This book was written primarily to fulfill a need in interior design education and in related design disciplines.
We are not aware of another book that allows the reader to compare and contrast architecture, interiors, furniture,
and decorative arts through many centuries. We have tried to interweave a design analysis language with that of
art and architectural history. Our intent is to provide a flexible, easy-to-use, and well-organized resource for
those with a variety of interests. An extensive reference list, glossary, and index are included.
Our primary audience is students in interior design programs. However, this book will also be of use to interior
design practitioners, furniture designers, design consultants, design manufacturers, and theater/film set designers,
as well as to students and professionals in the related fields of art history, architecture, material culture,
museum studies, and history. It may also be of interest to historical/ preservation societies, craftspeople, design
journalists, and laypeople interested in design.
The development of this book evolved over a number of years through our college teaching experiences. We, and
our colleagues, were continually frustrated by the lack of adequate resources to support the desired content, context,
and comprehensiveness of design history. All of our shared ideas were realized here as we worked on the scope,
organization, and presentation of this material. We hope that this effort fulfills a need for you and future generations
who find the study of design history exciting.
ACKNOWLEDGMENTS
This book has been an enormous endeavor and a formidable challenge. We would like to offer our grateful acknowledgment
to those who provided valuable assistance though its development. Special thanks to each of you for all of your
wonderful contributions!
To our Prentice Hall/Pearson Education support team who had faith in us and made the book happen: Vern Anthony,
Judith Casino, Elizabeth Sugg, Linda Zuk, Denise Brown, and Patsy Fortney.
To our many students who inspired us to undertake this project: those who studied with Buie at Virginia Commonwealth
University, the University of Texas at Austin, and North Texas State University; those who studied with Bridget
at Marymount University, the University of Georgia at Athens, and Mississippi University for Women; and those who
studied with Curt at Winthrop University, San Diego State University, and Washington State University.
To our educational institutions who in various ways supported our efforts: Virginia Commonwealth University,
Marymount University, and Winthrop University.
To our friends who offered their expertise, support, resources, interest, and listening ears: Alice Burmeister,
Peg De Lamiter, Laura Durfresne, George Fuller, Alan Huston, Dianne Jackman, Philip Moody, Ardis Rewerts, Nancy
Templeman, and our family within the Interior Design Educators Council (IDEC).
To our special library resource friends: Carl Vuncannon and his staff at the Bernice Bienenstock Furniture Library
in High Point, North Carolina, who opened that resource to us; Suzanne Freeman at the Virginia Museum of Fine Arts
in Richmond, who provided a wealth of information; and Ray Bonis in Special Collections, Cabell Library at Virginia
Commonwealth University, who provided valuable assistance.
To our individual family members who offered ongoing support, listened to complaints, and provided expertise
when needed: Judy Sherman Endeman, Frith Harwood, Robert Harwood, Hope Harwood Liebke, Dottie May, and Henry May.
To those early illustrators and photographers who recorded their environments as well as earlier ones of the 18th,
19th; and 20th centuries. As shown herein, their depictions of architecture, interiors, furnishings, and costumes
were of enormous value in providing a resource archive of the past.
And, finally, to our wonderful and talented artist and former interior design student: Chris Good. You did a
great job!
Summary
For courses in History of Architecture, Interior Design, Furnishings, and Decorative Arts.
Exceptionally comprehensive, this single-source text/reference allows students to compare and contrast architecture,
interior design, interior architectural features, design details, motifs, furniture, space planning, color, lighting,
textiles, interior surface treatments, and decorative accessories through many centuries�from antiquity to the
18th century�from the many regions of the world. Additionally, it includes later interpretations of architecture,
interiors, and furniture to illustrate the evolution of each stylistic influence, and examples of costumes. The
volume is extensively illustrated and features many diagrammed illustrations with explanatory notes highlighting
specific design features.
Features
Flexible, easy-to-use.
Enables instructors to teach content chronologically or topically.
Totally integrated narrative and illustrations�Interweaves a design analysis language with that of art and
architectural history.
Enables students to easily make connections between the written and graphic content.
Multi-context perspective�Places each period within a conceptual, cultural, historical, and social context.
Allows students to make connections between all aspects of each aesthetic development.
A broad range of examples�Depicts high-style and domestic structures and furnishings that reflect residential,
commercial, and institutional projects.
Later interpretations of the stylistic illustrations�Includes examples showing how earlier styles were and
are being interpreted in later centuries, including products currently being manufactured and projects recently
completed.
Provides a new dimension to the study of design history.
Illustrations�Includes new and historical illustrations in black & white and color, line drawings, and
material from trade catalogues, magazines, books, and journals. Identifies colors appropriate to a style, as much
as possible.
Diagrammed illustrations�Highlights some illustrations with explanatory notes to explain the major historical
design features of a particular style of architecture, interior, or furniture described in the text.
Allows students to make visual connections between the content.
Timeline�Provides a chronological list of important events occurring during each basic art movement. Maps offer
an overview of various countries.
Descriptive and concise written narrative�Paragraphs present general information and bullet-point lists identify
distinct design characteristics,
Aids in the easy retrieval of information.
Consistent format�Each section follows an organized format for the presentation and sequencing of design content.
Makes the text both easy to teach from and to learn from.
A detailed glossary�Includes architectural systems, orders, building types, architectural details, interior
details, and furniture details.
An extensive reference list�Of important buildings and interiors and important design practitioners.
12. Italian Renaissance.
13. Spanish Renaissance.
14. French Renaissance.
15. English Renaissance.
16. American Colonial: England.
17. American Colonial: Spain.
18. American Colonial: France.
19. American Colonial: Germany, Holland.
BAROQUE.
20. European Baroque.
21. Louis XIV.
22. English Restoration.
ROCOCO.
23. Regence & Louis XV.
24. English Neo-Palladian & Georgian.
25. American Georgian.
EARLY NEOCLASSIC.
26. Louis XVI & French Provincial.
27. Late English Georgian.
28. American Federal.
