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Essays on Interior Design

Brief description of interior design.

Interior design is the art and science of enhancing the interior of a space to achieve a healthier and more aesthetically pleasing environment. It involves the design and coordination of colors, furniture, lighting, and other elements to create a harmonious and functional space. Interior design is crucial in creating spaces that are not only visually appealing but also practical and conducive to the well-being of its occupants.

Importance of Writing Essays on This Topic

Essays on interior design are important for academic and personal exploration as they allow individuals to delve into the principles, history, and contemporary trends within the field. Writing essays on this topic also encourages critical thinking, research skills, and the ability to articulate ideas effectively, which are valuable skills for personal and professional development.

Tips on Choosing a Good Topic

Explore current trends and innovations in interior design
Consider the influence of culture and history on interior design
Focus on sustainability and eco-friendly design practices

Essay Topics

The impact of color psychology on interior design
The role of technology in modern interior design
The evolution of interior design styles throughout history
Sustainable practices in interior design
The influence of culture on interior design aesthetics
The psychology of space and its impact on interior design
Innovative materials and their use in interior design
Gender and interior design: exploring stereotypes and breaking barriers
The importance of lighting in interior design
The future of interior design: trends and predictions

Concluding Thought

Writing essays on interior design offers a rich opportunity for exploration and critical engagement with the field. By delving into various aspects of interior design, individuals can gain a deeper understanding of the principles, trends, and societal influences that shape the spaces we inhabit. Embracing this topic through essay writing can lead to a greater appreciation for the art and science of interior design.

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Minimalism in Interior Design

Interior design: its background and history, the art of lighting in the home, the influence of the 19th and 20th century interior designs on internal spaces, let us write you an essay from scratch.

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How To Write an Interior Design Essay

Writing an interior design essay can be both exciting and daunting, as you delve into the intricate world of spatial aesthetics, functionality, and artistic expression. Whether you’re a budding designer or a student of architecture, crafting a compelling and insightful essay requires a harmonious blend of theoretical knowledge, critical analysis, and creative flair. Navigating the intricacies of writing an interior design essay involves meticulous research, thoughtful analysis, and creative expression, all of which can be expertly facilitated with the guidance and support of an essay writing service . Prepare to start a journey that will challenge your perceptions, refine your writing skills, and ultimately unveil the secrets of captivating interior design narratives.

The Assignment

Before you dive into the depths of your essay, it’s crucial to grasp the nuances of the assigned topic or prompt fully. Take the time to dissect the instructions, identifying key elements, expectations, and any specific guidelines provided by your instructor. This step will serve as the foundation upon which you’ll construct your architectural masterpiece, ensuring that every paragraph, every sentence, aligns with the desired outcomes.

Conducting Comprehensive Research

An interior design essay is not merely a collection of personal opinions; it demands a solid foundation of research and evidence to support your arguments. Immerse yourself in a diverse array of sources, ranging from scholarly articles and industry publications to expert interviews and case studies. Explore the historical context, emerging trends, and theoretical frameworks that shape the discipline, allowing your understanding to transcend the superficial and delve into the philosophical depths of design.

Developing a Cohesive Structure

Writing an interior design essay requires a blend of insightful observation, critical analysis, and innovative interpretation, offering a rewarding academic endeavor enriched further by considering expert perspectives available through services providing opportunities to buy dissertation online . Much like a well-designed space, your essay should exhibit a harmonious flow and logical progression. Begin by crafting a detailed outline, serving as the blueprint for your literary endeavor. Organize your thoughts into a clear introduction, body paragraphs, and a compelling conclusion, each section seamlessly transitioning into the next, guiding the reader through your narrative with ease and clarity.

The Introduction: Setting the Stage

Your introduction is the grand entryway into your essay, captivating the reader’s attention and enticing them to explore further. Craft a compelling hook that piques their curiosity, whether through a thought-provoking quote, a striking statistic, or a vivid anecdote. Clearly articulate your thesis statement, which will serve as the guiding light for your entire essay, illuminating the path you’ll follow and the arguments you’ll present.

