DIANE RAE G.

TORIO ARC-5203
SPE 4

HISTORY OF INTERIOR DESIGN

STONE AGE - 6000 – 2000BC
The first evidence of interior design was found in prehistoric human dwellings. Although they focused on
practicalities they still took the time to decorate their dwellings with drawings, usually of plants, animals
or humans. Tribes of this era made huts from mud, animal skins and sticks.

EGYPTIAN - 2700 – 30BC

While the civilians of Egypt still lived in mud huts the royal families lived in the magnificent buildings they
are well known for. These buildings were decorated with murals which depicted their history and beliefs.
They had basic furniture as well as vases and sculptures to use in their homes.

NEOLITHIC EUROPE - 2000 - 1700BC

Handmade pottery for practical and decorative use, some of which items were decorated with paint.

GREEK - 1200 – 31BC

The improvements in civilization allowed for regular people to decorate their homes in their own style,
the wealthier of which had furniture containing silver and ivory. The Greeks also brought in rules for
construction of buildings which iconically contained impressive pillars.

ROMAN - 753BC – 480AD

This was the first real age where no royals could show their wealth through their homes alone. They
decorated with morals and mosaics as well as bespoke furniture. Typical Roman furniture had clawed feet
and soft furnishings.

BYZANTINE - 500 – 1500AD

During the Byzantine era grand domes and extravagant decorations became the norm.

DARK AGES - 900 - 1100AD

During the dark ages there was a demise of interior design which meant home interiors went down to
basic wood panelling, minimal furniture and stone slab floors.

GOTHIC - 1140 – 1400AD

Following the dark ages decorative ornaments and colours were brought into homes again. The Gothic
era is noted for its figurative decor and vertical focus as well as bringing the trend of open floor plans
and an emphasis on windows to increase light.

RENAISSANCE - 1400 – 1600AD

During the renaissance the beauty was the impact factor to design interiors. Grand paintings and
furniture, often with a lot of colour and expensive fabrics such as velvet, were used alongside marble
floors to create these beautiful spaces.

From 1508 - 1512AD Michelangelo worked on his famous paintings in the Sistine chapel. During this time
period carpets were a luxury, even too expensive for the rich to use on the floor. They were used to cover
walls. Floors were instead covered with reeds topped in sweet smelling herbs.
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BAROQUE - 1590 – 1725AD

Flamboyance, grandeur and artistic excess were the focus of this era. The use of stained glass, columns
with twists, marble with colour, mirrors, chandeliers and painted ceilings were all used and sought-after.

The first note of architects also working as interior designers was in ancient India around 1600AD.

ROCOCO STYLE - 1700AD

A very elegant style utilising flower based design work and the use of different materials such as
tortoise shell and pearls on furniture. They also included Asian porcelain in their home decor.

TRADITIONAL - 1700AD – Now

The traditional Europe and American design was very prevalent from 1700 to 1800AD, although it is still
popular now amongst certain classes. It was embodied by a very formal feel.

During the 1700’s interior design was brought to the middle classes, not just because of the industrial
revolution but also due to the increase in education and trade. While the lower classes still lived in
functional dwellings the middle classes took advantage of the lower cost of rugs and wallpapers, as well
as showing off pianos, upholstered furniture and books to prove their wealth and culture.

INDUSTRIAL REVOLUTION - 1760 – 1820AD

During the industrial revolution interior design was opened to a wider audience and was more accessible
to the general population. This is because the luxury items of the past became more affordable and
printed media started to become prevalent, featuring fashion and design.

NEOCLASSICAL STYLE - 1780 – 1880AD

Inspiration was from the ancient cultures of Greece and Rome. This could be seen in the architecture of
the time but also in the furniture which heavily used metals such as bronze and fabrics such as velvet,
satin and silk.

TROPICAL - 1800s – Now

As the British empire grew into countries such as India and the West Indies they created homes with
influence of both the home country and their own. This style was traditional but with the exoticism of the
tropics.

During the 1800s mass production enabled even more people to focus the function of their home around
style and design. Wallpaper was no longer a luxury, just for the elite and middle classes, and flock and
velvet wallpapers were introduced. The trend of furniture created to match the wallpaper also began.

AESTHETIC MOVEMENT - 1800s

The movement was seen as a way for reformers to show their defiance to current design. The focus was
for decoration to have purpose before it had beauty, ‘Art for art’s sake’ slogan was used to symbolise this.

VICTORIAN - 1837 – 1901AD

Ornaments were the focal point of a room with all surfaces filled with objects the owner had collected.
The colour choices of walls followed a strict code depending on room type and always used colours which
were placed beside or exactly opposite on the colour wheel. Crystal Palace was built and set the standard
for modern architecture.
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TUSCAN - 1840s – Now

Influenced by the calm and nature of Tuscany in Italy the focus was very much of simplicity and elegance
but with a touch of the luxurious.

ARTS & CRAFTS - 1860 – 1910AD

As a movement to oppose industrialism people turned to traditional crafts to produce items of furniture
and decoration.

RUSTIC - 1870s – Now

Handcrafted furniture and large open rooms were the feature of this style. Wooden beams and columns
originally allowed rooms to be open and airy and are still sought-after features today.

