ID125: History of Interior Design 1 PDF

ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN "I believe that studying history, art, and culture MODULE 2.1: AN INTRODUCTION TO DESIGN...

ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN "I believe that studying history, art, and culture MODULE 2.1: AN INTRODUCTION TO DESIGN teaches a student how to live a better life by HISTORY being more aware of the social and civil aspects of society. This allows our minds to practice a more critical sense and free judgment of our architectural environment as well as our social and political structure." History helps us understand our origins, with art being the first activity that set humans apart from animals. Early drawings, used for visual communication before writing, are a fundamental aspect of human nature. Culture 1.0 INTRODUCTION and history also enhance students' social skills and help them navigate diversities. Creativity fosters global integration by using a universal This course offers a historical overview of the language, serving as a therapeutic means to development of art, architecture, design, and overcome communication barriers and apply visual and material culture from prehistoric creative solutions to life situations. times to the present. (Alfonso Torino, Interior Design Chair, Berkley It is recommended to study chronologically, College, 2017) examining important civilizations and periods, analyzing their significant artifacts, and Studying interior design is like learning a new exploring how they have influenced the global language, with its own vocabulary and context art and design landscape. reflecting different lifestyles and philosophies. By understanding the past, we can move Students must master this "language" to express forward, improve upon it, or move away from it, themselves effectively. They also need enabling a better understanding of the evolution judgment, creativity, and analytical skills to of art and design as a whole. create tangible designs. Learning from the past involves understanding principles and 1.1 The Importance of History and Culture in limitations to explore new design possibilities, Studying Interior Design rather than merely imitating. "It is essential that interior design students know about (the) culture and (the) history of place 2.0 ARCHITECTURE AND INTERIORS and people as well as the architecture itself. They should know the variety of world cultures and be able to apply this knowledge at the Although the primary focus of this course is various phases of a design project. interior design, interior design and architecture Interior designers should understand history go hand in hand. Frank Lloyd Wright said, "The and geography and have some confidence in mother art is architecture. Without an their knowledge that will help in the architecture of our own, we have no soul of our development of design concepts, & in historic own civilization." Architecture, evolving from restorations and rehabilitations. Understanding primitive shelters, reflects a civilization's essence. diverse cultures will also help the designer Lao Tze noted that the true value of a building understand our contemporary ethnic diversity, lies in the space within it. Early humans not only a reality on which we shall dwell and prosper. used caves for protection but also enhanced In 21st-century interior design, culture and them for better living. history are crucial. Students pursuing A.A.S. or Studying architectural forms helps us Bachelor’s degrees often feel history classes are understand how we manipulate space, while irrelevant, but in reality, understanding culture interior design parallels this evolution by and history is essential and highly applicable to focusing on how interior elements enhance their professional lives. human activity. Interior decoration, furnishings, "It’s critical to mention some of the reasons and the fine arts evolved from the need to make students don’t feel that studying history, art, and shelters livable. Understanding architectural culture is important to their professional principles is crucial as most interior spaces are development. Thousands of students think structured around them. studying history is a waste of their time and have little or no relevance to interior designers." CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 1 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN 2.1 ROOF FORMS Simple houses are surmounted by a roof for shade and protection from the elements. Walls at the edges support them but would also need additional supports to hold up its span. The three most common roof forms are: Post and Lintel ○ most basic form of construction involves a long, spanning member (the beam) made of either wood, stone, metal, or any other material held up by two supports (the post). Arches ○ structural supports whose span is 2.3 COLUMN FORMS supported by a curve. Each side of the Posts are isolated supports that hold up the arch rises from the top of a wall and beams/lintels. meets the curve from the other wall at When the design was later formalized by ancient the center. The curve can be civilizations, they were called Columns. semicircular, a portion of the curve ○ The capital refers to the top molding, (segmental), or of other configurations. often ornamented, the middle called Trusses the shaft, and the base is the block ○ an assemblage of beams forming placed at the bottom. triangles, used to span greater ○ When applied to a wall as a decorative distances when traditional lintel feature, the column is called a pilaster systems are no longer sufficient. Two and made flat rather than round in plan. beams are placed on a slat and meet in the middle. They are tied together at their lower ends by a tie beam. 2.4 TYPES OF CURVES Mechanical curves ○ are formed using a compass and consist of any part or all of a circle. The point where the curve starts is called the “spring point,” while the line that connects the two points where 2.2 PEDIMENT FORMS an arch commences is called the “spring line.” Pediments refer to the styles of the space that Mathematical curves forms the gable of a low-pitched roof and that ○ These are curves taken