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Partoftheeducationofaninteriordesignerconsistsoflearningaboutthe businesspracticesoftheprofession.Studentscannotassumethatabusiness’ s successresultssolelyfromtheinnatecreativityofthedesignerswhoownor workforafirm.Italsocomesfromthequalityoftheprofessionalpracticesof thoseinvolvedinthebusiness.
Regardlessofthesizeoffirmordesignspecialty,professionalinterior designersmustunderstandandconductthemselvesasbusinesspeople.Clients expectinteriordesignerstoberesponsiblefortheirdecisionsandpractice. Theyexpectexcellencenotonlyincreativeworkbutinbusinessconductas well.Thisnaturallyresultsinaninteriordesigner’sever-increasingneedfor comprehensiveknowledgeofbusiness.
Asadesignprofessional,manager,educator,andbusinessowner,Ihave longbelievedintheimportanceofeffectivebusinesspracticesforthisprofession.Ihaveseenwheregoodbusinesspracticeshaveledtosuccess.Ihave seenwherepoorbusinesspracticeshaveledtofrustrationforbusinessowners. Myinterestsintryingtohelpstudentsandprofessionalsbecomebetterintheir businessledtothepublicationofthefirsteditionofthisbook.
Ihaveconsistentlyupdatedthisbooktoofferacomprehensiveresource thatprovidesasolidbackgroundinbusinesspracticesforstudents.Educators shouldnotfeelthattheymusttrytocovereverything,andstudentsshouldnot feeloverwhelmedbythecontents.Educatorscaneasilytailortheirclasses aroundthecontentstomeettheinstructor’sdesiredfocusandaninstitution’ s priorities.
Itscomprehensivecontentalsomakesitapracticalchoiceforpractitionerswantingtostartorgrowtheirownbusiness.Therearemanychapters thataregenerallyofgreaterconcerntoabusinessownerthanastudent,justas therearesomechaptersthatwillbeofgreaterinteresttostudentsthanprofessionals.Forbothprofessionalsandstudents, ProfessionalPracticeforInteriorDesigners remainsoneoftheprimaryreferencesfortheNCIDQ examinationconcerningmanyaspectsofbusinesspractice.
Theprofessionofinteriordesigncontinuestobetransformed.Concerns forlegalandethicalbusinessoperations,sustainabledesignpractice,the impactoftechnology,newwaysofcollaboratingwithindustrycohorts,and generationalchangesintheclientmarketplacehaveallhadanimpacton businesspractice.Theseissuesandothersofimportanceareincludedinthis newedition.
Changesintheoutlineofchapters,andcontentadditionsanddeletions, wereundertakenafterreceivinginputfromavarietyofeducatorsandprofessionals.Currentinformationonbusinessingeneralandinteriordesign businessinparticularwasalsoobtainedbyareviewofrelevantliteratureto gaugeimpactonpractice.Anextensivereviewandrevisionofallthetextand exampleswasundertakentoupdatecontent.Thematerialinthechapterswas
carefullyreviewedtoeliminateduplicationofmaterial,andthishas,insome cases,ledtoareorganizationoftopics.
Distinctivefeaturesofthefiftheditionincludethefollowing:
1. Basedonrecommendationsbyeducators,thematerialmostapplicabletowhatiscommonlycoveredinabusinesspracticesclassis groupedtogetheratthebeginningofthebook.
2. Theexceptiontothisisthatallthecareerchaptersaregrouped togetherattheendofthebook.
3. Newtopicsimportanttopracticeinthe21stcenturyhavebeen includedthroughoutthebooksothatitcontinuestobeacomprehensivetextoninteriordesignbusinesspractices.Thosenewsections arehighlightedlaterinthispreface.
4. Chaptersmostapplicabletoorganizingandmanagingapracticenow appeartogether.Theyfollowalogicalsequenceoftopics,from developingthebusinessidea,tobusinessplanandstructure,to finances,marketing,andemployeeissues.
5. Eachchapterbeginswithalistofcriticalissuestohelpthestudent studyforexams;instructorscanusetheseforclassdiscussionor writtenassignments.
6. Aboxtitled “NCIDQComponent” indicatesthechaptersorpartsof chapterscoveringmaterialthatmightbepartoftheexamination.
7. Additional “WhatWouldYouDo?” scenarioshavebeenaddedatthe endofthechapter.
8. Importanttermshavebeenlistedattheendofeachchapter.
9. AlistofWebsitesrelevanttothechaptercontenthasbeenaddedat theendofeachchapter.
10. Thetextremainseasytoread,withmanybulletedlistshighlighting keypoints.
11. Iconsareplacedinthemargins,showingwhererelatedcontent appearsonthecompanionWebsite,www.wiley.com/go/ppid.
Sothatreaderscanseewherenewsectionsandtopicshavebeenadded,those itemsareitalicizedinthefollowingdiscussionaboutthechangesinthetext.
Chapters1and2provideacomprehensiveoverviewoftheprofession.Topics includewhythestudyofbusinesspracticesisimportant,thedefinition ofaprofession,theNCIDQexamination,professionalassociationrequirements,andthe importanceoflicensing. AnewsectioninChapter 1 providesanoverviewofthe businessofinteriordesignandhowthatrelatestostudentsandthestudyofprofessionalpractice.Newsectionshavebeenaddedtodiscussprofessionalresponsibilityin achangingworld,thevalueofinteriordesign,andsocialresponsibility
Chapters3and4remainatthebeginningofthebooktohighlightthe importanceofethicalandlegalpractice.The “WhatWouldYouDo?” discussionitemsattheendofChapter3havebeenexpanded. Informationoncyber lawandcopyrightnowappearsinChapter 4.
