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R E V I V E
I N D S 2 1 1 D E S I G N B L O G
C H R I S T I N E M I N S U M M E R 2 0 2 1 | P R O F . G O N A N O | H I S T O R Y O F I N T E R I O R D E S I G N
" I A M N O T A D E C O R A T O R .
T H E O N L Y P L A C E I D E C O R A T E I S M Y
O W N H O U S E . ”
- F l o r e n c e K n o l l
A N C I E N T E G Y P T
A N C I E N T G R E E C E
A N C I E N T R O M E
A N C I E N T C H I N A
This leather stool from P o t t e r y B a r n reuses a signature style of Ancient Egypt . The X - Shaped
base is present in the modern
rendition . Additionally , leather , a
prominent material used in
ancient Egyptian culture is
featured . The smoky tones of
both the leather and the wood is
yet another way the ancient stool
has been revamped to suit a
modern interior .
It is fascinating to see that an
ancient style and the most
elemental type of seating is stil l
being used today . The X - shaped
base allows for furniture to be
collapsed and therefore portable ,
but also adds a l ight airiness to
the aesthetic of furniture .
A N C I E N T
E G Y P T
" I f y o u s e a r c h f o r t h e l a w s o f
h a r m o n y , y o u w i l l f i n d
k n o w l e d g e . "
- E g y p t i a n P r o v e r b
S T O O L W I T H X - S H A P E D B A S E
M O D E R N
H I S T O R I C A L4
The Klismos Chair had sabre legs ,
which meant that the legs curved out
opposite each other . This iconic chair
featured a curved back that hugged
the human body and the seats were
made of cloth or leather .
The modern T r i s t a n A c r y l i c Klismos Chair certainly echoes the original
chair ' s shape and curvature of the
backing and legs . The difference l ies
in the futuristic clear material of
acrylic and the cushioned velvet seat .
Judging by the curves of the back
seat , one can deduce that the ancient
Greeks were conscious of ergonomics
and prioritized comfort , especially
when seating those in higher social
classes . The matching degree of
curving in the backing and legs is also
an admirable harmonic design choice .
A N C I E N T
G R E E C E
" W e a r e w h a t w e r e p e a t e d l y
d o . E x c e l l e n c e , t h e n , i s n o t a n
a c t , b u t a h a b i t . "
- A r i s t o t l e
K L I S M O S C H A I R
M O D E R N
H I S T O R I C A L
5
This T r i s t a n A u e r armchair is a dramatic piece that flaunts the
component of the sella curulis
that is most distinctive - the
double - X form . Instead of the X -
form only being used for the
base , the entire X creates the
form of the armchair . The top is
an enticing and stylish seat ,
while the bottom part of the X
serves as a sturdy base .
The sella curulis was an
important seat meant for those
in higher power such as
emperors and magistrates . The
sleek and robust modern
rendition of the sella curulis
surely emboldens users with
confidence f it for an emperor .
A N C I E N T
R O M E
" S a y n o t a l w a y s w h a t y o u
k n o w , b u t a l w a y s k n o w w h a t
y o u s a y . "
- C l a u d i u s
S E L L A C U R U L I S
M O D E R N
H I S T O R I C A L
6
Featured on H o m e D e s i g n i n g , this modern Chinese house exhibits a
lattice style used in ancient
Chinese interiors . Lattices were
used in the past to achieve the
integration of both the interior
and exterior , a principal
component of Chinese interior
design .
The modern utilization of ancient
lattices brings a zen sensation to
the home due to the lattice ' s
calming repetitive shapes and
harmonic placements , evocative of
the satisfaction one feels when
fitting puzzle pieces together .
Just as the indoor lattices used in
the past served as screens to
divide rooms ( one of many
purposes ) , the modern lattice
usage is also used to separate
spaces and define interior zones .
A N C I E N T
C H I N A
" O n e b e a m , n o m a t t e r h o w b i g ,
c a n n o t s u p p o r t a n e n t i r e h o u s e
o n i t s o w n . "
- C h i n e s e P r o v e r b
L A T T I C E
M O D E R N
H I S T O R I C A L 7
G O T H I C
I T A L I A N R E N A I S S A N C E
F R E N C H R E N A I S S A N C E
E N G L I S H R E N A I S S A N C E
H i n e s o f O x f o r d
S a v e o n T a p e s t r i e s
T A P E S T R I E S
M O D E R N
H I S T O R I C A L
The cassapanca translates to " chest -
bench " and serves those two exact
purposes . This furniture piece
provides seating and also the seat
itself can be opened ( with the help
of hinges ) for any storage uses .
