Week 9
The Three LOUIS
I mention these three consecutive periods in France, not to be academic, but to illustrate the relevance of the way that styles mirror the social, political, and artistic changes of the time. Their continuous reigns span 149 years, ending with Louis XVI and the beginning of modular furniture in France.
By the end of Louis XVI, the Industrial Revolution had already begun in Britain, beginning to democratize access to furnishings. The Industrial Revolution in France followed about 40 years later.
Louis XIV, 1643–1715: Baroque Period
The Louis XIV period was an expression of grandeur and power. Furniture was monumental, formal, and symmetrical, with straight lines, massive, heavy, and imposing. It featured the lavish use of gilding, carved exotic woods, marquetry, bronze mounts, and mythological motifs. The spaces were grand with rich textures.
Louis XV, 1715–1774: Rococo Period
In the Louis XV period, represented by Feminine Elegance & Comfort, there was a shift to intimacy, fluidity, and comfort in interiors. Furniture was smaller than that of Louis XIV, characterized by asymmetry and curved lines. It featured a lighter, more playful design with rich wood veneers, often walnut, oak, or fruitwoods, complemented by delicate gilt bronze mounts. Nature themes abound: shells, flowers, vines, and scrolls. Rooms were designed for leisure and socializing, adorned with pastel upholstery, silk damasks, and floral motifs.
The Louis XIV period was characterized by “Reason and Restraint,” a reaction against the excessive ornamentation of Rococo and a return to the symmetrical, geometric, and rectilinear order of the classical ideals of ancient Greece and Rome. The influence of Enlightenment thinking is reflected in calm, rational interiors with subdued, elegant colors. Furniture is delicate in proportion, decorated with laurel wreaths, urns, and medallions with straight legs, often fluted. Furniture became more standardized and sometimes included early forms of modular pieces.
Louis XVI, 1774–1792: Neoclassical Period
Week 10
Victorian Period
The Victorian era (1837–1901) in Britain was a time of industrial innovation, expanding empire, and a fascination with the past. With mass production now possible, furnishings became more widely available to the growing middle class, unlike the period of the Three Louis. The Victorian home became a showcase of status, taste, and sentimentality.
The early Victorian period saw Regency and Georgian styles grow more elaborate. Gothic and Rococo revivals, as well as Greco-Roman motifs, reflected the era’s romanticism and a fascination with the past. Curved lines, scroll arms, and cabriole legs were common. Mahogany and rosewood were widely used.
Early Victorian (1837–1850s)
The middle Victorian years, marked by economic growth, saw an increase in ornamentation and variety. Bulkier, heavier forms became fashionable. Furniture was often highly carved with floral or symbolic motifs, typically out of dark woods like walnut, and inlays and ebonized finishes were also featured. Rich, dark colors such as burgundy, bottle green, and gold were used in velvets, brocades, and needlepoint, as well as in paint colors. Detailed carving and ornamentation became more accessible, consistent, and repetitive. Typical pieces were sideboards with mirror backs, ornate center tables, and heavily upholstered armchairs with fringe.
Mid-Victorian (1850s–1870s)
By the end of the century, while the richness of the Victorian look persisted, a countercurrent emerged embracing simplified forms and new artistic movements. Some styles responded to the growing influence of the Arts and Crafts movement. Oak and ash replaced mahogany. Floral prints continued but were joined by more stylized, even Japanese-inspired designs. Smaller furniture, including writing desks and spindle-back chairs, became common.
Late Victorian (1870s–1901)
The philosophy of William Morris, which prioritizes beauty and quality craftsmanship while minimizing clutter, began to gain popularity.
Week 11
Design Movements 1900-2025
The following three sections span roughly the same number of years as the three Louis: Post-Victorian to Mid-Century, Second Half of the 20th Century, and 2000–2025. We observe an incredible period of change, marked by the backlash to industrialization, the impact and aftermath of WWI, huge-scale mass production, the democratization of access, and the effects and aftermath of WWII. The changes in the first three quarters of this period appear to move at a snail's pace when we consider the speed of change in the last 35 years, with globalization, the tech revolution, the World Wide Web, instant culture, social culture, identity politics, nature-disconnect, blockchain, digital nomads, and ubiquitous AI.
