The LOUIS XV style...

1715 - 1774 In the decorative arts, the Rococo style that is characterized by the superior craftsmanship of 18th-century cabinetmaking in France. The artists of this style produced exquisite Rococo decor for the enormous number of homes owned by royalty and nobility during the reign of Louis XV. Emphasis was laid on the ensemble, so that painters and sculptors were a part of the decorative arts. Some of the famous names connected with the finest in Louis XV Rococo style are those of the painter Franois Boucher; the sculptor, painter, and decorator Jean-Louis-Ernest Meissonier; the German craftsman J.-F. Oeben, whose intricate floral marquetry and ingenious mechanical specialities are extraordinary; and Pierre Migeon, a favourite of Mme de Pompadour. The full range of richness in decorative techniques is represented in this period-superb carving, ornamentation in all sorts of metal, all types of inlaid work in woods, metal, mother-ofpearl, and ivory, as well as the pinnacle of achievement in lacquered chinoiserie. It was the fashion to have at least two complete sets of furniture, for summer and winter, for each home. The furniture combines usefulness with elegance. Chairs have curved legs, floral decorations, and comfortably padded seats and backs, yet sacrifice nothing in design. In addition to nature and Orientalia, fantasy played a large part in motifs, with curious animals and exotic landscapes adorning all surfaces. Rare woods such as tulip, lemon tree, violet, and king woods were used for sumptuous effects, and richly veined and tinted marbles were also imported. The art of polishing reached its peak in this period, even rivalling objects from the Far East. At its most extreme the Rococo mode became deliberately asymmetrical, although contriving always to maintain a harmonious balance within the larger scheme of decor. Louis XVI Style The Louis XVI style (called the neo-classical style in England) had replaced the rococo style by the late 1750s. The word neo-classical is a combination of the prefix neo, which means new, and the word classical. Neo-classical design thus reflected a renewed interest in the furniture motifs of ancient Greece and Rome. Neo-classical designers gradually eliminated the numerous curves of the rococo style in favour of the straight outlines of classical furniture. In place of elaborate rococo decorations, neo-classical artisans used thin pieces of plain wood arranged in geometric designs. Much neo-classical furniture was inspired by classical motifs that were discovered in the mid-1700s by archaeologists in two ancient Roman cities, Pompeii and Herculaneum. The cities had been buried by an eruption of the volcano Mount Vesuvius in AD 79. French architects designed many neo-classical buildings. The first example of neo-classicism in court circles was the Pavilion de Louveciennes by Denise Ledoux which was built for Madam du Barry in 1771. For the first time chairs with horseshoe-shaped backs were displayed. One of the most famous French neoclassical buildings is the Pantheon (about 1757-1790) in Paris which was designed by Jacques Soufflot. Victorian Victorian interiors focus on the elaborate, which was more than apparent when I toured three Victorian homes in Wheeling, WV. Typically when people think of Victorians they immediately focus on images of the grand exteriors of Victorian homes, but during my trip to Wheeling I found that the Victorian interiors were, in a way, far more impressive. Don't get me wrong, the exterior facades of the Hess house, John List house and Eckhart house - the three homes I toured - were beautiful, but it was the intricate patterns, grand staircases and beautiful glass on the Victorian interiors that truly captivated me. While walking through the homes, I couldn't help but wonder why the exteriors lacked the opulence the interiors possessed, but the owner of the Eckhart house, Joe Figaretti, was quick to explain. "What they tried to do was make the interior of their homes beautiful because on the exterior of course

during the industrial revolution [the Victorians] burnt a lot of coal and created a lot of soot," Figaretti said. "So the outsides of the houses were somewhat darkened by the dirt." The Victorians viewed the interiors of their homes as an escape from the filth outside, and as Figaretti put it, "They wanted [the interiors of their homes] to be the beautiful part of their life." But don't think the industrial revolution put a damper on the Victorians' otherwise ornate homes; it is what made the opulent interiors possible. Through the industrial revolution, the Victorians were able to manufacture goods quicker and cheaper with machines, which meant more people could afford possessions adorned with details and decorations. In addition, the industrial revolution gave the Victorians the money to spend. "Wealth was being created in this country at an enormous rate, so we had a little bit of showing off to do," Figaretti said. "They had no income tax to pay, so they could spend that money on these amenities these things around them." As the industrial revolution progressed, elaborate goods became easier to manufacture. People rushed to incorporate those new goods into their homes, and as a result Victorian interiors became more decorative as the era moved on.

