Back to the “Green” Future By Susan J. Farrell, ASID, IDEC, The Effect Group, Inc
In today’s commercial and residential furniture market, sustainability and product longevity continue to be lead- ing market trends. Green design, also called sustainable design, is an approach to interior design that requires the use of materials and products that have been produced to meet certain environmental standards. Some of the standards measure the materials used, the manufacturing process and the energy used in its process, the amount of waste generated, the product’s durability, and the methods for disposing of the product at the end of its life. To many designers, the task of finding sustainable furniture that meets all of these criteria for clients can be overwhelm- ing. With all of the ultra modern “eco friendly” brands out there in the furniture market it is difficult to remember that pre-owned pieces or even vintage hand-crafted pieces can be the “greenest” of all purchases one can make. There is a quote by the founder of the Arts and Crafts movement, William Morris that states, “Have nothing in your houses that you do not know to be useful or believe to be beautiful.” When I think about Arts and Crafts style furniture I think of items from a movement in history that found its own niche by providing people with a rever- sion to the past – simple, honest, and practical design. It is amazingly uncomplicated when one thinks about ele- ments of sustainable design in those terms. If a product doesn’t last or if it can’t be repaired easily, it will most likely end up in a landfill. Arts and Crafts style furniture (new or old) is durable, long lasting and will be able to be used and then passed on. It is a style of furniture with “green” principles built in. To fully understand why Arts and Crafts pieces are still
in such demand more than 100 years after they were ini- tially designed, one must understand what the Arts and Crafts Movement is and why it was an important event in the history of furniture design and manufacturing. During the second half of the 19th Century, huge factories were manufacturing millions of pieces of furniture and acces- sories that were formerly made by craftsmen and artists. With the growth of these factories, the quality of the items being mass-produced greatly declined. The artisans and craftsman of the period were fast becoming a thing of the past. Although consumers were presented with many more choices, most of which were more economical, the truth was that machines were replacing the skilled hands of craftsman and the integrity of the artist’s design. These factors gave way to a lesser quality product that was being
produced in high quantities. Realizing the need for a revival of the craftsmanship of
the past, among other founding members, William Morris became a leader of the Arts & Crafts Movement in Eng- land. Morris wanted to replace the inferior, impractical products of the machine age by bringing back the handi- crafts of the pre-industrial past. His beliefs challenged the mass production that marked the Industrial Age. Morris believed in simple, good design brought about by basic ideas and materials of nature. Although it is believed the Arts & Crafts designers were against all machine-processed manufacturing, the de- signers vehemently supported those manufacturers who promoted artistic design. It was the mechanical role of the factory workers that produced the negative attitudes toward manufacturing of furniture and other items. The Industrial Revolution in America had brought about the same poorly crafted and overly decorated objects as in Europe. Toward the end of the 19th Century Morris’ ideas
about “back to the basics of design” had begun to spread throughout Europe and America. In 1896 while on a trip to Europe, American Gustav Stickley met several Arts and Crafts designers and realized the home interiors of the industrialized nation he lived in were in need of a change. The poor quality and the highly decorated furniture being manufactured at the turn of the century did not seem to match the American way of life. Stickley’s answer was to develop a style that would be practical, long lasting, and suited to almost any décor. It is this timeless style and ex- tremely durable furniture (both used and new) that is still finding its way into our homes and offices today. The pieces created during the Arts & Crafts Movement represent a similar meaning in today’s “green” thinking – that design, function, durability, and the quality of life are valued. If you are in the market for some new furniture, consider owning a piece of history first because whether you purchase the “old green” or the “new green”, making environmentally conscious choices in furnishing a home or a commercial space can make a big difference when you consider the impact on the planet. For more information on making “Green” choices for
your home or office you may contact Susan J. Farrell, ASID, IDEC an Interior Designer at The Effect Group, Inc at 315-472-9055 or visit online at www.TheEffect-
GroupInc.com.
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