Basedonrecommendationsbyeducators,Chapter5providesapresentationofhowandwheredesignerswork.Thiswasdonetogiveanoverviewof the “workingworld” ofthedesignpractitioner. Anewsectioncalled “Expectations” discusseswhattheemployerviewsaskeystowhatitwillbelookingforina newemployee. Thenextfourchapterscovercriticalinformationconcerninghowdesign firmsearnrevenue.Chapter6coversfeesandprojectcompensationmethods;
Chapter7detailsdesigncontractsspecificallyrelatedtodesignservices; Chapter8detailsproductpricingofgoods;andChapter9outlinesimportant informationaboutsaleslawandwarrantiesrelatedtosellingmerchandise. Newinformationhasbeenaddedconcerningpropersignaturesoncontracts, strategiesforavoidingcontractdisputes,andusingsmallclaimscourts. Thechaptersconcerningbusinessprojectmanagementbeginwitha discussionoftradesourcesinChapter10.ThebusinesssideofprojectmanagementisdetailedinChapter11with newmaterialaddedconcerning research especiallyevidence-baseddesign asaprojectbenefit,projectdelivery methods,selectingprojectteams,integrateddesign,andbuildinginformation modeling.Aftercarefulreviewandupdating, anewsectiondiscussingsustainableproductspecificationsandanexplanationofconstructionagreements wereaddedtoChapter 12.Chapters13and14havebeenupdatedandrevised.
Chapter15andthenextfivechaptersfocusonthedevelopmentand managementofadesignpractice.Afterthoroughlyreviewingandupdating existingmaterial,afewchaptershavebeenreorganizedforclarityandnew informationaddedsparingly.However, importantdiscussionsonthetriple bottomline,benchmarking,andgreenofficemanagementhavebeenadded TheformertwochaptersonaccountingwerecombinedintoChapter21. Materialhasbeenreorganizedtobetterdelineatetheflowoftheaccounting processforinteriordesigners.Inparticular,thefirstpartofthechaptershould makeiteasierforstudentstounderstandtheimportanceoftheformsand processesnecessarytomanagethefirm’sfinances.
Chapters22through26formagrouponmarketingandselling.Itis hopedthatthereorganizationoftopicsinthefirstthreechapterswillnotonly beconducivetoabetterunderstandingoftheimportanceofmarketingforthe continuedhealthofadesignfirm,butalsoactasadiscussionofstrategiesand toolstomakethathappen. Newmaterialhasbeenaddedconcerningspecializing ingreendesign,thechangingdemographicsofclients,socialmediamarketing, andthebuyerdecision-makingprocess.Arevisionofthepreviousdiscussions onetiquetteisincluded,asprofessionalsstilldeemitanecessarytopic.
Chapter27combinesthepreviousedition’stwochaptersonemployee management.Thisreorganizationandrevisionisexpectedtomakethis informationmorelogicallysequenced.Althoughbrandnewmaterialwasnot deemednecessary,thechapterwasthoroughlyreviewedandmodifiedfor currentpractices.
Aspreviouslymentioned,thelastthreechaptersgrouptheinformation concerningcareerdecisionsandthejobsearch.Thiswasdonebecausemany educatorsreportthatthesechaptersareoftencoveredtogether.Materialsinall thechapterswerecarefullyreviewedandrevisedbasedoncurrentpractice. Emphasiswasplacedonthedigitaljobsearchandtools.Chapter30highlights thejobinterviewandthetransitionfromstudenttoprofessional. Italso includesanewsectionconcerningon-the-jobstrategiestoassistemergingprofessionalsandpractitionersmakethebestoftheircurrentjobsituation
Thereisanextensiveandupdatedlistofreferencescoveringthetopicsin thisbook.Additionalupdatedreferencestoarticlesandotherresources (includingWebsitesoforganizationsandsourcesofinformationusefultothe reader)appearagaininthisedition.
Ancillarymaterials,includingbusinessforms,briefarticles,andadditionalreferences,isavailableonthisbook’scompanionWebsite(www.wiley .com/go/ppid)whetherreaderspurchaseanelectronicversionorprinted versionofthetext.TheformsarePDFssothattheycanbeusedinclass.
ArevisedInstructor’sManual availableonlytoeducators canbe obtainedonlinebycontactingthepublisher.TheInstructor’sManualincludes
Preface xvii
adetailedtableofcontentsthatwillhelpaninstructortransitionfromthe fourthtothefifthedition.AswithpreviousInstructor’sManuals,atestbank anddiscussionitemsareprovidedforeachchapter.AseriesofPowerPoint slidesareavailabletoinstructorsforthefirsttimeasateachingresource. Sinceitsfirstpublicationin1990,thisbookhasbecometheleading choiceofeducatorsforuseinteachinganinteriordesignbusinesspractices classincollegesanduniversitiesthroughouttheworld.Educatorsoftenciteit foritsclearwritingstyleandcontentbasedonrealisticpracticesituations. Iamveryproudandhumbledbytheextentofitsadoptionandpracticaluse.