Body Paragraphs: Exploring the Design Landscape

In the body of your essay, you’ll weave together a tapestry of ideas, analysis, and evidence, each paragraph contributing a vital thread to the overall narrative. Seamlessly integrate theoretical concepts, historical contexts, and design principles, illustrating their practical applications through case studies and real-world examples. Remember to maintain a balanced perspective, acknowledging both the strengths and limitations of the approaches you discuss.

Incorporating Visual Elements

Interior design is a visual discipline, and your essay should reflect this essence. Strategically incorporate images, diagrams, and illustrations to complement your written arguments, enhancing the reader’s understanding and providing tangible examples of the concepts you explore. However, ensure that these visual elements are properly cited and integrated seamlessly into your narrative, avoiding disruptions to the flow of your essay.

The Critique

One of the fundamental aspects of an interior design essay is the ability to critique and analyze existing spaces or design concepts. To excel in this area, cultivate a discerning eye for detail, scrutinizing every element from spatial organization and color schemes to lighting and ergonomics. Approach your critique with objectivity, acknowledging both the strengths and weaknesses of the design, and provide insightful recommendations for improvement.

Embracing Creativity and Innovation

While adhering to academic rigor is essential, don’t forget to embrace your creative flair and innovative thinking. Interior design is an art form, and your essay should reflect your unique perspective and artistic voice. Challenge conventional wisdom, propose bold ideas, and explore unconventional design approaches that push the boundaries of what’s possible. Backed by solid research and reasoned arguments, your creativity will breathe life into your essay, captivating the reader and leaving a lasting impression.

The Conclusion: Leaving a Lasting Impact

As you approach the culmination of your interior design essay, it’s time to craft a powerful and resonant conclusion. Revisit your thesis statement, summarizing the key points and reinforcing the significance of your arguments. Leave the reader with a profound insight or a thought-provoking question, encouraging them to ponder the implications of your work and inspiring further exploration and discourse.

Polishing and Refining

Once you’ve completed the initial draft of your essay, the real work begins. Engage in a rigorous editing and proofreading process, scrutinizing every word, every sentence, for clarity, coherence, and impact. Seek feedback from peers, professors, or writing centers, embracing constructive criticism as an opportunity to refine and elevate your work. Polish your prose, ensuring that your ideas flow seamlessly, and your arguments are presented with precision and elegance.

Writing an interior design essay is a journey of self-discovery, intellectual growth, and artistic expression. Embrace the challenges, immerse yourself in the research, and let your creativity soar. Remember, your essay is not merely a collection of words on a page; it’s a canvas upon which you paint a vivid picture of spatial aesthetics, functionality, and the human experience. Approach each sentence, each paragraph, with the same dedication and attention to detail as a master designer crafting a masterpiece. Ultimately, your success lies in your ability to captivate the reader, ignite their imagination, and leave an indelible mark on the ever-evolving landscape of interior design.

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Mirko Humbert is the editor-in-chief and main author of Designer Daily and Typography Daily . He is also a graphic designer and the founder of WP Expert .

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Interior Design Essay: How to Write a Good Paper

Table of Contents

It is hard to imagine the contemporary world without marvelous interiors. Interior designers study the situation, research everything, communicate with the clients, builders, and workers. Their job is to create a welcoming and beautiful inside look of the building. They can also suggest the choice of materials, colors, and style. Consequently, it is impossible to do without professional help. Essays about interior design discuss the importance of designers and problems one can face when dealing with research.

How to Start Writing an Interior Design Essay?

Students need to write excellent papers. That is why they must know where to start, how to write, and when to finish. A team of pro essay writers from SmartWritingService.com recommend selecting a topic that can intrigue the target audience. So, students should know who their target readers are, what they prefer and how knowledgeable they are. Related websites, magazines, journals, newspapers, and social platforms contain articles that have interesting information. These are sample topics for interior essays.

Is there any difference between an interior decorator and an interior designer?
Can an average person afford the service of interior designers?
How to make a small building look spacious?
What furniture creates a healthy and wealthy environment?
How to make your house look modern but safe for children?

