American architectural style is mainly based on the architectural styles of four main periods: classical style, Renaissance classical style, medieval style or modern style. Classical style refers to ancient Roman or ancient Greek monuments, and the similar Renaissance classical style originated in Italy in the15th century, which revived classical architecture. These two classical styles have many similar architectural details. The third traditional style appeared in the Middle Ages, which connected the classical style and the Renaissance classical style in time. The architectural style of this period mainly refers to the church buildings with pure Gothic style and the residential buildings. The architecture of this period in Britain and France had the greatest influence on North American housing. The fourth traditional style is modernist style, which began in the late19th century and continues to this day. It doesn't have much decoration, the external effect is simple and honest, and the application of new structural technology makes its space have room for change. Other styles that affect housing in North America are Spanish styles, including simple buildings in Spanish colonies in North America and exquisite buildings in Spain. Oriental and Egyptian architecture has more or less become a reference for North American housing. Modern style: light-colored style (generous)

Since the mid-1990s, the idea of home design has been greatly liberated, and people began to pursue various design methods, among which a series of relatively complete design systems such as modernism and postmodernism have been formed in interior design. When people talk about decoration, these "isms" frequently appear on their lips. This style basically uses cherry wood as the main woodworking veneer.

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Since the 1960s, there has been an ideological trend in the United States and Western Europe to oppose or revise modernist architecture, among which the most influential one is a series of viewpoints directly opposed to modernism put forward by American architect R Venturi in Contradiction and Complexity of Architecture (1966). He advocated a complex and dynamic architecture, advocated inclusiveness, quoted history and local languages, and praised various and inclusive design forms such as fuzziness, fable, symbolism, decoration, nationality, local color, public interest and distinctive personality, which were rejected by modernism. Therefore, the post-modern architectural forms and factions are varied, and even it is inevitable that they are bizarre and mixed. There are so-called obscurantism, new dialect, light school, heavy technology school, strange school and so on. 1977, in his book The Language of Postmodern Architecture, architectural critic James proposed that postmodern architecture embodies ambiguity and fuzziness, and it is a kind of "radical eclecticism" by combining elite culture with popular taste and history with modernity. Sterth summarized postmodern architecture into three characteristics: metaphor, decoration and context.

The representative works of post-modern style are: Sydney Opera House in Australia, Pompeii Social Art and Culture Center in Paris, Italy Square in Moore New Orleans, etc.

It can be said that interior design directly follows the post-modern architectural style. In the process of creation, there are metaphor, decoration, context and other techniques, which break through the single standard style of modernism in form, show more regional culture and customs, and lead to diversified styles.

Postmodernism has a rebellious mentality against the pure rationality of modernism. Postmodernism emphasizes the historical continuity of architecture and interior design, but it does not stick to the traditional logical thinking mode, explores and innovates modelling technique, and pays attention to human feelings. It often sets exaggeration, deformation, column shape and broken arch in the interior, or combines the abstract forms of classical components in new ways, that is, it adopts unconventional mixing, superposition, dislocation, fission and other means and symbols and metaphors in order to create new styles. Postmodern style can not be evaluated only by the visual image we see, but also by the design ideas. The representatives of postmodern style are P Johnson, R Venturi and M Graves.