Stepped Forms in Art Deco Architecture Explained

Look up at the Chrysler Building and you already understand the idea.

Stepped forms in Art Deco architecture are the defining visual feature of the Jazz Age skyline, appearing everywhere from the tiered massing of New York’s setback skyscrapers to the geometric moldings inside their lobbies.

The style didn’t happen by accident. Ancient ziggurats, Mayan stepped pyramids, and a 1916 zoning law all played a role.

This article covers where the stepped building profile came from, how architects like William Van Alen and Raymond Hood used it, and why the form spread from Manhattan to Mumbai and Shanghai within a single decade.

What Are Stepped Forms in Art Deco Architecture

Stepped forms in Art Deco architecture are receding tiers, terraced profiles, and setback massing that give buildings their characteristic staircase-like silhouette.

The building narrows as it rises. Each floor plate pulls inward, creating a series of horizontal ledges that emphasize upward movement.

This design logic operates on two distinct levels:

• Structural stepping: the entire building mass recedes at upper floors, producing a tiered silhouette visible from blocks away
• Decorative stepping: geometric step patterns applied to facades, cornices, moldings, and interior trim without altering the building’s overall form

Both types frequently appear on the same building. The Chrysler Building, completed in 1930, uses structural setbacks at the base and decorative stepped arches at the crown.

What makes Art Deco stepping distinct from earlier architectural stepping is intent. It wasn’t hidden or treated as a functional necessity. Architects like William Van Alen turned every tier into a visual moment, loading each ledge with ornament, gargoyles, or contrasting materials.

Understanding how stepped forms fit within the broader principles of interior design and architectural composition helps explain why this element became so closely tied to the style’s identity.

The stepped building profile became the defining silhouette of the Jazz Age skyline. It is, arguably, the single most recognizable formal feature of the entire Art Deco period.

Structural Stepping vs. Decorative Stepping

Structural stepping changes the building’s massing. Floor plates shrink as the tower rises, producing the wedding cake tower form associated with New York skyscrapers of the 1920s and 1930s.

Decorative stepping applies the same geometry to surfaces. Cornices, door surrounds, elevator cabs, and ceiling moldings all carried stepped profiles that mirrored the building’s outer form at a smaller scale.

The 70 Pine Street tower in Manhattan (1932) is a clear example of both working together. Its setback massing follows zoning law while its decorative spandrel panels carry repeating stepped relief carvings floor to floor.

Historical Origins of the Stepped Profile

The stepped building profile didn’t start with Art Deco. Architects in the 1920s were pulling from several thousand years of visual history at once.

Three ancient sources shaped the form most directly.

Pre-Columbian and Mesopotamian Influence

According to the Art Deco Society of New York, the most widespread Mesoamerican influence in Art Deco design is the stepped pyramid form, visible when comparing Mayan temple structures to buildings like the Paramount Building in Times Square.

Aztec and Mayan stepped pyramids, built with flat-topped tiers and ascending staircases, gave 1920s architects a ready visual vocabulary for vertical, geometric mass.

Mesopotamian ziggurats added a second layer. The multi-terraced platforms of ancient Babylon had been documented and widely published by the early 20th century. The word “ziggurat” appeared in architectural criticism of New York’s stepped towers within years of their completion.

Howard Carter’s discovery of Tutankhamun’s tomb in 1922 brought ancient forms into the public imagination at exactly the moment Art Deco was crystallizing. Egyptian motifs, including stepped forms and geometric relief work, flooded into architecture and decorative arts almost immediately.

Robert Stacy-Judd’s Aztec Hotel in Monrovia, California (1924-1925) is a direct example. Its facade incorporated abstract patterns from Mayan script with Art Deco geometric stepping, built on the original Route 66.

The 1925 Paris Exposition

The 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris drew an estimated 16 million visitors over seven months.

It formalized geometric, stepped ornament as the dominant design language of the era. American architects and designers attended in large numbers and returned with a clear picture of where decorative arts were heading.

The exposition didn’t invent stepped forms, but it gave them cultural authority. Within five years, stepped profiles appeared on everything from New York skyscrapers to perfume bottles.

The Role of Zoning Laws in Shaping Stepped Skyscrapers

In the United States, stepped massing wasn’t purely a design choice. It was, in many cases, a legal requirement.