The Next Step is to Study Requirements of the College

Students cannot write essays the way they want. They have to study college requirements and do everything that professors say. As a rule, a student has to follow a demanded structure, format, volume, and deadline.

An average essay consists of a title, an introduction, a body, and a conclusion.

The title is to be concise and mirror the core idea of the essay. It must have not more than 80 characters and include keywords.

It goes without saying, the title gives a hint but does not introduce details of the topic. The introduction explains the purpose of the presented essay. It informs about the subject, object, and goals. Moreover, there must be a thesis statement that presents an argument or hypothesis.

For example, “Child’s safety is the priority for parents. Is it possible to create an attractive interior that is safe for children of all ages?”

NB! A thesis statement must not have more than 40 words and 2 sentences.

After a person presents the problem in the introduction, it will be necessary to solve it in the body. It is the biggest part of the essay. It makes up to 80 percent of the work. To sound convincing a student should find catchy facts, stories, examples. Supporting pieces of evidence are to be taken from trustworthy sources and cited in the bibliography section at the end of the paper.

The last part of the essay restates the thesis statement and concludes the value of the idea. Just like the introduction, the concluding part makes up to 10% of the paper.

There are 4 popular formatting styles . College tutors often ask students to format their papers in MLA, Chicago, APA, and Harvard style. The text must have the required font, spaces, margins, and formatting of the cited sources. A person should also know how to format visual, audio and video files if there are any.

Volume and the Deadline

One of the most important things a student should take care of is the deadline. One must do everything possible to hand in the paper before the deadline. An essay must have the required number of pages or words. Students are to be sure that they have enough information to provide the required volume. If a person needs to reduce the information, it is necessary to be careful and to save precious data.

FAQ about Interior Essays and Answers

How to apply literature but avoid plagiarism?

A person should avoid plagiarism. The best way to do that is to search for reliable sources, investigate them, analyze, and paraphrase the information. After that, it is better to scan the paper through a plagiarism checker. The program will show if the paper is unique.

What websites can I cite?

It is better to avoid the articles in the yellow press and blogs with doubtful information. This is the list of websites you can use to find some information. These are websites you can investigate to find a good topic for your sample essay and something useful on the topic.

Powerhouse Company

What interior designs are popular today?

Students can speak about different styles but it is better to present trendy ones. This is the list of the most popular interior design styles.

Scandinavian
mid-century modern
shabby chic
urban modern

What tools can I use to improve my essay?

Grammarly, Hemingway, Scribbr, and other alike tools can help you find mistakes, check uniqueness, and format the paper appropriately.

Eli Reed, with a Master’s in Interior Design from the Rhode Island School of Design, has been an influential figure in interior design and space planning for 15 years. He joined our platform in 2019, offering expertise in contemporary design trends, material selection, and sustainable living spaces. Eli’s previous experience includes roles in boutique design firms and as a freelance interior designer. He enjoys exploring architectural history and is a member of the local historical preservation society.

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Interior design - Free Essay Examples and Topic Ideas

Interior design is the art and science of enhancing the interior of a building to achieve a harmonious and functional space that meets the needs of its occupants. It involves the selection and arrangement of furniture, color schemes, lighting, and special features to create a specific atmosphere or aesthetic. Interior designers work collaboratively with clients to understand their style preferences, lifestyle needs, and budget constraints to create unique and personalized spaces that inspire, comfort, and integrate seamlessly into the surrounding environment.