Post-Victorian to Mid-Century
Arts & Crafts (1860s–1914 in Britain, and 1890s–1920s in the U.S.)
In Britain, there was an idealistic backlash against mass production and poor labor conditions, as well as a championing of handcrafted simplicity and moral integrity in the workplace. In the U.S., mass production was readily assimilated. In their furniture, both movements favored solid wood, visible joinery, and simplicity of form, characteristics easily identified in Stickley furniture in the U.S.
This style flourished in France, Belgium, and Austria. It rejected historicism, instead celebrating natural forms, sinuous lines, floral and botanical motifs, and hand craftsmanship. Art Nouveau artisans sought harmony between nature and art in response to rapid industrialization.
Art Nouveau (1890s–1914)
This was a style that celebrated modernity post-World War I with its glamorous and streamlined design. It manifested in the expression of jazz, opulence, and technological confidence. Prominent in France, the U.S., and worldwide, it is easily recognized for its geometric shapes, symmetry, and a mix of materials, including chrome, glass, lacquer, and exotic woods.
Art Deco (1920s–mid-1930s)
Modernism / Bauhaus (1919–1933)
Following WWI, this design movement emphasized democratic, efficient, and affordable solutions. The "Form follows function" style is multifunctional and minimal. The movement originated in Germany and then spread globally, rejecting ornamentation.
Second Half of the 20th Century
Week 12
Mid-Century Modern (c. 1945–1969)
This style reflects optimism, the rebuilding after World War II, the rise of the middle class, and suburban living. Impacted by technological advancements in manufacturing as a result of WWII, this movement, which primarily manifested in the U.S., Scandinavia, and Italy, emphasized democratic ideals in design and affordability. New technology gave rise to the bending of plastic and plywood. Materials include teak, walnut, and beach, along with aluminum and chrome, showcasing biomorphic shapes with clean lines and soft edges.
Postmodernism (1970s–1990s)
This was a response to disillusionment with modernism in Italy (Memphis Group), the U.S., and the U.K., referencing past styles in exaggerated ways, embracing color, ironic playfulness, and bold color palettes.
With its corporate culture, tech growth, and early digital lifestyle, this period gave expression to exposed structural elements (such as steel and concrete) and an industrial aesthetic, often characterized by sleek, functional, and monochrome design.
High-Tech and Minimalism (1980s–1990s)
Week 13
21st Century 2000-2025
Global travel and Instagram aesthetics, with an emphasis on individuality and open-plan living, led to a mixing of styles and eras, focusing on comfort and personality. This period featured bold design statements that blended vintage and modern elements in a mix of surfaces and textures.
Contemporary / Eclectic Style (2000s–2010s)
Sustainable & Slow Design (2010s–Present)
Climate change awareness, ethical consumerism, and anti-fast-furniture movements led to a focus on local materials, reclaimed woods, biodegradable or modular furniture, handcrafted goods, and eco-friendly practices, often with a minimalist aesthetic.
Digital Age / Tech-Integrated Interiors
The Internet of Things (IoT), remote work, the metaverse, and AI aesthetics have enabled the creation of smart homes, adaptive living, digital art, and augmented reality tools for designing. Spaces have become multi-functional, often modular, and sometimes robotic.
Biophilic and Wellness Design (Post-2020)
The COVID-19 pandemic sparked a desire for home sanctuaries, heightened mental health awareness, and a blurring of the indoor-outdoor divide. This has led to nature-forward interiors, light therapy, indoor plants, organic forms, soft materials, and curved shapes.
Week 14
Parallel Movements in Painting
The shift from art being almost entirely tied to royal, religious, or aristocratic patronage towards the freedom of artists to paint "ordinary people" and later abstract art paralleled the evolution of scientific, philosophical, political, economic, and cultural changes over the centuries.