The 1916 New York Zoning Resolution, the first comprehensive citywide zoning code in the United States, required buildings to set back from the street line as they rose higher. The goal was to preserve light and air at street level after the 40-story Equitable Building (1915) blocked sunlight across multiple city blocks with its 1.2 million square feet of uninterrupted mass.

The law established five height zones with different setback formulas. Above a base height equivalent to 1.25 times the adjacent street width, buildings had to recede one foot horizontally for every additional foot of vertical rise. A tower of unlimited height was permitted on 25% of the lot.

Wikipedia notes that by the end of the 1920s, the setback skyscraper, originally a response to a New York zoning code, became a style that spread from Chicago to Shanghai.

Between 1925 and 1929, New York added 17 million square feet of new office space alone. That building boom produced the great tiered skyscrapers we still associate with the Art Deco period.

Hugh Ferriss and the Visual Language of Setbacks

The law needed a translator. Hugh Ferriss provided one.

In 1922, Ferriss published a series of massing studies that depicted what buildings built to the maximum zoning envelope would actually look like. The drawings showed massive, shadow-heavy pyramidal towers. They were immediately influential.

Many architects and planners in the 1920s cited the Ferriss drawings directly as a reference for skyscraper design. His 1929 book “The Metropolis of Tomorrow” imagined an entire city of mountainous setback towers at half-mile intervals.

Key effect: Ferriss turned a legal constraint into a design aesthetic. Architects who were required to step their buildings back started treating each setback as an opportunity for ornament, material contrast, and visual drama.

Europe vs. America: Regulation vs. Choice

European Art Deco stepped forms came from aesthetic preference, not building codes.

The Palais de Chaillot in Paris (1937) uses stepped wings and terraced forms without any regulatory pressure. It is purely an architectural decision, which makes the formal similarity to American setback towers all the more telling.

Iconic Buildings That Define the Style

Stepped forms appear across dozens of famous Art Deco buildings. A handful define the form so completely that they set the standard for everything that followed.

The Chrysler Building (1930)

Architect William Van Alen used the Chrysler Building’s five step-like setbacks to vary the design at each level, including distinct ornaments on every ledge.

The terraced crown is the defining element. It consists of seven radiating arched tiers, each clad in Nirosta stainless steel and decorated with triangular windows arranged in a sunburst pattern. According to Dezeen’s 2025 Art Deco centenary coverage, the Chrysler became the world’s first supertall skyscraper at 319 meters upon its completion.

Each setback on the building’s shaft carries something different. The 31st floor holds gargoyles shaped like Chrysler radiator caps. The 61st floor carries eagle heads at each corner. The stepped crown continues the wedding cake layering through seven tiers before resolving into the spire.

The American Institute of Architects ranked the Chrysler Building 9th on its List of America’s Favorite Architecture in 2007.

The Empire State Building (1931)

Designed by Shreve, Lamb and Harmon, the Empire State Building reaches 1,250 feet with a 16-story metal crown added partly to outmatch the Chrysler Building’s height.

Its setback massing is more restrained than the Chrysler’s. The building uses fewer, larger tiers that step back in broad horizontal bands. The facade is clad in Indiana limestone, giving each setback ledge a clean, horizontal line that reads clearly from street level.

Wikipedia notes the building was named first on the American Institute of Architects’ List of America’s Favorite Architecture in 2007 and has been featured in more than 250 television series and films since 1933.

Rockefeller Center (1930s)

Rockefeller Center, designed primarily by Raymond Hood, takes a different approach. Rather than a single tiered tower, it uses a group of buildings with complementary stepped profiles arranged around a sunken plaza.

The central 30 Rockefeller Plaza steps back in broad tiers at the upper floors. The surrounding lower buildings step in and out relative to the street, creating a visual rhythm across the entire complex.

The bas-relief carvings on the complex’s facades directly reference Aztec stepped relief patterns, a direct line from Mesoamerican architecture to mid-Manhattan.

Buildings Beyond New York

Stepped Art Deco forms appeared globally. The Mumbai Art Deco district along Marine Drive contains some of the largest concentrations of Art Deco architecture outside the United States, including numerous residential towers with stepped parapets and setback massing. UNESCO recognized the Victorian and Art Deco ensembles of Mumbai as a World Heritage Site in 2018.

In Shanghai, along the Bund, stepped towers from the 1920s and 1930s still define the waterfront skyline. The Sassoon House (now the Peace Hotel), completed in 1929, uses a stepped pyramidal copper roof as its defining crown.