📘 Free essay examples for your ideas about Interior design
🏆 Best Essay Topics on Interior design
⚡ Simple & Interior design Easy Topics
🎓 Good Research Topics about Interior design

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Minimalism in Interior Design
Interior Design: Its Background and History
The Influence of The 19th and 20th Century Interior Designs on Internal Spaces
The definition of Interior Design
The History of Interior Design
Benefits of Bean Bag Couches
Judging The Quality of Oriental Rugs
Interior Design Architecture And Technology Cultural Studies Essay
Top 11 Tools for a Home Solar Diyers Must Have
Ideas that Bring The Garden Or Plants Indoors
Importance of Furniture in Manchester
Interior design
How to Become an Interior Decorator?
Merriam-Webster, Definition of Interior Design
Job: Interior Designer
Glamorous Living Room Decoration: Chic and Charming Ideas
The Significance of Bauhaus in Architecture and Interior Design
Walls and Wallpapers
Cave Dwelling and Painting
Function and Form of Space in The House
Interior and Exterior Concepts of Visual Merchandising
The Role of Glass in Interior Architecture
Finishing Your House Beautifully with a Painter in Hornsby
The Art of Lighting in The Home
Tricks for The Decoration of Modern Offices
Home Services – an Easy and Comfortable Solution for Your Home

FAQ about Interior design

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Psychology of Space: How Interiors Impact our Behavior?

Written by Christele Harrouk
Published on March 20, 2020

With most of our lives spent indoors, the space we occupy has a major role in our psychological behavior. Environmental psychology or Space psychology is, in fact, the interaction between people and the spaces they inhabit. Lighting, colors, configuration, scale, proportions, acoustics, and materials address the senses of the individual and generate a spectrum of feelings and practices.

From inducing warmth and safety, defining well-being, or creating a positive and efficient working environment, space can have a whole lot of impact on how we act or on what we feel; therefore, design and creative measures should be considered according to the social and psychological needs of the occupants.

Psychology of space is in fact “ the study of human relations and behaviors within the context of the built and natural environments ” according to Dave Alan Kopec, a specialist in the field and professor at the New School of Architecture and Design in San Diego. Having a direct impact on your subconscious, contributing to your emotions and perceptions, through that special part of your brain that reacts to the geometry of the space you occupy, interior design became an inherent part of people’s psychology. Though it is not the only factor involved, interior space has big implications, and it is the architect’s responsibility to shape tangible solutions for users and incorporate these ideas into the structure.

With the rise of functionality in the last decades, space became a mere reflection of the program it holds. People were stacked in boxes to produce and feed into a consumer-oriented society. In fact, this idea of just cramming individuals in any place started as the industrial revolution brought flux of people into non-equipped cities. The regular house plan was divided to accommodate as many newcomers as it could retain. Homes and jobs were oriented towards fast-paced-production. Usage of space and the psychological understanding behind it came later on in the future.

Back to our modern times, in an article published in the Independent tackling the new designs of libraries, Dr. Sergio Altomonte, architect and associate professor in the department of architecture and built environment at the Nottingham university specified that “ buildings and urban spaces should be designed first and foremost around their occupants. The importance of architecture as a trigger to physical, physiological and psychological wellbeing is nowadays becoming a topic of significant relevance.”

“ Architectural cues can provide reinforcement to the desired behaviors that we would like to see enacted in specific place types,” says environmental psychologist and interior designer Migette Kaup. In other words, architecture is the physical mean. While key factors, that architects need to pay attention to, include safety, social connectedness, ease of movement, and sensory stimulation; more concrete measures encompass light, colors, art, ventilation, etc. For example, some principles of design comprising balance, proportion, symmetry, and rhythm can introduce a sense of harmony. Colors , on the other hand, have a very simple logic behind them, the warmer the color is, the more compact space becomes. They can also evoke feelings of comfort or stimulate communication. Light depends greatly on the function. A dim light suggests a gloomy space while a bright light defines a bigger animated appearance. Natural light stimulates production and recovery.

While some spaces add up to your anxiety, others provoke a sense of serenity, and you can’t seem to know why. In fact, not always evidence-based, environmental psychology focuses more on research, and on people’s interactions with their surroundings. On that, Irving Weiner, AIA , an environmental psychology professor at Massasoit Community College in Middleborough, Mass states that “ some of these environmental influences we cannot see or touch, yet they have a direct influence on our behavior or mood. ” Bottom line, the factors are not easily discernable.