When I f irst saw images of the
cassapanca , I immediately thought
of church pews . However , I believed
the important storage feature of
this multifunctional furniture piece
was too intelligent to ignore .
Featured on W a y f a i r , this storage bench also provides users with two
purposes . There is faux leather
cushioning for extra comfort that I
imagine the cassapanaca did not
provide in the past , and the fl ip - top
reveals ample storage space that
can be used for anything from
throw blankets to children ' s toys .
I T A L I A N
R E N A I S S A N C E
" I t h a d l o n g s i n c e c o m e t o m y
a t t e n t i o n t h a t p e o p l e o f
a c c o m p l i s h m e n t r a r e l y s a t b a c k a n d
l e t t h i n g s h a p p e n t o t h e m . T h e y
w e n t o u t a n d h a p p e n e d t o t h i n g s . "
- L e o n a r d o d a V i n c i
C A S S A P A N C A
M O D E R N
H I S T O R I C A L
10
The prestige piece , armoire á deux corp ,
was a cupboard separated into two
sections . The lower section and upper
section of doors were separated by a set of
drawers in the middle . Armoire á deux
corps were usually made of oak , and the
modern revival is also made of oak .
Featured on H o u z z , the modern rendition of the armoire á deux is not as glamorous
as the historical usage . However , the
mimicry of the original paneling is
admirable . Just as with the original design ,
there are door - l ike panels at the top and
bottom , separated by drawer - l ike panels in
the middle . Additionally , times progress ,
and humans develop different needs . I
believe that using an armoire for
televisions can be a great way to conceal
technology and even keep it out of the
reach of impressionable children .
F R E N C H
R E N A I S S A N C E
“ I g o t o s e e k a G r e a t P e r h a p s . ”
- F r a n ç o i s R a b e l a i s
A R M O I R E Á D E U X C O R P S
M O D E R N
H I S T O R I C A L 11
The English Reniassance cupboard was
highly decorative as well , with carvings ,
inlay , and architectural motifs
ornamenting every inch of the furniture
piece . Seeing the extravagant designs
in history ' s furniture makes me ponder
about the dedication and appreciation
we modern folk have on our own
furniture designs .
Another modern usage of a historical
cupboard - style furniture piece is bar
cabinetry . Just as the example above
was used to conceal , this cupboard
conceals wine and drinks . This modern
design suits our society in the moment
and I am positive as our society
progresses , we will see more changes
from the historic Renaissance cupboard
designs .
E N G L I S H
R E N A I S S A N C E
“ B r e v i t y i s t h e s o u l o f w i t . ”
- W i l l i a m S h a k e s p e a r e
C U P B O A R D
M O D E R N
H I S T O R I C A L 12
F R E N C H B A R O Q U E
F R E N C H R O C O C O
W I L L I A M A N D M A R Y
Parquetry is a wood veneering or inlay
arranged in a geometric pattern .
Parquet flooring originated in 16th
century France , beginning with talented
artisans f itting blocks of small wood
pieces , varying in size and color , to
create elaborate designs . The French
word " parquetry " means " small
compartment . The famous Hotel de
Soubise features parquet pattern
flooring .
F R E N C H
B A R O Q U E
“ D r a w i n g i s t h e s k e l e t o n o f
w h a t y o u d o a n d c o l o r i s i t s
f l e s h . ”
- N i c o l a s P o u s s i n
P A R Q U E T R Y
M O D E R N
H I S T O R I C A L
Parquetry is widely used in the modern
world and have countless design
configurations . This wood tile sample
from L o w e ' s is laid out in a wonderfully symmetrical manner and can bring a
harmonious and dynamic character to
any home . Usually seen throughout
history with a high sheen , this modern
rendition opts for a faded matte look ,
perfect for a farmhous aesthetic .
