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Oscar Nominees Shine Light on Design Styles
The big screen offers lessons in Art Nouveau, Art Deco and more historic design styles
I think that Houzzers going to the cinema are equally interested in the three p's: plot, popcorn and production design. I already talked a bit about the great plot and plantation home style in an ideabook about The Descendants, so let's focus on the category of art direction for the Oscars. Who are the nominees? And what can each nominated movie teach us about design-related terms?
Here are the nominees for Art Direction in a Motion Picture and rooms fitting each movie's style.
Here are the nominees for Art Direction in a Motion Picture and rooms fitting each movie's style.
by Tongue & Groove
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The Artist (production design: Laurence Bennett; set decoration: Robert Gould)
This dialogue-free film about the advent of sound in cinema is rooted in Art Deco design. A stark reaction to Art Nouveau and the austerity imposed by World War I, Art Deco is defined by geometric shapes, symmetrical composition, gleaming décor and a celebration of all things forward thinking, flamboyant and glamorous.
A bespoke and linear speaker tower next to a gleaming sunburst light sconce, along with the Josef Koffman–inspired club armchair, roots this screening room in the Art Deco period.
This dialogue-free film about the advent of sound in cinema is rooted in Art Deco design. A stark reaction to Art Nouveau and the austerity imposed by World War I, Art Deco is defined by geometric shapes, symmetrical composition, gleaming décor and a celebration of all things forward thinking, flamboyant and glamorous.
A bespoke and linear speaker tower next to a gleaming sunburst light sconce, along with the Josef Koffman–inspired club armchair, roots this screening room in the Art Deco period.
by elitehts.com
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The bold, stained glass–inspired artwork and lavish gold statuette panels flanking the screen make this media room ready for an Art Deco–style showing.
Harry Potter and the Deathly Hallows, Part 2 (production design: Stuart Craig; set decoration: Stephenie McMillan)
Add moving and speaking portraits of dead professors to this stairway scene and it could pass for a set in Harry Potter's fictional school, Hogwarts. The school's set design is largely Gothic, with its candlelit hallways, rich upholstery in dark colors and ecclesiastical design roots.
Add moving and speaking portraits of dead professors to this stairway scene and it could pass for a set in Harry Potter's fictional school, Hogwarts. The school's set design is largely Gothic, with its candlelit hallways, rich upholstery in dark colors and ecclesiastical design roots.
| This Gothic manor house could very well be an extension of schoolmaster Dumbledore's office in Hogwarts. |
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Midnight in Paris (production design: Anne Siebel; set decoration: Hélène Dubreuil)
Although Woody Allen's Midnight in Paris spans three distinct design styles, let's focus on Art Nouveau, which exploded onto the Paris and London design scene at the turn of the 20th century.
The florals, peacock feathers, curved shapes and forms, and hues of bronze, sage, olive, brown and gold in this bedroom all whisper Art Nouveau, a decorative style that became prominent in Paris' Belle Epoque. All you really need is some absinthe and, like lead character Gil, you could time travel as well.
Although Woody Allen's Midnight in Paris spans three distinct design styles, let's focus on Art Nouveau, which exploded onto the Paris and London design scene at the turn of the 20th century.
The florals, peacock feathers, curved shapes and forms, and hues of bronze, sage, olive, brown and gold in this bedroom all whisper Art Nouveau, a decorative style that became prominent in Paris' Belle Epoque. All you really need is some absinthe and, like lead character Gil, you could time travel as well.
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Stylized natural forms like the leaves and vines framing this multicolored dragonfly are iterations of Art Nouveau.
| Hugo (production design: Dante Ferretti; set decoration: Francesca Lo Schiavo) Martin Scorcese's protagonist, Hugo, lives in a secret apartment previously used by train station employees. The exposed beams and lofty interior here just scream attic rafter style, as in Hugo. The orphan's living space among the rafters is about the ingenuity that comes out of necessity, about creating a workable space where no one would think it possible. |
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Another take on the exposed-beams style.
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by MannKidwell
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| War Horse (production design: Rick Carter; set decoration: Lee Sandales) In the movie, Emilie, a French girl with brittle bones who keeps horses in her room, away from German soldiers, is surrounded by mismatched toile wallpaper and bed linens depicting repetitive patterns of pastoral scenes. (If you haven't seen the movie, just imagine a more modest French farm girl's version of this bedroom.) |
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| War Horse introduces the moviegoer not only to toile but to English country style overall. This contemporary country house setting is something that Emily Watson's character in War Horse would be very happy with, as she is often seen kneading dough on a large harvest table next to slabs of cheese and bread. Oscar Sunday: 7 p.m. Eastern, 4 p.m. Pacific, Feb. 26, 2012 More: Houzz Tour: Modern Gothic Pool House History Comes Home: The Story of Toile English Bucolic Chic |
Ideabook updated on Feb. 25, 2012.
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