from conic is usually filled with relief sculpture in classical sections, namely the ellipse, a architecture. Triangular, segmental, broken, and scrolled are some of the most common types. parabola, and a hyperbola, as well as spirals and helixes. Free curves ○ These curves are freehand sweeps and cannot be classified as either CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 2 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN mechanical or mathematical. ○ Climate ○ Geography ○ Socioeconomic condition of the population ○ Religion ○ Trade and commercial opportunities ○ Historical or political events ○ Scientific innovations or discoveries 4.0 DATING HISTORY 4.1 THE GREGORIAN CALENDAR The Gregorian calendar is the calendar used in most of the world. It is named after Pope 2.5 ARCH FORMS Gregory XIII, who introduced it in October 1582. Prior to the Gregorian calendar, Europe adhered to the Julian calendar, first implemented by Julius Caesar in 46 B.C. Fig. 2.1.6 The Fasti Antiates maiores, the oldest and only known pre-Julian calendar ever unearthed. It was estimated to have been created between 67 and 55 B.C., but it wasn’t discovered until 1915, in Anzio, Italy. The change in the calendar was due to a miscalculation of the length of the Julian year; thus, with each passing year, the seasons, as well as Christian holidays, fell further and further out of sync. 4.2 THE NOMENCLATURE OF DATES Traditionally, years had the suffix abbreviations B.C. and A.D. ○ B.C. referred to “Before Christ” ○ A.D. stood for Anno Domini, which is Latin for “In the year of our Lord.” This system was devised by a monk in the year 525. A more recent system uses: ○ B.C.E. for “Before the Common Era” 3.0 INTRODUCTION ○ C.E. for “Common Era” This new system, adopted mostly in academia, These refer to the generally recognizable trends is now widely used to express the same periods or characteristics of fine or utilitarian art as B.C. and A.D. but without Christian reference. produced by one group during a specific time. According to these systems, we count time They are often influenced by several external backward Before the Common Era (B.C.E.) and factors, such as: forward in the Common Era (C.E.). ○ Availability of materials Often, dates will be preceded with a “c.” or a “ca.” These are abbreviations of the Latin word CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 3 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN “circa,” which means around or approximately. understanding of what Interior Design as a We use this before a date to indicate that we do practice is and why interior design is important. not know exactly when something happened. 1.1 According to Republic Act 10350 (The 2.3 PERIODS IN HISTORY Philippine Interior Design Act of 2012) The study of history is typically divided into "Interior design refers to the science and art of periods based on inherent similarities to make planning, specifying, selecting and organizing characteristics and changes clearer. While this the surface finishes and materials including may oversimplify, it is necessary to avoid furniture, furnishings and fixtures and other making historical analysis nearly impossible. interior design elements for the purpose of In Western culture, history is commonly divided interior space allocations to suit, enhance and as follows: meet the intended function, movement, and 1. Prehistory: Covers the period before character for which the interior of the building is writing, from the Stone Age to the end of designed.” the Ice Age and the beginning of permanent settlements. 1.2 According to the Declaration of The 2. Antiquity: Documents the rise of International Federation of Interior Mesopotamian empires and the Architects and Interior Designers, or IFI histories of ancient Greece and Rome, Humans not only use spaces but also fill them collectively known as the Classical with beauty and meaning. Well-designed period. spaces can inspire purpose and a sense of 3. Middle Ages: Spans about 1,000 years, identity. They help us learn, reflect, and connect covering the period after the fall of the with people and ideas, fostering great creative Western Roman Empire, including the cultures. Great spaces are indispensable for spread of Christianity and Islam, the great creative cultures. plague, and the events leading to the As design professionals, we create spaces that Renaissance. meet human needs, using our knowledge to 4. Renaissance: A rebirth of Greek and engage responsibly with economic and natural Roman culture, marked by economic resources. We design for health, safety, and prosperity in Europe, the challenge to well-being, ultimately shaping the human religious and royal authority, and the experience. Our work is crucial for our clients, beginning of the Scientific Revolution. societies, and ourselves, reflecting our 5. Early Modern: Focuses on European commitment to this noble profession. expansion, exploration, and colonization, VALUE highlighting the rise of the middle class. ○ The profession provides leadership and 6. Modern: Driven by commerce and utilizes an iterative and interactive industrialization, leading to significant process that includes discovery, societal changes. translation and validation, producing measurable outcomes and MODULE 2.2: DESIGN ANALYSIS IN DESIGN improvements in interior spaces and in the lives of the people who use them. HISTORY ○ This process delivers economic, functional, aesthetic and social advantage that helps clients understand the value of their decisions and enables better decisions that are beneficial to users and to society. ○ It is recommended that the profession become a trusted voice and develop multiple research models in the context 1.0 INTRODUCTION of physical, emotional and behavioural patterns of users. RELEVANCE Before we can dive into the study of interior ○ The profession defines projects at their design, it is imperative that we first have a clear commencement, and champions CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 4 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN human experience at all levels. Interior 2.0 IMPORTANCE OF A HISTORICAL OVERVIEW designers and