A Theoretical study on the influence of hyperconnectivity on residential interior design and the effect on heterogeneous style identity Keywords Hyperconnectivity, Internet culture, Interior design, Social Media

Carly Garland

1302465 | INTERIOR ARCHITECTURE & DESIGN

Figure 1 QR code link for uploaded essay (Reddit,2017)

Table of contents 1.0 Introduction 1

2.0 Era Identity of the 20th Century 2 2.1 1900-1910 2 2.2 1920s 3 2.3 1930s 5 2.4 1940s 6 2.5 1950s 8 2.6 1960s 9 2.7 1970s 11 2.8 1980s 12 2.9 1990s 13 2.10 2000s 15

3.0 The hyperconnected Era 16

4.0 Interior design internet culture 19

5.0 Conclusion 20

6.0 Glossary 22

7.0 References 22 7.1 Figures 26

8.0 Appendix 27

Figure Table Figure 1 QR code link for uploaded essay (Reddit,2017) ....................................... Title PageFigure 2 Drawing room at Standen House (Caldwell, 2015) ................................................. 2Figure 3 A 1920s interior space (Renaud, 1926) .................................................................. 3Figure 4 1930s art deco apartment (Pinterest, unknown) ..................................................... 5Figure 5 Imperial war museum 1940s House (Imperial war museum, 2012) ........................ 6Figure 6 Make do and mend leaflet (British Library,1943) .................................................... 7Figure 7 The 1950s room (Norfolk museums service cited in BBC, 2015, D) ....................... 8Figure 8 Summerlee Heritage Centre Living room (Mid-century modern freak, 2013) ......... 9Figure 9 Sherwin Williams co. decorating and colour trend (cited in Ryouta, 2015, A) ....... 11Figure 10 1980s interiors (divine decorating, 2012) ............................................................ 12Figure 11 Ikea Catalogue from 1994 (Crystal Clair Emerald, Unknown) ............................ 13Figure 12 2000s home interior (Nylind, Unknown as cited in Qureshi, 2010) ..................... 15Figure 13 Reddit front page (Reddit, 2017) ......................................................................... 19Figure 14 Pinterest personal home page (Pinterest, 2017) ................................................. 19

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1.0 Introduction

In 2016, being on the internet is almost as common as owning a television (Ofcom,

2016). 89% of UK households have internet access (office for national statistics,

2016), the number is expected to increase more each year, with 70% of UK adults

also having on the go internet access, through a mobile device (office for national

statistics, 2016). It is now a normal phenomenon to be a hyperconnected person,

having access to people and opinions from across the globe at your fingertips,

enabling worldwide influence. Hyperconnectivity is defined as “the state of being

constantly connected to people and systems through devices such as smartphones,

tablets and computers - and sometimes through software that enable and promote

constant communication” (Collins, Unknown). This essay explores the impact that

hyperconnectivity has on interior design as a result of the vast amount of influence

available and whether this access has led to self-design, which means that the

general public are choosing styles that are heterogeneous (see glossary) instead of

following a defined style code. They are moving away from the common trend in

design and moving towards the exploration of the individual. Has this access to

influence diluted clear design ideals? Speculation on whether this has led to the

demise of a recognisable period identity of this decade will be explored. Has era

identity become extinct due to so much influence from previous eras, cultures and

social media influencers?

It is important to establish if there is a direct correlation between the cyber

generation, and the lack of identifiable era identity that is currently being observed

and if there is not a correlation, how this is generally effecting interior design with

speculation on how this will affect the future of design. An interrogation will take

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place of each decade in the past century, to determine what influenced the onset of

an interior design trend and whether it was due to the social changes in society or

the political ones. It will also examine the technology available and the effect this had

on how a space is used. The case studies of each year will be based upon the

identification of at least one major era identifiable style, but that decade may be

known for several popular styles. This study will focus on the British every day

household style, rather than interior design trends as after all, styles that move into

the mainstream, generally become the iconic style of the decade.