Taken into account in the design process, space psychology can lead to better productivity in commercial projects, bigger sales in retail ventures, and accelerated recovery in healthcare developments. Nevertheless, with the absence of explicit guidelines, the translation into architecture is still unclear. It will highly depend on the designer’s sensitivity, creativity, and understanding of the research. “ Part of the problem is that much of the work in the field is very psychological [or] behavioral, and it doesn’t easily translate into specific design recommendations,” says Alan Hedge, a professor at Cornell University’s Department of Design and Environmental Analysis.

At the end of the day, design is quite complex, and so are the individuals inhabiting these spaces. “ Does architecture matter? Absolutely. Can it insulate people from the political circumstances around them? No” affirms Adrian Lahoud, Dean of the school of architecture at the Royal College of Art.

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A Perspective Paper - Essay/Interior DESIGN

2019, A Perspective Paper - Essay/Interior DESIGN

Design is a form in which we express ourselves, we think, analyze and then try to express it with work. "Design is intelligence made visible" - (Alina Wheeler, author) with it's straight and curved ways of thinking.

Related Papers

Journal of Interior Design

julieanna preston

Sally Stone

What is Interior Design? is a handbook for students, scholars, and practitioners who have an interest in interior design and architecture. This book examines the fundamental characteristics of interior space—the analysis and understanding of existing buildings, the nature and qualities of organizing an interior space, and an understanding of the material and surface qualities of found and applied textures. What is Interior Design? contextualizes current issues around education and practice, examines both historical and contemporary concerns in design, and looks at the work of key practitioners in the field. The study and practice of designing interior spaces is a constantly evolving subject. However, despite the popularity of interior design at both undergraduate and postgraduate level, there is still very little legislation or definition available.

Interior: A State of Becoming 2012 IDEA Symposium

Suzie Attiwill

This paper addresses the question of becoming in relation to interior design as a practice of designing interiors both physical and mental. An understanding of ‘interior’ in a substantive way shapes current interior design practice. This is evident in the frequent use of the term ‘the interior’ which suggests some thing – a space or a subject – which exists as an independent entity. The proposition of becoming invites different ways of thinking about interior making – a shift from things to processes, from the individual to the process of individuation, from form to information, from space to time and movement. The focus of this paper is a research project conducted through undergraduate design studios and PhD research. The project addresses the environments (physical, psychological and situational) of young people living in residential care houses. The studios explore how the production of interior designs might affect, transform and/or benefit the physical and emotional wellbeing of adolescents living in these houses. Called Beyond Building, the project invites students to consider the question of interior design as a practice not confined to/contained by the inside of a building. Instead the invitation is to think about interior design as an interior-making; as a process of interiorization. Relational conditions – between people, programs, different times of day and night, schedules, colour, light, tactility, psychological and affective qualities of design and interiors – were highlighted. This also shifts design as practice from one concerned with structures and physical form to one that takes into account temporal as well as spatial conditions. Through the projects, the practice of interior design becomes apparent in relation to the production of subjectivities – from fixed subjectivities based on identity and being to ones that attempt to enable subjectivities to move, change, become. This research contributes to the growing focus of interior design in relation to wellbeing. It has the potential to offer up a different way of understanding interior design through posing the question of interior as ?interior and posing the potential ‘to inspire new modes of subjectivization’ (Deleuze 2006, 260). Key Words: interior design, interiorization, subjectivity, individuation, becoming, Deleuze, Simondon, interior-exterior, self-.

Written Communication

Michelle Zoss

This research analyzed the composing processes of one high school student as she designed the interiors of homes for a course in interior design. Data included field notes, an interview with the teacher, artifacts from the class, and the focal student’s concurrent and retrospective protocols in relation to her design of home interiors. The analysis revealed that the object of activity in this setting included aspects of the motive (including the teacher’s constructed environment and attendant expectations, the teacher’s governing logic and common sense with respect to interior design, and the broader field of interior design as interpreted and implemented in the class) and both fixed and emergent goals. The student’s object-related problem-solving involved a hierarchy of problem-solving decisions and employed a variety of tools in solving these problems, particularly those derived from culture, reliant on knowledge from a discipline or field, and following from images such as narrat...

