Great Interiors Design For The Home

By Tania Melissa
last updated February 10, 2025
Contributions sourced from
What is a Good Interior Design?

Facebook
Twitter
Mail
Pinterest
Whatsapp
Or
The world's recent shift towards prioritizing wellness has influenced people to seek healthier lifestyles by understanding the body and the mind collectively. External factors such as the geographic location, the environment, the community, financial status, and the relationships with friends and family have all shown to have considerable impacts on an individual's health. However, it became evident that ensuring physical and mental health was not limited to having access to medical facilities and professional treatments, but was also determined by several factors related to the quality of the built environment.
Architects have a choice to design better and consequently, help people make better choices. So what is considered a good interior design, and what are the factors that make any interior space a good one? In this interior focus, we will explore this "good" side of design, looking at how architects ensured the needs of users by acknowledging accessibility, demographic diversity, economy, and the environment, regardless of aesthetic.
+ 15
In most cases, spaces that serve its designated purpose are considered to be successful. Although functionality may seem like a restriction to the creative process of designers, theres rarely a successful interior designer who doesnt fully acknowledge the need to ensure functionality when making every spatial decision; every space has a purpose, and to achieve that purpose, the space must be designed to accomplish specific functions. But as people became more aware of the importance of wellness and made choices towards having a more successful existence, it became crucial that architects design with a more holistic approach, supporting human behaviors through spaces that rehabilitate the mind, body, and soul.
Today, the World Health Organization defines health not as the absence of ill-health but as a state of complete physical, mental and social well-being. Although its definition has been changing over time, the general aspect of health now includes the correlation between social and psychological, alongside the commonly known medical factors. And what that, strategies and resources for greater equity and pertinence are being evaluated and implemented.

Essentially, designers should achieve physical health parameters that target a benchmark that is considered good enough to avoid illnesses. Fortunately, architecture, through the design of form, space, and materials, can organize users relationships with each other and the environment by creating interactive settings. The principles of good design in the 21st century are various, as there are no universal design solutions to ensure that every health parameter is optimized. However, it is believed that the notion of well-being mainly consists of two key elements: feeling good and functioning well; put briefly, design, in all its aspects, should ensure health, comfort, and happiness.
Physical Well-Being
To ensure the physical health of a spaces occupants, designers mainly look into the air quality, thermal, visual, and acoustic comfort, as well as materials that prevent growth of mold or harmful bacteria. The term comfort is commonly defined as a condition of mind which expresses satisfaction with the environment, whether it being thermal, visual, or acoustic. But what is considered physically comfortable or healthy for a university student, for instance, is not necessarily comfortable for a middle-aged employee. This is where good design comes into play; design that is flexible and adaptable, and caters to each of its users without compromising the other. For kids, designers build their interiors with toxin-free and non-slip materials, curved edges, as well as scale down all interventions and fixtures to match their size. In the case of elderly, interior spaces have little-to-no stairs, easy circulation with more open spaces, as well built-in fixtures that support their mobility.
Gastro Passage Foodcourt / Suchnek, Architectural Office

Geometrical Space for a Two Kid Family / Atelier D+Y

City Kids Educational Center / Barker Associates Architecture Office

Emotional Well-Being
Another element under the well-being umbrella is the emotional well-being, which often goes hand in hand with the physical one. This describes interiors that exude feelings of happiness, positivity, curiosity, serenity, and engagement, moving towards a more subjective and psychological environment. Emotional well-being is often the result of an abundance of natural sunlight, integration of nature, moderate indoor temperature, comfortable and cozy material selection, and a duality between intimate and common spaces. Some designers also implement the principles of Feng Shui to create a holistic and balanced life in the interior spaces they occupy.
Around Fireplace / Ruetemple

The Water Drop Library / 3andwich Design / He Wei Studio

Spa Quertaro / Ambrosi I Etchegaray

A recent research demonstrated connections of key physical design characteristics with the Five Ways to Well-Being (Connect, Keep Active, Take Notice, Keep Learning and Give), which have been associated with positive mental health and productivity. Above all, offering occupants personal control over the interior environment allows them to create conditions that suit their behaviors and patterns, whether it being through light, temperature, sound, spatial organization, or building with materials that have a natural appearance.
Orienting rooms used mostly in the morning, such as the bedrooms and kitchen, towards the east stimulates the circadian rhythm, whereas key family rooms should have access to direct sunlight for at least 2 hours per day. Installing windows with high head heights provide better daylight distribution in the room and an increased visual access to the surrounding landscape. To ensure regulated sleeping patterns, it is recommended that bedrooms have effective blackout options such as thermal shutters or adjustable louvers, which also ensure night time ventilation.