14
Along with asymmetry , rocaille , S and
C scrolls , the Acanthus leaf was a
si gnature motif used in French
Rococo furniture and interiors . The
Acanthus leaf was f irst used by the
Greeks in architectural
ornamentation , friezes , and capitals
of columns . However , during the
French Rococo period , the Acanthus
leaf was exaggerated and stylized to
be excessively elaborate .
F R E N C H
R O C O C O
" T h i s v i s i o n i s w i t h i n o u r
g r a s p . "
- F r a n c o i s B o u c h e r
A C A N T H U S L E A F M O T I F
M O D E R N
H I S T O R I C A L
The S h a d e s o f L i g h t Acanthus Leaf Li ght Fixture is one way this famous
Rococo motif has survived into
modern days . The style of the leaves
are not nearly as elaborate as the
Rococo version , it is instead much
si mpler in form and a great way to
integrate natural motifs into a space .
The usage of gold , however , is
reminiscent of the past ' s gilded
version .
15
W I N G B A C K C H A I R
M O D E R N
H I S T O R I C A L
R e j u v e n a t i o n ,
F R E N C H N E O C L A S S I C A L
F R E N C H E M P I R E
G E O R G I A N
The settee was very similar to a
chair but a horizontally expanded
version of it . Settees had less
upholstery than sofas and were
made to seat multiple people .
F R E N C H
N E O C L A S S I C A L
" T h e i n t e r e s t s o f t h e s t a t e
m u s t c o m e f i r s t . "
- L o u i s X V I
S E T T E E
M O D E R N
H I S T O R I C A L
The modern version provided by
A r h a u s , is created of recycled leather rather than fabric covers .
The form of the modern settee is
much simpler and exudes casual
elegance . The legs are not as
elaborate as their historical
counterpart but they do taper at
the end as a nod to the past .
Learning about the settee and
researching modern usage has been
interesting because it initially
looked so similar to a loveseat .
Through research , I discovered that
settees have indeed transitioned to
" courting settees " or " loveseats " .
18
Napoleon Bonaparte ' s wife , Josephine ,
had purchased a small chateau in
1799 . Her room was designed with
fabrics that made the room look l ike a
tent . The fabric was draped between
posts to give the i l lusion that the posts
were supporting the tent - l ike room .
F R E N C H
E M P I R E
" N e v e r i n t e r r u p t y o u r e n e m y
w h e n h e i s m a k i n g a m i s t a k e . "
- N a p o l e o n B o n a p a r t e
F A B R I C D R A P E R Y
M O D E R N
H I S T O R I C A L
Featured in H o u s e & G a r d e n , designer Henri Fitzwill iam created a tent
environment in the dining room , similar
to the style in Josephine ' s room . Just as
the vertical stripes in the historical
example match the very thin vertical
lines in the modern example , both
environments have an elegant circus
aesthetic . Fitzwill iam used R a l p h L a u r e n fabric to create a noise - reducing roof to the dining room in a
country home . There seem to be more
functions of fabric usage in today ' s age
19
Featured on H o u z z , H i g h B y B o b o I n t r i g u i n g O b j e c t s ' s Saratoga Chest is a sleek , mid - century modern version of
the historical chest on chest . Created
from solid oak , the tiers of drawers
mimic the two ' chests ' seen in the
Georgian furniture piece . Wood
patterns were of large importance in
the Georgian era and the modern
Saratoga chest seems to have a subtle
wood grain that matches its simple
si lhouette , I believe the modern chest
looks weightier due to its lack of legs
but looks l ike a safer furniture piece
because of the cut corners .
The popular ' chest on stand ' from the
William and Mary era had been
replaced with the ' chest on chest ' . This
new kind of chest stand provided a
double set of drawers instead of one in
the previous rendition .
G E O R G I A N
" A t r a i t o r i s e v e r y o n e w h o
d o e s n o t a g r e e w i t h m e . "
- G e o r g e I I I
C H E S T O N C H E S T
M O D E R N
H I S T O R I C A L 20
S H A K E R
T H O N E T
V I C T O R I A N
Shakers left their storage elements
without decorative elements . However ,
instead of obvious motifs , they instead
embraced the natural wood grain of
the natural materials and did not use
stains to cover it . They also used
hardware placements to bring in visual
interest .