VisitthecompanionWebsite: www.wiley.com/go/ppid foradditionallearningresources
InteriorDesignasaProfession
Aftercompletingthischapteryoushouldbeableto:
▪ Discusswhythestudyofprofessionalpracticesisimportanttoanyentryleveldesigner.
▪ Explainhowinteriordesignisdifferentfromdecoratingasifyouwere talkingtoaclient.
▪ Identifythecharacteristicsofaprofession.
▪ Explainhowthesecharacteristicsrelatetothepracticeofinteriordesign.
▪ Understandthehistoryoftheprofessioninordertolearnabouttheprofessionalpracticeofinteriordesign.
▪ ExplainhowtheGreatDepressionof1929affectedtheinteriordesign professional.
▪ NametheorganizationsthatbecametheAmericanSocietyofInterior DesignersandInternationalInteriorDesignAssociation.
▪ Identifykeychangesthatledtotheincreasingprofessionalismofinterior design.
▪ Comparethepracticesofresidentialinteriordesignandcommercialinterior design.
▪ Explainhowthesectiononthebusinessofinteriordesignaffectsyour understandingoftheprofessionasawhole.
▪ Discusshowinteriordesignprovidesvaluetoaresidentialclientandasmall businessowner.
Thestereotypeoftheinteriordesignprofessionhasbeenofsomeonewho understandshowtousecolorandcanrearrangefurniture.Thisis,asyou alreadyknow,notthefullstoryofwhataninteriordesignprofessionalisor does.
Interiordesignisacomplexprocessanditrequireslearningmuchmore thanthecolorwheel.Thebodyofknowledgeandskillsneededbyprofessionals isextensive,andtheworkoftheinteriordesigner regardlessofspecialty is demandingaswellasexciting.Theprofessionalinteriordesigner’ssolutions havetomeetfunctionalneedsoftheclient,aswellasresultinapleasing environment.Theindividualswhodesigninteriorsmustbesurethattheir designsmeetbuilding,firesafety,andaccessibilitycodes.Interiordesign solutionsmustalsomeetsustainabledesigncriteriarequiredbytheowners.
Aprofessionalinteriordesignermustbewillingtoacceptthelegaland ethicalconsequencesofhisorheractions.Thoseactionsimpactthegeneral public,clients,andotherpractitioners.Locallaws(includingprofessional regulation,whereitexists)canimpacttheworkoftheprofessionalinterior designer.Theprofessionofinteriordesignisalsoabusiness.Themanagement andefficientoperationofabusinessarecriticaltothesuccessfulongoinglife ofaninteriordesignpractice.
Societytendstograntprofessionalshigherstatus,money,andrespect,yet thesedonotcomeautomaticallyuponattainingtheeducationalcriteria requiredoftheprofession.Theycometotheindividualwhohastheattitudeof service,commitment,andknowledgethatisexpectedoftheprofessional.This isnolesstrueforaninteriordesignprofessionalthananyofthe “traditional” professions.
Thischapter,touseadesignmetaphor,isafoundationofinformation importanttotheoverallstudyoftheprofessionandhowitfunctionsasa business.Theprofessionalpracticeofinteriordesignrequiresattentionto thebusinessprocedures,strategies,andprotocolsthatanybusinessmustuse forthebusinesstobesuccessful,profitable,andlonglasting.Designing interiorsisnotonlyanenjoyablewaytomakealiving,butalsoanawesome responsibility.
WHYSTUDYPROFESSIONALPRACTICE?
Theprofessionofinteriordesignisincrediblyfascinating.Practitionershave theopportunitytodesigntheinteriorsofmultimillion-dollarhousesorhelpa familyhaveamorepleasingandnurturinghomeenvironment.Practitioners alsohavetheopportunitytohelpasmallbusinessorhugecorporationprovideaninteriorenvironmentthatpositivelyinfluencestheirclientsand employeesandhelpsthebusinessachievegreaterfunctionalityandsuccess.
Theprofessionofinteriordesignisalsoabusiness,soknowledgeand applicationofbusinesspracticeconceptsareessential.Adesignerwhoisbadat businesssubconsciouslyhintstoclientsthattheycantakeadvantageofthe designerbyarguingandsecond-guessingthedesigner’sdecisions.Furthermore,ifthefirmisnotsuccessfulasabusiness,ifitdoesnotsustainprofitability,itmakesnodifferencehowcreativethepractitionersmightbe:The poorlyrunbusinessislikelytofail.
Interiordesignismuchmorethanawaytoexpresscreativity.Itisan endeavorthatmustrecognizetheimportanceofethicalconduct.Itisabout beingsociallyresponsibleandrealizingthat,intoday’sworld,theinterior designprofessionhasaglobalreach.It’snotjustabout “ us ” intheUnited States,it’saboutallof “ us ” onthisplanet.Itisnotahobby;itisnotthequick, do-it-yourselfsituationportrayedoncableTV.
Aninteriordesignfirmmustmakeaprofit oratleasthopestoconsistentlymakeaprofit.Studyingandapplyingbusinesspracticestothemanagementofthefirmhelpstheownerhaveagreaterchanceofachievinga profit.Ifthebusinessowneristoallowhisorhercompanytogrowtothe extentthatheorshewouldlikeittogrow,theownermustunderstandall theaspectsofprofessionalpractice.
