel frame is hand buffed to mirror-like perfection. •

This table has chrome • steel legs, similar in design to the original Barcelona Chair. The translucent glass table top is made up of square panels, matching the leather patch work of the cushions of the Barcelona Chair

This design has • three ‘semi-circle’ legs. The curved legs are simpler than the Barcelona Chair. The curves are inspired by the ‘curves’ of the Barcelona chair.

The ellipse shape of the two main side legs are based on the original Barcelona Chair legs, sharing the same radius. The style still fits that of the Barcelona chair, as the circles and ellipses are manufactured from steel and have a chromed finish.

Figure 12. Barcelona Stool Ideation 12_Minimalism

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Barcelona day bed (1929 ) • It delivers Mies' theory : offering maximum comfort from a minimum of materials.

•

ACQUA LEATHER

VOLO LEATHER

• Created for the German Pavilion at the 1929 Barcelona Exposition, the Barcelona couch features the pure compositional structure that now epitomizes Modern architecture.

From the handbuffed frame to the individual leather squares carefully welted together, each

• Barcelona sofa is a tribute to traditional craftsmanship and meticulous attention to detail. •

Features an African ramin mahogany hardwood frame with protective, clear lacquer (colored wood finish) finish.

• The matching bolster > secured to cushion platform with straps > lock snaps > Couch contains 11 belting support straps over rubber webbing > premium quality, fireretardant, high resilient urethane foam with polyester fiberfill.

Figure 13. Barcelona Day Bed

•

72 individual panels are cut > hand-welted > hand-tufted with leather and buttons produced from a single cowhide (natural, unbleached skin and hair of a cow)

• Wood > characterized by a dark or reddish-brown color. • The legs are tubular steel in polished stainless steel finish.

Figure 14. Barcelona Day Bed

It gained widespread popularity in 1953, when architect Philp Johnson selected it for his apartment. 120 12_Minimalism

Barcelona day bed (1929) Simple

Elegance

Modern

Figure 15. Barcelona Day Bed Dimension

Figure 16. Barcelona Furniture in Interior Space

Knoll is the ONLY authorized and licensed manufacturer of the Barcelona Collection since 1953. The International Style and Florence Knolls involvement in the movement promoted bohemian interiors. The legacy left behind by the Barcelona The Barcelona Couch is a registered Chair is more about how the design is trademark of Knoll, Inc. Manufactured used in different settings. by Knoll according to the original and It has since appeared in film and television, and due to the bountiful exacting specifications of the designer. options of different upholstery it is seen in Made in U.S.A many contemporary de signs. $9,487.00 = 59,399,16 INR Mies van der Rohe's signature is stamped into the frame of each piece to guarantee authenticity.

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123

CROSS

HINTS : Please Refer the Glossary Section in the book. 124

WORD

NOTE : Scan the QR CODE given above to solve the crossword on your phone or laptop. 125

126

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G lossary

A Armoire Cupboard; simple, robust construction, decorated only with ornamental hinges Alabaster box Alabaster boxes were made of a rich marble-type stone Avant-garde Innovative or experimental concepts or works Aktemon A peasant with no property, no oxen or plough. Adobe a natural building material mixed from sand, clay, and straw, dung or other fibrous materials, which is shaped into bricks using frames and dried in the sun. It is similar to cob and mud brick. Acanthus The acanthus is one of the most common ornaments used to depict foliage.

B Byzantine mosaics Mosaics were more central to Byzantine culture than to that of Western Europe. Byzantine church interiors were generally covered with golden mosaics. Boulle metal and shell inlay works by Charles

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C Caryatids a stone carving of a draped female figure, used as a pillar to support the entablature of a Greek or Greek-style building. Cassone(in Italy) a large chest, especially one used to hold a bride's trousseau. Chest a large strong box, typically made of wood and used for storage or transport. Cowhide Cowhide is the natural, unbleached skin and hair of a cow. It retains the original coloring of the animal. Commodes/ tombeau able height storage units with drawers or shelves Credo a guiding belief or principle Cushion - something providing support or protection against impact. Curule denoting or relating to the authority exercised by the senior magistrates in ancient Rome

D Dacron polyester a hypoallergenic polyester that isn't absorbent, making it resistant to mildew, mold, and stains since it cannot retain water or other liquids. That's why Dacron is the preferred choice for household textiles.

Declination Angle formed between the naked of a wall and the inclined mutules of the Doric Order Desideratum something that is wanted or needed Decoupage the art of decorating an object by gluing colored paper cut outs onto it in combination with special paint effects, gold leaf, etc.

E Ebony heavy blackish or very dark brown timber from a mainly tropical tree. Eclecticism the practice of deriving ideas, style, or taste from a broad and diverse range of sources. Embellishments a decorative detail or feature added to something to make it more attractive. Egg-and-dart: is an ornamental device often carved in wood, stone, or plaster quarter-round ovule moldings, consisting of an eggshaped object alternating with an element shaped like an arrow, anchor or dart.

F Federal style “salon”: A reception room in a large house, which is basically a social gathering of eminent people (especially writers and artists) at the house of a women prominent in high society. Fringe the border or outer edges of an area or group.

Gargoyles a grotesque carved human or animal face or figure projecting from the gutter of a building, typically acting as a spout to carry water clear of a wall. Gothic revival an artistic style or movement of the 18th and 19th centuries inspired by and imitative of the gothic style especially in architecture. Grotesque comically or repulsively ugly or distorted. Gold highlighted cross hatching use of patterns with golden color. Grand scale the door, the pediment, pillars is represented in a large scale.

Grecian gross the legs of the chair are called Grecian cross style, which matches with the sofa. Gilded trimming a thing cover with gold leaf/paint on the surface of furniture. Girandole decorative candle holder

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Hand-buffed To polish or shine with a piece of soft material. To soften the surface of (leather) by raising a nap.

Lithography the process of printing from a flat surface treated so as to repel the ink except where it is required for printing.

Hand-tufted Hand tufted rugs (also called hand made) are produced by punching individual yarns through a fabric sheet using a device called a “tufting gun”.

LectusA bed is a piece of furniture which is used as a place to sleep and relax. Most modern beds consist of a soft, cushioned mattress on a bed frame, the mattress resting either on a solid base, often wood slats, or a sprung base.

I Inlays– ornament (an object) by embedding pieces of a different material in it, flush with its surface.

LacqueredIt is a protective coating consisting of a resin, cellulose ester, or both, dissolved in a volatile solvent, sometimes with pigment added and it provides the extremely intense gloss finish

Inlays patterns : Any decorative technique used to create an ornamental design, pattern, or scene by inserting or setting into a shallow or depressed ground or surface a material of a different color or type.

Iridescent showing luminous colors that seem to change when seen from different angles

J Juxtapositiontwo things being seen or placed close together with contrasting effect.

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Motif: A decorative image or design, especially a repeated one forming a pattern. Mural A mural is any piece of artwork painted or applied directly on a wall, ceiling or other permanent surfaces Marquetry inlaid work made from small pieces of colored wood or other materials, used for the decoration of furniture. Mahogany veneer Veneer, by definition, is a thin layer of quality wood applied to, or used to cover, another type of wood.

Neo gothic a style of art and architecture that originated in the 19th century, characterized by the revival of medieval Gothic forms.