interior architects synthesize human and environmental ecologies and translate science to Humans have been on Earth for about 1.7 million beauty addressing all the senses. years, but recorded history spans only 6,000 to ○ The practitioner listens, observes, 7,000 years. Archaeological artifacts and analyzes, improves and creates original remnants are crucial for understanding early ideas, visions and spaces that have human life and their vastly different lifestyles. measurable value. Buildings and interiors from the past continue to RESPONSIBILITY influence our lives. Studying interior design's ○ The responsibility of interior designers evolution helps us explore the past and better and interior architects is to define the understand our current spaces. practice and the required expertise, educate ourselves and the public, and to position ourselves in the public realm 3.0 IMPORTANCE OF ANALYZING DESIGN as experts in the built environment. ○ The responsibility of interior designers Interiors exist within structures like huts, and interior architects is to advance the buildings, ships, or airplanes, filled with objects profession and advocate for social such as furniture, lighting, textiles, and art. They well-being. are integral to the structures that contain them. CULTURE Design history collaborates with sociocultural ○ As a creative enterprise, interior design studies, archaeology, anthropology, and and interior architecture are a imode of philosophy. Understanding design history cultural production. In a global world, requires knowledge from these fields and interior design and interior architecture defining cultural identities in social, technical, must play a role in facilitating the and aesthetic contexts for a more intellectual retention of cultural diversity. perspective. BUSINESS ○ The profession of interior design and interior architecture provides value to 4.0 USING DESIGN ANALYSIS the stakeholders. An important skill for designers is to be able to ○ It improves well-being as a factor of understand existing works, particularly in economic development. evaluating their visual elements. This design ○ It provides strategic thought leadership literacy can help inform future aesthetic and resulting in multifaceted return on functional decisions and determine possible investment. important design directions. Design analysis ○ Interior designers and interior architects integrates the elements and principles of design advocate education for the ongoing and applies that to the overall understanding benefit and awareness of the and critique of an artistic work profession. KNOWLEDGE ○ Theoretical, applied, and innate 5.0 ELEMENTS OF DESIGN knowledge are fundamental to the practice of interior design and interior architecture. The confluence of 5.1 Line environmental psychology and the science of anthropometrics are critical The line is the most basic visual element, the to the quantitative and qualitative connection of 2 points in space. Lines can be knowledge that form the practice of used to define shapes and figures but also to interior design and interior architecture. indicate motion, emotion, and other elements. IDENTITY ○ Interior designers and interior architects 5.2 Color determine the relationship of people to spaces based on psychological and When we use the term “color” casually, we physical parameters, to improve the usually mean hue. Hues appear on the visible quality of life. spectrum. On the spectrum, we see pure hues. These can be divided into primary, secondary, CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 5 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN and tertiary colors. represented— within a work of art. In paintings, ○ Primary Colors – Red, Yellow, and Blue. an illusion of space is achieved with the use of ○ Secondary Colors– produced by mixing Linear and Atmospheric perspective. 2 primary colors. ○ Linear perspective is based on the ○ Tertiary Colors – produced by mixing a optical illusion that parallel lines seem primary with a secondary color. to converge as they recede into the ○ Complimentary Colors - these are the distance. colors opposite one another in the color ○ Atmospheric perspective is based on wheel, which tend to stand out boldly the optical effect that makes objects in when next to one another. the distance appear paler, bluer, and ○ Analogous Colors - these colors are less detailed than objects that are close next to one another in the color wheel. to us. These colors tend to blend together more smoothly. ○ Temperature - the colors on the left of 5.5 Texture this wheel are called cool colors, and is the feeling of a surface, real or represented. those to the right are warm colors. roughness or smoothness of actual objects and Using cool or warm colors in an image art media or to the illusion of these properties. can create moods. ○ Value (tint and shade) - is the degree of lightness or darkness of a color. If we 6.0 PRINCIPLES OF DESIGN add white to a hue, we get a tint. If we Principles of Design are the vocabulary used to add black, we get shade. measure and define design and are often ○ Saturation - Saturation is how bright or described using the elements of design. dull a color is. ○ Contrast - Contrast is the amount of variation between the highest and 6.1 Balance and Symmetry lowest values in a work. Low contrast is the even use of elements throughout a work conveys a soft and gentle feeling as of art. opposed to high contrast which feels Symmetry is a very formal type of balance sharper, and crisper. consisting of mirroring portions of an image. ○ Bilateral Symmetry ○ Radial Symmetry ○ Asymmetrical balance - is created when two sides of an image do not mirror each other but still have approximately the same visual weight, the same amount of detail or shapes or color, and so on. 6.2 Emphasis to draw attention to one or more points in a 5.3 Shape and Form work that can be accomplished through any of the visual elements. Shape builds on line and color. It is the property of a two-dimensional form, usually defined by a line around it or a color change. 