A dictionary of design styles, written from the works themselves.
It is plain HTML. It opens on any browser and any device, with no app and no account, and machines read the same page.
| Terms | 776 |
|---|
Search by style name or describe what you are making. Name matches come first; purpose, desired effect and medium add relevant alternatives.
TryBauhausa premium recruiting websitea trustworthy finance app
217
ウィーン工房 / 1903–1932 / Style / Modern Design Movements
The workshop founded by Hoffmann and Moser designed buildings, furniture, tableware and clothing to a single geometry and a single standard of handwork. It practiced the total work of art, treating all of daily life as one piece, inside a commercial enterprise.
Squares and grids / Black-and-white contrast / Luxurious handcraft / Whole lives designed
218
田園都市 / 1898– / Layout / Modern Architecture
Howard's diagrammed proposal for self-contained towns of planned population joining the advantages of town and country. The concentric diagram materialized at Letchworth and became the template for suburbs and new towns worldwide.
Concentric diagrams / Separation by green belt / Planned population / Work near home
219
ケース・スタディ・ハウス / 1945–1966 / Style / Modern Architecture
The experimental housing program commissioned by Arts & Architecture for the postwar shortage: steel and glass from off-the-shelf parts, popularizing an image of bright modern living open to the California climate.
Lightness of steel and glass / Indoors flowing outdoors / Off-the-shelf components / Horizontally open plans
220
ブルータリズム建築 / 1950s–1970s / Style / Modern Architecture
A postwar ethic of public building that leaves béton brut exposed and hides neither structure nor services. Bound up with the ideals of the welfare state, it is now the subject of preservation campaigns.
Raw exposed concrete / Massive volumes / Exposed structure / Repeating units
221
シェーカー・デザイン / 1780s–1900s / Style / Furniture and Interiors
Plainness practiced as an article of faith by the Shaker communities of the United States. With ornament refused, their furniture and rooms were arrived at through use and honest workmanship alone, anticipating functionalism and Scandinavian design.
Ornament fully renounced / Peg-rail walls / Light, precise furniture / Perfection as labor
222
曲木家具（トーネット） / 1859– / Technique / Furniture and Interiors
Thonet's chair No. 14 reduced steam-bent beech to a handful of parts, the first industrial furniture to ship knocked-down and be made in quantity. Rational components and an elegant curve arrived together, which is why it is called the origin of modern design.
Steam-bent curves / Reduction to few parts / Knock-down shipping / Lightness and mass production
223
数寄屋 / 16th century– / Style / Historical Styles
The light, informal residential style born of tea-ceremony aesthetics: slender posts, bark-edged timber, earthen walls and shoji light that let material nature and empty space become the quality of the room. Katsura became modernism's pilgrimage site.
Slender posts, light roofs / Bark-edged timber and earthen walls / Diffuse shoji light / Continuity with the garden
224
イタリアン・ベル・デザイン / 1950s–1970s / Style / Postwar Industrial Design
The golden age of industrial products made by postwar Italian industry and its designers, who added feeling and sculptural presence to functionalism. Castiglioni's lamps and Olivetti's machines exported the product as culture.
Sculptural products / Bold color and wit / Alliances of firms and designers / Material experiment
225
ウルム造形大学 / 1953–1968 / Style / Postwar Industrial Design
Founded by Max Bill as the Bauhaus's successor, the school redefined design as science, method and system. Its collaboration with Braun made the functionalist face a world standard.
Method and system / Grids and modules / Ornament excluded / Design as science
226
情感の建築 / 1953- / Style / Modern Architecture
Building that raises unbroken walls as sculptural mass and works on feeling through color, direct sun and stillness alone. Goeritz gave it the name in the 1953 manifesto he wrote for El Eco, against the functionalism of his day.
A single large wall left without windows / Surfaces painted through in one flat color / Planes of shadow cast by direct sun / Mass read as sculpture rather than as building
227
%2003.jpg)
パラメトリシズム / 2008– / Style / Modern Architecture
A style that relates every element continuously through parameters and organizes architecture as flowing surface and gradient change. Schumacher named it, and the work of Zaha Hadid Architects became its demonstration.
Continuous curved surfaces / Gradient variation / Mutually adapting elements / The absence of right angles
228
シノワズリ / 17th–18th century / Style / Cross-cultural Reception
Europe's imagined China: longing for imported porcelain and lacquer unfolded into wallpaper, furniture and garden pagodas, joined to Rococo lightness. Read it as a decorative world born of desire, not description.