Geometric Principles Behind the Stepped Form

Stepped forms don’t just look right by accident. There are formal rules that make them work, and Art Deco architects understood them well, even when they didn’t articulate them explicitly.

Symmetry, Proportion, and Visual Stability

Almost every stepped Art Deco tower uses bilateral symmetry. The tiers recede equally on all four sides, producing a centered, stable composition when viewed from any angle.

This connects to a foundational idea in architectural scale and proportion: the relationship between each tier needs to feel resolved, not arbitrary. Odd-numbered tiers read as more visually stable than even ones because they produce a clear center point at top and bottom.

The Chrysler Building’s seven-tier crown is a good example. Seven tiers, each narrower than the one below, create a continuous taper that reads as a single resolved form rather than a stack of disconnected bands.

The Role of Line and Vertical Emphasis

Stepped forms in Art Deco work in close relationship with line in design. Strong vertical lines on the tower shaft run uninterrupted from base to setback point, reinforcing upward movement.

The horizontal ledge at each setback acts as a pause, a place where the eye can rest before the vertical lines resume above. This alternation of vertical movement and horizontal pause is what gives stepped towers their particular visual tension.

Hugh Ferriss understood this. His massing drawings used heavy shadow to show how setbacks caught light, turning every ledge into a dark horizontal band that reinforced the building’s sculptural quality. The stepped form, in his drawings, was above all a light-and-shadow composition.

Geometric Integrity Across Scales

Good Art Deco stepping maintains the same geometric logic from the building’s overall massing down to its surface detail.

A building with a stepped pyramidal crown will often have stepped moldings at door surrounds, stepped spandrel panels between floors, and stepped relief carvings on entrance facades. The form repeats at multiple scales.

This is the concept designers now call fractal consistency, though Art Deco architects didn’t use that term. They just knew it looked right when the parts mirrored the whole.

Stepped Forms Across Art Deco Subtypes

Art Deco wasn’t a single unified style. It had distinct regional and formal variations, and stepped forms appeared differently in each one.

Zigzag Moderne

Zigzag Moderne, sometimes called Zigzag Deco, is where stepped forms are most angular and most aggressive.

Sharp, hard-edged stepping defines this subtype. Buildings use deep geometric relief, with steps cut at 90-degree angles rather than softened curves. The Chrysler Building’s lower floors and the Daily News Building in New York (1930) are classic examples.

Defining characteristics: hard step angles, bold geometric relief, strong vertical-horizontal contrast, and an overall sense of mechanical precision.

Streamline Moderne

Streamline Moderne softened everything. Stepping became shallower, and the hard angles of Zigzag Deco gave way to curved transitions.

You still see stepped elements, but they’re integrated into horizontal banding rather than standing alone as sharp geometric punctuation. The visual emphasis shifts from vertical drama to horizontal flow.

The Cincinnati Union Terminal (1933) mixes both: a streamlined domed interior paired with a dramatic stepped exterior.

Tropical Deco

Miami Beach’s Art Deco District, which contains over 800 buildings from the 1920s and 1930s, shows stepped forms at a completely different scale.

Without tall towers, stepped profiles appear on parapets, entry canopies, and rooflines of low-rise hotels and apartment buildings. The stepping is shallow and decorative rather than structurally driven.

Pastel colors and porthole windows distinguish Tropical Deco visually, but the stepped parapet is a consistent formal element across the district.

Civic and Government Buildings

Government Art Deco used stepped forms to communicate authority and permanence rather than commercial ambition.

Stepped plinths, monumental staircases, and receding upper floors gave civic buildings a pyramidal gravity that connected them visually to ancient temples and government architecture.

The visual balance in civic Art Deco stepping tends to be more rigid and symmetrical than in commercial towers. There’s less ornament on each tier and more attention to material weight, usually limestone or granite, which reinforces the sense of institutional solidity.

Stepped Forms in Interior Design and Surface Ornament

The stepped building profile didn’t stay outside. The same geometry moved inward, covering surfaces that most visitors would touch, walk on, or stand beside every day.

Art Deco crown molding relied heavily on stepped and angled sections, according to Mouldings One, a specialist in historically accurate millwork. Baseboard profiles in period homes also used geometric, stepped forms rather than the curved profiles of earlier styles.