ART NOUVEAU - 1890 - 1910AD

Attempted to blend interiors with exterior natural elements and therefore much design took the form of
curved lines and was inspired by plant life and flowers.

ASIAN - 1900s – Now

Known for its minimalist look the Asian style featured the use of natural materials and furniture such as
mats, futons and screens. While the Chinese ornaments were deep in design and colour, the Japanese
were very basic and focused on function.

ECLECTIC - 1900s – Now

The eclectic style forced a rise in the interior design trade as it created a need for people with an
understanding of differing styles and interior design history. The lavish interiors created for the well-off
increased demand for the style into the middle and lower classes.

COLONIAL REVIVAL - 1905 – Now

In the USA they took inspiration from historical styles of the Neoclassical and Georgian eras. Spurred by
the Centennial Exhibition which showcased their colonial history the movement gathered pace with the
arrival of the automobile which allowed people to visit historical sites with great ease. It was by far the
most popular style of the time in the USA, especially through the years of WW1 and WW2.

MODERN - 1918 – 1950

Moving away from the typically ornate and somewhat cluttered home the modern style was focused on
under-furnished spaces and bold primary colours. Materials such as plastic, steel and laminate were
heavily used. Flooring would blend from one room to another, as would the walls which were usually left
bare or painted white.

COUNTRY - 1920s – 1970s

Inspired by farmhouses the style was very practical but with quality, somewhat vintage, furnishings.

MEDITERRANEAN - 1920s – Now

Textures such as plastered walls, terracotta and stone are used to recreate the feel of costal European
countries. Wrought iron, patterned tiles and aqua colours are used to give an extra element of style.
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ART DECO - 1920s – 1960s

Art Deco is one of the most well-known interior design styles and stood for modernity as well as elegance
and glamour. It is noted for clean lines, bold colour, angular shapes and stylized patterns such as zig-zags.
Lavish ornaments were also used to give an extra sense of glamour.

MID-CENTURY MODERN - 1930s

The aim was to bring the outdoors in and therefore big windows and open planned rooms were utilised.
The style was relatively simple.

TRANSITIONAL - 1950s – Now

This style is seen as classic with a modern take. The aim is to be timeless by blending the old with the new.
Not as minimal and basic in design as contemporary but with decoration focused on simplicity. Traditional
elements are kept in the design and furniture with ornate elements.

CONTEMPORARY - 1980s – Now

With neutral colors, furniture in basic materials such as wood and stainless steel and a minimal amount
of ornaments the aim is for a clean and uncluttered feel. Bright colours are sometimes used to contrast
against the all-round neutral feel.
In the 1990s TV shows focused on home make overs and redesigns again took the interest of interior design
to new heights.

HISTORY OF INTERIOR DESIGN IN THE PHILIPPINES

 The Post-War Period (1946-1963)
Reconstruction and the Establishment of Interior Design in the Philippines
o After the devastation of World War II, urgent reconstruction of destroyed or damaged buildings
and their interiors were jumpstarted, primarily through American government aid to the newly-
established Philippine government, and private investment from locals and foreigners based in
the country.
o Interior Design as a discipline was still firmly under the field of Architecture, with architects
designing the interiors of their own building projects.
o Among the more prominent practitioners of the early post-war years was Ernest Korneld, an
Austrian- Jewish architect and longtime Manila resident who designed the reconstructed Jewish
synagogue in Manila, Temple Emil, in a restrained modernist style in 1947.
o Prominent Filipinos who were assiduous art collectors also practiced interior design, primarily by
influencing others to follow the designed interiors of their homes, as was the case of Arturo de
Santos and Luis Ma. Araneta.
o Since Interior Design was not yet a regulated profession at the time, anybody who provided
furniture and lighting, collected and hung art on walls, or did the curtains, upholstery, and carpets
were considered “interior decorators,” even if they didn’t have the proper education or training.
o This would escalate throughout the late-1940s to 1950s, as the pace of reconstruction increased,
and demands for interiors, primarily of the new middle-class housing (primarily the split-level
“bungalow”, as well as the apartment-rowhouse), as well as the upper-class “ranch house”
soared.
o Foreigners like Phyllis Harvey and Audrey Guersey, who were primarily involved in furniture
manufacturing, had a flourishing business in interior design throughout the Fifties and Sixties.
o The advent of a professional Filipino interior design practice would emerge by the early- mid
1950s, primarily as a result of several Architecture graduates of the University of Santo Tomas
(UST), then under the directorship of National Artist for Visual Arts Victorio Edades, pursuing
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either more advanced Interior Design studies in the United States. These included Wilfredo “Wili”
Fernandez, Leticia “Leti” Sablan Limpo, Belen Sablan Morey, Edith Oliveros, and Mercedes
“Ched” Berenguer Topacio.
o University of Sto. Tomas would also be the first Philippine school to introduce Interior Design as
a Fine Arts major starting in 1954, its first teachers being Ched Berenguer Topacio, Leticia Sablan
Limpo, Belen Sablan Morey and Sonia Santiago Olivares.
o The Interior Design profession became more specialized through the return of Filipino architect-
teachers who were trained in interior design abroad; and the emergence of locally- trained
Filipino architects who exclusively designed their own interior projects, and sourced material via
local suppliers.
o These efforts were the result of the expansion of the post-war building boom from reconstruction
in central Manila and Pasay to the spread of new suburban projects, especially in upscale
residential “villages” in Makati (Forbes Park, San Lorenzo Village, Dasmariñas and Bel-Air Village),
San Juan (Green Hills), and Quezon City (Santo Domingo, White Plains, and La Vista) by the mid-
late-1950s.
o However, with the rapid expansion of the middle-class housing and office construction industry
by the early 1960s, the need for professional regulation was felt to elevate Interior Design to a
respectable and nobler field in the Allied Arts.
o The idea of establishing a professional organization of interior designers was agreed upon by a
group and greed on the name: Philippine Institute of Interior Design (PIID), Inc., whose Articles
of Incorporation was certified by the SEC on September 30, with License Number 25860.
o With the advent of the New Society under President Ferdinand Marcos in 1973, the initiative of
interior design fell to the government, which under First Lady Imelda Romualdez Marcos
reorganized the cultural sphere via state-sponsored institutions like the Design Center of the
Philippines (DCP), and the Cultural Center of the Philippines (CCP).
o The 1970s was initially characterized with hard-edged forms and bright colors associated with
industrial design and High Modernism, which would be juxtaposed with Pop Art elements. In the
late-1970s, the use of softer, organic forms, the reemergence of Neo-Vernacularism, the Ilustrado
Style, and the dominance of Tropical Modernism (particularly the introduction of rattan furniture
in interiors) would typify Filipino Interior Design.
o In the 1980s, capital flight and political uncertainty following the 1983 Ninoy Aquino assassination
would force homeowners to build smaller homes, like the townhouse and multi- level
apartment/condominium unit. Postmodernism and futurist dystopias were the new dominant
styles, with the return of classical motifs on modern spaces using synthetic materials; or the use
of high technological designs inspired by films like Star Wars, Terminator, or Blade 8 Runner.
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BASIC INTERIOR DESIGN DECORATING PRINCIPLES