S H A K E R
" D o a l l y o u r w o r k a s t h o u g h
y o u h a d a t h o u s a n d y e a r s t o
l i v e ; a n d a s y o u w o u l d i f y o u
k n e w y o u m u s t d i e t o m o r r o w . "
- M o t h e r A n n L e e
D R E S S E R
M O D E R N
H I S T O R I C A L
The modern armoire from W a y f a i r has the clean and simple look of Shaker
storage furniture . The hardware of this
piece is also placed in functional parts
of the armoire but also brings rhythmic
patterns that excite the eyes . Due to
the modern method of widely
accessible manufacturing , this
furniture piece also embraces its wood
grain but the wood is not as matte as
the historical piece was . I believe that
having a shinier quality to the storage
piece makes it look more modern .
22
The modern Wave Bentwood Rocking
Chair from B 2 H mimics the curvil inear l ines of the original
Bentwood Rocker , but simplifies the
lines . Instead of more curves and
scrolls , the modern rendition opts
for a cleaner look . The use of metal
and leather cushioning of the
seating allows for durability and a
long l i fe in a home or office .
This furniture invention was the f irst
bentwood rocker ever made . Michale
Thonet found inspiration for this
piece after attending the Crystal
Palace exhibition in Hyde Park ,
London . Thonet is famous for his
method of gluing thin strips of wood
together and attaching metal straps
to beech rods . This allowed for
bending wood without splintering . In
the case of the Bentwood Rocker ,
this method proved to be crucial for
the many curves present .
T H O N E T
I n 1 8 5 3 , T h o n e t f o u n d e d h i s
o w n c o m p a n y , G e b r ü d e r T h o n e t
( T h e T h o n e t B r o t h e r s ) , w h i c h
a t i t s p e a k i n t h e m i d - 1 8 7 0 s
p r o d u c e d 2 , 0 0 0 u n i t s a d a y
a n d e m p l o y e d o v e r 4 , 0 0 0
w o r k e r s .
B E N T W O O D R O C K E R
M O D E R N
H I S T O R I C A L 23
The modern l incrusta featured on
L i n c r u s t a . c o m is similar to the historical example in that it is meant to decorate the
lower areas of the walls ( dados ) and the
motifs and designs are flowing and
vertically elongated . Although the designs
are also very similar to each other , I feel
that the modern rendition is much l ighter
and fresh than the heavier Victorian
lincrusta . The modern l incrusta seems to
be less raised and adds visual interest to a
room rather than weighing it down .
In 1877 , Frederick Walton invented
lincrusta . This wallcovering was originally
marketed as l inoleum that was placed on
the wall . This was a valuable feature for
fastidious Victorians because l inoleum was
easy to clean and maintain . Lincrusta was
the f irst washable wall covering . This wall
covering was made of l inseed oil and
canvas , it could be painted , or even faux -
f inished to mimic other materials .
V I C T O R I A N
" W e a r e n o t i n t e r e s t e d i n t h e
p o s s i b i l i t i e s o f d e f e a t ; t h e y d o
n o t e x i s t . " - Q u e e n V i c t o r i a
L I N C R U S T A
M O D E R N
H I S T O R I C A L 24
E U R O P E A N A R T S & C R A F T S
A M E R I C A N A R T S & C R A F T S
A R T N O U V E A U
J A P A N E S E
This modern Bow Arm Morris Recliner
featured on H o u z z is a modern rendition of the original Morris chair .
The arms are much longer than the
original , but this allows for more
comfort . The sides are slatted just as
the original was although the
individual slats are much simpler and
sleeker . Lastly , the adjustable back
has been refined to be easier to use .
One of Morris & Co . ' s most famous
inventions was the Morris chair .
Created in 1866 , this chair had an
oak frame with wool tapestry
upholstery . This design was
revolutionary because the back was
adjustable . By moving the pegs on
the back of the chair , the back could
be moved to suit any user . This chair
was plagiarized often by Gustav
Stickley . Even to this day , there are
chairs that resemble the Morris
Chair but are labeled as Stickley .