Stepped Moldings and Ceiling Details

Where stepped profiles appeared indoors:

• Door surrounds with layered, receding frames
• Ceiling coffers built in concentric stepped tiers
• Crown moldings using flat planes and angular steps instead of curves
• Baseboard profiles with geometric stepped sections

The fine details of these moldings carried the same logic as the building’s outer massing. A stepped door surround in a 1929 Manhattan lobby is the same formal idea as the stepped crown on the tower above it.

Elevator Cabs and Metal Trim

Elevator design is where stepped Art Deco ornament gets most concentrated.

Urban Remains Chicago’s archive of salvaged Art Deco hardware includes nickel-plated cast bronze elevator button backplates described as having a “skyscraper style” with stepped sides, made by or for the Otis Elevator Company. The Pacific Stock Exchange Building’s 1929 elevator indicator panel used a “stepped” profile backplate with multi-faceted pressed glass.

FabACab’s research notes that Art Deco elevator cabs introduced stainless steel and polished brass as primary materials, combining them with decorative stepped motifs inspired by machine age aesthetics.

The textural contrast between polished steel trim and matte inlaid wood on elevator cab interiors was itself a product of the same design thinking: step one material down to expose another below it.

Terrazzo Floors and Stepped Tile Patterns

Terrazzo floors in Art Deco lobbies frequently used geometric stepped patterns as border designs and central medallions.

Interior spaces like lobbies and elevator banks were commonly finished with terrazzo, bronze, and exotic woods, according to architectural history records from the period. The stepped geometric inlay in terrazzo floors mirrored the building’s exterior profile in miniature.

Key materials: colored marble aggregates, brass dividing strips, geometric stepped border designs in contrasting color combinations (black and cream, gold and white).

Furniture and Stepped Form

Art Deco furniture carried stepped profiles on cabinet tops, mirror frames, and desk edges.

The “waterfall” furniture style common in American Art Deco homes used a curved stepped profile on cabinet fronts. The waterfall form is a direct domestic translation of the tiered massing logic from skyscraper design. Less angular than stepped tower ornament, but structurally the same idea.

Stepped molding on sideboards, armoires, and dressing tables appeared across the price spectrum, from the ebony and shagreen pieces of elite Parisian designers to the lacquered wood furniture sold through American department stores in the 1930s.

Materials and Finishes Used on Stepped Elements

Stepped forms in Art Deco didn’t exist in isolation. The materials used to build and finish each tier did real visual work, often using contrast between adjacent surfaces to make the stepping more visible and dramatic.

Stone Cladding on Stepped Facades

Indiana limestone was the go-to cladding for major American Art Deco towers with stepped massing. The Empire State Building sourced its limestone from a quarry in south-central Indiana, and its smooth blonde panels gave each setback ledge a clear, readable horizontal edge.

Granite appeared at building bases, where durability mattered most. New York Wikipedia records show that 120 Wall Street (1929-1930) used a wedding cake stepped form with a red granite and limestone base, creating a material transition between street level and upper floors.

Key difference: limestone cut cleanly and showed stepped profiles crisply; granite’s harder surface read as heavier and more permanent at ground level.

Terracotta and Faience on Decorative Steps

Glazed terracotta dominated the decorative step bands on mid-tier Art Deco buildings.

The ArtDeco.org archives on terracotta note that by the mid-1920s, architects used colored terracotta frequently for the striking aesthetic effects it could produce. Unlike stone, terracotta could be molded into precise stepped relief patterns and glazed in cobalt blues, vivid yellows, lime greens, and metallic lusters.

The Chanin Building in New York (1929) features a spectacular stepped terracotta frieze spanning the third and fourth stories, designed by Rene Paul Chambellan. It’s decorative stepping applied directly to the surface of a structurally stepped building.

Stainless Steel and Chrome on Stepped Interiors

Detroit’s Guardian Building (1929) was the first building to use stainless steel as a decorative element, according to Wikipedia’s Art Deco architecture records.

Stainless steel and chrome trim on stepped interior moldings and elevator work created the sharp light-and-shadow contrast that made stepped ornament readable at human scale. Where the material polished, it caught the light on the upper face of each step. Where it receded, it dropped into shadow.

The Chrysler Building’s crown relied specifically on Nirosta, an 18-8 austenitic stainless steel alloy developed by Krupp in Germany, for this reason. Nearly a century later, the crown remains largely untarnished because of the material’s durability.