2.0 Era Identity of the 20th Century

When establishing whether there has been a demise in recognisable era identity,

firstly it needs to be confirmed that an era identifiable style occurred. The past

century can be assessed decade by decade to confirm that a period identity existed

and what influenced their popularity whether it be due to social or political reasons.

2.1 1900-1910

Figure 2 Drawing room at Standen House (Caldwell, 2015)

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The Edwardian period is well known for being the period of excess, and the interiors

reflect this. Oscar Wilde wrote of the hostesses of the period in ‘A woman of No

Importance’ 'Moderation is a fatal thing, Lady Hunstanton. Nothing succeeds like

excess.' (1893) This statement is from a satirical play by Wilde that directly reflects

the lavish consumption of the period and the feeling of how a house should be

presented as an extension of wealth.

This period is perfectly summarised by the influences of the already well established

style of arts and crafts (V&A, Unknown). The arts and crafts style, as shown in the

example in figure 2,

Often features stylised flowers, bible stories, and symbols of literature, Celtic motifs,

and handmade touches. A common feature, would be furniture made from natural

materials, and copper and pewter would be used in décor within a space. William

Morris is known as a great influencer of the period also heavily featured in figure 2

and became an icon of the arts and crafts movement itself (Artyfactory, Unknown).

Floral Motifs (appendix i) and feminine informal design was often featured in

Edwardian period homes. This style is indicative of the era and will often be labelled

as Edwardian features (BBC, Unknown).

2.2 1920s

Figure 3 A 1920s interior space (Renaud, 1926)

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The 1920s, also known as the ‘roaring twenties’ (History, 2010), was the decade of

diversity in culture. With the end of the first world war, came peace and prosperity for

the United Kingdom. Profits were high for manufacturers of goods, and so the

employment market was strong. Bars, nightclubs, and cocktail bars were prosperous

and people were spending their excess earnings on having a good time. As for

women in British society, life had generally changed substantially. Many had been

employed during the war, particularly in factories and had earned a level of

independence they had never had before in the fact that they earned their own

income (Orr, 2014). In 1918 women over 30 were given the right to vote, with the

age limit being lowered in 1928 to 21-years-old (Parliament, Unknown). This

introduced the more empowered average woman with a growth in their confidence

and taking ownership of their own lives, they were wearing what they wanted, doing

what they wanted; drinking, driving and smoking. This ‘wild’ period helped to shape

the party atmosphere of the interior, and to create more edgy design (Johnson,

2013).

The 1920s are best known for being the heyday for interior designers (BBC,

Unknown A). The glamorous and sophisticated style reflected the fashion of the

period. Lots of glass, mirrors and geometric shapes were used to decorate the

interiors. A major influence of this period is the early Hollywood silver screen

glamour; with the use of cocktail cabinets in interiors and youthful parties hosted; this

reflected the urge for sustained youth and glamour, in a hostess. During this period,

a household’s main living spaces were often used to host and so needed to reflect

the desired look that the hostess wanted to reflect. A very common example of a

typical 1920s interiors can be seen in figure 3. Another popular edition to the 1920s

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interior, is exotic touches in the form of materials and patterns from Asia, Africa and

Egypt. During this period, in Europe the Bauhaus movement was taking place in

complete juxtaposition to the lavish style of glamour interiors, with a much more

austere style (BBC, Unknown A).

2.3 1930s

Figure 4 1930s art deco apartment (Pinterest, unknown)

In the 1930s, the wedge between the employed, and unemployed became larger as

the great depression of the ‘30s kicked in (History, 2009). Unemployment rose to 2.5

million, 25 percent of the workforce (BBC, Unknown B). But due to new industries in

Britain, such as automobiles and electrical goods, the employed became more

prosperous as prices fell ensuring they could buy more (Turvey, Unknown).