Quatrefoil – an ornamental design of four lobes or leaves as used in architectural tracery, resembling a flower or four-leaf clover

Nesting fitting inside each other

O Ornate elaborately or highly decorated Oak Oak wood has a density of about 0.75 g/cm (0.43 oz/cu in) creating great strength and hardness. The wood is very resistant to insect and fungal attack because of its high tannin content Ormolu: gilded gold and bronze used as decorative detail on furniture

P Parquet floor floor covering that consists of small blocks of wood arranged in a pattern Preceding – Coming before something in order, position, or time.

R Renaissance – The revival of European art and literature under the influence of classical models in the 14th–16th centuries. Rustication Rustication is an architectural term that contrasts with ashlar, smoothly finished, squared block.

S Serra curule – the curule chair (sella curulis, supposedly from currus, "chariot") was the seat upon which magistrates holding imperium were entitled to sit. A curule seat is a design of a (usually) foldable and transportable chair noted for its uses in Ancient Rome and Europe through to the 20th century. Its status in early Rome as a symbol of political or military power carried over to other civilizations, as it was also used in this regard by kings in Europe, Napoleon, and others. Sinuous – having many curves and turns.

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Soft furnishings – They were majorly made with glazed cotton fabrics have been used for both upholstery and window treatments with pagoda-style pelmets. Armchairs and divans often had loose covers made from cheap ticking or striped linen to protect fabrics which were removed whenever they had special occasions. Sgabello – Sedile di piccole dimensioni, per lo più costituito da un piano sorretto da quattro gambe. Skin and bones architecture – "skin-and-bones" architecture for their emphasis on steel structure and glass enclosure. He believed that architecture should embody a continuous flow of space, blurring the lines between interior and exterior. Skyros marble Skyros Fantasy has a Blue/Gray background, emerald veining and some rare white lightings. It is a really resistant marble Stucco – Fine plaster used for coating wall surfaces or molding into architectural decorations. Sumptuous – Splendid and expensive-looking. Sycamore – Sycamore is a relative soft wood without distinctive growth rings. Board 1 is wide, perfectly clear, and is all sapwood, while Board 2 contains a light brown heartwood flanked by white sapwood.

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T TheosophyAny of a number of philosophies maintaining that a knowledge of God may be achieved through spiritual bliss, direct intuition Tiffany – a thin transparent fabric of silk, linen, or cotton. Trefoil – a plant with three-lobed leaves that is similar or related to the trefoil. Tufting – strengthen (upholstery) by passing a cluster of threads through the material, so making depressions at regular intervals. TurmoilA state of great disturbance

U Upholsterysoft, padded textile covering that is fixed to furniture such as armchairs and sofas. Upholstered – Covered with cloth and filled with a soft substance. OR Provide (furniture) with a soft, padded covering. Urethane foam – plastics created of bubbles that are continuous and completely spherical

V Veneer Veneer, by definition, is a thin layer of quality wood applied to, or used to cover, another type of wood. Vienna Secession The Vienna Secession is an art movement, closely related to Art Nouveau, that was formed in 1897 by a group of Austrian painters, graphic artists, sculptors and architects, including Josef Hoffman, Koloman Moser, Otto Wagner, and Gustav Klimt.

W Walnut wood – lumber cut from the trees of the Juglans genus. This wood has been popular in the creation of furniture for its strength, coloring and its ability to be shaped into elaborate curves. Wardrobes – Baroque architecture has been transformed to structures with curved fronts and was first used on wardrobes ,chest drawers. Warmer beiges – Beige is variously described as a pale sandy fawn color, a grayish tan, a light-grayish yellowish brown, or a pale to grayish yellow. Webbing – strong, closely woven fabric used for making items such as straps and belts, and for supporting the seats of upholstered chairs.

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Illustration L ist Ancient Egypt Era Figure 1. Tutankhamun tomb. n.d. 21 July 2021. <https://www.ancientsculpturegallery.com/civilization/egyptian/egyptian-statues.html>. Figure 2. Headrest platform. n.d. 21 July 2021. <https://fionadeal.com/2021/07/03/location-location-location/tutankhamun-funerary-bed-goddessmehet-weret/>. Figure 3. Egyptian chair. n.d. 21 July 2021. <https://br.pinterest.com/LoVEcrafT2046/_saved/>. Figure 4. Golden bed. n.d. 01 August 2021. <http://theotheregyptblog-roylesterpond.blogspot.com/2016/>. Figure 5. Furniture types. n.d. 21 July 2021. <https://www.subpng.com/free-png/ancient-egypt,5.html>. Figure 6. Royal stool. n.d. 01 August 2021. <https://www.slideshare.net/chiru26/history-of-egypt>. Figure 7. Household Stool. n.d. 01 August 2021. <https://www.slideshare.net/chiru26/history-of-egypt>. Figure 8. Household Stool. n.d. 01 August 2021. <https://www.slideshare.net/chiru26/history-of-egypt>. Figure 9. Revival chair. n.d. 01 August 2021. <https://in.pinterest.com/neerajlabomed/pottier-and-stymus/>. Figure 10. Organised Book shelf. n.d. 01 August 2021. <https://archive.architecturaldigest.com/article/1991/11/antiques-egyptian-revival-furniture--cosmopolitan-designs-inspired-by-ancient-motifs>. Figure 11. Stools classified as per social heirarchy. n.d. 21 July 2021. <https://in.pinterest.com/alghumlas/0-eyaptian-furniture/>. Figure 12. Stools classified as per social heirarchy. n.d. 21 July 2021. <http://www.touregypt.net/featurestories/furniture.htm>. Figure 13. Stools classified as per social heirarchy. n.d. 21 July 2021. <https://in.pinterest.com/pin/475903885601977862/>. Figure 14. Ancient Egyptian artifacts. n.d. 01 August 2021. <https://scholarworks.iu.edu/journals/index.php/sdh/article/view/23340/32547>. Figure 15. Chest/storage. n.d. 01 August 2021. <https://zohiinteriors.com.au/Bone-Inlay-Bedside-Table-with-2-Drawers-in-White/>.

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Figure 16. Tutankahamen Chair. n.d. 25 August 2021. <https://the-ancient-pharaohs.blogspot.com/2010/12/tutankhamuns-treasures.html>. Figure 17. Stool. n.d. 25 August 2021. <https://in.pinterest.com/pin/383931936980393041/>. Figure 18-24. Chest and box designs. n.d. 25 August 2021. <https://in.pinterest.com/osamafouadredwanalsaid/ancient-egypt/>. Figure 25-27. Bed. n.d. 30 July 2021. <https://www.quora.com/What-is-Bronze-Age-Why-is-it-important>. Figure 28-31. Headrests. n.d. 30 July 2021. <https://www.onlinedesignteacher.com/2016/02/furniture-design-history.html>. Figure 32-34. Egyptian working. n.d. 21 July 2021. <https://prezi.com/hkdi5lr3xxai/craftsman-in-ancient-egyptian-times/>. Figure 35. Egyptian chair. n.d. 30 July 2021. <https://www.pinterest.com.au/888mtroy/cleopatra-vii/>. Figure 36. cultural hierarchy. n.d. 30 July 2021. <https://www.sutori.com/story/history-midterm-interactive-timeline--1jiYjM14mWaSnCeancfnWFiz>. Figure 37-38. Symmetrical geometrical character. n.d. 30 July 2021. <https://in.pinterest.com/pin/AbzpEGZlk0X9OvaTqh3Bno0g5Af1iaJN8Px79aYTRUUX4BcZLNyVvjMleMkNPvbFBk-SFOGldaVYg-nbph3u1Q/>. Figure 39. Egyptian theme used in interior design. n.d. 25 August 2021. <https://in.pinterest.com/rodcin47/gold-and-grey/>.

