INDS 212

HISTORY of ART & INTERIOR

DESIGN
Course Introduction

Cave Painting at Lascaux, France, 15,000BC One Thousand Museum Tower Miami, 2014

Lecture 1. INTRODUCTION TO THE COURSE

Instructor:K.BENNETT 1
 “If you don’t know history, then you
don’t know anything. You are a leaf
that doesn’t know it is part of a tree. ”
― Michael Crichton

• Having knowledge of our

history allows us to
understand where we are
coming from, which in turn
allows us to understand our
present. It not only reveals
the past, but it also helps us
create a better future.
 CIVILIZATION
DEVELOPMENT
• The Birth of Civilization:
• Nomads & the Birth of Cities
• Agrarian Societies - “Hunters and Gatherers”
(migrated with herds)
• Development of Agriculture (movement to the places
with good land and planting) - Grouping together in
one place to stay
• Growth of Religion - The beginning of the belief in
same God – diversity of cultures
• Diverse Growth of Specialized Occupations - Living
together, not everyone needs to do the same things
• People do what they are able for themselves and
trade for other goods or service
• Birth of Free Market Society, Beginning of Regional
differences
The ARCHITECTURE of
any CIVILIZATION
depends on:

• Place and period

• Society development
• Government of the civilization
• Materials available
• Climate
• Traditional way of living
Why Study History?
To Become a Better
Designer
•learning from the best of the
best. Many of the most
skilled designers not only
designed, but also shared
thoughts and philosophies
about design as well as
specific choices they made on
projects.

Instructor: K. bennett 5
Why Study History?
• To Connect Past, Present,
and Future
what stands the test of time and
what doesn’t. Design history
teaches you the fundamental
principles of design that are
considered timeless.

Instructor:K. Bennett 6
Why Study History?
• To Acquire Design
Appreciation
• Design history is an education in
what’s considered good design.
The more examples of good
design you observe, the
more confidence in deciding
what works and what does not,
for yourself. You’ll be able to
move more of the “not sures”
into either the good pile or bad
pile.

Instructor:K. Bennett 7
THE STUDY OF STYLES, THEORIES, MOVEMENTS AND PHILOSPHIES

MAKES CONNECTIONS BETWEEN

FORM AND FUNCTION & SOCIO-ECONOMIC CONTRIBUTION

REVOLUTIONAR IDEAS & OUTSIDE PHILOSOPHIES

EVENTS, STYLES, BELIEFS & TECHNIQUES

Instructor: Ms. Cazacova 8

MAKING CONNECTIONS

Instructor:K. Bennett 9
MAKING CONNECTIONS

Notre Dame Cathedral in Paris, 1345

GOD IS IN THE DETAILS – MIES

VAN DE ROHE
1886- 1969
Farnsworth House, Illinois, USA,
Instructor:K. Bennett 10
1951,
To Move Beyond It?

To Improve Upon It?

To Move Away From It?

Instructor: Ms. Cazacova 11

Breaking the Box!

Frank Lloyd Wright was influenced by Japanese Architectural Principles and

opened up interiors to light and space in the 1930’s.
Instructor:K. Bennett 12
 The Japanese Ken Modular

Many modular concepts have been applied toJapanese buildings, such as the
ken (‘column distance’) andthe size of a tatami mat, which are the primary
methods in Japanese houses, as well as the kiwari ('wood dividing')
modulewhich is predominantly that of Buddhist temple structures

Instructor:K. Bennett 13
This course will be looking at the roots of interior design history through art and the
architectural styles that influenced it from its pre-historic origins, through Ancient
Egypt to the Gothic Age.

Instructor:K. Bennett 14
Before the profession rose to prominence, interior design
came in instinctively to strictly coordinate with the
architecture of buildings.

The profession of interior design came with the rise of

middle-class society and the complicated architecture that
rose to prominence.

Before the profession rose to prominence, interior design

came in instinctively to strictly coordinate with the
architecture of buildings.

The profession of interior design came with the rise of

middle-class society and the complicated architecture that
rose to popularity during the industrial revolution.

The quest to make the best use of space, along with the
attention to user well-being and functional design continues
to push the development and life-enhancing possibilities of
today’s iteration on the interior design profession.

Instructor:K. Bennett 15
Architectural Terminology ?

Instructor:K. Bennett 16
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Ornament?

Instructor K. Bennett 19
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Miscellaneous Forms Patterns

Instructor:K. Bennett 23
Material Culture
• Definition of material culture. : the totality of physical objects
made by a people for the satisfaction of their
needs especially : those articles required for the sustenance and
perpetuation of life at the time.

Instructor: Ms. Cazacova 24

 ♫ Baroque Live Music 24/7 -
Classical Music from the Baroque
Photo Fist fighting on the Ponte dei Pugni
Period ♫ クラシック ライブ -
by anagoria/Wikimedia/Public Domain YouTube

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Instructor:K. Bennett
Material culture is the aspect of social reality grounded in the objects and
architecture that surround people. It includes the usage, consumption, creation, and
trade of objects as well as the behaviors, norms, and rituals that the objects create
or take part in.

Material culture includes the objects or belongings of human beings, including

a wide range of physical items. Just about anything you can see, feel or touch
that is not human has the potential to be an item of material culture.
Architecture, photographs, documents, artwork, gardens, a can of soda or the
electronic device you are using to read this lesson are all examples. Some
theorists argue that entire cities and the surrounding geography are elements
of material culture. Even human motion, such as dance, may be described as
material in that it has shape and a physical form.

Studying the physical objects of a culture gives us a better understanding and

appreciation for the complex lives of the people who interacted with those
objects. Material culture provides us insight into nonmaterial culture, which
includes the ideas, beliefs, habits and values of a people. While an object starts
off as simply a physical item, over time it comes to represent nonmaterial and
symbolic aspects of a culture. For some, a can of soda may represent an
epidemic of obesity, while for others, it may be viewed as a fun and pleasurable
drink. Instructor:K. Bennett 26
Reading:
• Text Books: 1. Ireland, J., 2009, History of Interior Design, New York: Fairchild Books, pp. 1 – 22
• References: 1. Blakemore, R., G., (2005), History of Interior Design and Furniture: From Ancient
Egypt to Nineteenth –Century Europe, Second Edition, New Jersey: J
• ohn Wiley & Sons Inc., pp. 23-37 2.
• Ching, F., D., Jarzombek, M.M. & Prakash V., (2006), A Global History of Architecture, New
Jersey: John Wiley & Sons
• Fazio, M., Moffett, M. & Wodehouse, L., (2008), A World History of Architecture, Boston:
McGraw-Hill, pp. 8- 54
• Glancey, J., (2006), Architecture: World’s Greatest Buildings, History and Styles, Architects
(EYEWITNESS COMPANION GUIDES), DK Publishing
• Miller, J. (2005), Furniture. World Styles from Classical to Contemporary, London: Dorling
Kindersley Books, pp. 20-22
• Percier, C., (1991), Empire Stylebook of Interior Design: All 72 Plates from the “ Recueil De
Decorations Interieures” with New English Text, USA: Dover Publications
• Pile, J., F., (2009), A History of Interior Design, Second Edition, London: Laurence King
Publishing, pp. 13-32
• Woodward, I.,2007, Understanding Material Culture, Sage Publications,