The onset of mass production allowed the average household to obtain fashionable

interior pieces at a much smaller price (Walton, 2016), and so the style of Art deco,

which had been around for a long time, became the style of the decade (Nash,

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Unknown). The term art deco was not coined to mark the movement until the 1960s

and the term was created as the style was highly represented at the Exposition

Internationale des Arts Décoratifs et Industriels Modernes, which took place in Paris

in 1925 (Duncan, 1993, cited in Fischer, 2013:11). At this exposition, the catalogue

listed the styles represented as Art deco/Bauhaus/Stijl/Espirit Noveau (Fischer,

2013:11). Alongside art deco, modernism was taking a hold on style, and mixed with

the simple formed art deco stylings (open learn, 2001). The style of art deco can be

identified by a few recognisable elements. Geometric and angular shapes, often

featuring chrome, mirrors, and glass (Britannica, 2016). It is observed that the style

highlighted some of the themes of the ‘roaring twenties’ but in a much more refined

modern style with a genuine Hollywood feeling. Homes would often have images of

stylised planes, cars and skyscrapers to reflect the aspirational nature of the style

(BBC, Unknown C). To this day, this style is often lovingly recreated to reflect the

Hollywood glamour style.

2.4 1940s

Figure 5 Imperial war museum 1940s House (Imperial war museum, 2012)

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The 1940s is unlike the previous decades, as it saw a standstill in the creation of

new interior styles. This is due to the onset on the second world war which caused

industry to come to a standstill, whilst the war took priority. People concentrated on

keeping their families living by using rations, sewing their own clothes and

maintaining a busy lifestyle during the blackouts. The living spaces did take a

transition though as more than ever they became a hub for family life. Children for

the first time were encouraged to play in the living area instead of their bedrooms

due to the threat of bombs and blackouts. Entertainment would consist of the family

radio playing stories and news and a gramophone to play records on (the 1940s

house: The living room, 2012). This decade would later shape the use of the living

room in future years to come. One notable theme in the average living space at the

time, was the prominence of the fire place. Due to the disadvantages of this period,

the simple things such as keeping warm were emphasised as can be seen in fig. 5.

Furniture was like a homage to

times that had passed, with

furnishings being maintained

and handed around from

previous usage. Living spaces

would be made up of necessity

rather than current style or

personality. A make do and

mend leaflet (seen in figure 6) was

distributed to ensure that the people were doing their part to keep resources strong.

It gave people a basis of knowledge on how to mend their clothing to ensure they

lasted them as long as possible.

Figure 6 Make do and mend leaflet (British Library,1943)

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2.5 1950s

Figure 7 The 1950s room (Norfolk museums service cited in BBC, 2015, D)

The 1950s saw Britain in a state of post war. Houses and towns that had been

bombed still unrepaired, abandoned military bases in the countryside and people

were still living in pre-fab building meant to last for the short period of war (Quinault,

2001). British people were looking for recovery from the terror of war and a return to

life before the threat. Efforts were made to rebuild the public’s faith and peace in the

form of the festival of Britain in 1951(Johnson, Unknown). Some community spirit

was restored in 1953 when the Queen’s coronation took place and communities

joined the party and held tea parties in their streets (Castelow, Unknown).

Function became the main theme in design and style in the 1950s. After the austere

times of the 1940s, people were generally moving into smaller houses than they had

previously been in before the war, and so furnishings were designed to hold function

as well as desired style. Items would have multiple functions such as the invention of

the sofa bed and foldaway ironing boards to ensure spaces were utilised to their

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fullest potential. In Figure 7 it can be seen how the 1950s room removed the

decoration of the past, to reveal a simpler style with pieces of importance instead of

cluttering decorative furnishings.

Although the influences were arriving to Britain from America with the neon and

kitsch, it was the modern/international style from that had a larger impact in Britain

due to the influence coming from within Europe. After the shock and austerity that

came from world war, people looked for more functional pieces that were more

simple and less decorative to perform the services required. The use of open plan

living spaces became more popular to open small places and to continue the family

environment that had grown important during the war. Kitchens were fitted to ensure

functional ease and storage and primary colours were introduced to cover up the

more muted tones of the previous decade (Quinalt, 2001).