Asanemployee,youwillbeheldaccountablefortheongoingsuccessof aninteriordesignfirm.Youhavearesponsibilitytoworkproductivelyandbill thosehours,orotherwiseprofessionallyandeffectivelycompleteyourjob tasks.Youneedtohavesomeawarenessoftheexpenseittakestooperatea practicesothatyoudonotwastecompanyresources.
Studentsmustmasterabasicunderstandingofbusinesspractices. Althoughabusinesspracticesclassmaycomelateinthecurriculum,that placementdoesnotmakeitanylessimportant.Ibelieveitisoneofthetwo mostimportantclassesinastudent’scurriculum,evenifit’snotthemost importanttoyouindividually.Withoutanunderstandingoftheprofessional practiceofinteriordesign,asastudent,emergingprofessional,oremployee, yoursuccesswillbelimited.
Finally,manytopicsinthisbookaretopicsimportanttotheNational CouncilforInteriorDesignQualification(NCIDQ)examination.Business topicsarealsocommonpartsofothercertificationorlicensingprograms,as theyareexpectedtobewithincurriculumsaccreditedbytheCouncilfor InteriorDesignAccreditation(CIDA).Ifbusinesswerenotimportanttothe profession,thesegroupswouldnotincludebusinesspracticestopicsintheir certification/accreditationrequirements.
Aninteriordesignfirmowneroncetoldmethathewantstohireindividualswhowanthisjob.Thatdoesn’thappenwithoutknowinghowtorun abusiness.
DEFININGTHEPROFESSION
Comparedtomanyotherprofessions,suchasteachingandmedicine,interior designisarelativelyyoung.Theuseoftheterm interiordesign didnotappearin generalusageuntilafterWorldWarII,andtheprofessiondefinedbyanyterm didnotreallyexistmuchbeforethe1900s.Individualsandorganizations involvedintheinteriordesignprofessionworktirelesslytohelptheprofession gainrecognitioninthemindsofthepublic,aswellasamongpractitionersand alliedprofessionals.
Whatconstitutesinteriordesignhasbeendebatedandnurturedfor manydecades.Muchofthepublicbelievesthat “peoplewhodecorate interiorsareinteriordecorators.” Theyoftendonotunderstandthatthereis adifferencebetweendecorationanddesign.Thewordsofanarticleby CharlotteS.Jensen,FASID,thenpresidentoftheNCIDQboard,stillring true: “Interiordesignisnotthesameasdecoration....Decorationisthe furnishingoradorningaspacewithfashionableorbeautifulthings.Decoration,althoughavaluableandimportantelementofaninterior,isnotsolely concernedwithhumaninteractionorhumanbehavior.Interiordesignisall abouthumanbehaviorandhumaninteraction.”1 Andmuchmore,many wouldsay.
Themostcommonlyquotedandutilizeddefinitionof interiordesign comesfromtheNCIDQ.Thisdefinition,offeredinpartwiththecomplete versionpresentedintheappendix,hasbeenacknowledgedandsupportedby theinteriordesignprofessionalassociations:
Interiordesignisamultifacetedprofessioninwhichcreativeandtechnical solutionsareappliedwithinastructuretoachieveabuiltinteriorenvironment. Thesesolutionsarefunctional,enhancethequalityoflifeandcultureofthe occupants,andareaestheticallyattractive.Designsarecreatedinresponsetoand coordinatedwiththebuildingshell,andacknowledgethephysicallocationand socialcontextoftheproject.Designsmustadheretocodeandregulatory requirements,andencouragetheprinciplesofenvironmentalsustainability.The interiordesignprocessfollowsasystematicandcoordinatedmethodology, includingresearch,analysisandintegrationofknowledgeintothecreativeprocess,wherebytheneedsandresourcesoftheclientaresatisfiedtoproducean interiorspacethatfulfillstheprojectgoals.2
Anotherexcellentdefinitioncomesfromoutsidetheprofession.AccordingtotheU.S.DepartmentofLabor,BureauofLaborStatistics,interior designers “plan,designandfurnishinteriorsofresidential,commercialor industrialbuildings.Formulatedesignwhichispractical,aesthetic,andconducivetointendedpurposes,suchasraisingproductivity,sellingmerchandise, orimprovinglifestyle.”3
Asyoucanseefromthese,interiordesignismuchmorethanthestereotypicalideaofpickingoutcolorsandfabrics.Theresponsibilitiesandskills requiredalsogobeyondthoseoftheindividualwhohasaflairfordecorating.
WHATISAPROFESSION?
Aprofessionismuchmorethanthewordsinadefinitionprovidedbyinterestedgroups.Accordingtoonedictionary,a profession is “apaidoccupation, especiallyonethatinvolvesprolongedtrainingandaformalqualification.”4 Johnsonwrites, “Asdefinedbysociologists,aprofessionisanoccupationthat isbasedontheoreticalandpracticalknowledgeandtraininginaparticular field....Professionstendtobecredentialedandregulatedinrelationtocertainstandardsofperformanceandethics,whichmakesthemmoreautonomousandindependentthanotheroccupations.”5
Somearguethatinteriordesignisnotreallyaprofession.Thishasoften occurredwhendiscussionswithstatelegislaturesconcerningregulationof interiordesignoruseofthetitle “interiordesigner” takeplace.Yettheinterior designprofessionmeetsthestandardssetfordefiningaprofession.
