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Interior design is the art and science of enhancing the interior of a building to achieve a healthier and more aesthetically pleasing environment for the people using the space. With a keen eye for detail and a creative flair, an interior designer is someone who plans, researches, coordinates, and manages such enhancement projects. Interior design is a multifaceted profession that includes conceptual development, space planning, site inspections, programming, research, communicating with the stakeholders of a project, construction management, and execution of the design.

History and current terms

In the past, interiors were put together instinctively as a part of the process of building.^[1]

The profession of interior design has been a consequence of the development of society and the complex architecture that has resulted from the development of industrial processes.

The pursuit of effective use of space, user well-being and functional design has contributed to the development of the contemporary interior design profession. The profession of interior design is separate and distinct from the role of interior decorator, a term commonly used in the US; the term is less common in the UK, where the profession of interior design is still unregulated and therefore, strictly speaking, not yet officially a profession.

In ancient India, architects would also function as interior designers. This can be seen from the references of Vishwakarma the architect—one of the gods in Indian mythology. In these architects’ design of 17th-century Indian homes, sculptures depicting ancient texts and events are seen inside the palaces, while during the medieval times wall art paintings were a common feature of palace-like mansions in India commonly known as havelis. While most traditional homes have been demolished to make way to modern buildings, there are still around 2000 havelis^[2] in the Shekhawati region of Rajashtan that display wall art paintings.

In ancient Egypt, “soul houses” (or models of houses) were placed in tombs as receptacles for food offerings. From these, it is possible to discern details about the interior design of different residences throughout the different Egyptian dynasties, such as changes in ventilation, porticoes, columns, loggias, windows, and doors.^[3]

Painting interior walls has existed for at least 5,000 years, with examples found as far north as the Ness of Brodgar,^[4] as have templated interiors, as seen in the associated Skara Brae settlement.^[5] It was the Greeks, and later Romans who added co-ordinated, decorative mosaics floors,^[6] and templated bath houses, shops, civil offices, Castra (forts) and temple, interiors, in the first millennia BC. With specialised guilds dedicated to producing interior decoration, and formulaic furniture, in buildings constructed to forms defined by Roman architects, such as Vitruvius: De architectura, libri decem (The Ten Books on Architecture).^[7][8]

Throughout the 17th and 18th century and into the early 19th century, interior decoration was the concern of the homemaker, or an employed upholsterer or craftsman who would advise on the artistic style for an interior space. Architects would also employ craftsmen or artisans to complete interior design for their buildings.

Commercial interior design and management

In the mid-to-late 19th century, interior design services expanded greatly, as the middle class in industrial countries grew in size and prosperity and began to desire the domestic trappings of wealth to cement their new status. Large furniture firms began to branch out into general interior design and management, offering full house furnishings in a variety of styles. This business model flourished from the mid-century to 1914, when this role was increasingly usurped by independent, often amateur, designers. This paved the way for the emergence of the professional interior design in the mid-20th century.^[9]

In the 1950s and 1960s, upholsterers began to expand their business remits. They framed their business more broadly and in artistic terms and began to advertise their furnishings to the public. To meet the growing demand for contract interior work on projects such as offices, hotels, and public buildings, these businesses became much larger and more complex, employing builders, joiners, plasterers, textile designers, artists, and furniture designers, as well as engineers and technicians to fulfil the job. Firms began to publish and circulate catalogs with prints for different lavish styles to attract the attention of expanding middle classes.^[9]

As department stores increased in number and size, retail spaces within shops were furnished in different styles as examples for customers. One particularly effective advertising tool was to set up model rooms at national and international exhibitions in showrooms for the public to see. Some of the pioneering firms in this regard were Waring & Gillow, James Shoolbred, Mintons, and Holland & Sons. These traditional high-quality furniture making firms began to play an important role as advisers to unsure middle class customers on taste and style, and began taking out contracts to design and furnish the interiors of many important buildings in Britain.^[10]

This type of firm emerged in America after the Civil War. The Herter Brothers, founded by two German émigré brothers, began as an upholstery warehouse and became one of the first firms of furniture makers and interior decorators. With their own design office and cabinet-making and upholstery workshops, Herter Brothers were prepared to accomplish every aspect of interior furnishing including decorative paneling and mantels, wall and ceiling decoration, patterned floors, and carpets and draperies.^[11]

A pivotal figure in popularizing theories of interior design to the middle class was the architect Owen Jones, one of the most influential design theorists of the nineteenth century.^[12] Jones’ first project was his most important—in 1851, he was responsible for not only the decoration of Joseph Paxton‘s gigantic Crystal Palace for the Great Exhibition but also the arrangement of the exhibits within. He chose a controversial palette of red, yellow, and blue for the interior ironwork and, despite initial negative publicity in the newspapers, was eventually unveiled by Queen Victoria to much critical acclaim. His most significant publication was The Grammar of Ornament (1856),^[13] in which Jones formulated 37 key principles of interior design and decoration.

Jones was employed by some of the leading interior design firms of the day; in the 1860s, he worked in collaboration with the London firm Jackson & Graham to produce furniture and other fittings for high-profile clients including art collector Alfred Morrison as well as Ismail Pasha, Khedive of Egypt.

In 1882, the London Directory of the Post Office listed 80 interior decorators. Some of the most distinguished companies of the period were Crace, Waring & Gillowm and Holland & Sons; famous decorators employed by these firms included Thomas Edward Collcutt, Edward William Godwin, Charles Barry, Gottfried Semper, and George Edmund Street.^[14]

Transition to professional interior design

By the turn of the 20th century, amateur advisors and publications were increasingly challenging the monopoly that the large retail companies had on interior design. English feminist author Mary Haweis wrote a series of widely read essays in the 1880s in which she derided the eagerness with which aspiring middle-class people furnished their houses according to the rigid models offered to them by the retailers.^[15] She advocated the individual adoption of a particular style, tailor-made to the individual needs and preferences of the customer:

One of my strongest convictions, and one of the first canons of good taste, is that our houses, like the fish’s shell and the bird’s nest, ought to represent our individual taste and habits.

The move toward decoration as a separate artistic profession, unrelated to the manufacturers and retailers, received an impetus with the 1899 formation of the Institute of British Decorators; with John Dibblee Crace as its president, it represented almost 200 decorators around the country.^[16] By 1915, the London Directory listed 127 individuals trading as interior decorators, of which 10 were women. Rhoda Garrett and Agnes Garrett were the first women to train professionally as home decorators in 1874. The importance of their work on design was regarded at the time as on a par with that of William Morris. In 1876, their work – Suggestions for House Decoration in Painting, Woodwork and Furniture – spread their ideas on artistic interior design to a wide middle-class audience.^[17]

By 1900, the situation was described by The Illustrated Carpenter and Builder:^[18]

Until recently when a man wanted to furnish he would visit all the dealers and select piece by piece of furniture ….Today he sends for a dealer in art furnishings and fittings who surveys all the rooms in the house and he brings his artistic mind to bear on the subject.