6.3 Movement The form is an actual, three-dimensional shape, refers to a sense of motion as the eye is guided often used to describe the illusion of through a work of art that can be accomplished three-dimensionality. by showing figures in motion or simply through visual elements. 5.4 Space 6.4 Proportion Space refers to an area & a period in time where objects and people exist, move, and interact. the relationship of parts of a body or form to one used to refer to depth— both real or another and of the parts to the whole. CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 6 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN ex: the size of the head of a figure in relation to the entire body. 6.5 Scale relationship of parts of an image to the image as a whole or to something outside the image. ○ The hierarchical scale is often found in many forms of ancient art. It is a scale based on relative importance. That is, the more important a figure, the larger he or she is in relation to the figures around him or her. 6.6 Repitition and Rhythm, Variety and Unity Replicating a motif, with or without order, within a work can be called repetition. 9.0 UNDERSTANDING ART STYLES The visual tempo of this repeated work is referred to as rhythm. Formal analysis of style—shared visual Variety is the use of different visual elements properties of artwork by individual artists or throughout a work. those from the same period and place—is Unity is a feeling that all the parts of the work fit crucial for understanding art, particularly together well. historically. A stylistic approach suggests that preferred forms and motifs reflect cultural, social, or design theories. As styles evolve with 7.0 THE STUDY OF DESIGN HISTORY social, cultural, economic, and political factors, this analysis provides insight into a society's Design History encompasses a multitude of values and beliefs. Historians use stylistic disciplines, such as art, architecture, interior analysis to categorize art by attributes such as design, furniture, and decoration. Various race, epoch, authorship, and character. approaches can be used in analyzing artifacts in ○ Race - pertains to the people who a methodical manner to understand their created the artwork. (eg. Italians, Greek, meaning and value, & how they fit in the context Roman, etc.) of the history of human civilization. ○ Epoch – pertains to the age or period the style is associated with. (eg. Gothic, romanesque, early Christian, etc.) 8.0 THE FORMAL APPROACH ○ Authorship – refers to a specific individual creator/ artist. (eg. By Formal Analysis states that everything necessary Leonardo da Vinci) to comprehend a work of design is already ○ Character – relating to a particular look, contained within the work. A Formal (visual) nature, or appeal. (eg., Classic, Islamic) analysis emphasizes the description of the visual features of a work and an analysis of their effects. 10.0 CLASSIFICATION OF ART STYLES Historians describe visual properties systematically that include characteristics such The most customary method of dividing art as format, scale, composition, and viewpoint; styles is according to chronological sequence. treatment of the human figure and space; and Art styles, however, can also be classified in the use of form, line, color, light, and texture. other ways. 10.1 Character of Structure Architectural and decorative styles are always related. Art styles can, therefore, be defined based on structural methods on how their buildings were supported and built. CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 7 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN 10.2 Character of Line Classic, Severe, or Rectilinear – have predominant straight lines. Romantic, Curvilinear, and Rococo – have compositions of curved or irregular lines. Direction of Line ○ Are the lines vertical or horizontal? This is the analysis of the most basic element of forms, defining the outlines of every man-made object, be they straight, curved, irregular, or a combination of types. 10.3 Character of Ornament Ornaments are produced by treating a portion of a surface to create a contrast with the surface itself. This can be in terms of: Color Contrasts – such as in paint, inlays, marquetry, etc. Textural Contrasts – as seen in metals, textiles, and woodwork. Height Contrasts – be they INCISED (the pattern is below the field), or in RELIEF (the pattern is above the field). 10.5 The Character of Patterns and Design 10.4 Classification of Ornament Borders/Running Patterns – of definite width Naturalistic/Realistic – when forms are copied but of indefinite length, often formed by a and reproduced as close to nature as possible. repetition of one or more motifs. Conventional/Idealistic – when forms are Diaper or Over-all Patterns – are formed by copied and interpreted as inspirations or repeating motifs in two directions, length, and simplified due to material limitations width. They are used to cover surfaces of any (conventionalization). size. Abstractions – when forms may have no Panel Patterns – are non-repeating patterns natural inspiration at all and are from pure meant to only cover a fixed area, having definite imagination or of geometric composition. limits bound by their motifs and general Ornamentation can be classified based on its composition. character and inspiration. They can be: Interest and order in design and pattern are also obtained by REPETITION, RHYTHM, CONTRAST, PARALLELISM, PROPORTION, ALTERNATION, BALANCE, SYMMETRY, RADIATION, AND REPRESENTATION. Designs are “an arrangement of lines, forms, mass, and space in a pattern to produce an effect pleasing to the eye.” An orderly arrangement of these elements produces a pattern. Patterns can be in the form of: CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 8 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN features like iconography, materials, and style. This analysis is further complicated by considering the personal motivations of artists, patrons, and advisors. 