Design is an artistic fact on its own. To design requires a special creativity. Being creative is all about a person's different perception level and an exclusive talent. This fact shapes itself with an artistic perception talent. Design constitutes most of the professions' basis. Among them, there are interior decoration creativity that includes interior design, aesthetic beauty, functionality, spatial organisation, graphic design and industrial design, which reserve many features in itself. Design is important and special because it includes these qualifications. Interior architecture is different from the other kinds in terms of both art and functionality. Indoors can provide artistic value and it can also be resolved as only functional. However, they must have artistic sides in terms of their uniqueness. Indeed, all of the designed things like place, element, shape and fiction can be considered as an artistic value. Perception format or type of expressing what is perceived can change for each person. There can be lots of reasons behind this. Among the most basic ones, current conditions, life styles, customs, spontaneous change of mood and expectations can be taken into account. Differences for each people take shape within a very ordinary time span. In this research, the questions of whether a notion provides different meanings for each people and within the concept of design, how the same notion can be performed and for what purposes it is applied. Based on the research models conducted with 1st grade students in Black Sea Technical University who took the first step for being interior architectures, expressing the artistic dimensions from a notion is aimed. With the help of this research, by examining the models, concepts of design and art are evaluated

Geoffrey Makstutis

trung hoang

Time Space and People, Council of Architecture, India

Apurva Satokar

There have been various definitions of the term “process”. Different streams have different perspectives and different focus to define “process”. Oxford dictionary defines it as “A series of actions or steps taken in order to achieve a particular end”. “A series of stages which a product, etc passes through, resulting in the development or transformation of it is Process” according to Chambers dictionary. Process of Design in Architecture is no different from the documented definitions of Process. It could be recapitulated as the transformation of an idea from the concept to the design solution. In the nutshell, the process could be said to be responsible for the nature of the product. In contrast to this situation, the product being more visible and known as compared to the process is talked of and the process responsible stays under the wraps. In the event of the importance of the process, played down, the reasoning of all interrogations related to the outcome or the product would be practically deficient. In other words, in the absence of a known process, a good product cannot be re created in a similar fashion and a bad product cannot be re done rectifying what made it bad. This paper initiates with exploring about the inevitability of Process (universally), proceeds with glancing at facets of Architecture as a Process as well as product, discussing the relationship between Process and Creativity and concludes describing two books- “Methods in Architecture” by Tom Heath and “New trends in Architectural Education – Designing the Design Studio” by Dr. Ashraf Salama. These books inform about identified processes for broadly categorized buildings and the Process of Architectural Design as to be applied in the Design Studio. Keywords: Process, Product, Architectural Design, Creativity, Design Studio

Annie GENTES

This chapter presents the scope and ambition of the research: to produce a model of design that accounts for the practices of designers, artists, and researchers in engineering. The goal is to reveal what connects these practices while respecting their respective contributions to the challenge of invention. The main question is what does it take to produce an original work of science, art, or design? According to the author, the answer lies in the humanities, in particular the use of semiotics and media studies that help to understand and produce the autonomous poetic space of design.

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The seventeenth and eighteenth centuries witnessed a remarkable transformation of daily life and domestic decoration in England. International trade made available products and materials imported from continental Europe, the Far East, and North America. Increasing prosperity fueled demand for houses that were more comfortable and more elegant, while patrons grew more sophisticated, architects better esteemed, and craftsmen capable of realizing ever more ambitious designs.

In the first years of the seventeenth century, the principles of the Italian Renaissance gave shape to interior design everywhere but England, which had estranged itself from Italy and the rest of Catholic Europe in 1536, when Henry VIII renounced the pope’s authority . Italian features came to England at second hand, however, through objects, books, and artists from the Netherlands. Fine examples of English design in this period are the furnishings from the house of William Crowe ( 65.182.1 ), who, as a member of the Company of Spanish Merchants, grew rich through trade with the Low Countries. The oak paneling of the room incorporates classical elements such as arches, pilasters, and caryatids within a geometric framework. The details are of Italian inspiration, but they are combined and executed in a Dutch manner . The room is dark, but originally it was brightened with a plaster ceiling and probably also with fabrics, the usual means of adding color to Elizabethan rooms .