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Illustrations L ist Medival Ages Fig 1 BYZANTINE INTERIOR. n.d.7 July 2021 . <http://historiadelmueble.blogspot.com/2010/11/capitulo-18-neomedievalismos.html?hcb=1&m=1>. Fig 2 Handmade table. n.d 7 July 2021. <https://szarka.typepad.com/sca/2007/07/trestle-table.html?hcb=1>. Fig 3 Byzantine chair. n.d.7 July 2021. <http://jfjm100.com/the-history-of-furniture-construction/furniture-of-the-middle-ages.html?hcb=1>. Fig 4 Chest. n.d 7 July 2021. <https://thomasguild.blogspot.com/2012/01/?hcb=1&m=1>. Fig 5 Bed. n.d.7 July 2021. <https://www.chennaiswings.com/maharaja-chairs-suppliers-manufacturers-dealers-traders-exporterschennai-tamilnadu-india/?hcb=1>. Fig 6 Local stool. n.d. 19 July 2021. <https://www.google.com/imgres?imgurl=http://mak.at/jart/prj3/makresp/images/cache/c15efa3cc87af7255e2e 933f7b5d3583/0xBCB18C35FA43A4C2B0E499552B368BB7.jpeg&imgrefurl=https://www.mak.at/en/permanent _collection_romanesque_gothic_renaissance&h=350&w=522&tbni> Fig 7 Royal chair. n.d. 7 August 2021. <https://classicprophire.com/collections/medieval-carved-oak-queens-throne-chair-detachableback/?hcb=1>. Fig 8 Decorative Table. n.d. 15 August 2021. <https://www.britannica.com/technology/furniture/Middle-Ages>. Fig 9 Babylonian chair. n.d.24 August 2021. < https://www.turbosquid.com/3d-models/babylon-chair-armchair-3ds/713958. > Fig 10 Revival Capital. n.d.26 August 2021. <https://www.haberler.com/fotogaleri/italyan-ressamin-cizdigi-fetih-oncesi-istanbul/?hcb=1>. Fig 11 Stools classified as per social heirarchy. n.d. 26 August 2021. <https://www.flickr.com/photos/mharrsch/211927723?hcb=1>. Fig 12 Stools classified as per social heirarchy. n.d. 26 August 2021. <https://www.flickr.com/photos/mharrsch/211927723?hcb=1>. Fig 13 Stools classified as per social heirarchy. n.d. 29 August 2021. <https://www.flickr.com/photos/mharrsch/211927723?hcb=1>. Fig 14- Byzantine artifacts. n.d. 14 July 2021. <https://www.google.com/imgres?imgurl=https://www.churchtimes.co.uk/media/5612176/p25_chair.jpg?width %3D1000&imgrefurl=https://www.churchtimes.co.uk/articles/2013/4-october/books-arts/book-reviews/chairstone-and-crown&h=1623&w=1000&tbnid=v7DVacHPiCYjMM&tb>.

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Fig 15- Chest/storage. n.d. 14 July 2021. <https://www.google.com/imgres?imgurl=http://www.viebahnfinearts.com/images/objekte/medium/1360stollentruhe-frontstollentruhe-westfalen-antique-medieval-Gothic-Chest-coffer-westphalia-oakiron.jpg&imgrefurl=https://www.viebahnfinearts.com/en/objekte/detai>. Fig 16 Royal Chair. n.d.19 July 2021. <https://www.google.com/imgres?imgurl=https://encryptedtbn2.gstatic.com/images?q%3Dtbn:ANd9GcR5OfKoh9wfSPZG2eu7vgzeQPvqcBIDzuqXX6Fsbse19rXuVHmW &imgrefurl=https://www.art.com/products/p30276946684-sa-i8902444/byzantine-school-chair-of-bishopmaximian.htm&h>. Fig 17 chest. n.d. 30 June 2021. <https://www.google.com/imgres?imgurl=https://encryptedtbn1.gstatic.com/images?q%3Dtbn:ANd9GcTkmjatcbfvuyEdG2ZNflIU_Q0c47t4neBcWKVs37g9xJjEcb_&imgrefurl=https://www.loveantiques.com/items/listings/16 th-century-oak-coffer-LA195164&h=331&w=500&tbnid=idnj8i>. Fig 18 local stool. n.d. 18 July1 2021. <https://www.google.com/imgres?imgurl=https://encryptedtbn1.gstatic.com/images?q%3Dtbn:ANd9GcTkmjatcbfvuyEdG2ZNflIU_Q0c47t4neBcWKVs37g9xJjEcb_&imgrefurl=https://www.loveantiques.com/items/listings/16 th-century-oak-coffer-LA195164&h=331&w=500&tbnid=idnj8i>. Fig 19 Bed. n.d.17 August 2021. <https://www.google.com/imgres?imgurl=https://cdn.planetadesign.com/7324303/stile_gotico_come_arredare_casa_33.jpg.webp&imgrefurl=https://sl.planetadesign.com/6638690-gothic-style-as-a-homedecor&h=600&w=600&tbnid=1RsS9PUyxDX26M&tbnh=225&tbnw=225&osm=1&h>. Fig 20 Royal stool. n.d. 7 August 2021. <https://www.google.com/imgres?imgurl=https://collectionapi.metmuseum.org/api/collection/v1/iiif/231978/4 60302/mainimage&imgrefurl=https://www.metmuseum.org/art/collection/search/231979&h=1103&w=1200&tbnid=kevtL W37aLt5hM&tbnh=215&tbnw=234&osm=1&hcb=1&sour>. Fig 21 Medieval working. n.d. 17 August 2021. <https://pin.it/1r3TESO>. Fig 22 Ivory. n.d.17 August 2021. <https://www.google.com/imgres?imgurl=https://collectionapi.metmuseum.org/api/collection/v1/iiif/464499/9 51169/mainimage&imgrefurl=https://www.metmuseum.org/art/collection/search/464499&h=1200&w=960&tbn id=MaPtwmfYwid5nM&tbnh=251&tbnw=201&osm=1&hcb=1&sourc>. Fig 23 cultural hierarchy. n.d. 25 July 2021. <https://redhistoria.com/breve-historia-del-imperio-bizantino-caracteristicas-y-organizacion/?hcb=1>. Fig 24 Use of arches and color aspects. n.d. 25 July 2021. <https://www.weinerelementary.org/neuschwanstein-castlegermany.html>. Fig 25 Byzantine theme used in interior design. n.d. 25 July 2021. <https://www.google.com/imgres?imgurl=http://www.turkeyculturaltour.com/resim/turkiye/buyuk/fcd575ac2a0 fab0dac77003e8ba01854.jpg&imgrefurl=http://www.turkeyculturaltour.com/tr/turkiye/67/cultural-heritages-ofturkey/traditional-arts-in-turkey.html&h=497&w=>.