In America, Candace Wheeler was one of the first woman interior designers and helped encourage a new style of American design. She was instrumental in the development of art courses for women in a number of major American cities and was considered a national authority on home design. An important influence on the new profession was The Decoration of Houses, a manual of interior design written by Edith Wharton with architect Ogden Codman in 1897 in America. In the book, the authors denounced Victorian-style interior decoration and interior design, especially those rooms that were decorated with heavy window curtains, Victorian bric-a-brac, and overstuffed furniture. They argued that such rooms emphasized upholstery at the expense of proper space planning and architectural design and were, therefore, uncomfortable and rarely used. The book is considered a seminal work, and its success led to the emergence of professional decorators working in the manner advocated by its authors, most notably Elsie de Wolfe.^[19]

Elsie De Wolfe was one of the first interior designers. Rejecting the Victorian style she grew up with, she chose a more vibrant scheme, along with more comfortable furniture in the home. Her designs were light, with fresh colors and delicate Chinoiserie furnishings, as opposed to the Victorian preference of heavy, red drapes and upholstery, dark wood and intensely patterned wallpapers. Her designs were also more practical;^[20] she eliminated the clutter that occupied the Victorian home, enabling people to entertain more guests comfortably. In 1905, de Wolfe was commissioned for the interior design of the Colony Club on Madison Avenue; its interiors garnered her recognition almost over night.^[21][22] She compiled her ideas into her widely read 1913 book, The House in Good Taste.^[23]

In England, Syrie Maugham became a legendary interior designer credited with designing the first all-white room. Starting her career in the early 1910s, her international reputation soon grew; she later expanded her business to New York City and Chicago.^[24] Born during the Victorian Era, a time characterized by dark colors and small spaces, she instead designed rooms filled with light and furnished in multiple shades of white and mirrored screens. In addition to mirrored screens, her trademark pieces included: books covered in white vellum, cutlery with white porcelain handles, console tables with plaster palm-frond, shell, or dolphin bases, upholstered and fringed sleigh beds, fur carpets, dining chairs covered in white leather, and lamps of graduated glass balls, and wreaths.^[25]

Expansion

The interior design profession became more established after World War II. From the 1950s onwards, spending on the home increased. Interior design courses were established, requiring the publication of textbooks and reference sources. Historical accounts of interior designers and firms distinct from the decorative arts specialists were made available. Organisations to regulate education, qualifications, standards and practices, etc. were established for the profession.^[23]

Interior design was previously seen as playing a secondary role to architecture. It also has many connections to other design disciplines, involving the work of architects, industrial designers, engineers, builders, craftsmen, etc. For these reasons, the government of interior design standards and qualifications was often incorporated into other professional organisations that involved design.^[23] Organisations such as the Chartered Society of Designers, established in the UK in 1986, and the American Designers Institute, founded in 1938,^[26] governed various areas of design.

It was not until later that specific representation for the interior design profession was developed. The US National Society of Interior Designers was established in 1957, while in the UK the Interior Decorators and Designers Association was established in 1966. Across Europe, other organisations such as The Finnish Association of Interior Architects (1949) were being established and in 1994 the International Interior Design Association was founded.^[23]

Ellen Mazur Thomson, author of Origins of Graphic Design in America (1997), determined that professional status is achieved through education, self-imposed standards and professional gate-keeping organizations.^[23] Having achieved this, interior design became an accepted profession.

Interior decorators and interior designers

Interior design is the art and science of understanding people’s behavior to create functional spaces, that are aesthetically pleasing, within a building. Decoration is the furnishing or adorning of a space with decorative elements, sometimes complemented by advice and practical assistance. In short, interior designers may decorate, but decorators do not design.

Interior designer

Interior designer implies that there is more of an emphasis on planning, functional design and the effective use of space, as compared to interior decorating. An interior designer in fine line design can undertake projects that include arranging the basic layout of spaces within a building as well as projects that require an understanding of technical issues such as window and door positioning, acoustics, and lighting.^[1] Although an interior designer may create the layout of a space, they may not alter load-bearing walls without having their designs stamped for approval by a structural engineer. Interior designers often work directly with architects, engineers and contractors.

Interior designers must be highly skilled in order to create interior environments that are functional, safe, and adhere to building codes, regulations and ADA requirements. They go beyond the selection of color palettes and furnishings and apply their knowledge to the development of construction documents, occupancy loads, healthcare regulations and sustainable design principles, as well as the management and coordination of professional services including mechanical, electrical, plumbing, and life safety—all to ensure that people can live, learn or work in an innocuous environment that is also aesthetically pleasing.

Someone may wish to specialize and develop technical knowledge specific to one area or type of interior design, such as residential design, commercial design, hospitality design, healthcare design, universal design, exhibition design, furniture design, and spatial branding. Interior design is a creative profession that is relatively new, constantly evolving, and often confusing to the public. It is not always an artistic pursuit and can rely on research from many fields to provide a well-trained understanding of how people are often influenced by their environments.

Color in interior design

Color is a powerful design tool in decoration, as well as in interior design, which is the art of composing and coordinating colors together to create a stylish scheme on the interior architecture of the space.^[27]

It can be important to interior designers to acquire a deep experience with colors, understand their psychological effects, and understand the meaning of each color in different locations and situations in order to create suitable combinations for each place.^[28]

Combining colors together could result in creating a state of mind as seen by the observer, and could eventually result in positive or negative effects on them. Colors can make the room feel either more calm, cheerful, comfortable, stressful, or dramatic. Color combinations can make a tiny room seem larger or smaller.^[29] So it is for the Interior designer to choose appropriate colors for a place towards achieving how clients would want to look at, and feel in, that space.^[28]

In 2024, red-colored home accessories were popularized on social media and in several design magazines for claiming to enhance interior design. This was coined the Unexpected Red Theory.

Specialties

Residential

Residential design is the design of the interior of private residences. As this type of design is specific for individual situations, the needs and wants of the individual are paramount in this area of interior design. The interior designer may work on the project from the initial planning stage or may work on the remodeling of an existing structure. It is often a process that takes months to fine-tune and create a space with the vision of the client.^[30]

Commercial

Commercial design encompasses a wide range of subspecialties.

• Retail: includes malls and shopping centers, department stores, specialty stores, visual merchandising, and showrooms.
• Visual and spatial branding: The use of space as a medium to express a corporate brand.
• Corporate: office design for any kind of business such as banks.
• Healthcare: the design of hospitals, assisted living facilities, medical offices, dentist offices, psychiatric facilities, laboratories, medical specialist facilities.
• Hospitality and recreation: includes hotels, motels, resorts, cruise ships, cafes, bars, casinos, nightclubs, theaters, music and concert halls, opera houses, sports venues, restaurants, gyms, health clubs and spas, etc.
• Institutional: government offices, financial institutions (banks and credit unions), schools and universities, religious facilities, etc.
• Industrial facilities: manufacturing and training facilities as well as import and export facilities.^[30]
• Exhibition: includes museums, gallery, exhibition hall, specially the design for showroom and exhibition gallery.
• Traffic building: includes bus station, subway station, airports, pier, etc.
• Sports: includes gyms, stadiums, swimming rooms, basketball halls, etc.
• Teaching in a private institute that offer classes of interior design.
• Self-employment.
• Employment in private sector firms.

Other

Other areas of specialization include amusement and theme park design, museum and exhibition design, exhibit design, event design (including ceremonies, weddings, baby and bridal showers, parties, conventions, and concerts), interior and prop styling, craft styling, food styling, product styling, tablescape design, theatre and performance design, stage and set design, scenic design, and production design for film and television. Beyond those, interior designers, particularly those with graduate education, can specialize in healthcare design, gerontological design, educational facility design, and other areas that require specialized knowledge. Some university programs offer graduate studies in theses and other areas. For example, both Cornell University and the University of Florida offer interior design graduate programs in environment and behavior studies.

Profession

Education

Main article: Interior design education

There are various paths that one can take to become a professional interior designer. All of these paths involve some form of training. Working with a successful professional designer is an informal method of training and has previously been the most common method of education. In many states, however, this path alone cannot lead to licensing as a professional interior designer. Training through an institution such as a college, art or design school or university is a more formal route to professional practice.

In many countries, several university degree courses are now available, including those on interior architecture, taking three or four years to complete.

A formal education program, particularly one accredited by or developed with a professional organization of interior designers, can provide training that meets a minimum standard of excellence and therefore gives a student an education of a high standard. There are also university graduate and Ph.D. programs available for those seeking further training in a specific design specialization (i.e. gerontological or healthcare design) or those wishing to teach interior design at the university level.

Working conditions

There are a wide range of working conditions and employment opportunities within interior design. Large and tiny corporations often hire interior designers as employees on regular working hours. Designers for smaller firms and online renovation platforms usually work on a contract or per-job basis. Self-employed designers, who made up 32% of interior designers in 2020,^[31] usually work the most hours. Interior designers often work under stress to meet deadlines, stay on budget, and meet clients’ needs and wishes.