2.6 1960s

Figure 8 Summerlee Heritage Centre Living room (Mid-century modern freak, 2013)

The 1960s was a period of enormous change. Technology was expanding and the

space race was on and this inflation of the need to go beyond and explore translated

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in to culture. London is known as being a major influence on trends across the world

due to the export of the most famous artists and musicians at the time, in particular,

The Beatles, which had a major influence on all elements of culture (Ryouta, 2015).

In the wake of modernism, the 1960s fell into a revival of historical inspiration, in a

type of rebellion against the international style. They collaborated and combined

elements with a futuristic twist to reinvent past styles into the new era (BBC,

Unknown E). Art references and artists became icons of the ‘60s such as Andy

Warhol and David Hockney, whom both had major influence over art, fashion,

interiors and even music, with their radical references to mass culture, which

appealed to the public, in what was a time of rebellion (BBC, Unknown E).

The style of the era can be identified by the experimental use of colour and shape,

disposable elements, Plastic and PVC and reviving historic pieces with a ‘60s twist.

The style of the period is known generally as retro ‘60s (queenseyes, 2011). It was a

period of experimentation with resources to expand the boundaries of style

(Nostalgia Central, Unknown A). As shown with the events that were happening

during this period of post-war, it is of no surprise that there was a form of rebellion

and a change in aesthetic needs and aspirations. The use of more playful decorative

stylings can be seen in figure 8, it also demonstrates the use of bolder choice of

colours and pieces.

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2.7 1970s

Figure 9 Sherwin Williams co. decorating and colour trend (cited in Ryouta, 2015, A)

1970s Britain was a time of great change within the households. Technology had

advanced so greatly in the previous decade, the household was kitted out with so

much of the latest in technology, that time was saved with maintaining a clean and

happy household (Oxford, 2010). With so much freedom, women had the ability to

go out and work and earn their own money (McGee,. Moore, 2014). Female

freedoms also made leaps within this period when The Sex Discrimination Act 1975

was introduced to ensure employers did not discriminate against genders for

positions within workplaces (Bush theatre, 2015). Living in middle class suburban

areas for the wealthier, became the desired lifestyle. The increase in popularity for

dinner parties greatly marks the 1970s lifestyle and interior design, going back to a

time in which hosting became a priority (Castelow, Unknown). Television became a

huge influence within the household with television producers creating family friendly

content that encouraged the whole family to surround the television (Foster,. Harper,

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2010). British comedy reigned with classics such as are you being served? Faulty

towers, Porridge, Some mothers Do ‘Ave “Em as well as many other beloved

classics (nostalgia central, Unknown, B).

Colour became a major part of 1970s interiors in which bolder colour choices were

made in the form of primary colours and using a range of shades of the same colour

became popular, often regularly recounted as being brown, avocado or aubergine

(Seawright, 2012). Bold patterns and shapes were used to create interest within a

room and to reflect the style ideals gained from the 1960s (Ryouta, 2015, B)

2.8 1980s

Figure 10 1980s interiors (divine decorating, 2012)

The 1980s, as described by Beckett for the Guardian was ‘like a hinge on modern

history’ (2013). This decade is known for having so much major change in just one

decade. It began with the first female Prime minister of the United Kingdom

(Johnson, Unknown), sees the British territory of the Falkland Islands being invaded

by Argentina (The week, 2016), and a mass of strikes, unemployment and unrest

(BBC news, 2013). It is well known for the its influence on Fashion and culture with

the creation of many iconic sub-cultures such as Punks and Skinheads (The Met,

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Unknown). It was a decade of anger and rebellion and will forever be known as a

notorious era for the United Kingdom (Hateful of history, Unknown).

The 1980s interior, is well known for its excessive use of patterns, pastels and

flamboyant decoration (Yang, 2013). Margaret Thatcher implemented the ‘right to

buy’ scheme which saw the selling of millions of homes and for the first time

(Beckett, 2015). A new market of owners, who were free to decorate as they feel.

Because of the punk movement, the 1980s saw a stark rebellion against the floral

prints and bright colours of the 70s, in favour of neutrals and pastels. The onset of

technology in the later part of the 80s did see a major change in the technology and

its effect on interiors (Taylor Wimpey, Unknown). For instance, the CD player took

place of the record player and the start of computers being used within the

household (Everest, 2012).