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Illustration L ist Romanesque Fig 1 Leaning tower of Pisa. n.d. August 1 2021. <https://www.towerofpisa.org/>. Fig 2 Lion carved out of wood used as ornamentation of chairs. n.d. 11 August 2021. <https://www.youtube.com/watch?v=voHRoQ-DbPo&ab_channel=ArtHistory101>. Fig 3 Typical Middle/poor interior of house. n.d. 15 August 2021. <https://www.youtube.com/watch?v=voHRoQ-DbPo&ab_channel=ArtHistory101>. Fig 4 typical rich class house. n.d. 15 August 2021. <https://www.youtube.com/watch?v=voHRoQ-DbPo&ab_channel=ArtHistory101>. Fig 5 Folding chair Curule. n.d. 16 August 2021. <https://www.youtube.com/watch?v=Neuoreqam5E&ab_channel=ArtHistory101>. Fig 6 Throne for Bishop or for higher class. n.d. 30 July 2021. <https://www.youtube.com/watch?v=8wWz0aU2by0&ab_channel=ArtHistory101>. Fig 7 Ornament Chair Curule. n.d. 15 July 2021. https://thomasguild.blogspot.com/2011/12/medieval-folding-chairs.html>. Fig 8 Curule. n.d. 26 July 2021. <https://www.metmuseum.org/art/collection/search/249232>. Fig 9 Citizen bed, made of straws. n.d. 26 August 2021. <https://www.youtube.com/watch?v=ybFriKSEpE8&ab_channel=ArtHistory101>. Fig 10 Beds for the Rich/Higher class . n.d. 26 August 2021. <https://www.youtube.com/watch?v=ybFriKSEpE8&ab_channel=ArtHistory101>. Fig 11 Stools same as that of Egyptians and Greeks. n.d. 26 August 2021. <https://www.slideshare.net/azramaliha22/furniture-characteristics-of-historical-periods>. Fig 12 Abacus and Mensa Table . n.d. 30 August 021. <https://www.slideshare.net/azramaliha22/furniture-characteristics-of-historical-periodss>. Fig 13 Wooden chest. n.d. 30 August 2021. <https://www.slideshare.net/azramaliha22/furniture-characteristics-of-historical-periods>. Fig 14, 15,16 Dark and Solemn Interior of Church. n.d. 30 August 2021. <https://www.slideshare.net/alexwaktola/romanesque-churches>. Fig 17,18 Simple and bright exteriors. n.d. 30 August 2021. <https://www.slideshare.net/alexwaktola/romanesque-churchess>. Fig 19 Riven Lumbering. n.d. 30 August 2021. <https://www.englishwoodlandstimber.co.uk/products/hand-riven-laths/>.

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Illustration L ist Gothic Era Fig. 1 - Interior View of Dining-Room" (1876), illustration by Bruce James Talbert. n.d. 19 July 2021. <10 Gorgeous Gothic Furniture Set For Your Living Room - Decoratoo>. Fig. 2 - Abbot Suger. n.d. 23 July 2021. <Abbot Suger - Bing images>. Fig. 3 - William Burges. n.d. 23 July 2021. <William Burges - Bing images>. Fig. 4 - Augustus Pugin. n.d. 01 August 2021. <Augustus Pugin - Bing images>. Fig. 5 - trefoil. n.d. 07 August 2021. <trefoil gothic architecture - Bing images>. Fig. 6 - spires. n.d. 23 July 2021. <spires - Bing images>. Fig. 7 – pointed arch. n.d. 21 August 2021. <Pointed Arch Window - Bing images>. Fig. 8 – intricate organic forms. n.d. 16 July 2021. <Pointed Arches Drawing - Bing images>. Fig. 9 – wood carvings. n.d. 25 August 2021. <wood carving on gothic furniture - Bing images>. Fig. 10 – illustration of extravagant style of modern gothic furniture and decoration. n.d. 03 August 2021. <illustration of extravagant style of modern gothic furniture and decoration - Bing images>. Fig. 11 & 12 – 12th century gothic side chair. n.d. 30 July 2021. <Gothic Furniture 6 – storiestrending.com>. Fig. 13 & 14th century gothic high back chair. n.d. 14 August 2021. <Житлові інтер'єри та меблі Середніх віків (arshistorian.blogspot.com)>. Fig. 15 & 16th century gothic revival chair. n.d. 25 August 2021. <歐美家具史系列小故事（四）中世紀的家具—拜占庭、仿羅馬式和哥特式 @ milano5230人工智慧資料庫 :: 隨意窩 Xuite日誌>. Fig. 17 – Gothic canopy bed. n.d. 23 July 2021. <Gothic furniture making - Bing images>. Fig. 18 – Gothic Bed from Chippendale Drawings from 1753–54 in the Metropolitan Museum of Art. n.d. 12 August 2021. <Gothic Bed from Chippendale Drawings from 1753–54 in the Metropolitan Museum of Art - Bing images>. Fig. 19 – Wooden gothic chest, 15th Century, Carved oak wood. n.d. 27 August 2021. <Furniture, Gothic Revival armchair - Jun 23, 2009 | Jackson's International Auctioneers in IA (liveauctioneers.com)>.

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Fig. 20 – Late Gothic oak cabinet. n.d. 25 August 2021. <– Late Gothic oak cabinet - Bing images>. Fig. 21 – Modern Gothic cabinet: Daniel Pabst, 1877. n.d. 23 August 2021. <Modern Gothic cabinet: Daniel Pabst, 1877 - Bing images>. Fig. 22- oak wood. n.d. 25 July 2021. <oak wood - Bing images>. Fig. 23 - walnut wood. n.d. 11 August 2021. <walnut wood - Bing images>. Fig. 24 - cherry wood. n.d. 13 July 2021. <cherry wood - Bing images>. Fig. 25 - mahogany wood. n.d. 13 August 2021. <mahogany wood - Bing images>. Fig. 26-gothic fabric pattern. n.d. 30 July 2021. <gothic fabric pattern - Bing images>. Fig. 27-Colours used in gothic interior. n.d. 20 August 2021. <https://www.adobe.com/express/feature/design/color-palette>. Fig 28 – Gothic furniture making process. n.d. 25 August 2021. <gothic furniture making - Bing images>. Fig. 29 -- Burges's design for the Summer Smoking Room at Cardiff Castle. n.d. 26 July 2021. <Burges's design for the Summer Smoking Room at Cardiff Castle - Bing images>. Fig. 30 - excess use of stain glass in the interior. n.d. 19 July 2021. <excess use of stain glass in the interior in gothic - Bing images>.

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Illustration L ist Renaissance Era Fig.1- The Creation of Adam Painting. n.d. 23 July 2021. <http://www.italianrenaissance.org/category/high-renaissance/>. Fig.2- Michelangelo. n.d. 23 July 2021. <http://www.italianrenaissance.org/category/high-renaissance/>. Fig.3- Botticelli. n.d. 27 July 2021. <https://artisticjunkie.com/botticelli-paintings/>. Fig.4- Da Vinci. n.d. 2 August 2021. <https://www.businessinsider.in/home/11-predictions-from-leonardo-da-vinci-that-actually-cametrue/articleshow/69345431.cms>. Fig.5- Furniture Detai. n.d. 5 August 2021. <http://www.renaissance-spell.com/Images/Renaissance-Furniture/Renaissance-Furniture-Bed.jpg>. Fig.6- Sedia seating. n.d. 12 August 2021. <https://www.newel.com/product/italian-renaissance-walnut-arm-chair-7>. Fig.7- Dante chair. n.d. 27 June 2021. <https://www.newel.com/product/italian-renaissance-walnut-arm-chair-7>. Fig.8- Gargoyle sculpted in furniture. n.d. 25 June 2021. <https://www.ngv.vic.gov.au/essay/marriage-and-murder-two-wedding-chests-with-representations-ofjudith/>. Fig.9- Renaissance Cassone. n.d. 25 August 2021. <https://www.britannica.com/topic/art-market/The-Renaissance>. Fig.10- The Creation of Adam Painting. n.d. 17 August 2021. <https://artincontext.org/high-renaissance/>. Fig.11- Angle statue. n.d. 12 August 2021. <https://www.bigstockphoto.com/image-43260145/stock-photo-statue-of-an-angel-carrying-a-symbol-ofthe-passion-on-sant-angelo-bridge-rome-italy-angel-created-by-renaissance-artist%2C-bernini%2C-againstblue-sky>. Fig.12- Sculpted idols on Cabinet. n.d. 26 June 2021. < https://en.wikipedia.org/wiki/Italian_Renaissance_painting>. Fig.13- Angel sculpture. n.d. 13 June 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.14- Gargoyle on dressing Cabinet. n.d. 8 August 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>.