Islamic The intricate decorative work that characterises Islamic art, from Africa across Europe to Asia, combines flowing lines with precision draughtsmanship and craftsmanship. Friezes in Arabic calligraphy that celebrate verses from the Quran, or flower patterns and other motifs, form rich designs that offset the more rigid geometry of the floor plan. Every surface of the built environment invited decoration of some kind. One of the marvels of the HispanoMoorish style is that attention to detail was applied with equal dedication and skilful effect to both small domestic dwellings and large town buildings. Precision design and highly developed craftsmanship characterise many Moroccan arts and crafts, amongst them ceramic tiles made to adorn every surface: floors, walls, and ceilings, indoors and outdoors. Here again is mathematical skill, used to generate intricate and meticulously symmetrical geometric patterns. The patterns appear also in wood carving, with extraordinary workmanship displayed in the ornamentation of architectural wonders like Marrakechs Bahia Palace. In the ceramic tiles, known as zellige, we can glimpse some of the glorious colour that would have struck Matisse a century ago and that now strikes a chord with contemporary designers. Colour, glowing bright or warm and earthy, is a crucial dimension of the charm of Moroccan style. It is not something added on to Moroccan architecture, but integral to it. Interior walls are traditionally painted using natural earth pigments. Iron, cobalt and other minerals endow the paints with deep and subtle colour: red, orange, yellow and blue. Rugs in complementary bright, yet earthy, colours add richness and texture to floors. Warm indigenous woods, like cedar wood, frame the doors and alcoves. Forget the dull, rectangular doors that were accustomed to: Moroccan doors are finely sculpted or ornamented with ornate metalwork forged by master craftsmen. Great care and fine detailing was often lavished on the front door, which fitted snugly into a horseshoe-shaped arch. These doors too might feature the traditional repeating patterns that adorn the mosques, schools and domestic interiors. Moroccan handmade lamps, in stained glass or in metal and leather, are renowned world-wide amongst designers and those in the know about cutting edge trends in interior dcor and international style trends.

Feng shui Feng shui (/fwe/ ( listen) fung-SHWAY,[1] formerly /fu.i/ FUNG-shoo-ee;[2] Chinese: , pronounced [fwi]) (or Fung shui) is an ancient Chinese system of aesthetics believed to use the laws of both Heaven (astronomy) and Earth (geography) to help one improve life by receiving positive qi.[3] The original designation for the discipline is Kan Yu (simplified Chinese: ; traditional Chinese: ; pinyin: kny; literally: Tao of heaven and earth).[4] The term feng shui literally translates as "wind-water" in English. This is a cultural shorthand taken from the following passage of theZangshu (Book of Burial) by Guo Pu of the Jin Dynasty:[5] Qi rides the wind and scatters, but is retained when encountering water.[5] Historically, feng shui was widely used to orient buildingsoften spiritually significant structures such as tombs, but also dwellings and other structuresin an auspicious manner. Depending on the particular style of feng shui being used, an auspicious site could be determined by reference to local features such as bodies of water, stars, or a compass. Feng shui was suppressed in China during thecultural revolution in the 1960s, but has since seen an increase in popularity. Currently Yangshao and Hongshan cultures provide the earliest evidence for the origin of feng shui. Until the invention of the magnetic compass, feng shui apparently relied on astronomy to find correlations between humans and the universe.[6] In 4000 BC, the doors of Banpo dwellings were aligned to the asterism Yingshi just after the winter solstice this sited the homes for solar gain.[7] During the Zhou era, Yingshi was known as Ding and used to indicate the appropriate time to build a capital city, according to the Shijing. The late Yangshao site at Dadiwan (c. 3500-3000 BC) includes a palace-like building (F901) at the center. The building faces south and borders a large plaza. It is on a north-south axis with another building that apparently housed communal activities. The complex may have been used by regional communities.