12.0 POST-STRUCTURALISM Post-structuralism studies a work's significance in a cultural context, such as the ideas, emotions, and reactions prompted by a work. Today, most art historical research focuses on 11.0 THE HISTORICAL APPROACH the significance of works as cultural artifacts, not only to know why and by whom it was made and Historical analysis is based on context, taking how it originally functioned but also to study a into account possible influences that may have work’s cultural significance at later historical led to the development and/or evolution of a moments since works of art and architecture particular work, such as: often survive for centuries. ○ Religion ○ Geography (climate and land) ○ Government/ reigning monarch ○ Availability of materials ○ Trade routes/ commerce ○ Migration of peoples and craftsmen ○ Preceding styles ○ Culture ○ Economy ○ Technology ○ Iconography – the images as the subject matter in art and their underlying interpretations or symbolism. 11.0 INTENTIONALISM Intentionalism asserts that authorial intent is 13.0 HOW ART CAN HELP YOU ANALYZE crucial in determining a work's meaning, while other interpretations can be disregarded. How art can help you analyze - Amy E. Her… Historically, art and architecture often served purposes beyond aesthetics. Understanding intention and function is key to analyzing CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 9 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN subjectivity in both creation and appreciation. MODULE 2.3: DESIGN ANALYSIS IN DESIGN Artists gained greater freedom to create based HISTORY on personal values, leading to the idea that "art" became increasingly "indefinable." Over time, art's focus shifted from skill to the meaning and experience of the work. Art is now often defined as the creation of a beautiful object or a stimulating experience that the audience deems to have artistic merit. 1.0 INTRODUCTION The original historical, classical definition - derived from the Latin word "ars" (meaning "skill" or "craft") – states as art is defined as: "the product of a body of knowledge, most often using a set of skills." thus pre-renaissance painters and sculptors were viewed merely as highly skilled artisans. 2.0 THE CASE OF ART VERSUS CRAFT The traditional theory of art differentiates 'art' from 'craft' by suggesting art involves greater intellectual engagement, while craft is seen as repetitive or functional. Despite this, many crafts are akin to true art. Until the early 15th century, artists were considered craftsmen, gaining professional status by the mid-1500s. Renaissance artists defined art as an intellectual pursuit, with fine art maintaining a perceived superiority over applied and decorative arts. Art stands out for its ability to captivate and By the mid-18th century, technical skills alone evoke deep emotional or intellectual responses, were no longer enough; art also needed an making it a special class of craft. "aesthetic" component. "Utilitarianism" began to differentiate "fine arts" (art for its own sake) from "applied art" (functional art). By the late 19th century, art was broadly divided into fine art and other forms, reflecting the cultural elitism and moral standards of the European establishment. 3.0 CLASSIFICATIONS OF ART (6) 3.1 Fine Art This category includes artworks created Modern art movements broke away from primarily for aesthetic reasons ('art for art's traditional academic norms, emphasizing sake') rather than for commercial or functional CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 10 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN use. Designed for its uplifting, life-enhancing qualities, fine art typically denotes the traditional, Western European 'high arts.' ○ Drawing, Painting, Printmaking, Sculpture 3.2 Visual Art Visual art includes all the fine arts, new media, and contemporary forms of expression. 3.3 Decorative Art This category traditionally denotes functional Communication and Advertisement but ornamental art forms, such as works in glass, ○ In its most basic form, art is used for clay, wood, metal, or textile fabric. This includes communication – to propagate ideas, all jewelry, mosaic art forms, ceramics, furniture, information, and emotion through visual furnishings, stained glass, and tapestry art. representations. Propaganda ○ Art can be used to influence how one 3.4 Applied Art thinks and feels, subtly manipulating the This category encompasses all activities viewer into a particular response toward involving the application of aesthetic designs to a particular idea or object. everyday functional objects. ○ Architecture, Interior Design 3.5 Performance Art This type refers to public performance events. 3.6 Plastic Art The term plastic art typically denotes three-dimensional works employing materials that can be molded, shaped, or manipulated (plasticized) in some way, such as clay, plaster, stone, metals, wood (sculpture), paper Freedom (origami), and so on. ○ Having the ability to defy and not be limited by norms, art offers “socio-cultural” liberation. 4.0 WHAT IS ART FOR? Magic and Symbols ○ Anthropologically, art is imbued with mystic, cosmic significance - rich in 4.1 Its Purpose meaning when taken in its cultural Existence, Expression, and Experience context. ○ Ever since Homo Sapiens developed the “Barometer” facility of contemplation, he has ○ Art allows us to learn about the “fitness” expressed his thoughts in pictorial form. of a society at a given period. At the same time, he has continued to appreciate beauty - whether in the form 4.2 Its Value of human faces or bodies, sunsets, animal skin colors, cathedrals, or To create art is to be human. To appreciate art is sculptures. also to appreciate the handiwork of humanity. Art teaches us about ourselves, our thoughts, our desires, our value systems, our biases, and basically everything else that makes us unique, at the same time everything that defines use as creatures of cultures, societies, and norms. CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 11 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN Learning about art and understanding it helps ○ first started using tools: homohabilis - train us to critically look at the world around us, habilis (hands) fine-tune our powers of observation, and humans were a hunter-gatherer society deepen our insight into our environment. ○ they moved a lot and followed where animals