2.9 1990s

Figure 11 Ikea Catalogue from 1994 (Crystal Clair Emerald, Unknown)

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On this lead up to the millennium, the previous chaotic decade had led to a period of

reflection, Margaret Thatcher resigned from the position of Prime Minister, seeing

John Major taking over (Biography, 2016). It saw the Labour party taking power from

the conservatives after the volatile leadership witnessed from Thatcher (Farmer,

Thomas, 2011). It was a decade that saw Britain giving back Hong Kong to China

(Goslett, 2007) and Scotland and Wales voting in a referendum to be given

legislative powers of their own right (Gov, 2013). This decade was about Britain

establishing its role in the modern world (BBC, Unknown E).

Everest identifies that “the 80s signified a huge change within interior design, the 90s

sought to give some degree of sense and direction” (2012). The 1990s saw the

popularity of flat-packed furniture soar, with the company Ikea becoming a

household name in the UK, for its small cost and ease of transport and assembly

(Williams, 2010). When exploring the interior design of the period, Ikea catalogues

can inform the evidence with their trending styles that followed the interiors of homes

in this decade Badier, & Rousset, 2007). The interiors aspired to be minimalistic,

formed for practicality and ease of living. The huge advances in the recent decades

has been identified as a key factor in the return to more minimal interiors that

concentrated on the utility of the space rather than the approach (Weigand, 2013).

Pine was a large feature in interiors in the 1990s, as shown in figure 11, along with

pastel hues and muted floral forms, often used sparingly to compliment or contrast

an interior rather than radically affect the space. Kitchens were being more simple in

form and would usually have clean white units as opposed to the stark style of

previous eras (Everest, 2012).

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2.10 2000s

Figure 12 2000s home interior (Nylind, Unknown as cited in Qureshi, 2010)

The decade following the millennium was a period of huge technological change.

More and more technology and the notion of being ‘connected’ to the internet

became more important. Entertainment centres were being replaced with slim-lined

large flat screen televisions and home computers became common place. The

importance placed on connection to the wider world, was by the close of the 1990s,

at the forefront for business, technology, commerce, and schooling. Technology

became the primary focus for future progression. Emails became the new form of

communication within businesses and schools (Derks, & Bakker, 2010) used

computers to teach fundamental basics as well as the newly formed syllabus of

information technology (Computing at school, 2012), which focused on the

development of computer based skills, as it became more obvious that this advance

in technology would forever change all parts of life (Infante, 2014).

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3.0 The hyperconnected Era

The current decade is coming into its final years. At this point, Technology has taken

hold of daily life (Ramey, 2012). Every section of life is governed by advanced

computing technology. The simplest of tasks such as buying new washing liquid, can

now be fulfilled by pushing a button (Dash, refer to appendix ii), that is connected via

your home Wi-Fi to the Amazon shop, ordering the product immediately when

pressed, enabling it to be directly shipped to your door (Amazon, 2016). People of all

ages are connected to the internet via mobile devices, amounting to 70% of UK

adults having on the go devices (Office for National Statistics, 2016), which does not

even begin to show the full scale of all users. The majority are using devices to

connect to others through social media and even working on the go, with emails

being able to be accessed 24 hours a day (Ofcom, 2015). This technological

epidemic has created a world in which the internet is accessible at all times. When

writing a dissertation, the internet and the community online, allows for information to

be accessed and absorbed into written word, more efficiently than previously

available. Information and knowledge is available at the push of a button, allowing

influence from around the globe. The millennials, as they are known, 1990s births to

mid 2000s (Norèn, 2011), have always lived within this connected environment and

so their development has been primarily based around technology (Hanman, 2005).