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Fig.15- Renaissance Cassapanca. n.d. 25 August 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.16- Renaissance Letto. n.d. 23 June 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.17- Dante chair. n.d. 30 June 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.18- Sgabello chair. n.d. 23 August 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.19- Savonarola chair. n.d. 27 June 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.20- Sedia chair. n.d. 25 August 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.21- Renaissance Credenza. n.d. 25 June 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.22- Sedia seating. n.d. 21 August 2021. <https://www.newel.com/product/italian-renaissance-walnut-arm-chair-7>. Fig.23- Dante chair. n.d. 23 June 2021. <https://www.newel.com/product/italian-renaissance-walnut-arm-chair-7>. Fig.24- Book of Cultural aspects. n.d. 25 August 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.25- Human. n.d. 24 June 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.26- Paintings on walls and ceiling. n.d. 18 June 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>. Fig.27- Influence of Furniture on Walls and ceiling. n.d. 25 August 2021. < https://www.metmuseum.org/toah/hd/dome/hd_dome.htm>.

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Illustration L ist Baroque Era Fig.1-Facade of the Hospice of San Fernando Slideshare on Baroque Era. n.d. 30 June 2021. <https://www.slideshare.net/AppyRocks/baroque-%20nrococo>. Fig.2-Caravagio Slideshare on Baroque Era. n.d. 30 June 2021. <https://www.slideshare.net/AppyRocks/baroque-%20nrococo>. Fig.3-Gian Bernini Slideshare on Baroque Era. n.d. 30 June 2021. <https://www.slideshare.net/AppyRocks/baroque-%20nrococo>. Fig.4-General characteristic Characteristics. 14 March 2011. 30 June 2021. <http://www.ejst.tuiasi.ro/Files/50/24_Liu%20et%2%200al.pdf>. Fig.5- Counter-Reformation Renaissance, Baroque and Rococco in France. 23 August 2012. 2 July 2021. <http://www.inseungpark.com/wp%20content/uploads/2017/02/8.renaissance-baroque-%20rococo-in-France.pdf>. Fig.6-Royal palace and garden at Versailles Crocket, Castillo, Narca, DLS-College of St. Benilde School of Architecture. ARCHINT: Baroque Period (Interior Design + Furniture Design). 20 June 2016. 2 July 2021. <https://www.slideshare.net/ArchiEducPH/archint-baroque-period-interior-design-furnituredesign>. Fig.7- Parts of Royal Chair Art History Influence on Modern Design: Baroque Style. 20 July 2010. 3 July 2021. <https://pixel77.com/modern-design-baroque-style/>. Fig.8- Louis XIV armchair Ansa. The Baroque Style Decor to Any Interior Design. 4 December 2017. 6 July 2021. <https://ansainteriors.com/baroque-style-decor-interior-design/>. Fig.9-Parisian commode Paris, 1760–65; in the Victoria and Albert Museum, London. Baroque (Rococo). n.d. 22 July 2021. <https://www.windermere.com/real-estate/design-styles/baroquerococo>. Fig.10-French commode Gilles Joubert The Baroque style. n.d. 28 July 2021. <https://www.vam.ac.uk/articles/the-baroque-style#vam_body>. Fig.11-Commode, from the bedchamber of Louis XV at Versailles Slideshare - Interiors of Baroque. n.d. 28 July 2021. <https://www.slideshare.net/SalwaShafiq1/interior%20of-baroque-61003702>. Fig.12-Complete color palette Ansa. The Baroque Style Decor to Any Interior Design. 4 December 2017. 6 July 2021. <https://ansainteriors.com/baroque-style-decor-interior-design/>.

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Illustration L ist Fig.13-Dark color palette Ansa. The Baroque Style Decor to Any Interior Design. 4 December 2017. 6 July 2021. <https://ansainteriors.com/baroque-style-decor-interior-design/>. Fig.14-Medium color palete Ansa. The Baroque Style Decor to Any Interior Design. 4 December 2017. 6 July 2021. <https://ansainteriors.com/baroque-style-decor-interior-design/>. Fig.15-Light color palette Ansa. The Baroque Style Decor to Any Interior Design. 4 December 2017. 6 July 2021. <https://ansainteriors.com/baroque-style-decor-interior-design/>. Fig.16-Landscape with a calm The Baroque style. n.d. 28 July 2021. <https://www.vam.ac.uk/articles/the-baroque-style#vam_body>. Fig.17- Baroque inspired graphics Baroque Graphics. n.d. 12 August 2021. <http://www.ejst.tuiasi.ro/Files/50/24_Liu%20et%2%200al.pdf>. Fig.18-Absolorn Roche Renaissance, Baroque and Rococco in France. 23 August 2012. 2 July 2021. <http://www.inseungpark.com/wp%20content/uploads/2017/02/8.renaissance-baroque-%20rococo-in-France.pdf>. Fig.19-Boule console commode 1701 Renaissance, Baroque and Rococco in France. 23 August 2012. 2 July 2021. <http://www.inseungpark.com/wp%20content/uploads/2017/02/8.renaissance-baroque-%20rococo-in-France.pdf>. Fig.20- Rhombus Renaissance, Baroque and Rococco in France. 23 August 2012. 2 July 2021. <http://www.inseungpark.com/wp%20content/uploads/2017/02/8.renaissance-baroque-%20rococo-in-France.pdf>. Fig.21 Florentine cassone The Baroque style. n.d. 28 July 2021. <https://www.vam.ac.uk/articles/the-baroque-style#vam_body>. Fig.22-Interior of Baroque house The Baroque Style Decor to Any Interior Design. 2017. Fig.23- interior of royal house The Baroque Style Decor to Any Interior Design. 2017. Fig.24- Interior of house, France The Baroque Style Decor to Any Interior Design. 2017. Fig.25- Interior of semi-Rococo house, Italy The Baroque Style Decor to Any Interior Design. 2017

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Illustration L ist Classical Fig.1 Robert adam: detailing work. n.d. 15 August 2021. <https://www.vam.ac.uk/articles/robert-adam-neoclassical-architect-and-designer>.

Fig.2 LOUVRE MUSEUM. n.d.30 June 2021. <https://graphicarts.princeton.edu/2016/04/05/a-view-of-the-capitol-in-1866/>.

Fig.3 U.S CAPITOL BUILDING. n.d. 29 July 2021. <https://graphicarts.princeton.edu/2016/04/05/a-view-of-the-capitol-in-1866/>.