E U R O P E A N A R T S & C R A F T S
" H a v e n o t h i n g i n y o u r h o u s e
t h a t y o u d o n o t k n o w t o b e
u s e f u l , o r b e l i e v e t o b e
b e a u t i f u l . "
- W i l l i a m M o r r i s
M O R R I S C H A I R
M O D E R N
H I S T O R I C A L 26
This Robert Louis Tiffany Tropical Birds
Pendant Lamp from L a m p s P l u s is a modern example of a stained glass
Tiffany Lamp . Instead of the widely
accessible lamps that were produced in
the past , this rendition is meant to be
hung from the ceiling . Although the
placement of this lamp differs , the
stained glass elements can stil l be
admired by users . This lamp paints a
narrative of a family of birds that can
add movement to a dining or l iving room .
Louis Comfort Tiffany and Associated
American Artists had designed many
interiors with stained glass designs . To
become more accessible to the public ,
these designs were introduced as
stained glass lamps . Today , it is common
for any stained glass lamp to be called a
Tiffany lamp because of the f irm ' s
historical contributions .
“ T h e a r t o f f u r n i t u r e w i l l b e t h e e x p r e s s i o n o f t h e i n d i v i d u a l a r t i s t t h r o u g h t h e p o w e r s o f t h e m a c h i n e — t h e m a c h i n e d o i n g a l l t h o s e t h i n g s t h a t t h e i n d i v i d u a l w o r k m a n c a n n o t d o .
- F r a n k L l o y d W r i g h t
T I F F A N Y L A M P
M O D E R N
H I S T O R I C A L
A M E R I C A N A R T S & C R A F T S
27
The modernized Cobra Chair was created
by C a r l o C o l u m b o who sought guidance from Bugatti ' s interior designer , Etienne
Salome . The shape of the cobra is stil l
present but the obvious " head " of the
cobra is disguised into the motif instead of
the form of the back of the chair itself . The
gap between the seat and the b ack of the
chair is stil l present and can stil l prevent
clothing from being wrinkled in today ' s
modern culture . I think that the essence of
the original cobra chair is present but this
modern take resembles much more of a
chair than the historical version .
The Cobra Chair , created by Carlo Bugatti ,
was given this name because the chair was
shaped l ike a cobra . The medallion on the
back of the chair featured Islamic motifs .
The intentional space left between the
back and seat of the chair was to
accommodate for men and women ' s long
clothing such as coattails and dresses .
A R T N O U V E A U
" T h e c r e a t i o n c o n t i n u e s
i n c e s s a n t l y t h r o u g h t h e m e d i a
o f m a n . "
- A n t o n i G a u d í
T H E C O B R A C H A I R
M O D E R N
H I S T O R I C A L 28
N o r t h S i s t e r ,
K A I D A N - D A N S U
M O D E R N
H I S T O R I C A L
I N T E R N A T I O N A L S T Y L E
D E S T I J L
A R T D E C O
Featured on I n t e r i o r D e s i g n , A r t G r o u p created a new interior for a Moscow Home with a
contemporary international style
aesthetic . There is certainly more
color integrated into this version .
However , there are stil l smooth
planes , minimal accessories , and
unadorned furniture . I personally
like this playful rendition of the
austere style ; although the walls
and ceilings are smooth , the
angles integrated into the space
bring interest into an otherwise
plain room .
The International Style
emphasized volume over mass ,
l ittle to no ornamentation , and
standardization of elements . The
Farnsworth House features
smooth flat ceilings , excessive
glass , leather furniture , and steel
tables .
I N T E R N A T I O N A L
S T Y L E
" A r c h i t e c t u r e i s t h e w i l l o f a n
e p o c h t r a n s l a t e d i n t o s p a c e . "
- L u d w i g M i e s v a n d e r R o h e
I N T E R I O R
M O D E R N
H I S T O R I C A L31
On the site H o m e D e s i g n i n g , the modern De Stijl home visualized by
D a r i a Z i n o v a t n a y a features subtler notes of the famed geometric and
primary color attributes . The 1927
design of Cafe Aubette showcases bold
triangles and integrates vivid colors .
The contemporary rendition opts for
sli ght variations from the primary color
palette . Darker tints make the space
more modern and inviting for a home .
The rug also adds more visual interest
with the addition of a variety of
geometric shapes . The tasteful stripe
in the ceiling is a wonderful touch that
provides another pop of color and
symmetrical l ine .