Theprofessionofinteriordesign,asweknowittoday,isguidedbyallthe pointsnotedbybothoftheseauthorsandasfurtherclarifiedbythedefinitions. Ifthemeasureofaprofessioninvolvesthecriteriaofferedbythepreceding material,theninteriordesignisaprofessionthathasevolvedandcontinuesto evolve.GordonMarshallwrites, “Aprofessionincludessomecentralregulatory bodytoensurethestandardofperformanceofindividualmembers;acodeof conduct;carefulmanagementofknowledgeinrelationtotheexpertisewhich constitutesthebasisoftheprofession’sactivities;andlastly,controlofnumber, selection,andtrainingofnewentrants.”6
Aprofessionaldoesnotemergemerelyasaconsequenceoflearningthe technicalprinciplesrequiredintheprofession.Becomingaprofessionalalso requiresanattitudeofdedicatedcommitmenttotheworkonedoesandtothe advancementoftheprofession.Understandingwhatittakestoorganizeand maintainaninteriordesignpracticefollowsanunderstandingoftheroots andcontemporaryconcernsoftheprofession.Inthe21stcentury,having talentasadesignerisnotenoughtosurvivetheupsanddownsoftheeconomic rollercoaster.
Howwouldyoudefinetheinteriordesignprofession?
PROFESSIONALRESPONSIBILITYINACHANGINGWORLD
Haveyoueverhadtheopportunitytostandbelowthesoaringbranchesofa sequoiatree?IhadachancetodothiswhenIvisitedSequoiaNationalParkin Californiaseveralyearsago.Thesemagnificentredwoodscangrowtomore than200feettallandliveformorethan2000years!Ivisitedasitewithinthe parkwheretreeshadbeenharvestedinthelate1800s.Thebaseofthetrunkis huge.Youdon’tjustwalkuptotheremainingstumpandsitdown.Iwalkedup stairstothetopofastumpthatwasmorethan10feetabovetheground.The surfacesizeofthatstump,asIrecall,wasaboutthesizeofatwo-cargarage.
Itturnsoutthatthewoodofthesequoiatree aspeciesofredwood althoughresistanttofireanddecay,isverybrittle,makingitunsuitablefor building.Thewoodwasmostlyusedattheturnofthecenturyforfenceposts, grapestakes,andshingles.Whatawasteofapieceofourmagnificentnatural world!
Whyisthisstoryofferedinabookaboutinteriordesignprofessional practice?
Ourindustryuseshugeamountsofnaturalresourcesinthecreationof theproductswespecifyforhomesandbusinesses.Theuseofthesematerials hasledtothedepletionofmanyresourcesandthreatensothers.Construction andremodelingcontributetolandfillsatalarminglevels.AccordingtotheU.S. GreenBuildingCouncil(USGBC), “commercialconstructionprojectsgenerate upto2.5poundsofsolidwastepersquarefootoffloorspace.”7 Themath meansthata10,000-square-footbuildingcouldproduceupto12.5tonsof waste!Thatisalotofwastedresourcesgoingtothelandfill.
Thechoiceswemakewhenwespecifygoodsanddesignsolutionsforthe clientcanhaveprofoundfutureeffects.Removinganddisposingofcarpeting thatstillhassomeusefullifeisapoorchoiceifthereisaplaceinyourcommunitythatcanutilizethismaterial.Exoticwoodslikerosewoodarebeautiful yetrosewoodforestsarebeingdepleted,andshouldyouchoosetospecify thisexoticwood,youmustbesureitiscomingfromalegalsource.Consider thespecificationofpaintsmadewithvolatileorganiccompoundsthatharm usersofthespaceaswellasthecontractorsdoingthework.Iknowofapainter whoworkedintheconstructionindustryformorethan30years.Hetoldme henowhasonlyonelung,inlargepartbecauseofthevolatilematerialshe breathedthosemanyyears.
Ofcourse,theinterestinsustainabledesignandthewillingnessofclients anddesignerstoembracethisconceptininteriorsvarieswidely.Oftenatissue istheassumedversusactualadditionalcostofspecifyingenvironmentally friendlyorgreenproducts.Aclientwhohasseriousallergiesorrespiratory problemssuffersallergicreactionstothechemicalsinmanyfloorcoverings, furnitureproducts,andvarioustextiles.Naturally,thistypeofclienteasilysees thebenefitsofgreenproducts.Commercialclientsmayseethatthebenefitsof “goinggreen” areworthanadditionalcost,butmanyarestillreluctanttospend theextramoney.However,designprojectsusinggreenproductsanddesigning aprojectusingtheUSBGC’sLEED® guidelinescontinuetogainmomentum. Whatwedoasprofessionals thespecificationofinteriorspacesand products affectsboththeenvironmentandtheusersofspaces.Itbehooves interiordesignerstolearnmoreaboutsustainabledesignandhowtomitigate environmentaldamageandsupportusers’ health.Interiordesignerswhowish tomarketorencouragetheuseofgreendesignconceptsmustbecomethoroughlyeducatedonthebenefitstoclientsofusinggreenproducts.
Anotherimportantissueforinteriordesignersrelatestotheagingpopulation orshouldIsaytheagingofourclientbase?Babyboomers thoseborn between1946and1964 beganturning60in2006.Thegroupcalled “matures,” whowerebornbetween1901and1945,representanotherlarge proportionofourpopulationofconsumers.Theissuesofdesigningahome environment,aswellasalmostalltypesofcommercialspaces,thatarefriendly tothesenioruserarecritical.