Fig.4 MARBLE ARCH, 1883. n.d. 18 August 2021. <https://www.alamy.com/london-england-united-kingdom-marble-arch-built-in-1827-is-a-white-marbletriumphal-arch-at-the-northeast-corner-of-hyde-park-image224539694.html>.

Fig.5 American Georgian furniture. n.d. 29 July 2021. <https://in.pinterest.com/pin/262405115775007345/>.

Fig.6 Detail of a Gustavian Mirror. n.d. 29 July 2021. <https://www.google.com/imgres?imgrefurl=https://designergirlee.wordpress.com/page/5/&docid=CtT YESb03Y0pvM&tbnid=3mJNqeAJAa9ybM&itg=1&hcb=1>.

Fig.7 Detail of Louis XVI Dressing Table. n.d. 30 June 2021. <https://jakobmueller-antiquitaeten.com/en/produkt/18th-century-louis-xvi-neoclassical-marquetry-commode-orchest-of-drawers/>.

Fig.8,9,10,11 features. n.d.15 August 2021. <https://www.google.com/imgres?imgurl=https://encryptedtbn2.gstatic.com/images?q%3Dtbn:ANd9GcRHw1wFeOiVK9LAs2IgGPBnDJ_HckpW0GEJBMHpZAp BOiTdxl6q&imgrefurl=https://vos.olimpiada.ru/upload/files/Arhive_tasks/2018-19/school/amxk/ansamxk-9-sch-18-9.pdf&h=386&>.

Fig.12 Elliptical Giltwood Mirror. n.d. 30 June 2021. <https://in.pinterest.com/pin/635429828664281350/>.

Fig.13 Different kinds of sofa style. n.d.6 August 2021. <https://www.butchoff.com/objectdetails/771724/17435/antique-english-gilt-wood-mirror?hcb=1>.

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Fig.14 Tiger Maple Queen Anne High Chest. n.d. 6 August 2021. <https://www.eatlovesavor.com/decorative-motifs-english-neoclassical-style/amp/?hcb=1>.

Fig.15 Tiger Maple Queen Anne High Chest. n.d.22 July 2021. <https://www.lolofrenchantiques.com/19th-century-french-st-hubert-buffet-de-chasse-or-huntingvaisselier.html?hcb=1#/>.

Fig.16 American Colonial Desk. n.d. 15 August 2021. <https://collectionapi.metmuseum.org/api/collection/v1/iiif/206971/459436/main-image> Fig.17 The Death of General Wolfe (1770)By Benjamin West. National Gallery of Art, Ottowa. n.d. 1 August 2021. <https://www.google.com/imgres?imgrefurl=https://eclecticlight.co/2020/02/03/benjamin-west-andmodern-history-1/&docid=ylK8NG87ahVzSM&tbnid=CMdTtw8sfKAo_M&itg=1&hcb=1>.

Fig.18 Thomas Gainsborough, Mr. and Mrs. Robert. n.d. August 2021. <http://firstforlearning.com/medialibrary/images/features/articles/2019/12/03/key-periods-of-american-furniture/2-x-1-template-alt880.jpg?width=383&quality=70>.

Fig.19, 20,21 Color palette theme related to ancient history, building, cathedral. n.d. 6 August 2021. <https://in.pinterest.com/pin/377669118751094787/>.

Fig.22 A Parlour Loom. n.d. 8 August 2021. <https://en.m.wikipedia.org/wiki/Parlour>.

Fig.23,24-Detailing of interior walls, ceilings. n.d. 15 August 2021 . <https://slideplayer.com/slide/12791070/>.

Fig.25 French Neoclassical bedroom. n.d. 7 August 2021. <https://myportugalholiday.com/portugal-guides/mafra-portugal-guide.html?hcb=1>.

Fig.26-Federal Style Interior. n.d. 8 August 2021. <http://www.artemisantiques.com/?hcb=1>.

Fig.27 Metropolitan Museum Of Art. n.d. 22 July 2021. <https://masterworkhome.com/whoweare_history.html>.

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Illustration L ist Art Nouveau Fig.1 Art Nouveau Interior. n.d.23 July 2021. <https://www.thevintagenews.com/2017/06/17/beautiful-examples-of-art-nouveau-furniture-a-radicaldesign-change-in-its-time/>. Fig.2 Staircase Designed By Horta. n.d23 July 2021. < https://www.theartstory.org/movement/art-nouveau/history-and-concepts/>. Fig.3 Casa Battlo. n.d. 23 July 2021. <https://mymodernmet.com/art-nouveau-architecture/>. Fig.4 Casa Battlo Roof. n.d. 1 August 2021. <https://www.re-thinkingthefuture.com/architects-lounge/a909-15-examples-of-art-nouveau-inarchitecture/>. Fig.5 Stucco Moulding. n.d. 1 August 2021. <https://domstroycom.ru/materialy/lepnina-v-stile-modern.html>. Fig.6 Henry van de Velde. n.d. 23 July 2021. <https://simple.wikipedia.org/wiki/Henry_van_de_Velde>. Fig.7 Émile Gallé. n.d. 23 July 2021. <https://en.wikipedia.org/wiki/%C3%89mile_Gall%C3%A9>. Fig.8 Louis Majorelle. n.d. 23 July 2021. <https://www.pinterest.ca/pin/150307706289061413/>. Fig.9 Alphonse Maria Mucha . n.d. 23 July 2021. <https://artmap.com/arken/exhibition/alphonse-mucha-2018?print=do> Fig.10 Modern Chair. n.d. 30 June 2021. <https://www.pinterest.com/pin/246220304611615045/>. Fig.11 Desk Cabinet. n.d. 30 JUne 2021. <https://www.pinterest.com/pin/109986415879633762/>. Fig.12 Furnitures. n.d.30 June 2021. <https://www.pinterest.com/pin/474848354453898656/>. Fig.13 Door Knobs & Handles. n.d. 12 August 2021. <https://www.gettyimages.in/illustrations/door-knob>. Fig.14 Beds. n.d. 12 August 2021. <https://www.pinterest.com/pin/116952921545184847//>. Fig.15 Tables. n.d.12 August 2021. <https://www.incollect.com/listings/furniture/tables/louis-majorelle-louis-majorelle-french-art-nouveauorchid-table-174899>.