 REPETITION
Repeating elements such as color, shape or texture can help to unify a space and create a
consistent visual experience.
 BALANCE
The definition of balance is ‘the even distribution of weight leading to steadiness or evenness’. A
balanced design does exactly that; it creates equality and symmetry that the eye loves. But as with
most of these principles, if applied too rigidly it can become boring. Enhance your balance with other
aspects of design to make it a little less formal.
 HARMONY
This principle is used to put a person at ease within their environment and create unity, thereby
eliminating any feelings of disquiet. Harmony, in a sense, provides the ‘full stop’ to any interior design
– when harmony is in effect, the space should feel complete because all its parts relate to, and
complement, each other. This feeling is the result of balance, scale, proportion and repetition all being
used in the right amounts. Harmony is the measure by which we judge whether a space works or not.
 SCALE
Scale refers to the relationship between two or more objects. Scale is key in architecture and
interior design as these disciplines work with several standardised measurements such as bench
heights, hallway widths and chair sizes. Offsetting these standard-sized elements with other elements
in differing sizes and heights can create some really fun visual interest in a space.
 PROPORTION
Proportion usually goes hand in hand with scale, but is subtly different. Where scale describes the
comparison of objects to one another, proportion is more about the way furniture and objects look
in a space, as well as in relation to one another. Getting proportion right is tricky and is quite often
chalked up to someone having an ‘eye for design’ that results in a feeling of comfort and harmony.
 CONTRAST
Contrast refers to how different elements are in a design, particularly adjacent elements. These
differences make various elements stand out. Contrast is also a very important aspect of
creating accessible designs. Insufficient contrast can make text content in particular very difficult to
read, especially for people with visual impairments.
 EMPHASIS
Emphasis deals with the parts of a design that are meant to stand out. In most cases, this means
the most important information the design is meant to convey.
 HIERARCHY
Proportion is one of the easier design principles to understand. Simply put, it’s the size of
elements in relation to one another. Proportion signals what’s important in a design and what isn’t.
Larger elements are more important, smaller elements less. It refers to the importance of elements
within a design. The most important elements (or content) should appear to be the most important.
 RHYTHM
The spaces between repeating elements can cause a sense of rhythm to form, similar to the way
the space between notes in a musical composition create a rhythm.
 WHITE SPACE
White space—also referred to as “negative space”— is the areas of a design that do not include
any design elements. The space is, effectively, empty.
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 MOVEMENT
Movement refers to the way the eye travels over a design. The most important element should
lead to the next most important and so on. This is done through positioning (the eye naturally falls on
certain areas of a design first), emphasis, and other design elements already mentioned.
 VARIETY
Variety in design is used to create visual interest. Without variety, a design can very quickly
become monotonous, causing the user to lose interest.
 UNITY
Unity refers to how well the elements of a design work together. Visual elements should have
clear relationships with each other in a design. Unity also helps ensure concepts are being
communicated in a clear, cohesive fashion. Designs with good unity also appear to be more organized
and of higher quality and authority than designs with poor unity.