went MODULE 3.1: PREHISTORY - THE CRO-MAGNON (H. S. SAPIENS) PALEOLITHIC CULTURE ○ were NOT “cavemen.” ○ Cro-Magnon (H. s. sapiens) became the sole hominid specie, replacing Neanderthals. ○ Widespread appearance of painting and sculpture 1.0 THE STONE AGE Based on the tradition of the “Three Age System” Earliest and longest spanning period among the ages (2.5million - 7,000 BCE) Tracks the evolution of modern humans. ○ human is the more dominant specie Divided into 3 sub-sections, based on advances because they communicated in lithic tool technology: ○ 1-2% of DNA came from neanderthals ○ The Paleolithic (Old) ○ The Mesolithic (Middle) 3.0 CULTURES (6: OA M’AM P) ○ The Neolithic (New) 2.0 THE PALEOLITHIC 3.1 Oldowan Culture - chipped stones to create a chopping or cutting edge as tools used for hunting and most important, scraping the meat - found in the Olduvai gorge in East Africa is the earliest and longest period emergence of the first bipedal mammalian 3.2 Acheulean Culture cultural* milestones: ○ *Culture - Learned “survival” behavior patterns (improved even) - most critical and dominant communicated thru generations. tool-making culture ○ passing down of knowledge to homoerectus generation in terms of survival - made pear-shaped (teardrop), significant technological advances oval hand axes. ○ First tool-making culture (vs animals) to hold in a certain way to ○ First to experience fire. make it fit in their hands ○ first to build shelters and developed - likely experience fire from them lightning ○ first evidence of religion and burial to cook food, scare ○ first evidence of art and painting predators, source of heat, tools represented the earliest “art” of this period gather (like marites) ○ major art form - made the first form of “art” called ○ root word for art: “ars” - means craft Cupules (uka-ukas) CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 12 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN involved massive physical - made cave paintings and relief effort (practiced on hard sculptures. rock) don’t know what it’s used for, but not used for 3.6 Paleolithic Culture survival found first in India, Daraki - - Main hominids were h. erectus and Chataan Cave h. sapiens. history of Interior Design is - Societies were nomadic, purely eurocentric hunter-gatherers - Incidental cave-dwellers, start of domestic construction. 3.3 Mousterian Culture Huts (oval, used least materials) - associated with Neanderthal Man Lean-tos (against wall of and Early Modern Man. cave) - not too much technological Tents (covered w/ skins & advancements weighed down w/ pebbles) - created a variety of tools, such as Pit Houses (in the ground) composite tools. - Produced petroglyphs, combined tools together pictographs, sculpture, cave - standardized tool-making by paintings, relief sculpture, and chipping flint (Levallois Technique). pottery. look for a igneous/obsidian stone (from a volcanic source) MODULE 3.2: PREHISTORY - PALEOLITHIC - evidence of social organization ART and cognitive ability (hunted large mammoths). - they took care of their dead and 1.0 PALEOLITHIC ART buried them with rocks and pollen. Petroglyphs - excised images by chipping on surface of rock/cave (petro means rock, glyphs 3.4 Aurignacian Culture means pictures) Pictographs - used pigments; from soil/ground up stone - made tools from bone Mobility art - small scale transportable figurines - created the first cave paintings ○ Venus Figurines (very common (e.g. El Castillo Cave Paintings), characteristics) monochrome murals, engravings, ○ sculpture that they can carry around rock art, and Venus figures. ○ Fat-bellied tapering to head or legs. Venus figures - statuettes ○ No arms, feet, or any facial detail. depicting obese women. ○ Exaggerated reproductive features. ○ Used as fertility symbols or for religious worship. 3.5 Magdalenian Culture 1.1 Types of Mobility Art - made the most sophisticated - 1. Venus of Berekhat Ram (c. tools from flint and bone. 230-700,000 BCE) and Tan-Tan (c. - made spearheads, needles, 200-500,000 BCE) jewelry, accessories, clothing. oldest - made the first ceramics. - 2. Venus of Hohle Fels (c. 38,000 - clay or mud thrown into fire 33,000 BCE) which vitrifies served as an made of ivory efficient container - 3. Lion Man of the Hohlenstein CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 13 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN Stadel (c. 38,000 BCE) - Venus of Dolni Vêstonice (c. only mobiliary sculpture 26,000 BCE) that is not a girl only evidence of ceramic first evidence of a art made of terracotta zoomorphic statue - 4. Venus of Willendorf (c. 25,000 BCE) 3.0 THEORIES ON THE FUNCTIONS OF PALEO ART first depiction of obesity - 5. Venus of Brassempouy (c. 23,000 BCE) Totemism - relationship towards a animal or only evidence of paleolithic plant. portraiture Shamanism - mediums ○ They can contact spirits and supernatural entities 2.0 PARIETAL ART - CAVE ART ○ They heal the sick ○ They control the movement and lives of animals, even the weather. denotes all art found within the interior environs Types of Sympathetic Magic: of caves. ○ Fertility Magic opposite of portable mobility art. to show it doesn’t die down ○ El Castillo (c. 40,000 BCE) depicting pregnant one of the oldest cave art females/animals ○ Chauvet-Pont d’Arc (c. 35,000 BCE) ○ Propitiation Magic/Sympathetic one of the oldest examples of used to pacify the dead figure painting ○ Death Magic drew the animals they hunted hunting magic drew them layered, exactly weapons painted on animals what they saw (3D to 2D) were used to guide the hunters’ ○ Lascaux (c. 17,000 BCE) aim 2,000 images inside the cave pictures used for storytelling ○ Altamira (c. 15,500 BCE) MODULE 3.3: PREHISTORY - THE MESOLITHIC CULTURE 2.1 Relief Sculpture belong to the wall on which it is carved. 1.0 MESOLITHIC PERIOD - The Salmon of Abri du Poisson (c. most useless (daw) 23,000 BCE) Transitional period between Paleolithic and prehistoric sculpture of a Neolithic periods. fish Climate change saw the beginnings of forests. - Venus of Laussel (c. 23,000 BCE) Humans were semi-hunter-gatherers-fishers, fertility symbol and began farming and animal husbandry. - Tuc d’Audoubert Cave Bison (c. Some areas “skipped” the Mesolithic Period. 