Characteristics of the De Stijl style are
strong horizontal and vertical l ines ,
geometric shapes , and an emphasis on
primary colors . Piet Mondrian and
Gerrit Rietveld are famous De Stijl
artistis that have greatly influenced De
Stijl interiors .
D E S T I J L
" A r c h i t e c t u r e b e l o n g s t o
c u l t u r e , n o t t o c i v i l i z a t i o n . "
- A l v a r A a l t o
" T H E S T Y L E "
M O D E R N
H I S T O R I C A L 32
I was surprised to see that the world -
famous rapper , Drake , had a Toronto
mansion styled in a contemporary art
deco style . His mansion exudes luxury ,
with all of its reflective surfaces , rich
marble , starburst chandelier , and
geometric glass panels . I think art deco
is a wonderful style that would suit the
lives of celebrities as it is known for its
gl amour .
Art Deco interiors are characterized by
rich colors , bold geometric forms ,
strong symmetry , and an overall
glamorous aesthetic . This style was
popular in the 1920s to 40s . Chevron
and starburst motifs were used often ,
while shiny materials such as mirrors ,
brass , metal , and polished wood were
used often in art deco spaces .
A R T D E C O
" T o c r e a t e , o n e m u s t f i r s t
q u e s t i o n e v e r y t h i n g . "
- E i l e e n G r a y
A R T S D E C O R A T I F S
M O D E R N
H I S T O R I C A L 33
D O R O T H Y D R A P E R
S I S T E R P A R I S H
E L S I E D E W O L F E
K e l l y W e a r s t l e r ' s contemporary desi gn mi mics the playfulness and
eclecti cism of Dorothy Draper ' s style .
She uses exuberant pri nts such as the
polka dots on the sofa and the
whimsical desi gn of the area rug . The
room is oddly harmoni ous although
Wearstler uses bold colors throughout
her desi gn . The darker entryway zones
visually mimic a f ireplace that Draper
was known to incorporate into her
desi gns .
Dorothy Draper , an iconic interior
decorator who started her business in
the 20s , stil l has a large impact on the
desi gn world today . She continues to
be an inspi ring f igure to modern
popular desi gners including Kelly
Wearstler , Miles Redd , and Diamond
Baratta . Known as the anti - mini malist ,
she inspi red housewives in the 50s to
be fearless wi th thei r decor . She also
created the Modern Baroque style
which allowed her to incorporate
infectiously playful elements into her
desi gns . Characteristics of " Draperism "
include intense color , plant l i fe , dense
textured carpet , bold accessories , a
fireplace , and exuberant prints .
D O R O T H Y
D R A P E R
" I a l w a y s p u t i n o n e
c o n t r o v e r s i a l i t e m . I t m a k e s
p e o p l e t a l k . "
M O D E R N
H I S T O R I C A L
1 8 8 9 - 1 9 6 9
35
Sister Pari sh , born Dorothy May
Kinnicutt , was an Ameri can interior
decorator and socialite . She was the
first practitioner to decorate the
Kennedy White House . Her style can
be described as Ameri can country
style . She avoided matching , instead
opting for contrasting prints , and
placing items off - center . Pari sh
elements included painted floors ,
Anglo - Franco furni ture , chintz ,
painted furniture , needlepoi nt
pillows , botani cal prints , whi te
wicker , quilts , and baskets .
S i s t e r P a r i s h D e s i g n wa s rev ived in 200 0 by Siste r Paris h ' s
gra ndda ughte r Susa n Crat er . Sh e
res urrecte d the prints and
wa llpap ers that Paris h wa s fam ous
for . Sus an Cra ter ' s pers onal ho me
is a de dicatio n to her fam il y ' s
de sign pa st . Her l iving room
incl udes tim eless prints , bot anical
ele ments , and curvil ine ar An glo -
Fra nco furn iture piece s , mo st
nota bly the gran dfather ' s clo ck .
She eve n inclu ded wicke r ba skets
and a sim ilarly sha ped sof a .