In some cases, licensed professionals review the work and sign it before submitting the design for approval by clients or construction permitting. The need for licensed review and signature varies by locality, relevant legislation, and scope of work. Their work can involve significant travel to visit different locations. However, with technology development, the process of contacting clients and communicating design alternatives has become easier and requires less travel.^[32]

Styles

Art Deco

The Art Deco style began in Europe in the early years of the 20th century, with the waning of Art Nouveau. The term “Art Deco” was taken from the Exposition Internationale des Arts Decoratifs et Industriels Modernes, a world’s fair held in Paris in 1925.^[33] Art Deco rejected many traditional classical influences in favour of more streamlined geometric forms and metallic color. The Art Deco style influenced all areas of design, especially interior design, because it was the first style of interior decoration to spotlight new technologies and materials.^[34]

Art Deco style is mainly based on geometric shapes, streamlining, and clean lines.^[35][36] The style offered a sharp, cool look of mechanized living utterly at odds with anything that came before.^[37]

Art Deco rejected traditional materials of decoration and interior design, opting instead to use more unusual materials such as chrome, glass, stainless steel, shiny fabrics, mirrors, aluminium, lacquer, inlaid wood, sharkskin, and zebra skin.^[34] The use of harder, metallic materials was chosen to celebrate the machine age. These materials reflected the dawning modern age that was ushered in after the end of the First World War. The innovative combinations of these materials created contrasts that were very popular at the time – for example the mixing together of highly polished wood and black lacquer with satin and furs.^[38] The barber shop in the Austin Reed store in London was designed by P. J. Westwood. It was soon regarded as the trendiest barber shop in Britain due to its use of metallic materials.^[37]

The color themes of Art Deco consisted of metallic color, neutral color, bright color, and black and white. In interior design, cool metallic colors including silver, gold, metallic blue, charcoal grey, and platinum tended to predominate.^[35][39] Serge Chermayeff, a Russian-born British designer made extensive use of cool metallic colors and luxurious surfaces in his room schemes. His 1930 showroom design for a British dressmaking firm had a silver-grey background and black mirrored-glass wall panels.^[37][40]

Black and white was also a very popular color scheme during the 1920s and 1930s. Black and white checkerboard tiles, floors and wallpapers were very trendy at the time.^[41] As the style developed, bright vibrant colors became popular as well.^[42]

Art Deco furnishings and lighting fixtures had a glossy, luxurious appearance with the use of inlaid wood and reflective finishes. The furniture pieces often had curved edges, geometric shapes, and clean lines.^[33][37] Art Deco lighting fixtures tended to make use of stacked geometric patterns.^[43]

Modern art

Modern design grew out of the decorative arts, mostly from the Art Deco, in the early 20th century.^[44] One of the first to introduce this modernist style was Frank Lloyd Wright, who had not become hugely popularized until completing the house called Fallingwater in the 1930s. Modern art reached its peak during the 1950s and ’60s, which is why designers and decorators today may refer to modern design as being “mid-century”.^[44] Modern art does not refer to the era or age of design and is not the same as contemporary design, a term used by interior designers for a shifting group of recent styles and trends.^[44]

Arab materials

“Majlis painting”, also called nagash painting, is the decoration of the majlis, or front parlor of traditional Arabic homes, in the Asir province of Saudi Arabia and adjoining parts of Yemen. These wall paintings, an arabesque form of mural or fresco, show various geometric designs in bright colors: “Called ‘nagash’ in Arabic, the wall paintings were a mark of pride for a woman in her house.”^[45]

The geometric designs and heavy lines seem to be adapted from the area’s textile and weaving patterns. “In contrast with the sobriety of architecture and decoration in the rest of Arabia, exuberant color and ornamentation characterize those of Asir. The painting extends into the house over the walls and doors, up the staircases, and onto the furniture itself. When a house is being painted, women from the community help each other finish the job. The building then displays their shared taste and knowledge. Mothers pass these on to their daughters. This artwork is based on a geometry of straight lines and suggests the patterns common to textile weaving, with solid bands of different colors. Certain motifs reappear, such as the triangular mihrab or ‘niche’ and the palmette. In the past, paint was produced from mineral and vegetable pigments. Cloves and alfalfa yielded green. Blue came from the indigo plant. Red came from pomegranates and a certain mud. Paintbrushes were created from the tough hair found in a goat’s tail. Today, however, women use modern manufactured paint to create new looks, which have become an indicator of social and economic change.”^[46]

Women in the Asir province often complete the decoration and painting of the house interior. “You could tell a family’s wealth by the paintings,” Um Abdullah says: “If they didn’t have much money, the wife could only paint the motholath, the basic straight, simple lines, in patterns of three to six repetitions in red, green, yellow and brown.” When women did not want to paint the walls themselves, they could barter with other women who would do the work. Several Saudi women have become famous as majlis painters, such as Fatima Abou Gahas.^[45]

The interior walls of the home are brightly painted by the women, who work in defined patterns with lines, triangles, squares, diagonals and tree-like patterns. “Some of the large triangles represent mountains. Zigzag lines stand for water and also for lightning. Small triangles, especially when the widest area is at the top, are found in pre-Islamic representations of female figures. That the small triangles found in the wall paintings in ‘Asir are called banat may be a cultural remnant of a long-forgotten past.”^[45]

“Courtyards and upper pillared porticoes are principal features of the best Nadjdi architecture, in addition to the fine incised plaster wood (jiss) and painted window shutters, which decorate the reception rooms. Good examples of plasterwork can often be seen in the gaping ruins of torn-down buildings- the effect is light, delicate and airy. It is usually around the majlis, around the coffee hearth and along the walls above where guests sat on rugs, against cushions. Doughty wondered if this “parquetting of jis”, this “gypsum fretwork… all adorning and unenclosed” originated from India. However, the Najd fretwork seems very different from that seen in the Eastern Province and Oman, which are linked to Indian traditions, and rather resembles the motifs and patterns found in ancient Mesopotamia. The rosette, the star, the triangle and the stepped pinnacle pattern of dadoes are all ancient patterns, and can be found all over the Middle East of antiquity. Al-Qassim Province seems to be the home of this art, and there it is normally worked in hard white plaster (though what you see is usually begrimed by the smoke of the coffee hearth). In Riyadh, examples can be seen in unadorned clay.^[47]

Media popularization

Main article: Interior design magazine

Interior design has become the subject of television shows. In the United Kingdom, popular interior design and decorating programs include 60 Minute Makeover (ITV), Changing Rooms (BBC), and Selling Houses (Channel 4). Famous interior designers whose work is featured in these programs include Linda Barker and Laurence Llewelyn-Bowen. In the United States, the TLC Network aired a popular program called Trading Spaces, a show based on the UK program Changing Rooms. In addition, both HGTV and the DIY Network also televise many programs about interior design and decorating, featuring the works of a variety of interior designers, decorators, and home improvement experts in a myriad of projects.

Fictional interior decorators include the Sugarbaker sisters on Designing Women and Grace Adler on Will & Grace. There is also another show called Home MADE. There are two teams and two houses and whoever has the designed and made the worst room, according to the judges, is eliminated. Another show on the Style Network, hosted by Niecy Nash, is Clean House where they re-do messy homes into themed rooms that the clients would like. Other shows include Design on a Dime, Designed to Sell, and The Decorating Adventures of Ambrose Price. The show called Design Star has become more popular through the five seasons that have already aired. The winners of this show end up getting their own TV shows, of which are Color Splash hosted by David Bromstad, Myles of Style hosted by Kim Myles, Paint-Over! hosted by Jennifer Bertrand, The Antonio Treatment hosted by Antonio Ballatore, and finally Secrets from a Stylist hosted by Emily Henderson. Bravo also has a variety of shows that explore the lives of interior designers. These include Flipping Out, which explores the life of Jeff Lewis and his team of designers; Million Dollar Decorators explores the lives of interior designers Nathan Turner, Jeffrey Alan Marks, Mary McDonald, Kathryn Ireland, and Martyn Lawrence Bullard.