Many organisations are exploring the impact that hyper connectivity will have on the

future, which has even led to the published report by UK Government’s Office for

Science (2013), which featured the findings of over 100 academics. The analysis

within, is supported by 20 published evidenced papers (The Government Office for

Science, 2013). This report has detailed the way in which technology will impact the

UK within the next 10 years, and how the government, people and businesses of the

UK must adapt to technological advances, and the impact this will have on the

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everyday lives of people in the UK. One striking observation made within the

foreword by Professor Sir John Beddington (2013) CMG, FRS, the chief scientific

adviser to the HM Government and head of the Government Office for Science, is

that; “this report shows that ‘identity’ is not a simple notion. People can have many

different overlapping identities which are fundamental to their individuality”. This

quote supports the aims of this essay, exploring how technology has impacted

identity, previously shown in the creation of cultures and sub-cultures which have

influenced the domestic interior.

The future identities report by the Government Office for Science explains

hyperconnectivity as a whole theory, rather than specialising on specific factors

within it. This essay aimed to focus on whether hyperconnectivity has directly

impacted domestic interior design. A major point this report details that:

“It is difficult to speculate on the likely impact of growing hyper-connectivity. People

may find it harder to disconnect themselves, or to maintain distinct identities in

different situations. One likely development is that the increasingly networked state

of many people’s lives could blur the boundaries between online and of offline

identities, and between work and social identities. The advent of widespread mobile

technology and email has led to more people remaining connected to their work

during the evenings, weekends and other leisure times. In future, this blurring effect

could make it harder for businesses to prevent people from maintaining contacts

outside of the workplace. This breakdown in the barrier between separate identities

could be among the most important and transformative consequences of social and

technological changes” (Miller, 2013). These findings do suggest that these changes

could directly affect the home lives of working people, which would have major

effects to their choice of interior, to accommodate this connected lifestyle. This, and

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other accounts within the report do speculate towards the idea of multiple identity,

also going on to observe that “the most significant observations of the impact of

online identities is that some individuals feel they have only achieved their ‘true’

identity for the first time online” (Plowman, 2011). No longer are identities formed

solely on social stature, location, social circle or hobbies. The internet allows you to

explore every form of identity factor available, leading to further development of

one’s character, and may include experimentation with cultures and hobbies that

were previously inaccessible within the user’s current station. One observation

made, relates to the idea of opinion from varied backgrounds and sources that the

internet has given access to. Bargh and McKenna (2004) believe that “the Internet

acts as an accepting framework for those who feel that their identity cannot be fully

expressed or satisfied through face-to-face interaction”. A good example of this is

Reddit. Reddit, shown in the figure 13, is known as “the front page of the

Internet” (digital trends, 2013). It is an online community in the medium of a forum,

which allows users to connect to multiple genres and sub genres, to discuss and

share information and opinions on anything. It is known as the major platform for

identity, allowing users to connect with others that share similar interests (digital

trends, 2013). For example, a user of the website, known as a redditor, may

comment and share on many sub-reddits within the site, with such contrasting

backgrounds as; regularly contributing to a sub-reddit about cute pictures of cats, to

being a moderator for a sub-reddit, on the discussion of planned parenthood. Both

communities found on the Reddit site (Reddit, 2017).

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Figure 13 Reddit front page (Reddit, 2017)

4.0 Interior design internet culture

There are several major outlets that can be found online for interior design

inspiration, but the most influential is known to be Pinterest (PSFK, 2014) Pinterest is

an online social mood board, as shown in figure 14. It creates a way of exploring

products and styles that can be sorted into ‘boards’ and then used for reference

when picking products to buy or schemes to use. It allows users to ‘pin’ links and

inspiration images to a ‘board’ to either be shared with the community, or can be

kept private for users own personal use (telegraph, 2015).

Figure 14 Pinterest personal home page (Pinterest, 2017)

This has created a community of amateur ‘interior designers’, who feel that they are

able to conceptualise spaces based on the knowledge gained from online sources.