In commercial interiors, particularly in working and studying environments, acoustic comfort is essential for productivity. Since these spaces are often occupied by several people with diverse preferences, having a few secluded quiet spaces for reading or studying, or sound-proof rooms for activities such as music or leisure prevents disturbing others. In parallel to these private spaces, it is advised to have windows or distributed gathering zones so that occupants have the opportunity to socialize with their colleagues. When people are in a low-ceiling room, they tend to focus more on theoretical tasks, whereas more vast spaces exude a more liberated feeling, which automatically forces people to engage in more creative thinking activities. The same approach is applied to furniture as well. Curved forms are often perceived as pleasant; people are more likely to choose spaces if they feature curvilinear fit-outs and furnishing instead of rectilinear.
Wild Fi Offices / TIMB Arquitectura

Second Home Holland Park / Selgascano

OHL Cultural Space for the Arts / AB+AC Architects

Environmental Well-Being
Taking into account the urgency of the current climate crisis, a set of strategies have been introduced to help fight climate change through architecture and design, promoting interaction with nature and creating an enjoyable environment. Along with the critical measure of minimizing the carbon footprint that results from the construction and manufacturing processes, designers have spared nature and allowed it to organically take over interior spaces through biophilic design elements, as well as by building and/or covering their surfaces with local materials.
TECLA Technology and Clay 3D Printed House / Mario Cucinella Architects

50% Cloud Artists Lounge Restaurant / Luo Xu + CCD

Zak Ik Store / Roth-Architecture

Find more "good" interiors in this My ArchDaily folder created by the author.
Editor's Note: This article was originally published on
This article is part of an ArchDaily series that explores features of interior architecture, from our own database of projects. Every month, we will highlight how architects and designers are utilizing new elements, new characteristics and new signatures in interior spaces around the world. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should mention specific ideas, please submit your suggestions.
This article is part of the ArchDaily Topics: What is Good Architecture?, proudly presented by our first book ever: The ArchDaily Guide to Good Architecture. Every month we explore a topic in-depth through articles, interviews, news, and projects. Learn more about our ArchDaily topics. As always, at ArchDaily we welcome the contributions of our readers; if you want to submit an article or project, contact us.
Arts and Crafts: design for the home
By the close of the 19th century Arts and Crafts had become the dominant style in the design of domestic interiors for the British middle and upper classes. Drawing on national and regional traditions, the Arts and Crafts home celebrated individual expression, simplicity and 'honest' forms. Our collections contain a huge number of items from cutlery to furniture that express Arts and Crafts ideals. These include objects designed by many of the Movement's most well-known figures, including William De Morgan, Charles Robert Ashbee, Philip Webb and Charles Voysey.
Arts and Crafts designers didn't just want to create beautiful, handcrafted objects. They were also interested in trying to integrate buildings and their interiors in unified 'total' design schemes. This meant designing furniture, metalwork pieces, ceramics and other objects specially to fit a new, socially transformative model of domestic space the idea that living surrounded by simple, 'honest' designs improved a person's outlook and moral character. Homes designed according to Arts and Crafts principles would have looked daringly simple to Victorians used to the ornate interiors that had been fashionable since the mid-19th century.