Asaninteriordesigner,youneedtorealizeanimportantfactaboutthese olderagegroups:Mostdonotthinkofthemselvesas “old,” nordotheylike beingtreatedasold.Itisnottheinteriordesigner’sresponsibilitytothinkof consumersintheolderagegroupseitherasbeing “old” orbeinglessableto takecareofthemselves.Itis,however,theinteriordesigner’sresponsibility
tohelpcreateahomeorworkingenvironmentthatissatisfying,safe,and functionalfortheusers.
Interiordesignershaveaprofessionalresponsibilitytolearnaboutand applydesignconceptsthatcanmakeahomeorbusinessenvironmentsafefor allagesandabilities.Universaldesignconceptscometousassecondnature now,asmanynodoubtliketheextrasizeofanaccessibletoiletfacilityorthe easeofusingarampinsteadofstairs.Designerswhoareyoungthemselves mustlearnabouttheolderclientandalsothediplomacyinvolvedinspecifying productsthatwillenhancetheenvironmentoftheirolderadultclients.
Younodoubthaveheardoftheterm “aginginplace.” Inrelationtothe interiordesignofthehome,thisreferstoaconceptofdesigningorremodeling aresidencesothattheoccupantscanremainintheirprivateresidencerather thanmovingtosomesortofseniorlivingfacilityorapartment.Manychanges toaresidencethatwillhelpsupportoraccommodatetheinevitablephysical changestoresidentscanbeeasilyincorporated,whetherbyclientchoiceor simpledesignspecifications.
Theconceptsofsafeandaccessibleinteriordesignapplytobothresidentialandcommercialinteriors,andthusshouldbepartofthepracticeofall interiordesigners.Inacommercialfacility,weareguidedbyaccessibility codesthatrequirecertainthingstobedesignedintothespacetomakesurethe spaceisaccessibletoallusers.Inahome especiallywithyoungerhome owners manyaccessibilityandsafetyissuesmightnotbeacknowledgeduntil someonebreaksalegskiingandmustcopewithdesignsthatareincompatible withsomeoneoncrutchesormustuseawheelchair.
Theseissuesalsohavebecomeabusinesschoiceformany.Some designershavechosentoincreaseworkwithclientsinseniorcareandassistedlivingfacilities.Justaswerealizewemustabidebyaccessibilitycodesina commercialspace,sotooshouldinteriordesignersnowlooktowardsimply decidingtomeetclientneedsanddemandsforthedesignofLEED®-certified buildingsandaging-in-placeproductsandplanningconcepts.
Sustainabledesign,universaldesign,anddesignforanagingpopulation areasmuchawayofthinkingandaprofessionalresponsibilityasdesign specialties. “Ifnotnow,when?” wasaskedaboutotherimportanttopicsyears ago.Itisalsoaskednow:Whenwillyoulearnmoreabouttopicsthataffectthe professionandinteriordesignpracticeandleadtoprofessionalresponsibility inachangingworld?
Thepracticeofinteriordesignisacontinuallygrowingandchanging profession.Interiordesignersmustcontinuallykeepinformedanduptodate oncriticalissuesthatwilllikelyaffecttheirbusinessinthepresentorthenear future.Ourprofessionalresponsibilityinachangingworldwilllikelytakethe interiordesignprofessionaltoplacesheorsheneverenvisioned.
HISTORICALOVERVIEW
Historyclassescoverimportantmaterialonfurnitureandarchitecture,but manydonotdiscusshowtheinteriordesignprofessionaroseandevolved.This briefsectionprovidessomecontextforthathistory.
Beforethe20thcentury,interiordecorationwastheresponsibilityof artisans,craftsmen,painters,sculptors,andearlyarchitects.Shopkeeperswere called ensembliers or ateliers inEurope.AccordingtoJohnPile,CharlesPercier (1764–1838)andPierre-François-LéonardFontaine(1762–1853)arethought bymanytobethefirstprofessionalinteriordesigners. “PercierandFontaine conceivedofinteriorspacesdevelopedundertheirfullcontrolinthemannerof moderninteriordesigners.”8
ElsiedeWolfe(1865–1950)wasamongthefirstindividualstobringthe conceptofprofessionalismtointeriordecorationintheUnitedStates.Itwas approximatelyduringhercareerthattheterm interiordecoration begantobe used.BorninNewYorkCityandamemberoftheupperclass,deWolfebegan hercareerasaprofessionalinteriordecoratorin1904,whenshewas39years old.Herfirstcommission,in1905,wasforthedesignoftheColonyClubin NewYorkCity.AmongdeWolfe’sclientsweresuchnotablefiguresasHenryC. FrickandAnnePierpontMorgan.Becausetheseearlydecoratorsoftenhada wealthyclientele,theterm societydecorator wasoftenassociatedwiththem. DeWolfealsowroteoneoftheearliestbooksaboutinteriordecoration, TheHouseinGoodTaste,inwhichsherelatedherphilosophyofdecorationfor homes.Thisbook,whichwasrepublishedin2004,givesafascinatingglimpse intoearlyinteriordecoration.Shealsoiscreditedwithbeingresponsiblefor anothermilestoneintheprofession:receivingafeeforherdesignservices ratherthanacommissiononthesaleoffurniture.9 DeWolfe’ssuccessinspired otherwomentoentertheprofession.Itwasoneofthefewacceptableprofessionsforwomenattheturnofthecentury.