The architect Inigo Jones (1573–1652) was instrumental in instilling a more direct Italian classicism into English design. While traveling in Italy, he studied the sixteenth-century villas of Andrea Palladio, and after his return to England, he found aristocratic patrons. Palladio had applied the principles of Italian Renaissance architecture to country houses, and Jones’s Palladian buildings did likewise. Both outside and in, such examples as the Queen’s House at Greenwich (1616–35) display harmonious proportions, an august formality, and a principled use of columns and classical moldings.

Unlike the continental aristocracy, the English gentry enjoyed country life, and some preferred it to the obligatory seasons they spent in London. The civil wars of the mid-seventeenth century sent many English noblemen, as well as King Charles II , to safety on the continent, and when they returned in 1660 and after, they renewed their enthusiasm for domestic decoration, bringing with them tastes and artists from the Netherlands and France. The interiors of this period are remarkable for their richness, grandeur, and weight. The Versailles of Louis XIV was everywhere regarded as the pinnacle of fashion, and French designers, particularly upholsterers , helped supply English customers with matched sets of curtains, seat covers, and wall hangings. Rooms were arranged in long enfilades, series of adjoining spaces with doors aligned to permit a grand vista to the terminal point, usually a state bed clad in sumptuous fabrics. Ceilings were often outfitted with ornate plasterwork and illusionistic paintings, and daring wood carvings embellished windows, doors, and balustrades; a fine example is the staircase from Cassiobury Park ( 32.152 ), whose railing is supported by an acanthus scroll brilliantly carved in the round.

After the death of Queen Anne in 1714 and the accession of the first Hanoverian king George I, the Baroque style with its autocratic associations fell out of favor, and English aristocrats embraced a variety of styles in the decoration of their houses. Richard Boyle, third earl of Burlington and fourth earl of Cork (1694–1753), promoted a Palladian revival, both as a practicing architect and as an influential tastemaker. Numerous other Englishmen learned to appreciate good architecture while making the Grand Tour of France and Italy, bringing home ideas as well as treasures that they wished to incorporate into their houses. English interiors of the mid-eighteenth century show the eclectic tastes of their inhabitants. For example, the dining room at Kirtlington Park ( 32.53.1 ) integrates a Neo-Palladian wall scheme with delicate stucco ornament more in the spirit of the French Rococo. The colors of the decor are white and yellow, whose freshness contrasts nicely with the warmth of the oak floor and original mahogany furniture.

The dining room from Lansdowne House ( 32.12 ) displays a different combination of styles, most notably the Neoclassicism of Robert Adam (1728–1792). Although located in London, Lansdowne House had the character of a country residence because the large plot on which it was built allowed for a sizeable house and extensive garden. The dining room was large and lavish, with screens of columns of a “Composed Doric Order” that Adam derived from the late Roman palace of Diocletian at Split. The stucco articulation of the walls and ceiling gives the room the delicacy of Wedgwood pottery, and the nine niches in the walls were meant to hold ancient statues. The original furniture of the room has been lost, but bills of sale confirm that some of it was made by another major figure, the cabinetmaker Thomas Chippendale (1718–1779). The range of English furniture types had steadily expanded throughout the eighteenth century, and Chippendale’s thriving firm not only supplied furnishings of every sort, but also published a book of furniture designs to suit every taste, from Gothic and Chinese to Neoclassical.

Wars between England and France in the late eighteenth century periodically interrupted the flow of influence between the two countries. The tapestry room from Croome Court ( 58.75.1–22 ) demonstrates the decorative possibilities that followed the conclusion of the Seven Years’ War in 1763. Robert Adam designed the ceiling and moldings, and the notable London cabinetmakers William Ince (active ca. 1758/59–94, died 1804) and John Mayhew (died 1811) supplied the furniture. The fabrics for the upholstery and the tapestries that hung on the walls, however, were manufactured at the Gobelins in France and incorporate medallions designed by François Boucher , one of the leading painters of the French Rococo.