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Fig. 16 Art Nouveau Chair, 1900. n.d.12 August 2021. <https://www.furniturestyles.net/european/french/artnouveau.html>. Fig. 17 Art Nouveau Armchair, 1900. n.d.30 June 2021. <https://collections.vam.ac.uk/item/O49610/armchairmajorelle-louis/>. Fig. 18 Display Case, 1900. n.d. 12 August 2021. <https://www.dorotheum.com/en/l/122620/>. Fig. 19 Interior. n.d. 30 August 2021. <https://in.pinterest.com/pin/252905335305397454/?d=t&mt=login>. Fig. 20 Carpet. n.d. 12 August 2021. <https://rugratsva.com/contemporary-swirls.html>. Fig. 21 Colour Palette. n.d. 12 August 2021. <https://www.pinterest.com/pin/119486196343375524/>. Fig. 22 Leather. n.d.1 August 2021. <https://www.loveyourclothes.org.uk/guides/how-care-leather>. Fig. 23 Ivory. n.d. 1 August 2021. <https://www.theguardian.com/environment/2019/oct/13/uk-high-court-to-hear-challenge-to-total-banon-ivory-trading>. Fig. 24 Cabinet Influenced By Japanism. n.d.24 August 2021. <https://www.artisera.com/blogs/expressions/171386183-ornamental-yet-natural-the-art-nouveaumovement-a-magical-period-in-design>. Fig. 25 Stained Glass Windows. n.d.1 August 2021. <https://www.artisera.com/blogs/expressions/171386183ornamental-yet-natural-the-art-nouveau-movement-a-magical-period-in-designn>. Fig. 26 Walls In Art Nouveau Decor. n.d. 1 August 2021. <https://www.impressiveinteriordesign.com/art-nouveauinterior-design-style-decor-colors/>. Fig. 27 Art Nouveau Decor. n.d. 1 August 2021. <https://www.impressiveinteriordesign.com/art-nouveau-interior-design-style-decor-colors//>. Fig. 28 Use Of Flowing Lines. n.d.12 August 2021 <https://essenziale-hd.com/2013/02/17/art-nouveau-interior-design-get-the-style/>. Fig. 29 Stained Glass. n.d.12 August 2021. <https://essenziale-hd.com/2013/02/17/art-nouveau-interior-design-get-the-style//>. Fig. 30 Ceiling With Stucco Moulding. n.d. 24 August 2021. https://essenziale-hd.com/2013/02/17/art-nouveau-interior-design-get-the-style/ Fig. 31 Circular Staircase. n.d. 30 June 2021. <https://essenziale-hd.com/2013/02/17/art-nouveau-interior-design-get-the-style/>. Fig. 32 Art Nouveau Style In The Interior. n.d.24 August 2021. <https://laminat.spb.ru/articles>. Fig.33- 35 Sarah Bernhardt By Alphanso Mucha. n.d. 24 August 2021. <https://en.wikipedia.org/wiki/Art_Nouveau_posters_and_graphic_arts#/media/File:Sarah_Bernhardt_ Mucha_.jpg>

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Illustration L ist Adolf Loos Fig 1 – Goldman and Salatsch shop, 1989 Adolf Loos. n.d. 15 July 2021. <https://en.wikipedia.org/wiki/Adolf_Loos>. Fig 2 – Café Nihillsmus, 1999 n.d. 22 July 2021. <http://jirapatr7744.blogspot.com/>. Fig 3 – Karma Villa, 1902 Villa Muller, Prague | Adolf Loos. n.d. 2 August 2021. <http://architectuul.com/architecture/villa-muller>. Fig 4 – Karma Villa , 1907 Adolf Loos. n.d. 15 July 2021. <https://en.wikipedia.org/wiki/Adolf_Loos>. Fig 5 – Fig 11 Adolf Loos. n.d. 15 July 2021. <https://en.wikipedia.org/wiki/Adolf_Loos>. Fig 12 - Elephant Trunk table 1900 Wagner, Hoffmann, Loos and Viennese Modernist Furniture Design. 7 October 2018. 12 August 2021. <https://www.hofmobiliendepot.at/en/whats-on/exhibitions/wagner-hoffmann-loos-andviennese-modernist-furniture-design/>. Fig 13 - Langer’s suite, 1903 Villa Muller, Prague | Adolf Loos. n.d. 2 August 2021. <http://architectuul.com/architecture/villa-muller>. Fig 14 – Fig 20 ‘There is no modern furniture!’: Adolf Loos and the Viennese apartment of Jakob and Melanie Langer. 5 January 2013. 28 August 2021. <https://www.ngv.vic.gov.au/essay/there-is-no-modern-furniture-adolf-loosand-the-viennese-apartment-of-jakob-and-melanie-langer-2/>. Fig 21 – Fig 28 Adolf Loos (Austrian, 1870–1933) Artworks. n.d. 22 August 2021. <http://www.artnet.com/artists/adolfloos/3>. Fig 55 – Fig 63 Dorotheum.com | Adolf Loos Furniture. n.d. 25 August 2021. <https://www.dorotheum.com/de/l/5947900/>. Fig 64 – Fig 65 ‘There is no modern furniture!’: Adolf Loos and the Viennese apartment of Jakob and Melanie Langer. 5 January 2013. 28 August 2021. <https://www.ngv.vic.gov.au/essay/there-is-no-modern-furniture-adolf-loosand-the-viennese-apartment-of-jakob-and-melanie-langer-2/>. Fig 64 – Fig 65 Kärntner Bar. n.d. 28 August 2021. <https://www.urbipedia.org/hoja/K%C3%A4rntner_Bar>.

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Illustration L ist

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Illustration L ist Bauhaus Era Fig 1 – View of Nesting Tables Walter Gropius- Wikipedia. n.d. 25 August 2021. <https://images.app.goo.gl/GbUZtgW8M7KGpaT27, https://en.wikipedia.org/wiki/Walter_Gropius>. Fig 2 - The Bauhaus Building The Lost History of the Women of the Bauhaus. 22 May 2018. 7 August 2021. <https://www.archdaily.com/890807/the-lost-history-of-the-women-of-the-bauhaus>. FIG 3:- Walter Gropius Walter Gropius- Wikipedia. n.d. 25 August 2021. <https://images.app.goo.gl/GbUZtgW8M7KGpaT27, https://en.wikipedia.org/wiki/Walter_Gropius>. FIG 4:-László Moholy-Nagy Laszlo Moholy-Nagy - Prabook. n.d. 30 July 2021. <https://prabook.com/web/laszlo.moholynagy/1720308>. FIG 5:-Wassily Kandinsky Wassily Kandinsky - Wikipedia. n.d. 1 August 2021. <https://en.wikipedia.org/wiki/Wassily_Kandinsky>. FIG 6:- Oskar Schlemmer Wassily Kandinsky - His 101 works. 2008. 17 August 2021. <https://www.wassilykandinsky.net/>. Fig 7 – Work by Nagy "Wassily Kandinsky - To create a work of art is to create the world." 12 August 2019. 25 August 2021. <https://www.youtube.com/watch?v=D_46dNAXslY>. Fig 8 – Work by Kandinsky Wassily Kandinsky - WikiArt. n.d. 25 August 2021. <https://images.app.goo.gl/zcodNPZZbe1qDSDg7>. Fig 9 – Work by Schlemmer Oskar Schlemmer - WikiArt. n.d. 13 July 2021. <https://www.wikiart.org/en/oskar-schlemmer>. FIG 10:- Josef Albers n.d. 17 July 2021. <https://images.app.goo.gl/uDEdusen39VhTdj38>. FIG 11:-Paul Klee Oskar Schlemmer Artworks - The Art Story. n.d. 23 July 2021. <https://images.app.goo.gl/tSRUxXqsqfo7RPJi6>. FIG 12:- Mies Van Der Rohe Mies Van Der Rohe - Wikipedia. n.d. 21 July 2021. <https://images.app.goo.gl/iy7GLfCgrsKAoQ29A>.