S I S T E R
P A R I S H
" I t h i n k e v e r y o n e m u s t h a v e a
f i r s t m e m o r y o f s o m e h o u s e ,
s o m e r o o m , a v i v i d p i c t u r e
t h a t w i l l r e m a i n d e e p d o w n i n
o n e f o r e v e r . " 1 9 1 0 - 1 9 9 4
M O D E R N
H I S T O R I C A L
36
E L S I E
D E W O L F E
“ I a m g o i n g t o m a k e e v e r y t h i n g
a r o u n d m e b e a u t i f u l - t h a t
w i l l b e m y l i f e . ”
1 8 6 5 - 1 9 5 0
Elsie de Wolfe was an actress , interior
desi gner , and author . She helped
convert interiors from heavy and dark
Vi ctorian - style into a softer and more
feminine era . She introduced a more
casual elegant style wi th plenty of
chintz which made her " The Chintz
Lady " . De Wolfe elements include
tiled floors , l ight draperies , pale
walls , wicker chai rs , and indoor
trell i ses . Her style was also practical
as she removed clutter and optimized
comfort . She popularized the chaise
lounge , faux f inish treatments , and
ani mal print upholstery .
Ad executive , P e t e r R o g e r s , was inspi red by Elsie de Wolfe when he
desi gned his Creole Cottage interior .
The trell is design of the walls
combined with the natural green hue
bri ngs in the i l lusion of a garden
inside the home as de Wolfe had
intended for her desi gns in the past .
Also si milar to her renowned style ,
there is animal print represented on
the area rug and carpeted stairs .
Lastly , the tiled floors are another
component that pays homage to Elsie
de Wolfe . M O D E R N
H I S T O R I C A L
37
M I D C E N T U R Y M O D E R N I S M
P O P
The mo dern Bub ble Sofa , de signed by
S a c h a L a k i c and fea tured on R o c h e B o b o i s , look s sim ilar to Nels on ' s Ma rshma llow Sofa due to th e bu lbous
cush ions . To me , the mod ern de sign
look s l ike an ad ditive des ign fro m
Ne lson ' s sofa , with Lakic ' s de sign
ap pearin g to show the infla ted ph ase of
ma rshm allow s . Both sofas are very fun
to loo k an d dyn amic alth ough be cause
the Ma rshma llow Sofa wa s no t me ant to
be in a ho me , the Bub ble So fa ha s th e
ad vantag e of com fo rt .
Geo rge Ne lson ' s Mars hmall ow So fa wa s
ma de of eig hteen cush io ns . Each
cush ion wa s han d ma de an d th is wa s a
ver y tim e - con suming proce ss . Beca use
of this , the re wer e origina lly on ly 200
ma de . Th is pla yful des ig n wa s
influ enced by scienc e f iction , wh ich wa s
com mon du ring this perio d . Th is sof a
wa s me ant for offices or ho tels rat her
than for a hom e .
M I D C E N T U R Y
M O D E R N I S M
' " I n e e d e d t h e p i e c e o f
f u r n i t u r e f o r a j o b a n d i t
w a s n ' t t h e r e , s o I d e s i g n e d i t "
- F l o r e n c e K n o l l
M A R S H M A L L O W S O F A
M O D E R N
H I S T O R I C A L
39
See n on S p o r t i q u e , the M o j o w Y o m i I n f l a t a b l e S o f a is a sle eker step forwa rd in the rea lm of inflata ble fur niture . With
the usa ge of a PVC that is mu ch mo re
hyp er res istant , along with a spo rty
bla ck pip ing , UV protec tion , and TP U ( a
new hy per - resis tant ma te rial , recyc lable ,
biod egra dable , and odor less ) , th e
affo rdabil ity factor has disa ppear ed .
How ever , this desig n does awa y with th e
wa steful exp endab le aest hetic of th e
Pop Styl e .
The de velopm ent of pla stic s ha d a lar ge
imp act on the wor ld of furn iture and
inter ior de sign . Cons umers we re lo oking
for new inn ovative des ig ns th at we re
diffe rent from wh at their pa rents ha d .
Pa olo Lom azzi , Don ato D ' Urb ino , and
Jona than De Pas ' B l o w I n f l a t a b l e A r m c h a i r , fea tured on M o M A ' s we bsite , offer ed con sumers the pla yful an d
uniq ue styl e they wer e sea rching for .
PVC pla stic wa s used to crea te th e
cha irs an d all owed for affo rdab ility to
the pu blic .