During the Medieval & Early Renaissance periods (Before ~1500), almost all art was commissioned by the Church, monarchs, or the nobility; subjects included religious icons, biblical scenes, saints, and glorified portraits of rulers.
In the late Renaissance & early Baroque (~1500–1600), the rise of wealthy merchant classes in cities like Florence, Venice, and Antwerp created new patrons outside the nobility. Portraits of merchants, scholars, and scientists became more common. Genre painting—scenes of everyday life—emerged in places like the Netherlands and Flanders, but was still often for elite buyers.
The Netherlands was the game-changer in the Dutch Golden Age (~1600–1670). A booming middle class sought art that reflected their own world, including family portraits, landscapes, kitchen scenes, taverns, markets, and even humorous moments. For the first time, painters could make a living selling works on the open market, not just on commission.
In the 18th-century Enlightenment period in Britain, France, and other parts of Europe, portraits of "regular" but well-to-do people became popular, including family portraits, children, and domestic life. Artists painted still lives and modest scenes of servants and middle-class households. But accurate working-class depictions were still rare.
The 19th-century Industrial Age saw the emergence of Realism in France. Artists began to depict rural workers, laborers, and everyday street scenes. Artists could work entirely independently, selling through galleries or exhibitions rather than waiting for commissions. Romanticism, Impressionism, and later movements expanded the subject matter to include leisure scenes, city life, and anonymous crowds.
By the 20th Century, the link between power and subject matter was completely broken. Artists painted whatever they wanted.
This piece explains why art in a home matters so much, and how the “Breaking the Rules” evolution of painting has challenged social and cultural assumptions, allowing personal narrative to emerge.
Week 15
The Ferrari in The Castle
I previously mentioned Wabi-Sabi for Artists, Designers, Poets & Philosophers by Leonard Koren for a reason. It's easy to think of wabi-sabi as purely philosophical or intellectual, yet it powerfully challenges preconceived ideas about aesthetics. To find some tangible takeaways from this concept, it's worth drawing attention to Chapter Three of Koren's book.
In this chapter, Koren compellingly compares the wabi-sabi aesthetic to the modernist aesthetic, providing an excellent comparative list. While he identifies some common threads, these aesthetics are primarily presented as opposites. However, when juxtaposed and woven together with skill, these seemingly contradictory aesthetics can enhance each other in compelling and unexpected ways, creating a rich hybrid vernacular.
My first-hand experience of this powerful juxtaposition came from observing Italians, who have a remarkable knack for making the very old and the brand new feel seamlessly natural together. I witnessed this in a 14th-century castle, where a gleaming marble floor met an ancient stone wall, an antique carved chest of drawers stood out against freshly polished plaster walls, and, most strikingly, a brand-new Ferrari sat on a worn, cobbled entry floor. The Ferrari in the castle is a perfect illustration of how such contrasts can create profound beauty and intrigue.
Week 16
Vogue
Literature, Art, Theatre, Dance, Music, Fashion, Architecture, and Design evolve synchronistically. Here is an example of how Fashion expresses itself in different countries.
Vogue magazine publishes an entirely different version for different countries. The French publication is sophisticated and sensual. One gets a glimpse into the whole sensory dynamic when people-watching in cafes; the people being watched are on a street runway, conscious of their role in the theater. The Italian publication shifts from the sophisticated to the risqué and sensual. It's surprising how many female Lambretta scooter riders in Milan appear to be dressed for a luxurious night out, yet they are on their way to work with a phone in one hand. In Italy, the leisurely early evening stroll, known as the Passeggiata, is a time for residents to dress up in their finest attire, to look and be looked at.
When I was studying Fine Art at St. Martin’s School of Art in London, the Fashion department students were trendsetters. I recall one fashion student creating a different outfit every day and parading her newest creation in the canteen at lunchtime. The fashion designs featured in English Vogue originated on the streets. The American Vogue is relatively safe compared to the other three national Vogues, despite America having some notable fashion hotspots.