Interior design has also become the subject of radio shows. In the U.S., popular interior design & lifestyle shows include Martha Stewart Living and Living Large featuring Karen Mills. Famous interior designers whose work is featured on these programs include Bunny Williams, Barbara Barry, and Kathy Ireland, among others.

Many interior design magazines exist to offer advice regarding color palette, furniture, art, and other elements that fall under the umbrella of interior design. These magazine often focus on related subjects to draw a more specific audience. For instance, architecture as a primary aspect of Dwell, while Veranda is well known as a luxury living magazine. Lonny Magazine and the newly relaunched, Domino Magazine, cater to a young, hip, metropolitan audience, and emphasize accessibility and a do-it-yourself (DIY) approach to interior design.

Gallery

• Grand Central Terminal in Midtown Manhattan
• Hotel San Domenico in Taormina
• Apothecary room
• Villa del Balbianello
• Lounge (1850)
• Bar in Rotterdam
• Balboa Bay Club
• Axel Springer Tower [de], Berlin
• Lutheran church in Nervi

Notable interior decorators

Main pages: Category:Interior designers and Category:Interior design firms

See also: Category:Interior designers by nationality

Other early interior decorators:

• Sibyl Colefax
• Dorothy Draper
• Pierre François Léonard Fontaine
• Syrie Maugham
• Margery Hoffman Smith
• Elsie de Wolfe
• Arthur Stannard Vernay
• Frank Lloyd Wright

Many of the most famous designers and decorators during the 20th century had no formal training. Some examples include Sister Parish, Robert Denning and Vincent Fourcade, Kerry Joyce, Kelly Wearstler, Stéphane Boudin, Georges Geffroy, Emilio Terry, Carlos de Beistegui, Nina Petronzio, Lorenzo Mongiardino, Mary Jean Thompson and David Nightingale Hicks.

Notable interior designers in the world today include Scott Salvator, Troy Adams, Jonathan Adler, Michael S. Smith, Martin Brudnizki, Mary Douglas Drysdale, Kelly Hoppen, Kelly Wearstler, Nina Campbell, David Collins, Nate Berkus, Sandra Espinet, Jo Hamilton and Nicky Haslam.

Furniture refers to objects intended to support various human activities such as seating (e.g., stools, chairs, and sofas), eating (tables), storing items, working, and sleeping (e.g., beds and hammocks). Furniture is also used to hold objects at a convenient height for work (as horizontal surfaces above the ground, such as tables and desks), or to store things (e.g., cupboards, shelves, and drawers). Furniture can be a product of design and can be considered a form of decorative art. In addition to furniture’s functional role, it can serve a symbolic or religious purpose. It can be made from a vast multitude of materials, including metal, plastic, and wood. Furniture can be made using a variety of woodworking joints which often reflects the local culture.

People have been using natural objects, such as tree stumps, rocks and moss, as furniture since the beginning of human civilization and continues today in some households/campsites. Archaeological research shows that from around 30,000 years ago, people started to construct and carve their own furniture, using wood, stone, and animal bones. Early furniture from this period is known from artwork such as a Venus figurine found in Russia, depicting the goddess on a throne. The first surviving extant furniture is in the homes of Skara Brae in Scotland, and includes cupboards, dressers and beds all constructed from stone. Complex construction techniques such as joinery began in the early dynastic period of ancient Egypt. This era saw constructed wooden pieces, including stools and tables, sometimes decorated with valuable metals or ivory. The evolution of furniture design continued in ancient Greece and ancient Rome, with thrones being commonplace as well as the klinai, multipurpose couches used for relaxing, eating, and sleeping. The furniture of the Middle Ages was usually heavy, oak, and ornamented. Furniture design expanded during the Italian Renaissance of the fourteenth and fifteenth century. The seventeenth century, in both Southern and Northern Europe, was characterized by opulent, often gilded Baroque designs. The nineteenth century is usually defined by revival styles. The first three-quarters of the twentieth century are often seen as the march towards Modernism. One unique outgrowth of post-modern furniture design is a return to natural shapes and textures.^[1]

Etymology

[edit]

The English word furniture is derived from the French word fourniture,^[2] the noun form of fournir, which means to supply or provide.^[3] Thus fourniture in French means supplies or provisions.^[4] The English usage, referring specifically to household objects, is specific to that language;^[5] French and other Romance languages as well as German use variants of the word meubles, which derives from Latin mobilia, meaning “moveable goods”.^[6]

History

[edit]

Prehistory

[edit]

The practice of using natural objects as rudimentary pieces of furniture likely dates to the beginning of human civilization.^[7] Early humans are likely to have used tree stumps as seats, rocks as rudimentary tables, and mossy areas for sleeping.^[7] During the late Paleolithic or early Neolithic period, from around 30,000 years ago, people began constructing and carving their own furniture, using wood, stone and animal bones.^[8] The earliest evidence for the existence of constructed furniture is a Venus figurine found at the Gagarino site in Russia, which depicts the goddess in a sitting position, on a throne.^[9] A similar statue of a seated woman was found in Çatalhöyük in Turkey, dating to between 6000 and 5500 BCE.^[7] The inclusion of such a seat in the figurines implies that these were already common artefacts of that age.^[9]

A range of unique stone furniture has been excavated in Skara Brae, a Neolithic village in Orkney, Scotland The site dates from 3100 to 2500 BCE and due to a shortage of wood in Orkney, the people of Skara Brae were forced to build with stone, a readily available material that could be worked easily and turned into items for use within the household. Each house shows a high degree of sophistication and was equipped with an extensive assortment of stone furniture, ranging from cupboards, dressers, and beds to shelves, stone seats, and limpet tanks. The stone dresser was regarded as the most important as it symbolically faces the entrance in each house and is therefore the first item seen when entering, perhaps displaying symbolic objects, including decorative artwork such as several Neolithic carved stone balls also found at the site.

• The Seated Woman of Çatalhöyük, a figurine discovered in Turkey and dated to approximately 6000 BC, is evidence that furniture already existed by that point.
• A dresser with shelves furnishes a house in Skara Brae, a settlement in what is now Scotland that was occupied from about 3180–2500 BC
• Cucuteni ritualic figurines sitting on miniature chairs; 4900–4750 BC; painted ceramic; Archaeology Museum Piatra Neamț (Piatra Neamț, Romania)
• Cucuteni figurine staying on a miniature chair; 4750–4700 BC; ceramic; discovered at Târpești (modern-day Romania); Archaeology Museum Piatra Neamț

Antiquity

[edit]

Main article: Ancient furniture

Ancient furniture has been excavated from the 8th-century BCE Phrygian tumulus, the Midas Mound, in Gordion, Turkey. Pieces found here include tables and inlaid serving stands. There are also surviving works from the 9th–8th-century BCE Assyrian palace of Nimrud. The earliest surviving carpet, the Pazyryk Carpet was discovered in a frozen tomb in Siberia and has been dated between the 6th and 3rd century BCE.