13,000 BCE) Mesolithic tools were composite devices w/ originally made out of mud small chipped stone tools called microliths & that turned into stone retouched bladelets. H. s. sapiens dominated, Neanderthals disappeared. 2.2 Ceramic Art/Pottery Humans were still nomadic, they lived in: ○ Huts (trapezoidal, stones over limestone clay hardened by heat. floors, wide entrances) ○ Pit Houses (roofed w/ light timber structure) 2.0 MESOLITHIC ART CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 14 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN Traits of Mesolithic paintings (IID): ○ Imitative or Naturalistic Likeness MODULE 3.4: PREHISTORY - THE NEOLITHIC ○ Informative or Pictographic Signs CULTURE ○ Decorative or Abstract Ornamentation Rock Paintings ○ Paintings outside caves 1.0 NEOLITHIC PERIOD it wasn’t that cold to stay inside ○ Themes depicted people in activity Neolithic Revolutions: ○ More sophisticated ○ Birth of agriculture; humans farmed Cave Paintings and herded animals. ○ The Cueva de las Manos (c. 7,300 BCE) ○ The beginning of civilization, hand paintings in Brazil established settlements and cities. Sculpture New activities: trade, ○ Stone carving eventually disappeared constructions, social except for relief sculptures. organizations, religious growth. ○ Seated Woman of Çatalhöyük (c. 9,000 Polished and ground stone tools, a material BCE) culture. ○ most were for farming, not hunting Made vehicles. Substantial wood and stone dwellings ○ Timber-farmed roundhouses Secured by timber frames Raised platform ○ ○ Wood Carving emerged. Shigir Idol (c. 7,500 BCE) only sculpture made of wood because it decays found in the swamp ○ Longhouses because it was buried, 1. Tripartite Plan - entrance no oxygen facing SE, central living area, 12 meters tall deep storage area 2. Bipartite Plan - combined entrance & living area 3. Single Plan - only living area Decorative Arts (jewerly, engravings) ○ Drystones Houses Architecture ○ Gobekli Tepe (c. 9,500 BCE) 2.0 NEOLITHIC ART One of the most important megalithic monuments with reliefs Cave art began to disappear. formed in a concentric circle Pottery - the most prevalent artform found in modern day turkey ○ Containers ○ Figure wares ○ Decorations Weaving Cultures CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 15 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN ○ Baskets, nets ○ Umber - Raw, Burnt Umber ○ Clothes ○ Sienna - Raw, Burnt Sienna Portable Carvings ○ Manganese - Jet Black, Brownish-black, ○ The Kneeling Bull with vessel (c. 3000 Steel Grey BCE) ○ Kaolin - white pigment made of metal ○ Ram in a Thicket (c. 2,500 BCE) made of gold, copper alloy, ivory, lapis lazuli (found only in modern day Afghanistan) Architecture ○ Jericho (Tell Es-Sultan) (c. 10,000-9,000 BCE) The oldest continuously lived city in the world. MODULE 3.5: THE BRONZE AGE: Had a very strong wall MESOPOTAMIA — A CRADLE OF Reyham - saved from the CIVILIZATION redemption ○ Çatalhüyük (c. 7,100 BCE) Megalithic Structures (or petroforms, 1.0 “BRONZE AGE - CIVILIZATIONS” undressed stones): Metallurgy and Trade Menhir (monolith) Writing, Potter’s Wheel, Wheel - individual stones Governments, Laws, Cities, Nations, Empires Architectural Projects Slavery and War Organized Religion Capstones (monolith) Medicine, Astrology, Mathematics - horizontal stone on top MESOPOTAMIA - top cover of cist ○ “Mesos”; middle ○ “Potamos”; river horse Dolmen (polylith) ○ The Land between rivers - legs of capstone of top ○ The fertile creseant: A cradle of civilization 2.0 WHO WERE THE MESOPOTAMIANS? (SAKA SB) Cist (polylith) - in the ground - used for burial Sumerians of Sumer (c. 3500 BCE) Akkadians of Akkad (c. 2300 BCE) Assyrians of Assur and Nineveh (c. 1700 BCE) Babylonians of Babylon (c. 1700 BCE) Cromlech (polylith) - menhir arranged in a circle - exact purpose unknown 3.0 SUMERIANS but used to mark sacred spaces c. 3500 BCE - Stonehenge, England (c. One of the earliest known civilizations. 3,000 BCE) Evidence of First Theocracy, lived and divided into independent city-states with a temple and ruled by a priest as god’s representatives. 3.0 PREHISTORIC COLOR PALETTE The rulers (priest) directed all communal activities. Colors used are founded on minerals/charcoal Developed agriculture, invented writing, Three primary colors: Red, black, yellow. developed metallurgy, potter’s wheel, the wheel, Mineral-based pigments: and civic organization. ○ Ochre - Red, yellow, and brown ochre Uruk was the first “true” city. CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 16 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN ○ The origin of writing 3.4 Sumerian Architecture 3.1 Cuneiform Used mud-brick. meaning “wedge-shaped”, is the oldest form of ○ was used for buildings; palaces and writing, used by the Mesopotamians. temples were lined witn glazed tiles and write around 15 different languages precious stones built. Treated with colored tiles and precious stones. ○ Palaces or “Big House” and temples 3.2 Epic of Gilgamesh Temple plans were often of two types: oldest surviving poem and longest literature ○ tripartite with 3 parallel halls and written in cuneiform. T-shaped also with three halls. similar to the biblical story of Noah etc… 3.3 Sumerian Art 3.5 The Ziggurat of Ur Stele of Vultures ○ ○ earliest story told in pictures; a story of war (also kings, gods & hunting). ○ stone tablet sculpted. The monument is dedicated to the moon The Standard of Ur goddess Nanna, the patron deity of Ur. The “present” ruins was reconstructed by Haddam Hussein. ○ ○ bore mosaic panels of war and peace, 4.0 AKKADIANS split into registers (upper, middle, bottom) c. 2300 BCE ○ expensive because of lapis lazuli. The first empire that ruled over the plains Mask of Warka Mesopotamia, uniting the fragmented Sumer city-states. Sargon I (“True King”) united Sumerians and Akkadians. Akkadians art focused on its kings, who were ○ akin to a god. ○ The Lady of Uruk, most likely that of Akkadian became the lingua franca* at the Inanna made of marble. time with cuneiform still the system of writing. Tell Asmar Figures ○ *common