This self-educated community has even crossed over into the professional

advisement seen within interior YouTube content creators. The platform of YouTube,

an online video sharing site (YouTube, Unknown), has allowed influencers to share

their style with the masses, a position that may have only been held by accredited

designers previously. This ability to share your own personal style and identity has

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led to the crossing of many styles and genres, that could be diluting the trending

styles that are seen today. An eclectic nature of style has occurred, thus, leading to

the UK household holding a more varied, and maybe even unconventional style

choices that may have been previously unused, as the ability to obtain such variation

in style was not available, in previous decades. The ability to buy online, with one

survey claiming 40% of consumers search for products online (Wright, 2014), has

allowed users to obtain any interior item that they desire, giving them the creative

licence to fill their houses with items from several styles or backgrounds.

The ability to obtain opinions from around the world has led to the dilution of identity,

to allow people to have several contrasting traits and interests. This influence has led

to people being able to find others that may enjoy their personal take on style. This

ability to comment on the stylings of others, on sites such as Reddit and Pinterest,

has led to the validation of ability. As a proven example, this essay will be uploaded

to Reddit to allow comments from people of all backgrounds. A QR code (as seen in

figure 1) has been created to allow readers of this essay to access this Reddit post,

using a QR reader (instructions can be found in appendix iii). A QR code or Quick

response code, is a type of matrix barcode which enables a machine to read this

barcode, and direct the user to the information attached (What is a QR code,

Unknown), in this instance, this essay submitted on Reddit.

5.0 Conclusion This essay set out to be a theoretical study on the influence of hyperconnectivity on

residential interior design and the effect on heterogeneous style identity. This was

established by examining the previous decades within the last century to confirm

firstly, the existence of period identity for each decade, and then to answer what was

the main factor that caused the creation of the identifiable style of each era. By

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looking at the evidence provided in the form of the report released by the

government department for science (Government department for science, 2013), it is

indicated that there is and will be a tremendous amount of influence on identity

caused by the hyperconnected age we are currently part of. As established at the

beginning through statistical fact, in 2016 being on the internet is almost as common

as owning a television (Ofcom, 2016). 89% of UK households have internet access

(Office for National Statistics, 2016) the number to increase more each year, with

70% of UK adults also having on the go internet access from a mobile device (Office

for National Statistics, 2016). This is alone suggesting a phenomenon of connection

through technology, which had not been witnessed previously. Although only briefly

discussed, this essay has examined several sources of evidence relating to the

study of cyber anthropology (refer to glossary for definition) making it more

transparent that identity is as a notion, maybe multi-faceted and this has been

facilitated by the world-wide influence caused by hyperconnectivity. This was a study

about residential interior design but has pointed to the fact that hyperconnectivity has

drastic effects on all forms of life and lifestyle and the exploration of one’s identity.

Does this mean that there will not be an identifiable style of this decade? Not

necessarily. Many identifiable eras have been established many years after the said

period has happened. We may not know what the style of this era is until the mid-

2020s. One thing is confirmed: personal style and identity will never be as clear cut

and heterogeneous from now on and unlikely to be bound by religion, status or

location any longer as everyone is a citizen of the world thanks to the World Wide

Web.

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6.0 Glossary

Hyperconnectivity The state of being constantly connected to people and systems through devices such as smartphones, tablets and computers - and sometimes through software that enable and promote constant communication.

- Collins Dictionary Heterogeneous 1. composed of unrelated or differing parts or elements 2. not of the same kind or type 3. chemistry of, composed of, or concerned with two or more different phases.

- Collins Dictionary Cyber Anthropology is the study of humans in virtual communities and networked environments. CyberAnthropology recognizes that the new 'virtual' communities are no longer defined by geographic or even semiotic (ethnic/religious/linguistic) boundaries.

- Florida International University

7.0 References

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8.0 Appendix

Appendix i A floral motif featured on a period vase. obtained from: http://www.mooneepondsantiques.com.au/wp-content/uploads/2016/11/edwardian-floral-vase-at-moonee-ponds-antiques2.jpg

Appendix ii An Amazon Dash button Obtained from: https://images-na.ssl-images-amazon.com/images/I/51l7FfDvzLL._SL1000_.jpg

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Appendix iii. Instructions for QR code Obtained from: http://www.trinitymirrormidlands.co.uk/Libraries/Product_Images/qr-code-16206.sflb.ashx