Utility was of paramount importance to the Arts and Crafts designer, so there was no extravagant or needless decoration, and the construction of an object was often exposed. Preserving and emphasising the natural qualities of the materials was also key, as was the production of simple, often vernacular (relating to the ordinary, the domestic and the functional) forms. Nature was an important source of ideas, with many Arts and Crafts patterns inspired by British flora and fauna.
Key British names in Arts and Crafts design for the home include:
Charles Robert Ashbee (1863 1942)Like many of his Arts and Crafts associates, Charles Robert Ashbee worked across a range of different design disciplines, ranging from interior decoration to jewellery. He established the Guild and School of Handicraft in 1888 to help realise the potential of craftspeople working in the East End of London. This organisation specialised in metalworking, and in the late 1890s Ashbee and his associates began to design and produce silver tableware. Reacting deliberately against factory production, the Guild produced pieces whose hand-made status was emphasised by details such as visible hammer marks. Ashbee's designs were celebrated for their simplicity and focus, and his restrained aesthetic had a significant influence on contemporary silver design not only in Britain but also Europe and America.

Ernest Barnsley (1863 1926) & Sidney Barnsley (1865 1926)Ernest Barnsley and his younger brother Sidney both trained as architects. After graduation Sidney completed his training at London architect Norman Shaw, a proponent of 'Old English' style, and Ernest at John Dando Sedding, an influential Arts and Crafts designer. It was through Ernest working for Sedding that he and later Sidney met Ernest Gimson [see below], a fellow trainee architect. In 1893 Gimson and Sidney Barnsley persuaded Ernest to leave his accelerating architectural career to join them in setting up a craft community in Sapperton in Gloucestershire, that was to focus on working with local people and materials. Here the Barnsley brothers produced furniture that adhered to the Arts and Crafts ideal: visible construction, simple structures and limited decoration.

William Arthur Smith Benson (1854 1924)As a young man William Arthur Smith Benson completed his training in the office of Basil Champneys, an architect who helped revive the late Gothic style favoured by the Arts and Crafts Movement. Through Champneys Benson was introduced to William Morris, who encouraged him to establish a small workshop for the production of turned metalwork. Unlike Morris, Benson fully embraced the potential of mechanical production and designed exclusively for it. A founder member of the Art Workers' Guild (established in 1884), Benson created a commercially successful range of oil and electric light fittings, and household utensils in copper brass, electroplate and silver. Following Morris's death in 1896, Benson became Managing Director of Morris & Co., for which he also designed furniture and wallpaper.

Godfrey Blount (1859 1937)Godfrey Blount was a painter who was deeply influenced by the ideas of leading art critic of the Victorian era, John Ruskin. In 1896 Blount and his wife Ethel moved to Haslemere in Surrey to join Ethel's sister, Maud, and her husband Joseph, who had established the Haslemere Peasant Industries. This group of workshop-based craft enterprises together formed an artistic community that aimed at obtaining 'the double pleasure of lovely surroundings and happy work'. The Blounts later set up their own enterprise called the Peasant Arts Society, which used local women to produce hand-woven pile carpets and simple embroidered appliqus on linen known as 'peasant tapestries'. Made to Blount's designs, the tapestries were used as door curtains, casement curtains, bed spreads and bed hangings, and became very fashionable in artistic circles.

Arthur Stansfield Dixon (1856 1929)Trained as an architect, Arthur Stansfield Dixon was a friend of William Morris and Charles Robert Ashbee, and also knew Philip Webb, the Arts and Craft Movement's leading architect. Dixon designed a number of pioneering Arts and Crafts-style buildings in Birmingham, and also developed a reputation for designing objects in metal. In 1890 Dixon founded and became the chief designer of the Birmingham Guild of Handicraft, which produced the city's first Arts and Crafts metalwork. With their simple forms and deliberately emphasised hammer marks, pieces designed by Dixon are strong expressions of a 'handmade' aesthetic. Their plain design and simple construction must have seemed rather naked to most Victorians, but pleasingly 'honest' to those who supported the anti-industrial ideas that Dixon had helped make newly fashionable.