Ancient Egypt

[edit]

Main article: Art of ancient Egypt § Furniture

Civilization in ancient Egypt began with the clearance and irrigation of land along the banks of the River Nile,^[10] which began in about 6000 BCE. By that time, society in the Nile Valley was already engaged in organized agriculture and the construction of large buildings.^[11] At this period, Egyptians in the southwestern corner of Egypt were herding cattle and also constructing large buildings. Mortar was in use by around 4000 BCE The inhabitants of the Nile Valley and delta were self-sufficient and were raising barley and emmer (an early variety of wheat) and stored it in pits lined with reed mats.^[12] They raised cattle, goats and pigs and they wove linens and baskets.^[12] Evidence of furniture from the predynastic period is scarce, but samples from First Dynasty tombs indicate an already advanced use of furnishings in the houses of the age.^[13]

During the Dynastic Period, which began in around 3200 BCE, Egyptian art developed significantly, and this included furniture design.^[14] Egyptian furniture was primarily constructed using wood, but other materials were sometimes used, such as leather,^[15] and pieces were often adorned with gold, silver, ivory and ebony, for decoration.^[15] Wood found in Egypt was not suitable for furniture construction, so it had to be imported into the country from other places,^[14] particularly Phoenicia.^[16] The scarcity of wood necessitated innovation in construction techniques. The use of scarf joints to join two shorter pieces together and form a longer beam was one example of this,^[17] as well as construction of veneers in which low quality cheap wood was used as the main building material, with a thin layer of expensive wood on the surface.^[18]

The earliest used seating furniture in the dynastic period was the stool, which was used throughout Egyptian society, from the royal family down to ordinary citizens.^[19] Various different designs were used, including stools with four vertical legs, and others with crossed splayed legs; almost all had rectangular seats, however.^[19] Examples include the workman’s stool, a simple three legged structure with a concave seat, designed for comfort during labour,^[20] and the much more ornate folding stool, with crossed folding legs,^[21] which were decorated with carved duck heads and ivory,^[21] and had hinges made of bronze.^[19] Full chairs were much rarer in early Egypt, being limited to only wealthy and high ranking people, and seen as a status symbol; they did not reach ordinary households until the 18th dynasty.^[22] Early examples were formed by adding a straight back to a stool, while later chairs had an inclined back.^[22] Other furniture types in ancient Egypt include tables, which are heavily represented in art, but almost nonexistent as preserved items – perhaps because they were placed outside tombs rather than within,^[23] as well as beds and storage chests.^[24][25]

• Stool with woven seat; 1991–1450 BC; wood & reed; height: 13 cm; Metropolitan Museum of Art
• Jewelry chest of Sithathoryunet; 1887–1813 BC; ebony, ivory, gold, carnelian, blue faience and silver; height: 36.7 cm; Metropolitan Museum of Art
• Chair of Hatnefer; 1492–1473 BC; boxwood, cypress, ebony & linen cord; height: 53 cm; Metropolitan Museum of Art
• The Throne of Tutankhamun; 1336–1327 BC; wood covered with sheets of gold, silver, semi-precious and other stones, faience, glass and bronze; height: 1 m; Egyptian Museum (Cairo)

Ancient Greece

[edit]

Historical knowledge of Greek furniture is derived from various sources, including literature, terracotta, sculptures, statuettes, and painted vases.^[26] Some pieces survive to this day, primarily those constructed from metals, including bronze, or marble.^[26] Wood was an important and common material in Greek furniture, both domestic and imported.^[26] A common technique was to construct the main sections of the furniture with cheap solid wood, then apply a veneer using an expensive wood, such as maple or ebony.^[26] Greek furniture construction also made use of dowels and tenons for joining the wooden parts of a piece together.^[26] Wood was shaped by carving, steam treatment, and the lathe, and furniture is known to have been decorated with ivory, tortoise shell, glass, gold or other precious materials.^[27]

The modern word “throne” is derived from the ancient Greek thronos (Greek singular: θρόνος), which was a seat designated for deities or individuals of high status/hierarchy or honor.^[28] The colossal chryselephantine statue of Zeus at Olympia, constructed by Phidias and lost in antiquity, featured the god Zeus seated on an elaborate throne, which was decorated with gold, precious stones, ebony and ivory, according to Pausanias.^[29] Other Greek seats included the klismos, an elegant Greek chair with a curved backrest and legs whose form was copied by the Romans and is now part of the vocabulary of furniture design,^[30] the backless stool (diphros), which existed in most Greek homes,^[31] and folding stool.^[32] The kline, used from the late seventh century BCE,^[33] was a multipurpose piece used as a bed, but also as a sofa and for reclining during meals.^[34] It was rectangular and supported on four legs, two of which could be longer than the other, providing support for an armrest or headboard.^[35] Mattresses, rugs, and blankets may have been used, but there is no evidence for sheets.^[34]

In general, Greek tables were low and often appear in depictions alongside klinai.^[36] The most common type of Greek table had a rectangular top supported on three legs, although numerous configurations exist, including trapezoid and circular.^[37] Tables in ancient Greece were used mostly for dining purposes – in depictions of banquets, it appears as though each participant would have used a single table, rather than a collective use of a larger piece.^[38] Tables also figured prominently in religious contexts, as indicated in vase paintings, for example, the wine vessel associated with Dionysus, dating to around 450 BCE and now housed at the Art Institute of Chicago.^[39] Chests were used for storage of clothes and personal items and were usually rectangular with hinged lids.^[37] Chests depicted in terracotta show elaborate patterns and design, including the Greek fret.^[34]

• Foot in the form of a sphinx; circa 600 BC; bronze; overall: 27.6 x 20.3 x 16.5 cm; Metropolitan Museum of Art (New York City)
• Rod tripod stand; early 6th century BC; bronze; overall: 75.2 x 44.5 cm; Metropolitan Museum of Art
• Pelike which depicts a boy carrying furniture for a symposium (drinking party), in the Ashmolean Museum (Oxford, UK)
• Funerary stele in which appears somebody staying on a klismos, from circa 410–400 BC, in the National Archaeological Museum (Athens, Greece)

Ancient Rome

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Roman furniture was based heavily on Greek furniture, in style and construction. Rome gradually superseded Greece as the foremost culture of Europe, leading eventually to Greece becoming a province of Rome in 146 BC. Rome thus took over production and distribution of Greek furniture, and the boundary between the two is blurred. The Romans did have some limited innovation outside of Greek influence, and styles distinctly their own.^[40]

Roman furniture was constructed principally using wood, metal and stone, with marble and limestone used for outside furniture. Very little wooden furniture survives intact, but there is evidence that a variety of woods were used, including maple, citron, beech, oak, and holly. Some imported wood such as satinwood was used for decoration. The most commonly used metal was bronze, of which numerous examples have survived, for example, headrests for couches and metal stools. Similar to the Greeks, Romans used tenons, dowels, nails, and glue to join wooden pieces together, and also practised veneering.^[40]

The 1738 and 1748 excavations of Herculaneum and Pompeii revealed Roman furniture, preserved in the ashes of the AD 79 eruption of Vesuvius.

• Illustration of Roman furniture details, from 1900, very similar with Empire style furniture
• Tripod base; circa 100 BC; bronze; overall: 77 x 32.3 x 28 cm; Cleveland Museum of Art (Cleveland, Ohio, USA)
• Treasure chest with a sacrifice of Jupiter depicted on it; 1st century AD; wood, iron and bronze, with ageminature; from Pompeii; Naples National Archaeological Museum (Naples, Italy)
• Couch and footstool with bone carvings and glass inlays; 1st–2nd century AD; wood, bone and glass; couch: 105.4 × 76.2 × 214.6 cm; Metropolitan Museum of Art (New York City)

Middle Ages

[edit]

In contrast to the ancient civilizations of Egypt, Greece, and Rome, there is comparatively little evidence of furniture from the 5th to the 15th century.^[41] Very few extant pieces survive, and evidence in literature is also scarce.^[41] It is likely that the style of furniture prevalent in late antiquity persisted throughout the Middle Ages.^[41] For example, a throne similar to that of Zeus is depicted in a sixth-century diptych,^[41] while the Bayeux tapestry shows Edward the Confessor and Harold seated on seats similar to the Roman sella curulis.^[42] The furniture of the Middle Ages was usually heavy, oak, and ornamented with carved designs.