P O P
- J o e C o l o m b o
I N F L A T A B L E F U R N I T U R E
M O D E R N
H I S T O R I C A L
40
“ H a b i t s c h a n g e ; t h e i n t e r i o r o f
r o o m s h a v e t o c h a n g e w i t h
t h e m . ”
C R O W N F L E X
S t y l e N a m e & I n f l u e n c e s
C o r o n a v i r u s
m e r g i n g o f h o m e - l i f e a n d w o r k - l i f e
s o c i a l l y d i s t a n c e d c o m m u n i t y
C R O W N
F L E X
- C h e r y l D u r s t , I I D A
43
“ I n t h i s b r a v e n e w w o r l d , w e ’ l l s e e t h a t t h e s k i l l s a n d a b i l i t i e s d e s i g n a f f o r d s t o u s — e m p a t h y , c u r i o s i t y , p a t i e n c e , c o m m o n s e n s e , p r o b l e m - s o l v i n g — a r e m o r e c r u c i a l t h a n e v e r . ”
M U L T I F U N C T I O N A L S P A C E S & F U R N I T U R E
S T Y L E C H A R A C T E R I S T I C S
Be ing con fined to our hom es ha s
forc ed us to think sma rter ab out
the usa ge of our l imite d am ount
of room s . Ap plying mu ltip les uses
wit h tuck ed - aw ay featur es such as
coll apsib le des ks or stow - aw ay
cha irs de crease s clutter an d
incr eases pro ductivity .
P L A Y R O O M + O F F I C E S P A C E
F O L D I N G D E S K M A X I M I Z E S S P A C E
F R A M E + F O L D I N G T A B L E O F F I C E + L A U N D R Y R O O M
C R O W N
F L E X
- C h e r y l D u r s t , I I D A
F O L D I N G D E S K
A S Y M M E T R I C A L P I N K T I L I N G
44
B O L D C O L O R S & T E X T U R E D W A L L S S T Y L E C H A R A C T E R I S T I C S
Homes are a lovely , safe space .
However , being cooped up for so long
has made people want to visually liven
areas so there aren ' t blank white walls
to drive us to insanity . Bold colors ,
textured walls , as well as fun patterns
and wallpaper , are trending in
residential interiors . It is important to
note that boldness can be achieved
through calming tones too .
E N G A G I N G W A L L P A P E R I N S O O T H I N G H U E S
T E X T U R E D V I N Y L W A L L P A N E L S
C R O W N F L E X
B R I G H T H U E S I N L I V I N G R O O M S P A C E
C R O W N
F L E X
- C h e r y l D u r s t , I I D A
F O L D I N G D E S K
45
B I O P H I L I C D E S I G N S T Y L E C H A R A C T E R I S T I C S
This style characteristic would apply to
both the home and work environments . It
is well known that biophilic elements
bring benefits to the health of
homeowners and employees alike . As l i fe
is slowly returning to normal post -
pandemic , I believe there will be even
more integration of nature into interiors .
Society will value a secondary space in
their outdoor areas , while workplaces will
offer more outside zones ( for both social
distancing and productivity ) . G R E E N O F F I C E E N V I R O N M E N T
L A R G E O P E N I N G S F O R E A S Y G R E E N V I E W S D I N I N G A R E A S K Y L I G H T
C R O W N F L E X
O U T D O O R A R E A F O R W O R K A N D S O C I A L I Z I N G
C R O W N
F L E X
- C h e r y l D u r s t , I I D A
F O L D I N G D E S K
F O Y E R A C T I N G A S B U F F E R Z O N E
46
F O Y E R F O C U S S T Y L E C H A R A C T E R I S T I C S
The past year has taught us the
importance of the public ( outside ) and the
pri vate ( homes ) . We have spent the year
sanitizing and cleaning ourselves at the
entryway of our homes before entering into
the private zones . Because of this , I believe
there will be more attention given to
foyers as they become more functional and
enlarged for users and their guests .
Additionally , buildings will also have larger
lobbies and waiting rooms that are more
secluded .
D R A M A T I C D O O R T O E M P H A S I Z E S E M I P U B L I C R A T H E R T H A N P R I V A T E S P A C E
H O M E " W A I T I N G A R E A " W I T H S E A T I N G & P E G S
C R O W N F L E X
S E M I P R I V A T E , S O C I A L L Y D I S T A N C E D W A I T I N G " N O O K S "