Regional social, cultural, and economic factors influence the styles of fashion in California. The sense of dress in Northern, Southern, and Central California reflects the demographics of each region.
Week 17
Styles
We've covered design periods and movements that happened on a macro scale. Now, let’s examine the regional and local design vernaculars and styles that influence our lives in both visible and invisible ways and, as such, are often more impactful on our choices.
In the rolling hills of the Fountaingrove area of Santa Rosa, over a thousand homes were destroyed by the Tubbs fire of 2017. Blundering into an almost unrestricted visual rebuild that disregarded previous visual integrity, the new landscape became dominated by a trend of conspicuous white homes in various styles, from the contemporary box to the East Coast farmhouse look. It feels like a potluck lunch restricted to potato dishes only. Before the fire, the homeowners’ association had established quality guidelines for house colors, resulting in a majority of the homes featuring Mediterranean stucco colors that blended well with the hilly surroundings; nevertheless, it was also a trend. When the hillside villages were built over centuries, they used local materials and resources, naturally providing a genuine look of Place. The apparent tranquility of the old Fountaingrove was replaced by views that require sunglasses.
The fire replacement home I designed in the same timeframe in Fountaingrove had a timeless quality, achieved by combining appropriate vernaculars. The garage appears to be a hundred-year-old tall, brown board-and-batten barn. The area above the garage is a standing room storage space. Forty feet from the wood barn is a similar-height stone building that contains the bedroom area, looking older than the barn. Connecting the two is a lower-profile building in a mixture of two cladding types, all unified with the same standing seam roof. The home feels grounded in the environment.
In the early years of this century, during a whole-house color consultation, I played a trick on one occasion. Knowing the local trends in color, I put a dozen 3x5 color swatches in my back pocket. At the end of the consultation, I showed the client how four of my concealed color swatches were amongst her choices. I was able to do this in my county because the furnishing and decorating styles were omnipresent, and I saw the same color choices repeated multiple times. This is an example of the influence of local styles. Sadly, when the next style emerges, everything appears outdated.
Week 18
Fusion Dialog
Most of us don't have a single, rigid design vernacular in mind when embarking on our home design adventure. Instead, it's a mixing of styles, a fusion, much like the fusions we find in music or food—it's how we innovate to express ourselves. Smoothie drinks are an excellent example of fusions. For example, the watermelon smoothie, featuring watermelon complemented by strawberries, banana, and lime, in descending order. I encourage the clients to discover their distinctive fusion early in the design process.
The Ferrari in the Castle is an excellent example of such a fusion of styles, where one style takes the lead. The 14th-century castle is the primary element, accounting for approximately 80% of the aesthetic, while the contemporary elements make up the remaining 20%. An 80:20 ratio is often a good starting point for maintaining visual coherence while introducing intriguing contrast. If the styles are similar, then any ratio works well.
To avoid confusion with the fusion concept, let's imagine creating an Italian pasta dish with a hint of Thai influence. Pretty easy, you say—add chili peppers to the tomato sauce. But if you added miso paste, you'd be drifting from the initial fusion concept. There's nothing inherently wrong with drifting; it just needs to be done with awareness. Another food analogy: if you decided to make a sweet pizza, adding pineapple has been done successfully many times. However, adding ice cream would probably be a big mistake for most.
When shopping, whether in physical stores or online, keep your intended fusion in mind as your guide. Poor purchases aren't nourishing to live with and can quickly upset your vision. The best shopping can often be vacation shopping, because the items you acquire are infused with memories of your travels. Open art studios are another excellent source for buying local and meeting the artists who create the pieces. You might find something you love that changes your intended fusion. That's perfectly okay—just be aware that the change is happening and adjust your vision accordingly.
Fortunately, we live in an era where anything seems possible. The more eclectic we go, the more skill and craft are required. A fusion is our made-up style. One of my favorite fusion styles was a 50:50 fusion developed with my client, “French Provincial goes Scandinavian Minimal”. It helped us easily compose the design elements, from the distressed walnut flooring to the smooth, pastel-colored plaster walls.