The Hellenistic influence upon Byzantine furniture can be seen through the use of acanthus leaves, palmettes, bay and olive leaves as ornaments. Oriental influences manifest through rosettes, arabesques and the geometric stylisation of certain vegetal motifs. Christianity brings symbols in Byzantine ornamentation: the pigeon, fishes, the lamb and vines.^[43] The furniture from Byzantine houses and palaces was usually luxurious, highly decorated and finely ornamented. Stone, marble, metal, wood and ivory are used. Surfaces and ornaments are gilded, painted plychrome, plated with sheets of gold, emailed in bright colors, and covered in precious stones. The variety of Byzantine furniture is pretty big: tables with square, rectangle or round top, sumptuous decorated, made of wood sometimes inlaid, with bronze, ivory or silver ornaments; chairs with high backs and with wool blankets or animal furs, with coloured pillows, and then banks and stools; wardrobes were used only for storing books; cloths and valuable objects were kept in chests, with iron locks; the form of beds imitated the Roman ones, but have different designs of legs.^[44]

The main ornament of Gothic furniture and all applied arts is the ogive. The geometric rosette accompanies the ogive many times, having a big variety of forms. Architectural elements are used at furniture, at the beginning with purely decorative reasons, but later as structure elements. Besides the ogive, the main ornaments are: acanthus leaves, ivy, oak leaves, haulms, clovers, fleurs-de-lis, knights with shields, heads with crowns and characters from the Bible. Chests are the main type of Gothic furniture used by the majority of the population. Usually, the locks and escutcheon of chests have also an ornamental scope, being finely made.^[45]

• Throne of Dagobert; 19th and 12th centuries (backrest); gilt bronze; unknown dimensions; Cabinet des Médailles (Paris)^[46]
• Gothic coffret (Minnekästchen); circa 1325–1350; oak, inlay, tempera, wrought-iron mounts; overall: 12.1 x 27.3 x 16.5 cm; Metropolitan Museum of Art (New York City)
• Gothic chest; late 15th century; wood; 30.2 x 29.2 x 39.4 cm; Metropolitan Museum of Art
• Gothic chest; late 15th century; walnut and iron; overall: 47 x 38.7 x 75.9 cm; Metropolitan Museum of Art
• Romanian analogion; second quarter of the 16th century; carved, openwork and champlevé wood; 115 x 58 x 65 cm; from the Probota Monastery (Suceava County); National Museum of Art of Romania (Bucharest)^[47]
• Russian Monomakhov throne, 1551, wood, unknown dimensions, Dormition Cathedral, Moscow

Renaissance

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Main articles: Henry II style and Henry IV style

Along with the other arts, the Italian Renaissance of the fourteenth and fifteenth century marked a rebirth in design, often inspired by the Greco-Roman tradition. A similar explosion of design, and renaissance of culture in general occurred in Northern Europe, starting in the fifteenth century.

• Sideboard; c.1524; wood; height: 144 cm; Château d’Écouen (Écouen, France)^[48]
• Wardrobe; c.1530; carved walnut; height: 230 cm; Château d’Écouen^[49]
• Cassone (chest); c.1550–1560; carved and partially gilded walnut; 86.4 x 181.9 x 67.3 cm; Metropolitan Museum of Art (New York City)
• Cupboard; c.1570; wood; height: 246 cm; Château d’Écouen^[50]
• Cupboard; c. 1580; walnut and oak, partially gilded and painted; height: 2.06 m, width: 1.50 m; Louvre^[51]

17th and 18th centuries

[edit]

Main articles: Baroque § Furniture, Rococo § Furniture and decoration, and Neoclassicism § Architecture and the decorative arts

The 17th century, in both Southern and Northern Europe, was characterized by opulent, often gilded Baroque designs that frequently incorporated a profusion of vegetal and scrolling ornament. Starting in the eighteenth century, furniture designs began to develop more rapidly. Although there were some styles that belonged primarily to one nation, such as Palladianism in Great Britain or Louis Quinze in French furniture, others, such as the Rococo and Neoclassicism were perpetuated throughout Western Europe.

During the 18th century, the fashion was set in England by the French art. In the beginning of the century Boulle cabinets were at the peak of their popularity and Louis XIV was reigning in France. In this era, most of the furniture had metal and enamelled decorations in it and some of the furniture was covered in inlays of marbles lapis lazuli, and porphyry and other stones. By mid-century this Baroque style was displaced by the graceful curves, shining ormolu, and intricate marquetry of the Rococo style, which in turn gave way around 1770 to the more severe lines of Neoclassicism, modeled after the architecture of ancient Greece and Rome.^[52] Creating a mass market for furniture, the distinguished London cabinet maker Thomas Chippendale‘s The Gentleman and Cabinet Maker’s Director (1754) is regarded as the “first comprehensive trade catalogue of its kind”.^[53]

There is something so distinct in the development of taste in French furniture, marked out by the three styles to which the three monarchs have given the name of “Louis Quatorze“, “Louis Quinze“, and “Louis Seize”. This will be evident to anyone who will visit, first the Palace of Versailles, then the Grand Trianon, and afterwards the Petit Trianon.^[54]

• Baroque four-poster bed from the Château d’Effiat; c.1650; natural walnut, chiselled Genoa silk velvet and embroidered silks; 295 cm; Louvre^[55]
• Baroque pier table; 1685–1690; carved, gessoed, and gilded wood, with a marble top; 83.6 × 128.6 × 71.6 cm; Art Institute of Chicago (US)^[56]
• Baroque cupboard; by André Charles Boulle; c.1700; ebony and amaranth veneering, polychrome woods, brass, tin, shell, and horn marquetry on an oak frame, gilt-bronze; 255.5 x 157.5 cm; Louvre^[57]
• Baroque commode; by André Charles Boulle; c.1710-1732; walnut veneered with ebony and marquetry of engraved brass and tortoiseshell, gilt-bronze mounts, antique marble top; 87.6 x 128.3 x 62.9 cm; Metropolitan Museum of Art (New York City)^[58]
• Baroque slant-front desk; by Heinrich Ludwig Rohde or Ferdinand Plitzner; c.1715–1725; marquetry with maple, amaranth, mahogany, and walnut on spruce and oak; 90 × 84 × 44.5 cm; Art Institute of Chicago^[59]
• Rococo console table; 18th century; carved and gilded wood, marble top; 63.2 × 60 × 25.4 cm; Metropolitan Museum of Art
• Rococo commode; by Charles Cressent; c.1745–1749; pine and oak veneered with amaranth and bois satiné, walnut, oak, pine; gilt-bronze, portoro marble top; 87.6 x 139.7 x 57.8 cm; Metropolitan Museum of Art
• Rococo slant-top desk; c.1750; oak, kingwood marquetry, amaranth wood, satiné, gilt bronze; unknown dimensions; Musée des Arts Décoratifs (Paris)^[60]
• Rococo side table (commode en console); by Bernard II van Risamburgh; c.1755-1760; Japanese lacquer, gilt-bronze and Sarrancolin marble top; height: 90.2 cm; Metropolitan Museum of Art
• Bureau du Roi (Rococo); by Jean-François Oeben and Jean Henri Riesener; 1760–1769; bronze, marquetry of a variety of fine woods and Sèvres porcelain; 147.3 x 192.5 x 105; Palace of Versailles (Versailles, France)^[61]
• Louis XVI style commode of Madame du Barry; by Martin Carlin (attribution); 1772; oak base veneered with pearwood, rosewood and amaranth, soft-paste Sèvres porcelain, bronze gilt, white marble; 87 x 119 cm; Louvre^[62]
• Louis XVI style roll-top desk of Marie-Antoinette; by Jean-Henri Riesener; 1784; oak and pine frame, sycamore, amaranth and rosewood veneer, bronze gilt; 103.6 x 113.4 cm; Louvre^[63]
• Louis XVI style writing table of Marie-Antoinette; by Adam Weisweiler; 1784; oak, ebony and sycamore veneer, Japanese lacquer, steel, bronze gilt; 73.7 x 81. 2 cm; Louvre^[63]
• Louis XVI style folding stool (pliant); 1786; carved and painted beechwood, covered in pink silk; 46.4 × 68.6 × 51.4 cm; Metropolitan Museum of Art
• Louis XVI style armchair (fauteuil) from Louis XVI’s Salon des Jeux at Saint Cloud; 1788; carved and gilded walnut, gold brocaded silk (not original); overall: 100 × 74.9 × 65.1 cm; Metropolitan Museum of Art

19th century

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The nineteenth century is usually defined by concurrent revival styles, including Gothic, Neoclassicism, and Rococo. The design reforms of the late century introduced the Aesthetic movement and the Arts and Crafts movement. Art Nouveau was influenced by both of these movements. Shaker-style furniture became popular during this time in North America as well.