Inapproximately1904,formaleducationalpreparationwasofferedatthe NewYorkSchoolofAppliedandFineArts foundedastheChaseSchool. (ThisschoolisnowknownasParsons,TheNewSchoolforDesign,locatedin NewYorkCity.)Afewcourseswereofferedinartorhomeeconomics programsinotherschools,butformaltrainingininteriordecorationwasnot easytoobtain.Individualswhocouldnotavailthemselvesofformalcourses generallylearnedfrommagazinesofthetime,suchas HouseBeautiful or House&Garden.
PostwarprosperityafterWorldWarIsawanincreasedinterestin,and employmentof,theinteriordecorationprofessional.In1924,Eleanor McMillenopenedMcMillenInc.,claimingtobethefirstfull-serviceinterior decoratingfirmintheUnitedStates.10 Thisprosperityledtoanincreasing numberofprofessionalswithspecializedknowledgeindifferenttypesof interiorsbeyondresidentialinteriordecoration.Bythelate1920s,manylocal “Decorators’ Clubs” hadbeenstartedinvariouspartsofthecountry.The DecoratorsClublocatedinNewYorkiscreditedwithbeingoneofthefirst,if notthefirst,suchorganization.11
Furnituremanufacturersinthe1920swereproducingfine-qualityfurnitureinplacessuchasGrandRapids,Michigan,andHighPoint,North Carolina.Departmentstoresusedadisplaytechniquecalleda vignette tohelp themiddle-classconsumervisualizearoomoffurnitureandthusencouraged consumerstoutilizebetter-qualitydesignintheirhomes.12 (Vignette,asusedin theinteriordesignprofession,meansadisplayoffurnitureandfurnishings thatsimulatesanactualroom.)Magazinescontinuedtobeusedbythemasses ofconsumerstoappreciatequalityinteriordecorationdonebyprofessionals andprimarilyavailableonlytothewealthy.
TheGreatDepressionofthe1930shadaprofoundinfluenceonthefurnitureindustryandthustheinteriorsprofession.Ithadadisastrouseffecton theabilityofthemiddleclasstopurchasefurniture.Yettheleadingsociety decoratorsremainedrelativelyunaffectedbythedepression,astheirwealthy clientscouldstillaffordtopurchasequalitygoods.Thesocietydecorators, however,werepurchasinggoodsfromEuroperatherthanusingAmericanmadegoods.Thishadafurther,anddecidedlynegative,impactonAmerican manufacturers.
GrandRapids,Michigan,wasthesiteofoneoftheearliestandlargesttothe-trade-onlysemiannualfurnituremarkets.Atthetime,GrandRapidswas oneofthelargestmanufacturingcentersintheUnitedStates.TheGrand
RapidsFurnitureExposition,asitwasofficiallycalled,wasfirstheldin December1878.13 ThemarketwasheldinJanuaryandJunefor87years.Local manufacturersdisplayedtheirproducts,educationalprogramswereheld,and manufacturersfromotherlocationsrentedstorefrontstoshowtheirgoods.
TheleadersoftheGrandRapidsmanufacturingcenterinthe1930s neededtobringthedecoratorstoGrandRapidssothattheycouldseethe qualityofAmerican-madefurniture.WithWilliamR.MooreofChicago,they puttogetheraconferencetoorganizeanationalprofessionalorganization.The conferencewasheldduringJuly1931,inGrandRapids,andspeakerssuchas FrankLloydWrightwerescheduledtoappearinordertoenticedecoratorsto theconference.Thedecoratorswereinvitedtothevariousmanufacturing plantsandshowroomstoseethefurniturefirsthand.Bytheendoftheconference,theAmericanInstituteofInteriorDecorators(AIID) theprecursorto theAmericanSocietyofInteriorDesigners(ASID) hadbeenfounded,with WilliamR.Mooreasitsfirstnationalpresident.
WorldWarIIledtonewmanufacturingtechniquesthatchangedfurnitureanddesignstyles.ThemodernismoftheBauhausschool originally locatedinGermany greatlyinfluencedthedesignofbuildingsandinteriorsin theUnitedStates.Consumershadlargerdisposableincomesandwerewilling tobuyagain.Itwasduringthe1940sthattheterm decorator begantolosefavor intheindustry.Itwasalsoatthistimethateducationalstandardsandthe numberofprogramsofferedgrew,asinterestintheprofessionincreased. Massivegrowthinindustrialismafterthewaralsoboostedthebuilding,furniture,andinteriorsindustries.
AfterWorldWarII,nonresidentialdesignbecameanincreasingly importantaspectoftheprofessionformanyreasons.Theevolutionofgiant corporationswasonefactor.Curtainwallconstruction,suspendedceilings, andchangesinconstructiontoallowforvast,openinteriorspacesinoffice buildingsallaffectedthedesign–buildindustry.Changesinthephilosophyof theworkplacecreatednewfurnitureconcepts,suchasthatofthe “office landscape.” Ascompaniesembracedthisplanningphilosophy,newspecialists inspaceplanning,lightingdesign,andacousticsbecamepartoftheprofession.
