History of Interior Design I

Teaching staff

Natalie dal Pozzo

Natalie dal Pozzo

Bachelor's degree in Art History. Doctoral studies in Humanities and a Master’s degree in Comparative Studies in Literature, Art and Thought from the UPF.

Doctoral studies in Humanities and a Master’s degree in Comparative Studies in Literature, Art and Thought from the UPF. Doctoral studies in Philosophy (aesthetics) and a Master’s degree in Philosophy from the Universidad de Los Andes, Venezuela. Bachelor’s degree in Art History. Close ties with teaching and academic research in the field of theory, history and criticism of art and design. Lecturer at the BAU and Director of the DFP (Degree Final Project) at the UNIR University.

Fact sheet

Formal qualifications: Bachelor's Degree in Design

Credits: 6

Course: Third

Typology: Elective Interior Design

Code subject: GDVI33

INTRODUCTION

Through this course the student will gain the ability to make connections between the ideas and the practice of design by using history as a critical tool that facilitates the understanding of interior design from the perspective of theory, projects and culture.

This observation will rely upon the theoretical standpoint of different models used to approach and interpret history, taking the most relevant moments of the conception of architectural design as the reference point for later reflections on the field of interior design. A review from classical antiquity of the meaning and order of space in the Middle Ages, Renaissance and Baroque periods up until the 19th century, when the systematisation of interior design became an independent discipline of its own, and how its most prominent theoretical thinkers broadened the understanding of the fundamental elements of their practice coming into the 20th century.

 

CONTENTS

Interior spaces

  • Historical frameworks. The theory of cycles, chronologies.
  • The genealogical method. F. Nietzsche.
  • W. Benjamin’s ‘constellations’ method.
  • The iconological method and history of art applied to the study of space and its representation.
  • Documents.
  • Examples.

Basic referencies to the classical age

  • The Roman heritage.
  • Middle Ages: the Gothic, Churches, Castles and Monasteries. State-cities and liberal cities. Medieval domestic space.
  • Renaissance: The geometrised space. Symbolic dimension of perspective, elements and features. Palaces and other building typologies in Italy (Palladium, Michelangelo, Bramante).

16th – 18th Centuries

  • Mannerism, Baroque and Rococo. The illusory space. The invention of comfort. Furniture and space, main elements. Styles: Louis XIV, Regency, Louis XV (17th and 18th centuries).
  • The Baroque in England. Cottages. Tudor styles, Jacobean and Queen Anne (17th and 18th centuries).
  • The Enlightenment. Neoclassicism and the end of the 17th century. Return to order and classical principles of composition. Social utopias. The empire style.

19th Century

  • Industrialisation, aesthetic currents and eclecticism.

Early 20th Century

  • The birth of the 20th century’s avant-garde art in the specific field of architecture and design spaces.
  • Futurism, Constructivism and Suprematism.
  • The legacy of the ‘Deutscher Werkbund’.

 

LEARNING OUTCOMES

  • Efficiently develops methods and strategies for historical research in the field of interior design.
  • Has an adequate command of the chronology of the history of interior design.
  • Consistently applies the fundamentals and knowledge of history to their own creative process for interior design.
  • Shows a mastery of advanced knowledge and a profound understanding of theoretical and practical aspects.

 

SPECIFIC SKILLS

  • SS1. Critical analysis and evaluation of the consequences and implications of proposals raised in design projects, both the student’s own and those of others, and their adjustment to suit the social, economic, political and cultural context.
  • SS2. Integration of knowledge and approaches related to cultural, artistic and historical references in design, to practical design projects in creative and innovative ways.

 

EVALUATION

  • Observation of participation
  • Monitoring of the work produced
  • Specific tests: exams
  • Realisation of works or projects