Fantasized Eastern motifs / Pagodas and lattices / Lacquer and porcelain textures / Continuous wallpaper scenes
229
スキーマティック路線図 / 1933– / Layout / Information Design
Discards geographic accuracy for horizontal, vertical and 45-degree lines with evenly spaced stations. Beck's 1933 London Underground diagram established it as the common language of transit maps worldwide.
Lines limited to 45 degrees / Evenly spaced stations / Color-coded lines / Independence from geography
230
案内用ピクトグラム / 1964– / Style / Information Design
Unified symbol systems that name facilities and actions without language. Tokyo 1964 systematized sport and wayfinding symbols; the AIGA/DOT transportation set became the public-domain world standard.
Geometrized human figures / Uniform stroke weight / Consistency as a system / Independence from language
231
初三郎式鳥瞰図 / 1913–1950s / Style / Diagrammatic Expression
The tourist bird's-eye map style perfected by Hatsusaburō Yoshida: extravagantly curved horizons, exaggerated landmarks and a view that pulls distant cities into one sheet, turning Taishō and Shōwa era travel into pictorial maps.
Curving horizons / Exaggerated landmarks / Extreme wide-angle views / Painterly color
232
ホワイトキューブ / 1930s– / Style / Exhibition Design
White walls, even light and an unadorned room, so that only the work stands up. MoMA made it standard, and though O'Doherty's criticism exposed it as an institution disguised as neutrality, it remains the default for showing contemporary art.
White walls / Even lighting / The isolated artwork / Context erased
233
驚異の部屋 / 16th–18th century / Style / Exhibition Design
The early modern collection room heaped natural and man-made things, specimens and art, into one space without distinction. Its floor-to-ceiling density aimed at a model of the world, making it the ancestor of the museum and the origin of an aesthetics of collecting.
Accumulation to the ceiling / Nature and artifice mixed / Wonder before classification / A collector's universe
234
サロン掛け / 1667–19th century / Layout / Exhibition Design
The Paris Salon's way of stacking paintings frame to frame from floor to ceiling. Height announced a work's rank, and looking became competition and society. It is the exact opposite of the white cube, and its origin.
Stacked floor to ceiling / Crowded frames / Rank by position / The whole wall used
235
ハビタット・ジオラマ / 1889– / Style / Exhibition Design
The natural history museum format that fuses taxidermy, real foreground and curved background painting into a slice of habitat. Akeley raised it to an art, and it became the prototype of immersive display.
Curved background paintings / Seams between object and paint erased / An ecological instant frozen / A window to peer into
236
パノラマ館 / 1787–1900s / Style / Exhibition Design
A giant painting covering the entire inner wall of a rotunda placed the audience at the center of the landscape. Lighting and real objects in the foreground erased the edge of the picture, and this 19th-century immersion machine became the summit of mass visual entertainment before cinema.
A 360-degree painting / The central viewing platform / Foregrounds that erase the boundary / Controlled natural light
237
ネオンサイン / 1912–1990s / revival / Style / Signage and Display
The commercial sign style of bent glass tubes glowing as letters and pictures. Hong Kong's street-spanning character signs and Las Vegas's escalating light wars built each city's nighttime visual language.
Lines of bent glass tube / Glowing letters on the night sky / Signs projecting over the road / Blinking and chasing motion
238
ゴーストサイン / 1880s–1950s / rediscovery / Style / Signage and Display
Hand-painted brick-wall advertisements faded by weather. The lettering of the craftsmen called wall dogs, through peeling and fading, is being rediscovered as a stratum of urban memory.
Paint applied straight to brick / Fading and peeling / Craftsman lettering / Layers of overpainting
239
スーパーグラフィックス / 1966–1970s / Style / Signage and Display
Environmental graphics at a scale that overruns the wall, bending geometry and letters around architecture to alter spatial perception itself. Solomon fused Swiss typography with Californian boldness at Sea Ranch.
Shapes crossing the architecture / Letters turning corners / Large fields of primary color / Perception manipulated
240
サーカスポスター / 1870s–1930s / Style / Advertising Posters
Show bills that mustered chromolithography and wood type to announce the spectacle in overloaded scenes and the largest words available. Pasted up until they occupied whole walls, they were advertising that turned the city into a theater.
Saturated chromolithography / Exaggerated animals and acrobats / Superlative slogans / Dense composition
IndexStyle is not a list of every term used around design. An independent entry must describe a visual language that can be recognised, reproduced and distinguished from its neighbours. Editorial standard