Stepped Forms Across Global Art Deco

The stepped Art Deco profile traveled further and faster than almost any other architectural idea of the 20th century.

By the end of the 1920s, the setback skyscraper style had spread from Chicago to Shanghai, according to architectural historians Eric Peter Nash and Norman McGrath. It moved not through regulation but through visual influence. Cities wanted their own version of the New York skyline.

Mumbai’s Art Deco District

Mumbai has at least 200 identified Art Deco buildings, with researchers at Art Deco Mumbai Trust documenting a total of 330 structures across the city’s neighborhoods, according to The National.

The UNESCO-inscribed Victorian Gothic and Art Deco Ensembles of Mumbai covers 92 buildings across 66.34 hectares, of which 76 are Art Deco, declared a World Heritage Site on June 30, 2018.

Mumbai’s version of the stepped form sits lower and more horizontal than its New York counterparts. Marine Drive’s Art Deco apartment buildings use stepped parapets, layered balcony railings, and tiered ornamental facades at five to eight stories rather than seventy. The style became known locally as Indo-Deco, blending Art Deco geometry with Indian decorative motifs.

Shanghai and the Bund

The Bund’s stepped towers represent the style’s fastest international adoption.

The Sassoon House (now the Peace Hotel), completed in 1929, uses a stepped pyramidal copper roof as its defining crown. The Cathay Hotel’s stepped profile and the Shanghai Club’s stepped cornice line both arrived before 1930, within years of the New York towers that inspired them.

Shanghai architects worked without the legal pressure of New York’s setback rules. The stepping was purely visual, which makes the closeness of the formal translation all the more telling about how dominant the New York Deco aesthetic had become globally.

Miami Beach and Tropical Deco

Miami Beach’s Art Deco District contains over 800 buildings from the 1920s and 1930s, making it one of the largest concentrations of Art Deco architecture globally, according to Euroline Steel Windows’ architectural research.

Stepped forms here work at parapet level. Flat-topped hotels use stepped rooflines to add visual interest without height. The color choices differ entirely from New York (pastel pinks, aquas, creams) but the stepped geometric parapet is a constant across the district.

Legacy and Influence on Later Architecture

The stepped form didn’t disappear when Art Deco faded. It went underground for a few decades, then came back through Postmodernism and hasn’t fully left since.

Postmodern Architects and the Setback Revival

Philip Johnson described his AT&T Building (now 550 Madison Avenue), completed in 1984, as a deliberate shift from the flat-top International Style skyscrapers that had dominated since the 1950s. The building was designated a New York City landmark in 2018 and described by the State Historic Preservation Office as being of extraordinary national importance as a key example of Postmodernism.

The AT&T Building doesn’t step back the way a 1930s Deco tower does. Its stepping is concentrated at the crown (the Chippendale-style pediment) and at the base. But the impulse to give a tower a distinctive tiered top is a direct callback to Art Deco massing logic.

Michael Graves’s Humana Building (1982) and the broader Postmodern skyscraper movement of the 1980s all drew from the same well: the idea that a tower should have a recognizable profile, and that profile should do something at the top instead of just stopping flat.

Contemporary Architecture and Art Deco Stepping

Three ways stepped Art Deco forms appear in contemporary design:

• Residential towers with terraced balconies referencing setback massing
• Stepped crown details on luxury hotel towers as deliberate heritage references
• Interior decorative moldings in Art Deco revival residential projects

The Waldorf Astoria New York reopened in 2025 after extensive renovation, according to CityRealty, restoring historical Art Deco elements to their original condition while adding residential condominiums on upper floors. The building’s stepped ornamental details were preserved as part of the project’s heritage brief.

ArchDaily’s 2023 coverage of Art Deco’s revival noted the style appearing in new projects, interior spaces, and furniture globally, nearly a century after it first emerged.

Art Deco Stepped Forms and Interior Design Today

Anyone working in Art Deco home decor today will encounter the stepped form at every scale, from stepped mirror frames and tiered light fixtures to the geometric moldings used in Art Deco living rooms and bedrooms.

The Art Deco lighting tradition is particularly direct about this. Tiered chandeliers and stepped-base floor lamps mirror the same crown-and-setback logic that defined the Chrysler Building’s profile.