• Empire desk chair; c.1805–1808; mahogany, gilt bronze and satin-velvet upholstery; 87.6 × 59.7 × 64.8 cm; Metropolitan Museum of Art (New York City)
• Empire console table; 1804–1814; mahogany, gilded bronze, chiseled gilded bronze and fossil gray marble; 91.5 x 154 x 73.5 cm; Musée des Arts Décoratifs (Paris)^[64]
• Empire throne; by Bernard Poyet and François-Honoré-Georges Jacob-Desmalter; 1805; carved and gilded wood, covered in red velvet with silver embroidery; 160 x 110 x 82 cm; Musée des Arts Décoratifs^[65]
• Egyptian Revival coin cabinet; 1809–1819; mahogany (probably Swietenia mahagoni), with applied and inlaid silver; 90.2 x 50.2 x 37.5 cm; Metropolitan Museum of Art
• King of Rome’s Cradle (Empire); by Pierre-Paul Prud’hon, Henri Victor Roguier, Jean-Baptiste-Claude Odiot and Pierre-Philippe Thomire; 1811; wood, silver gilt, mother-of-pearl, sheets of copper covered with velvet, silk and tulle, decorated with silver and gold thread; height: 216 cm; Kunsthistorisches Museum (Vienna, Austria)^[66]
• Chair (one of a pair) from the Gothic Cabinet of the Osmond Countess; by François-Honoré-Georges Jacob-Desmalter; before 1817–1820; gilt wood; unknown dimensions; Petit Palais (Paris)
• Gothic Revival Chair; 1845–1865; walnut frame with upholstered seat and back; unknown dimensions; Huntington Museum of Art (Huntington, West Virginia, USA)
• tête-à-tête (Second Empire); 1850–1860; rosewood, ash, pine and walnut; 113 x 132.1 x 109.2 cm; Metropolitan Museum of Art (New York City)
• Desk; designed by Frank Furness, made by Daniel Pabst; 1870–1871; walnut, walnut veneer, rosewood (knobs), brass, iron, steel and glass; 196.9 × 157.5 × 81.9 cm; Philadelphia Museum of Art (Philadelphia, USA)^[67]
• Table (Rococo Revival); c.1880; wood, ormolu and lacquer; 68.9 x 26.99 x 38.42 cm; Los Angeles County Museum of Art (Los Angeles, USA)
• Chair (Art Nouveau); by Arthur Heygate Mackmurdo; c.1883; mahogany; 97.79 x 49.53 x 49.53 cm; Los Angeles County Museum of Art
• Desk (Art Nouveau), presented at the 1900 Paris Exposition; by Émile Gallé; 1900; molded and carved oak, with chiseled and patinated bronze; height: 108.5 cm; Musée d’Orsay (Paris)^[68]

Early North American

[edit]

This design was in many ways rooted in necessity and emphasizes both form and materials. Early British Colonial American^[vague] chairs and tables are often constructed with turned spindles and chair backs often constructed with steaming to bend the wood. Wood choices tend to be deciduous hardwoods with a particular emphasis on the wood of edible or fruit bearing trees such as cherry or walnut.^{[citation needed]}

Mid-Century Modern

[edit]

This section needs expansion. You can help by adding to it. (January 2023)

The first three-quarters of the 20th century is seen as the march towards Modernism. The furniture designers of Art Deco, De Stijl, Bauhaus, Jugendstil, Wiener Werkstätte, and Vienna Secession all worked to some degree within the Modernist motto.

Born from the Bauhaus and Streamline Moderne came the post-World War II style “Mid-Century Modern“. Mid-Century Modern materials developed during the war including laminated plywood, plastics, and fiberglass. Prime examples include furniture designed by George Nelson Associates, Charles and Ray Eames, Paul McCobb, Florence Knoll, Harry Bertoia, Eero Saarinen, Harvey Probber, Vladimir Kagan and Danish modern designers including Finn Juhl and Arne Jacobsen.

Contemporary

[edit]

Industrialisation, Post-Modernism, and the Internet have allowed furniture design to become more accessible to a wider range of people than ever before. There are many modern styles of furniture design, each with roots in Classical, Modernist, and Post-Modern design and art movements. The growth of Maker Culture across the Western sphere of influence has encouraged higher participation and development of new, more accessible furniture design techniques. One unique outgrowth of this post-modern furniture design trajectory is Live Edge, which incorporates the natural surface of a tree as part of a furniture object, heralding a resurgence of these natural shapes and textures within the home.^[1] Additionally, the use of Epoxy Resin has become more prevalent in DIY furniture styles.

Ecodesign

[edit]

Great efforts from individuals, governments, and companies has led to the manufacturing of products with higher sustainability known as Ecodesign. This new line of furniture is based on environmentally friendly design. Its use and popularity are increasing each year.^[69]

Postmodernism

[edit]

Postmodern design, intersecting the Pop art movement, gained steam in the 1960s and 70s, promoted in the 80s by groups such as the Italy-based Memphis movement. Transitional furniture is intended to fill a place between Traditional and Modern tastes.^{[citation needed]}

Asian history

[edit]

Asian furniture has a quite distinct history. The traditions out of India, China, Korea, Pakistan, Indonesia (Bali and Java) and Japan are some of the best known, but places such as Mongolia, and the countries of South East Asia have unique facets of their own.

Far Eastern

[edit]

The use of uncarved wood and bamboo and the use of heavy lacquers are well known Chinese styles. It is worth noting that Chinese furniture varies dramatically from one dynasty to the next. Chinese ornamentation is highly inspired by paintings, with floral and plant life motifs including bamboo trees, chrysanthemums, waterlilies, irises, magnolias, flowers and branches of cherry, apple, apricot and plum, or elongated bamboo leaves; animal ornaments include lions, bulls, ducks, peacocks, parrots, pheasants, roosters, ibises and butterflies. The dragon is the symbol of earth fertility, and of the power and wisdom of the emperor. Lacquers are mostly populated with princesses, various Chinese people, soldiers, children, ritually and daily scenes. Architectural features tend toward geometric ornaments, like meanders and labyrinths. The interior of a Chinese house was simple and sober. All Chinese furniture is made of wood, usually ebony, teak, or rosewood for heavier furniture (chairs, tables and benches) and bamboo, pine and larch for lighter furniture (stools and small chairs).^[70]

Traditional Japanese furniture is well known for its minimalist style, extensive use of wood, high-quality craftsmanship and reliance on wood grain instead of painting or thick lacquer. Japanese chests are known as Tansu, known for elaborate decorative iron work, and are some of the most sought-after of Japanese antiques. The antiques available generally date back to the Tokugawa and Meiji periods. Both the technique of lacquering and the specific lacquer (resin of Rhus vernicifera) originated in China, but the lacquer tree also grows well in Japan. The recipes of preparation are original to Japan: resin is mixed with wheat flour, clay or pottery powder, turpentine, iron powder or wood coal. In ornamentation, the chrysanthemum, known as kiku, the national flower, is a very popular ornament, including the 16-petal chrysanthemum symbolizing the Emperor. Cherry and apple flowers are used for decorating screens, vases and shōji. Common animal ornaments include dragons, carps, cranes, gooses, tigers, horses and monkeys; representations of architecture such as houses, pavilions, towers, torii gates, bridges and temples are also common. The furniture of a Japanese house consists of tables, shelves, wardrobes, small holders for flowers, bonsais or for bonkei, boxes, lanterns with wooden frames and translucent paper, neck and elbow holders, and jardinieres.^[71]