Ernest Gimson (1864 1919)As a young architect Ernest Gimson was recruited to the office of John Dando Sedding, a well-known church architect. It was here that Gimson met first Ernest Barnsley and through him, his brother Sidney, both fellow architect-designers with whom Gimson later set up a crafts-based artistic community in Sapperton in Gloucestershire. Concentrating mainly on furniture, Gimson and the Barnsleys integrated their work into the life of the local community by training villagers to become craftsmen. The designers also learned skills themselves: Gimson was taught by a 'chair bodger' to make traditional ladder-back chairs. In line with Arts and Crafts ideals, Gimson's designs are very simple, often using local wood, exposed pins and dovetail joints or, in his later metalwork pieces, features such as rivets.

Charles Rennie Mackintosh (1868 1928)The designer of a number of innovative and unapologetically modern spaces in Glasgow including the city's famous School of Art Charles Rennie Mackintosh created bespoke objects to match the pared-down aesthetic of his architectural schemes. Although he also produced metalwork, textiles and stained glass, it is Mackintosh's furniture that remains the best-known element of his non-architectural output. Craft-based production and a respect for regional tradition allied him with Arts and Crafts thinking, as well as a willingness to expose the details of construction. Throughout his career Mackintosh worked closely with his wife, Margaret Macdonald, a fellow art graduate. Their collaborative schemes are notable for the integration of 'feminine' graphic forms (such as the instantly recognisable pink 'Glasgow Rose') into plain and increasingly rectilinear furniture and other objects.

William De Morgan (1839 1917)William De Morgan was a friend of William Morris, and designed stained glass and tiles for Morris's company, Morris, Marshall, Faulkner & Co. De Morgan is best known for his prolific production of tiles, which were inspired by the craft pottery of the Middle East and the Italian Renaissance. Hand-painted tiles most commonly set in fireplaces became a regular feature of Arts and Crafts interiors from the 1860s onwards. De Morgan set up and ran his own workshops, and acquired the expertise to fire lustre glazes in the manner of historical ceramics from the Islamic world and Moorish Spain. He also produced some of the most distinctive wares of the art pottery movement, creating decorated vases and bowls that represent the antithesis of standardised factory ceramics.

William Howson Taylor (1876 1935)'The Ruskin Pottery' was a ceramics studio in Smethwick, Staffordshire that was founded in 1898 by Edward Richard Taylor, an artist and teacher who was influential in his role as the head of the Birmingham Municipal School of Arts and Crafts. Taylor's pottery was named after the critic, social theorist and artist John Ruskin, whose reformist principles on beauty, craft and quality Taylor wanted to apply in the production of pottery. Under the management of Taylor's son William, the 'Ruskin Pottery' became one of the Arts and Crafts Movement's most creative ceramics studios. Inspired by Chinese pottery of the Sung and Ming dynasties, William and his design team experimented with new kinds of glazes, producing innovative, brightly coloured tea services, pots, vases, buttons, bowls and jewellery.

Charles Voysey (1857 1941)
Having trained with leading practitioners in the design of both churches and country houses, Charles Voysey set up his own architectural practice in 1881. An advocate of honest, thoughtful design, Voysey created a series of buildings whose sparsely decorated and plainly furnished interiors adhered strongly to Arts and Crafts principles. Alongside his architectural work, he made a great success in designing wallpaper and fabrics, and also produced tiles, ceramics and metalwork, as well as a large number of furniture pieces. Deliberately simple and characterised by the subtle use of curves and restrained decoration, Voysey's tables, chairs and desks are sophisticated yet informal. Taking a minimalist, 'less is more' approach that would have seemed revolutionary at the time, Voysey anticipated the open, unfussy style of Modernism.




Philip Webb (1831 1915)Philip Webb is best known as the architect of Red House (1859), the pioneering Arts and Crafts home commissioned and co-designed by William Morris. Webb also created much of Red House's bespoke furniture, and went on to become the successful chief designer of furniture for the firm he set up with Morris and a number of their contemporaries. Webb established a benchmark for Arts and Crafts furniture, producing handcrafted and restrained designs that were evocative of the medieval era, and later, traditional rural styles. Webb also produced designs for smaller-scale pieces including metalwork, tableware, glassware and tiles, and was also a lead designer in the decoration of the 'Green' Dining Room at the South Kensington Museum (now the V&A).

Discover more about Arts & Crafts.