Understanding the historical source of these forms helps anyone applying them in a contemporary interior. The stepped molding on a modern Art Deco-inspired door surround isn’t just decorative. It’s a compressed version of a design idea that once defined entire city skylines.

If you’re pulling together an Art Deco living room or an Art Deco bedroom, the stepped form is the single most historically loaded element you can bring in. Use it at multiple scales and it stops being decoration and starts being a coherent design language.

That’s what the original architects were doing. They weren’t applying ornament. They were building the same idea at every level of the building simultaneously, from the skyline silhouette down to the elevator button backplate. That consistency is why it still reads as a style rather than just a look.

FAQ on Stepped Forms in Art Deco Architecture

What are stepped forms in Art Deco architecture?

Stepped forms are receding tiers, terraced profiles, and setback massing that give Art Deco buildings their staircase-like silhouette. They appear both as structural massing across entire floor plates and as decorative geometric ornament on facades, cornices, and interiors.

Why did Art Deco buildings use stepped profiles?

Two reasons. In the US, the 1916 New York Zoning Resolution legally required buildings to set back from the street as they rose. Outside of regulation, architects also chose stepped profiles for their visual drama and upward emphasis.

What is the difference between structural and decorative stepping?

Structural stepping changes the building’s massing: floor plates shrink as the tower rises. Decorative stepping applies the same geometry to surfaces, such as moldings, spandrels, and elevator trim, without altering the building’s overall form.

Which buildings best represent stepped Art Deco massing?

The Chrysler Building (1930) and Empire State Building (1931) are the clearest examples. Both use tiered setbacks driven partly by zoning law, with each step carrying distinct ornamental details in stainless steel, limestone, and terracotta.

Where did the stepped pyramid form in Art Deco come from?

From multiple ancient sources at once. Mayan and Aztec stepped pyramids, Mesopotamian ziggurats, and Egyptian temple forms all fed into the 1920s design vocabulary. The 1922 discovery of Tutankhamun’s tomb accelerated this interest considerably.

How did Hugh Ferriss influence stepped skyscraper design?

In 1922, Ferriss published massing studies showing buildings built to the maximum zoning envelope. His shadow-heavy drawings of pyramidal setback towers became widely influential and turned a legal constraint into a recognized design aesthetic.

Did stepped forms appear inside Art Deco buildings too?

Extensively. Stepped moldings appeared on door surrounds, ceiling coffers, and crown profiles. Elevator cabs used stepped bronze backplates. Terrazzo floors carried stepped geometric inlays. The same formal logic ran from building silhouette down to surface detail.

How did stepped Art Deco forms spread globally?

Through visual influence, not regulation. By the late 1920s, the setback skyscraper style had spread from Chicago to Shanghai. Mumbai’s Marine Drive Art Deco district and the Shanghai Bund both adopted stepped profiles within years of the New York towers they referenced.

What materials were used on Art Deco stepped elements?

Indiana limestone on stepped facade bands, Nirosta stainless steel on crown arches, glazed terracotta on decorative stepped friezes, and cast bronze on interior trim. Material contrast between adjacent tiers made the stepping more visually readable.

Did stepped forms influence architecture after Art Deco ended?

Directly. Postmodern architects revisited stepped profiles in the 1980s. Philip Johnson’s AT&T Building (now 550 Madison Avenue), completed in 1984, used a tiered crown as a deliberate reference to pre-war skyscraper design and was landmarked in 2018.

Conclusion

This article on stepped forms in Art Deco architecture shows how a single design idea connected ancient ziggurats, a New York zoning law, and the terrazzo floors of Jazz Age lobbies into one coherent visual language.

The tiered skyscraper silhouette wasn’t decorative excess. It was a response to real constraints, ancient influences, and machine age ambition, all resolved into geometric ornament that worked at every scale.

From the Chrysler Building’s stainless steel crown to Miami Beach’s stepped parapets and Mumbai’s UNESCO-recognized Marine Drive, the form traveled globally because it carried genuine visual authority.

Understanding the receding tier, the setback profile, and the decorative stepped molding as parts of the same idea is what separates studied Art Deco design from surface-level imitation.

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Andreea Dima

Andreea Dima is a certified interior designer and founder of AweDeco, with over 13 years of professional experience transforming residential and commercial spaces across Romania. Andreea has completed over 100 design projects since 2012. All content on AweDeco is based on her hands-on design practice and professional expertise.

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