language between speakers 4.1 Akkadian Art Cylinder seals ○ ○ Magically-associated figures with magical powers found in the Temple of Abu. ○ stamps used as signatures to legalize Warka Vase documents. Head of Akkadian Ruler ○ CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 17 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN ○ most beautiful and terrifying images in lions) with human need, used to guard all of Ancient Near Eastern art. the gateways of cities and ward off evil ○ life-sized bronze head. supernatural powers. Victory Stele of Naram-Sin ○ Often placed at entrances in palaces ○ “Double aspects”: one view in attention, one view moving with 5 legs Ashurbanipal (Sardanapalus) Hunting Lions ○ pink limestone relief sculpture depicting King Naram-Sin of Akkad leading the Akkadian army to victory over the Lullubi. ○ large-scale carved limestone reliefs 5.0 ASSYRIANS offering viewers beautiful and terrifying images of the power and wealth of the Assyrian kings. c. 1700 BCE Ruled the northern Akkadian-speaking regions. The Great Library of Ashurbanipal Ruled from Assur, known for their brutality and use of iron weaponry. Assyrian society was developed, civilized, and were patrons of architecture and art. 5.1 Assyrian Architecture ○ Ashurbanipal establish the greatest Nineveh library of the ancient world, containing ○ Nineveh was transformed into the new over 30,000 clay tablets, copied from all capital of the Neo-Assyrian Empire by over the world. King Sennacherib. “Palace without Rival” ○ The palaces of both Sennacherib and 5.3 The Fall of Assyria Ashurbanipal. Following the death of Ashurbanipal, it took just ○ The southwest palace was under 20 years for the empire to crumble. Sennacherib’s royal residence, built ‘to The Babylonians rebelled against the Assyrian be an object of wonder for all the rule, causing chaos throughout the land. people.’ “The Hanging Gardens” ○ Sennacherib was especially fond of 5.0 BABYLONIANS gardens and imported specimens from throughout the empire. c. 1700 BCE ○ Some scholars believe that the gardens The city of Babylon existed as far back as 3000 at Nineveh are the true “Hanging BCE, made prominent by Hammurabi. Gardens” instead of the popularly ○ He is best known for his policies to rule believed Babylonian version. the kingdom, the Law Code of Hammurabi, implemented to maintain 5.2 Assyrian Sculpture peace and encourage prosperity. The Lamassu Nebuchadnezzar II rebuilt Babylon to the largest ancient settlement in Mesopotamia, a center of great scribal learning & produced writings on divination, astrology, medicine, & mathematics. ○ Citadel of Sargon II in Khorsabad ○ Lamassus are winged beasts (bulls or CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 18 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN The Law Stele of Hammurabi The Hanging Gardens of Nebuchadnezzar ○ Allegedly built by Nebuchadnezzar II for ○ A stone slab written in 3,500 lines of his Median wife, Queen Amytis. Akkadian cuneiform with the 300 laws the garden was supposedly of Hammurabi, one of the oldest law constructed to remedy the codes in history, popular for its queen’s homesickness. application of the law of retaliation. ○ A.K.A. Hanging Gardens of Semiramis ○ “An eye for an eye.” 5.2 Neo-Babylonian Domestic Architecture 5.1 Babylonian Architecture characteristic form for their house design, The Neo-Babylonians are famous for their perfectly suited to the regional conditions of architecture, notably in their capital city of the Mesopotamian plains. Babylon. Nebuchadnezzar II largely rebuilt the city: walls and seven gates. The Gates of Ishtar 1. Houses were mud-brick, some larger houses contained 2 or 3 courtyards. 2. Had a central door leading into the main room, accessible to the other smaller rooms of the houses. 3. Most houses oriented from the SE to the NW, with the main living area located on the SE side. ○ Built by Nebuchadnezzar and named 4. The exterior walls were unadorned, blank, & after the goddess of love and fertility, windowless. The main entrance was located on the inner gates were lined with the end of the house, furthest away from the blue-glazed tile, as well as rows of lions main living area. & cattle across the blue surface of the 5. Roofs were composed of straw-tempered mud gate. overlaying reeds. ○ Lions, bulls, dragons, and aurochs 6. Houses of people of higher status: to show honor to Adad, the god free-standing, houses of lower status: share an of weather, and Marduk, the outer wall with a neighboring house. chief god of Babylon. 5.3 The Fall of Babylon Ziggurat of E-temenanki ○ ○ dedicated to the chief Babylonian god, Marduk. ○ rebuilt the ziggurat as the centerpiece of Babylon. In 539 BCE, the empire fell to the Persians under ○ the possible inspiration for the biblical Cyrus the Great at the Battle of Opis. story of the Tower of Babel. The story in which letters suddenly appeared in CONTENT | PPT | LECTURE: IDr. Jamieson Y. Tan ID125_HISTORY OF INTERIOR DESIGN 1 PAGE 19 of 26 ID125: HISTORY OF INTERIOR DESIGN 1 TRANSCRIBED BY: CHLOE DE TORRES | 1ID-2 A.Y. 2024-2025 | 1ST SEMESTER PROF: IDR. JAMIESON Y. TAN a language they didn’t recognize when they Xerxes, and Darius I created the Achaemenid were drunk and partying. Empire. Persia was the first empire known to have 6.0 MESOPOTAMIA - COLOR SCHEMES acknowledged the different faiths, languages, and political organizations of its subjects. ○ the Persians continued to use indigenous languages and administrative structures. 1.1 Persian Art and Architecture Persian kings are noted for their penchant for White monumental art and architecture. ○ light, shining, radiance, brightness, The Persians had no architecture of their own holiness, purity, lack of color and proceeded to adapt that of their conquered Black cultures. ○ night, gloom, shadows Red-Brown Pasargadae ○ divinity, passion, heat, blood, fire, metal copper, storm, battle, rage Green-Yellow ○ freshness, fertility, ripeness, sky, chaos Lapis Lazuli Blue ○ opulence, holiness of kings & deities, brilliance, radiance, night sky ○ old capital of the empire, established Polychrome/Patterned by Cyrus the Great. ○ Red, white, and blue ○ spacio