• Chinese low-back armchair; late 16th-18th century (late Ming dynasty to Qing dynasty); huanghuali rosewood; Arthur M. Sackler Gallery (Washington D.C.)
• Japanese incense guessing game; 1615–1868; lacquer; overall: 23 x 25.4 x 16.6 cm; Cleveland Museum of Art (Cleveland, Ohio, US)
• Chinese pedestal desk; 1644–1911; huanghuali wood (yellow flowering pear) with brass fittings; Portland Art Museum (Portland, Oregon, USA)
• Japanese chest with cartouche showing figures on donkeys in a landscape; 1750–1800; carved red lacquer on wood core with metal fittings and jade lock; 30.64 x 30.16 x 12.7 cm; Los Angeles County Museum of Art (USA)
• Japanese tiered food Box with stand; late 18th century; red lacquer over a wood core, with litharge painting and engraved gold designs; overall: 53 x 68 cm; Cleveland Museum of Art
• Chinese moon-gate bed; circa 1876; satinwood (huang lu), other Asian woods and ivory; Peabody Essex Museum (Salem, Massachusetts, USA)
• Chinese canopy bed; late 19th or early 20th century; carved lacquered and gilded wood; Montreal Museum of Fine Arts (Montreal, Canada)
• Japanese writing table; early 20th century; lacquered wood with silver fittings and various other materials; height: 12.3 cm, length: 60.96 cm, width: 36.83 cm; Metropolitan Museum of Art (New York City)

Types

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Main article: List of furniture types

For sitting

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Seating is amongst the oldest known furniture types, and authors including Encyclopædia Britannica regard it as the most important.^[2] In addition to the functional design, seating has had an important decorative element from ancient times to the present day. This includes carved and sculpted pieces intended as works of art, as well as the styling of seats to indicate social importance, with senior figures or leaders granted the use of specially designed seats.^[2]

The simplest form of seat is the chair,^[72] which is a piece of furniture designed to allow a single person to sit down, which has a back and legs, as well as a platform for sitting.^[73] Chairs often feature cushions made from various fabrics.^[74]

• Ancient Egyptian armchair of Tutankhamun; 1336–1326 BC; wood, ebony, ivory and gold leaf; height: 71 cm; Exposition of Tutankhamun Treasure in Paris (2019)
• Neoclassical chair; circa 1772; mahogany, covered in modern red Morocco leather; height: 97.2 cm; Metropolitan Museum of Art (New York City)
• Louis XVI armchair (Fauteuil à la reine); 1780–1785; carved and gilded walnut, and embroidered silk satin; height: 102.2 cm, width: 74.9 cm, depth: 77.8 cm; Metropolitan Museum of Art
• Louis XVI settee; designed in circa 1786, woven 1790–91, settee frame from the second half 19th century; carved and gilded wood, with wool and silk; 107.3 × 191.5 × 71.1 cm; Metropolitan Museum of Art

Types of wood used

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Main article: List of woodsMaking of log furniture: cutting a bar stool from a piece of log

All different types of woods have unique signature marks that can help in easy identification of the type. Hardwood and softwood are the two main categories for wood. Both hardwoods and softwoods are used in furniture manufacturing, and each has its own specific uses. Deciduous trees, which have broad leaves that change color periodically throughout the year, are the source of hardwood. Coniferous trees, also known as cone-bearing trees, have small leaves or needles that stay on the tree throughout the year.^[75][76] Common softwoods used include pine, redwood and yew. Higher quality furniture tends to be made out of hardwood, including oak, maple, mahogany, teak, walnut, cherry and birch. Highest quality wood will have been air dried to rid it of its moisture.^[77]

Cherry

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A popular furniture hardwood is American black cherry. Cherry is a light reddish brown to brown color that intensifies into a rich color as it ages, and grows mostly in the eastern United States. Cherry has a tighter grain than birch and is softer. Much cherry lumber is narrow, and it has been utilized to make many lovely classic furniture pieces.^[75]

Birch

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Birch is a sturdy, durable, even-textured hardwood that is common in the United States and Canada. The wood appears white or creamy yellow to light brown with a crimson tinge in its natural state. Birch is frequently stained to complement other types of wood in furniture. Birch is used to make a lot of transparent, cabinet-grade plywood because it absorbs stain well and finishes beautifully. Birch is frequently used to construct interior doors and cupboards in addition to furniture.^[75]

Restoration of furniture

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Restoring a piece of furniture may imply attempting to repair and revive the original finish in some way. More often than not, this entails removing the existing treatment and preparing the raw wood for a new finish. Methods for repair depend on what kind of wood it is: solid or veneered, hardwood or softwood, open grained or closed grained. These variables can sometimes decide if a piece of furniture is worth repairing, as well as the type of repairs and finish it will require if it is restored. The 3 methods of restoring furniture are rejuvenate, repair, and refinish.

Rejuvenate The piece can easily be restored by just cleaning and waxing the surface while preserving the current finish. It works on wooden furniture that is still in good shape and is the simplest way to clean it.

Repair This process can fix dents and cracks by touching up some worn-out areas without removing the surface with this technique, the finish can be maintained while repairing the object with specialized products.

Refinish Remove anything that is left for example any paint with a finish-stripper product or lightly sanding the area down and then applying wood finish like oil wax in order to protect the secure the wood.^[75]

Cleaning Remove dirt, dust, and grime from the furniture using a mild soap or specialized furniture cleaner.

Standards for design, functionality and safety

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• EN 527 Office furniture – Work tables and desks: This European standard specifies requirements and test methods for office work tables and desks, ensuring their functionality and safety.
• EN 1335 Office furniture – Office work chair: This European standard sets requirements for office chairs, focusing on ergonomics and comfort to promote user well-being and productivity.
• ANSI/BIFMA X 5.1 Office Seating: This American National Standard, published by the Business and Institutional Furniture Manufacturers Association (BIFMA), provides requirements for the performance and durability of office seating.
• DIN 4551 Office furniture; revolving office chair: This German standard covers revolving office chairs with adjustable backrests, armrests, and height, ensuring their quality and safety.
• EN 581 Outdoor furniture – Seating and tables for camping, domestic and contract use: This European standard specifies the requirements for outdoor seating and tables used in various settings, including camping and domestic use.
• EN 1728:2014 Furniture – Seating – Test methods for the determination of strength and durability: This European standard outlines test methods to assess the strength and durability of seating furniture, last updated in 2014.
• EN 1730:2012 Furniture – Test methods for the determination of stability, strength, and durability: This European standard provides test methods to evaluate the stability, strength, and durability of various types of furniture.
• BS 4875 Furniture. Strength and stability of furniture: This British Standard focuses on determining the stability of non-domestic storage furniture, helping ensure its safety and reliability.
• EN 747 Furniture – Bunk beds and high beds – Test methods for the determination of stability, strength, and durability: This European standard sets test methods to assess the stability, strength, and durability of bunk beds and high beds.
• EN 13150 Workbenches for laboratories – Safety requirements and test methods: This European standard specifies safety requirements and test methods for laboratory workbenches to ensure safe working conditions.
• EN 1729 Educational furniture, chairs, and tables for educational institutions: This European standard outlines requirements for educational furniture, including chairs and tables, to support comfort and ergonomics in educational settings.
• RAL-GZ 430 Furniture standard from Germany: RAL is a German standardization organization, and RAL-GZ 430 provides guidelines and standards for various types of furniture in Germany.
• NEN 1812 Furniture standard from the Netherlands: NEN is the Dutch Institute for Standardization, and NEN 1812 sets standards for furniture in the Netherlands.
• GB 28007-2011 Children’s furniture – General technical requirements for children’s furniture: This Chinese standard specifies technical requirements for children’s furniture designed and manufactured for children aged 3 to 14.
• BS 5852: 2006 Methods of test for assessment of the ignitability of upholstered seating: This British Standard outlines test methods to assess the ignitability of upholstered seating, both by smoldering and flaming ignition sources.
• BS 7176: This British Standard specifies requirements for the resistance to ignition of upholstered furniture used in non-domestic settings through composite testing. These standards help ensure the quality, safety, and performance of various types of furniture in different regions and applications. Manufacturers and consumers often use these standards as guidelines to meet specific requirements and ensure product reliability.