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Illustration L ist Fig 13 – Work by Albers Artist: Joseph Albers | Daily Art Fair. n.d. 17 August 2021. <https://images.app.goo.gl/iy7GLfCgrsKAoQ29A>. Fig 14 – Work by Klee Joseph Albers - Wikipedia. n.d. 12 August 2021. <https://en.wikipedia.org/wiki/Joseph_Albers>. Fig 15 – Work by Van Der Rohe Mies Van Der Rohe - Wikipedia. n.d. 25 August 2021. <https://images.app.goo.gl/iy7GLfCgrsKAoQ29A>. FIG 16:- Walnut and maple veneers Paul Klee (1879–1940). n.d. 25 August 2021. <https://www.metmuseum.org/toah/hd/klee/hd_klee.htm>. FIG 17:- Ash veneers A Brief History of Bauhaus Master and Father of Abstraction Paul Klee. 25 April 2016. 7 July 2021. <https://images.app.goo.gl/3seg6wTKRA5iyXeU6>. FIG 18:- Black lacquer ash veneer Paul Klee Art Wooden Table “Castle and Sun’. n.d. 19 July 2021. <https://images.app.goo.gl/3seg6wTKRA5iyXeU6>. FIG 19- Self illustrated –iconic furniture's of Bauhaus movement Self- illustrated, 24 August 2021 FIG 20:- Josef Albers explaining color theory Albers, Joseph. Interaction of Color. n.d. 21 July 2021. <https://albersfoundation.org/teaching/josefalbers/interaction-of-color/publications/>. FIG 21:- Colour Theory Experimentation Mies van der Rohe Biography & Bibliography. n.d. 17 July 2021. <https://archeyes.com/architects/mies-vander-rohe-biography-bibliography/>. FIG 22:- Example of Colour Theory Mies van der Rohe Biography & Bibliography. n.d. 17 July 2021. <https://archeyes.com/architects/mies-vander-rohe-biography-bibliography/>. FIG 23:- Nesting Table Marcel Breuer. n.d. 21 July 2021. <https://www.britannica.com/biography/Marcel-Breuer>. FIG 24:- Side Board, 1927 4 November 2016. 25 August 2021. <https://www.youtube.com/watch?v=Z8VdhVJQm9U>. FIG 25:- Mexican chair, 1940 ITTEN, BREUER, ALBERS AND ARNDT, DIRECTORS OF THE BAUHAUS CARPENTRY WORKSHOP. 11 November 2019. 6 August 2021. <https://www.metalocus.es/en/news/ittenbreuer-albers-and-arndt-directors-bauhaus-carpentry-workshop>.

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Illustration L ist FIG 26:- Bedroom Stool,1927 Daimler Art Collection. n.d. 2021 August 2021. <https://www.google.com//art.daimler.com/media/Albers_NestingTables_1_4c1.jpg&imgrefu rl=https://art.daimler.com/en/artwork/nesting-tables-josef-albers-19261927 FIG 27:- Bed 1927 Final Joseph Albers Presentation - Slideshare. n.d. 18 August 2021. <https://images.app.goo.gl/VeKbjQ9miUwUzKeQ9>. FIG 28- Office Desk,1927 Weekly Reading | Irregular Expressions. 06 April 2018. 15 July 2021. <https://images.app.goo.gl/DTGaAPnYuMwwB6uKA>. Fig 29:- Tea Table 1928 Cocosse | Journal | Bahaus Furniture, Joseph Albers. n.d. 23 July 2021. <https://images.app.goo.gl/EVcUZheDGe6VXLbv5>. FIG 30:- Writing Desk , 1927 Saletnik, Jeffrey. “Bauhaus: Art as Life”. May 2012. 30 June 2021. <https://www.artforum.com/print/previews/201205/bauhaus-art-as-life-30897?hcb=1>. FIG 31:- Subtraction Saletnik, Jeffrey. “Bauhaus: Art as Life”. May 2012. 30 June 2021. <https://www.artforum.com/print/previews/201205/bauhaus-art-as-life-30897?hcb=1>. FIG 33:- Light dark value Contrast Saletnik, Jeffrey. “Bauhaus: Art as Life”. May 2012. 30 June 2021. <https://www.artforum.com/print/previews/201205/bauhaus-art-as-life-30897?hcb=1>.

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Illustration L ist Minimalism Figure 1. Collaborative design of Meis & Lily. n.d. 01 August 2021. <https://youtu.be/to_wsur2wbI>. Figure 2. Barcelona Chair. n.d. 17 July 2021. <https://www.knoll.com/knollnewsdetail/design-deconstructed-barcelona-chair>. Figure 3. Barcelona Chair Dimensions. n.d. 21 July 2021. <https://www.dimensions.com/element/barcelona-chair>. Figure 4. Barcelona Chair design inspiration from history. n.d. 01 August 2021. <https://youtu.be/to_wsur2wbI>. Figure 5. Barcelona Chair design inspiration from contemporaries. n.d. 01 August 2021. <https://youtu.be/to_wsur2wbI>. Figure 6. Explorations in Barcelona Chair. n.d. 01 August 2021. <https://youtu.be/to_wsur2wbI>. Figure 7. Barcelona Chair Set in Interiors. n.d. 25 August 2021. <https://www.ebay.co.uk/b/Barcelona-Sofa/38208/bn_7023471879>. Figure 8. Barcelona Chair Illustration. n.d. 25 August 2021. <https://dribbble.com/tags/barcelona_chair> . Figure 9. Barcelona Chair Ratios. n.d. 21 July 2021. <https://in.pinterest.com/pin/489062840755524534/>. Figure 10. Barcelona Stool. n.d. 17 July 2021. <https://www.muebledesign.com/en/collections/barcelona/711-6-1-ottoman-barcelona-alto-acabado>. Figure 11. Barcelona Stool Dimensions. n.d. 21 July 2021. <https://ideaing.com/product/mcm-barcelona-style-modern-pavilion-chair> . Figure 12. Barcelona Stool Ideation. n.d. 21 July 2021. <https://www.moma.org/collection/works/106366>. Figure 13. Barcelona Day Bed. n.d. 17 July 2021. <https://www.smow.com/knoll-international/bauhaus/barcelona-relax-day-bed-leather-bauhaus-green.html>. Figure 14. Barcelona Day Bed. n.d. 17 July 2021. <https://www.smow.com/knoll-international/bauhaus/barcelona-relax-day-bed-leather-bauhaus-green.html>. Figure 15. Barcelona Day Bed Dimension. n.d. 21 July 2021. <https://www.dimensions.com/element/barcelona-couch>. Figure 16. Barcelona Furniture in Interior Space. n.d. 25 August 2021. <https://filmandfurniture.com/2019/11/suits-tv-show-furniture-and-props-are-up-for-auction/>.

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MEET OU

We are a batch of 33 students, of 4th year architecture who have together worked on this book under the guidance of our mentors :Ar. Tanvi Patankar and Ar. Jyothi Kumari. 154

R TEAM

The book is a compilation of our works and researches done throughout the semester on "Furniture Design and its process by various architects of different eras" for the subject "College Projects". 155

Conclusion We wanted to give a proof that enjoyment positively influences the learning process, of various topics and increases the satisfaction of participants and can positively affect memorizing of information. In the experiment, we used the following teaching: 1)entertainment 2) an interesting topic 3) good topics for teaching. General results, obtained thanks to the experiment, confirm our assumptions: after funny meetings more people were satisfied with classes, more claimed to have learned something new about furniture which was a history in books, love to learn about various furniture’s in groups and hunt various questions with teachers about various facts, and more declared that they feel good at meetings. We also wanted to prove that relaxing and entertaining and amazing topics will allow students to remember more than the rigid and boring ones, and I general it is true. hence teaching and joy can bring positive experiences and outcomes. It can bring even enthusiasm, if there is feeling of challenge, cooperation, excitement and success.

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