Womenweremakinganimpactonthecommercialdesignindustryas well.DorothyDraper(1889–1969)iscreditedwithbeingthefirstwoman interiordecoratorwhospecializedincommercialinteriors.14 FlorenceKnoll establishedtheKnollPlanningGroupinthe1940s.Thisdesigncompany’ s focuswasoncommercialinteriordesign.15
Newdesignconcepts,aswellasotherissues,createdtensionandargumentsovereducationalrequirementsandadmissiontoprofessionalassociationsforinteriordesigners.Areneweddebateensuedoverthewords “decorator” versus “designer.” Aseducationalprogramsdeveloped,curriculumsvaried,resultinginunevenpreparation.Itwasrecognizedthateducation neededtobemorestringent,withformalizedpreparationthatwentbeyond aesthetics.Thegrowingcomplexityoftheworkoftheinteriordesignerledto professionalassociationsformalizingrequirementsformembership.
Newpressuresandresponsibilitieswillcontinuetoaffectallpractitioners,businesses,andevenstudentsofinteriordesign.Thisshorthistory providesacontextforthedevelopmentoftheinteriordesignprofessionandis meanttogivereadersanappreciationoftherootsoftheprofessioncalled interiordesign.Table1-1summarizesitschronologicaldevelopment.This tableisalsoincludedontheWileycompanionWebsiteasitem1-1.Additional historyoftheassociationsispresentedlaterinChapter2.
Theprofessionthrivesduringeconomicboomsand,likeeveryindustry, redefinesitselfwhentheeconomyisslow.Regardlessoftheimpactofthe
TABLE1-1.
Highlightedchronologyofthegrowthoftheinteriordesignprofession 1878First-of-its-kindsemiannualfurnituremarket.HeldinGrandRapids,Michigan.
1904Firstrealuseofterm interiordecoration.FirstcoursesininteriordecorationofferedattheNewYorkSchool ofAppliedandFineArts.
1905ElsiedeWolfeobtainsher firstcommissionasaninteriordecorator.Sheiscreditedwithbeingthe first interiordecorator.
1913ElsiedeWolfepublishesthe firsttruebookoninteriordecoration, TheHouseinGoodTaste 1920sGreatereffortismadebydepartmentstorestomarkethomefurnishings. Manufacturingcentersofhomefurnishingsbegintodevelop.
ArtDecoperiodcreatesgreaterinterestininteriordecorationofhomesandoffices. DorothyDrapercreditedwithbeingthe firstwomaninteriordecoratortospecializeincommercialinteriors. Decoratorclubsbeginforminginlargercities. Designeducationstrengthenedinmanypartsofthecountry.
1931GrandRapidsfurnitureshow.Meetingtocreateanationalprofessionalorganization.
InJuly,AmericanInstituteofInteriorDecorators(AIID)isfounded;WilliamR.Mooreelected firstnational presidentofAIID.
1936AIID’snamechangedtoAmericanInstituteofDecorators(AID).
1940sPost-WorldWarIIindustrialismencouragesnewtechnologiesinfurnituremanufacturing. Industrialismproducesincreasedneedfor,andimportanceof,nonresidentialinteriordesign.
1950sDevelopmentofopenlandscapeplanningconceptinGermanybyQuickbornerTeam.
1951Firsttimeastateconsiderslegislationtolicenseinteriordesign.
1957NationalSocietyforInteriorDesigners(NSID)foundedfromasplintergroupoftheNewYorkAIDchapter.
1961AIDchangesitsnametoAmericanInstituteofInteriorDesigners(AIID).
1963NationalOfficeFurnishingsAssociation(NOFA)createsNOFA-d(NOFA-designers),aprofessionalgroup forinteriordesignerswhoworkforofficefurnishingsdealers.
InteriorDesignEducatorsCouncil(IDEC)foundedtoadvancetheneedsofeducatorsofinteriordesign.
1967NOFAandNOFA-dchangenamestoNOPAandNOPA-d,respectively,whenNOFAmergeswithstationery andsuppliesdealerstoformNationalOfficeProductsAssociation.
1968Introductionof “ActionOffice,” designedbyRobertProbstforHermanMiller,Inc.Firsttrueopen-office furnitureproduct.
1969InstituteofBusinessDesigners(IBD)incorporated.NOPA-disparentorganization.
1970CharlesGelberelected firstnationalpresidentofIBD. FoundationforInteriorDesignEducationResearch(FIDER)isfounded.Isresponsibleforreviewing andaccreditingundergraduateandgraduateinteriordesignprograms.
1974NationalCouncilforInteriorDesignQualification(NCIDQ)incorporated.Chargedwiththedevelopment andadministrationofacommonqualificationexamination. LouisTregre,FAID,servesas firstpresidentofNCIDQ.
1975AmericanSocietyofInteriorDesigners(ASID)formedfromthemergerofAIDandNSID.NormandeHaan is firstnationalASIDpresident.
1976The firstCanadianprovincialassociations InteriorDesignersofOntarioandtheInteriorDesignersofBritish Columbia wereadmittedasmembersofNCIDQ.
1982Alabamabecomes firststatewithtitleregistrationlegislationforinteriordesign.
1988Firstmajordiscussionof1995Hypotheses,thedocumentthatbeginsadiscussionofunification ofinteriordesignprofessionalassociations.
1992PassageofAmericanswithDisabilitiesAct(ADA),whichestablishesaccessibilitystandardsforall publicbuildings.
1993U.S.GreenBuildingCouncilformedtopromotesustainabledesign.
(Continued)