Mid century Mid-Century modern is an architectural, interior and product design form that generally describes mid-20th century developments in modern design, architecture, and urban development from roughly 1933 to 1965. The term, employed as a style descriptor as early as the mid-1950s, was reaffirmed in 1983 by Cara Greenberg in the title of her book, Mid-Century Modern: Furniture of the 1950s (Random House), celebrating the style which is now recognized by scholars and museums worldwide as a significant design movement. Mid-century architecture was a further development of Frank Lloyd Wright's principles of organic architecture combined with many elements reflected in the International and Bauhaus movements including the work of Gropius, Le Corbusier, and Mies van der Rohe. Mid-century modernism, however, was much more organic in form and less formal than the International Style. Scandinavian architects were very influential at this time, with a style characterized by clean simplicity and integration with nature. Like many of Wright's designs, Mid-Century architecture was frequently employed in residential structures with the goal of bringing modernism into America's post-war suburbs. This style emphasized creating structures with ample windows and open floor-plans with the intention of opening up interior spaces and bringing the outdoors in. Many Mid-century houses utilized then-groundbreaking post and beam architectural design that eliminated bulky support walls in favor of walls seemingly made of glass. Function was as important as form in Mid-Century designs, with an emphasis placed specifically on targeting the needs of the average American family. Examples of residential Mid-Century modern architecture are frequently referred to as the California Modern style.

Modern minimalist Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is stripped down to its most fundamental features. As a specific movement in the arts it is identified with developments in postWorld War II Western Art, most strongly with American visual arts in the late 1960s and early 1970s. Prominent artists associated with this movement include Donald Judd, John McLaughlin, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella. It is rooted in the reductive aspects ofModernism, and is often interpreted as a reaction against Abstract expressionism and a bridge to Postmodern art practices. The terms have expanded to encompass a movement in music which features repetition and iteration, as in the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, and John Adams. Minimalist compositions are sometimes known as systems music. (See also Postminimalism). The term "minimalist" is often applied colloquially to designate anything which is spare or stripped to its essentials. It has also been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and even the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to describe the Mensheviks.[1] The term minimalism is also used to describe a trend in design and architecture where in the subject is reduced to its necessary elements. Minimalist design has been highly influenced by Japanese traditional design and architecture. In addition, the work of De Stijl artists is a major source of reference for this kind of work. De Stijl expanded the ideas that could be expressed by using basic elements such as lines and planes organized in very particular manners.

English Gregorian Georgian architecture is the name given in most English-speaking countries to the set of architectural styles current between 1720 and 1840. It is eponymous for the first four British monarchs of the House of HanoverGeorge I of Great Britain, George II of Great Britain,George III of the United Kingdom, and George IV of the United Kingdomwho reigned in continuous succession from August 1714 to June 1830. Georgian succeeded the English Baroque of Sir Christopher Wren, Sir John Vanbrugh, Thomas Archer, William Talman and Nicholas Hawksmoor. The architect James Gibbs was a transitional figure, many of his buildings having a hint of Baroque, reflecting the time he spent in Rome in the early 18th century. Major architects to promote the change in direction from baroque were Colen Campbell, author of the influential book Vitruvius Britannicus; Richard Boyle, 3rd Earl of Burlington and his protg William Kent; Isaac Ware; Henry Flitcroft and theVenetian Giacomo Leoni, who spent most of his career in England. Other prominent architects of the early Georgian period include James Paine, Robert Taylor & John Wood, the Elder.

Gothic Gothic architecture is a style of architecture that flourished during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture. Originating in 12th century France and lasting into the 16th century, Gothic architecture was known during the period as "the French Style," (Opus Francigenum), with the term Gothic first appearing during the latter part of the Renaissance. Its characteristic features include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings. It is in the great churches and cathedrals and in a number of civic buildings that the Gothic style was expressed most powerfully, its characteristics lending themselves to appeal to the emotions. A great number of ecclesiastical buildings remain from this period, of which even the smallest are often structures of architectural distinction while many of the larger churches are considered priceless works of art and are listed with UNESCO as World Heritage Sites. For this reason a study of Gothic architecture is largely a study of cathedrals and churches. A series of Gothic revivals began in mid-18th century England, spread through 19th-century Europe and continued, largely for ecclesiastical and university structures, into the 20th century.