Sorabella, Jean. “Interior Design in England, 1600–1800.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ench/hd_ench.htm (October 2003)

Additional Essays by Jean Sorabella

Sorabella, Jean. “ Pilgrimage in Medieval Europe .” (April 2011)
Sorabella, Jean. “ Portraiture in Renaissance and Baroque Europe .” (August 2007)
Sorabella, Jean. “ Venetian Color and Florentine Design .” (October 2002)
Sorabella, Jean. “ Art of the Roman Provinces, 1–500 A.D. .” (May 2010)
Sorabella, Jean. “ The Nude in Baroque and Later Art .” (January 2008)
Sorabella, Jean. “ The Nude in the Middle Ages and the Renaissance .” (January 2008)
Sorabella, Jean. “ The Nude in Western Art and Its Beginnings in Antiquity .” (January 2008)
Sorabella, Jean. “ Monasticism in Western Medieval Europe .” (originally published October 2001, last revised March 2013)
Sorabella, Jean. “ The Vikings (780–1100) .” (October 2002)
Sorabella, Jean. “ Painting the Life of Christ in Medieval and Renaissance Italy .” (June 2008)
Sorabella, Jean. “ The Birth and Infancy of Christ in Italian Painting .” (June 2008)
Sorabella, Jean. “ The Crucifixion and Passion of Christ in Italian Painting .” (June 2008)
Sorabella, Jean. “ Carolingian Art .” (December 2008)
Sorabella, Jean. “ Ottonian Art .” (September 2008)
Sorabella, Jean. “ The Ballet .” (October 2004)
Sorabella, Jean. “ Baroque Rome .” (October 2003)
Sorabella, Jean. “ The Opera .” (October 2004)
Sorabella, Jean. “ The Grand Tour .” (October 2003)

Related Essays

Elizabethan England
English Ornament Prints and Furniture Books in Eighteenth-Century America
The Kirtlington Park Room, Oxfordshire
The Lansdowne Dining Room, London
Neoclassicism
Thomas Chippendale’s Gentleman and Cabinet-Maker’s Director
American Federal-Era Period Rooms
American Furniture, 1620–1730: The Seventeenth-Century and William and Mary Styles
American Furniture, 1730–1790: Queen Anne and Chippendale Styles
Architecture, Furniture, and Silver from Colonial Dutch America
The Arts and Crafts Movement in America
Domestic Art in Renaissance Italy
English Embroidery of the Late Tudor and Stuart Eras
European Tapestry Production and Patronage, 1600–1800
François Boucher (1703–1770)
The Golden Age of French Furniture in the Eighteenth Century
The Grand Tour
The Idea and Invention of the Villa
James Cox (ca. 1723–1800): Goldsmith and Entrepreneur
John Townsend (1733–1809)
The Materials and Techniques of English Embroidery of the Late Tudor and Stuart Eras
The Neoclassical Temple
The New York Dutch Room
Wisteria Dining Room, Paris

List of Rulers

List of Rulers of Europe
Florence and Central Italy, 1600–1800 A.D.
France, 1600–1800 A.D.
Great Britain and Ireland, 1600–1800 A.D.
Iberian Peninsula, 1600–1800 A.D.
Low Countries, 1600–1800 A.D.
Rome and Southern Italy, 1600–1800 A.D.
Venice and Northern Italy, 1600–1800 A.D.
17th Century A.D.
18th Century A.D.
Architectural Element
Architecture
Baroque Art
Classical Period
European Decorative Arts
Great Britain and Ireland
Palladianism
Period Room
Queen Anne Style
Renaissance Art

Artist or Maker

Adam, Robert
Boucher, François
Chippendale, Thomas
Grendey, Giles
Jacques, Maurice
Palladio, Andrea
Pearce, Edward
Royal Gobelins Manufactory
Sanderson, John
Soufflot, Jacques-Germain
Tessier, Louis

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Interior Design Essay Examples

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