Indian The architecture of India is rooted in its history, culture and religion.[1] Indian architecture progressed with time and assimilated the many influences that came as a result of India's global discourse with other regions of the world throughout its millennia-old past.[1] The architectural methods practiced in India are a result of examination and implementation of its established building traditions and outside cultural interactions.[1] India has long fascinated Westerners with its multitude of different cultures, languages and religions and its exotic flora and fauna. Today, as the world becomes more and more a global village, decorating styles from other lands are becoming increasingly popular in the United States. Indian style is now a recognized decorating choice, and it is easier than ever to buy Indian goods in import stores. Here's how to get this look in your own home. Keeping cool Although many westerners think of Indian style as a sultry layering of fabrics, brilliant colors, and piles of candles, figurines, mirrors and other ornaments, actual Indian decor is often more subdued than this image. Although India is a huge country with great variety in climate, much of it is hot, so the purpose of much of the decor is to evade the hot sun and admit cooling breezes to the home. Floors tend to be made of wood, stone or ceramic tile, and because heat rises, rooms are often built with high ceilings for the heat to rise into, while most living takes place on or near the floor, where it's cooler. Traditional Indian furniture is often built low to the ground: low cushioned couches or divans, floor cushions and woven rugs are typical. Lacy, perforated screens let breezes enter the home while preserving privacy. If you live in a cold climate, you will have to adapt these features for your home. Using lots of cushions, on the floor as well as on your furniture, and throws on a low couch, chaise or daybed will help create a relaxed, informal feel. Handwoven rugs on wooden floors enhance the decor.

Color and Pattern

Color and pattern are your best tools for creating a specifically Indian style in a western home. Walls may be brightly colored in jewel tones like hot pink, indigo, turquoise, lime green, orange or mango, or they may be neutral, in white or warm earth tones like curry, sand or taupe. Jewel colors may be added in curtains, cushions, carpets, or other accents. You can make bed hangings, pillows or window curtains from saris, for example; these beautiful garments may be brilliantly colored, sheer, and ornamented in gold thread. India also has a long tradition of making beautiful cotton fabrics block-printed with floral or animal designs or elaborate paisleys. Using these fabrics for bedspreads, pillows, curtains or wall hangings will help you create an authentic Indian atmosphere that's quite different from Hollywood's idea. Indian furniture is often made of dark, ornately carved wood, solid and rustic rather than dainty. Adding even a single carved wooden piece, such as a table, chair or chest, will help achieve Indian style. Accessories Animal motifs are common on small articles and fabrics because the Hindu religion venerates all animals-cows and antelopes, elephants, peacocks and parrots. Cushions or boxes decorated with these motifs will help create the style. Ornate arches are a typical Indian architectural element that may be reproduced in mirrors and headboards. Wooden boxes or other items with bone inlay, and furniture or fabric decorated with tiny mirrors are also typical of different Indian regions.

Art deco Art Deco (English pronunciation: /t dko/, also Deco) is an eclectic artistic and design style that began in Paris in the 1920s[1][2] and flourished internationally throughout the 1930s, into the World War II era.[3] The style influenced all areas of design, including architecture and interior design, industrial design, fashion and jewelry, as well as the visual arts such as painting, graphic arts and film. The term "art deco" was first used widely in 1966, after an exhibition in Paris, 'Les Annes 25' sub-titled Art Deco, [4] celebrating the 1925 Exposition Internationale des Arts Dcoratifs et Industriels Modernes that was the culmination of style moderne in Paris. At its best, Art Deco represented elegance,glamour, functionality and modernity. Art Deco's linear symmetry was a distinct departure from the flowing asymmetrical organic curves of its predecessor style Art Nouveau; it embraced influences from many different styles of the early 20th century, including Neoclassical, Constructivism, Cubism, Modernism andFuturism[5] and drew inspiration from ancient Egyptian and Aztec forms. Although many design movements have political or philosophical beginnings or intentions, Art Deco was purely decorative.[6]

Daron Ponce