Tuesday, June 28, 2011

How I became an Interior Designer…

No. 11: When did I begin loving interior design?  When did I know I wanted to become an interior designer?

My Story…  When I was young, I never said “when I grow up I want to be an interior designer”  I didn’t know it was an occupational option… on all of my career path documents from elementary school to high school, I listed that I wanted to be first a homemaker and second a teacher (later narrowing to an elementary school teacher – I had some great elementary teachers).  Looking back even as a young child, I loved art, doll houses, historical design, old and new buildings, construction projects – I loved the smell of the home improvement stores, and I’ve always had grand ideas. One of my first sentences as a toddler was “make money, build a house”, when our house was built I got to help pick my carpet and wall paint – as a five/ six year old I was emphatic what shade of pink it was to be – my budding expertise didn’t win the color battle – carpet was a grayed pink and walls were painted a pale, almost white, pink – called cotton candy.  I wanted boldness in color, my mother wanted safety and longevity in color – it was her house. 

One of my elementary school memories includes a field trip to the Carroll Mansion in Baltimore City, Maryland. I remember being impressed by the architecture, design, and finishing details. As a young child, the house and its story made an impression on me, one I never forgot. I loved the dining room, the rich colors appointed to the walls and windows, the federal style dark stained dining table and hand carved chairs, silver and china on display, I couldn’t begin to take it all in. I can still see the molding details, elegant curved stair case rail, mantles, and drapery in my mind’s eye; moreover, I remember how I felt - awestruck. My souvenir while the other children were purchasing pencils, toys, and key chains – a simple post card of the dining room, which I treasured and still have.  I loved visiting the cloisters, it was one of my very favorite places.  I loved the Hampton Mansion, the Walter’s Art Gallery with it’s impressive marble columns, and the miniature rooms on display at the BMA.

I always doodled (I listen better when I doodle), I learned that if I changed the angle of a line my drawing would go from flat to having depth – I would draw houses with porches and dormers.  I loved art, although I didn’t much care for the art projects in my elementary school art class – in fact, my art teacher even told me I would never have a future in art (an absolutely horrible thing to say to an elementary school student – of which she was clearly wrong in her assumption) that didn’t stop me, I would paint and do arts and craft projects, I was always driven by making something both functional and beautiful.  I loved home economics and shop class in middle school, I found the drafting unit in 7th grade just exciting.  

I continued art courses into  high school, taking as many studio classes as I could, was a part of the national art honor society.  To describe my interests in high school: Art, History, French, Science, Student Government… all of which serve me well in my profession today.  I applied to two colleges Towson State University and Brigham Young University, both as declared elementary educations majors, I was accepted to both, I accepted both – Towson for one semester in the Fall (I had a great scholarship), and BYU to begin in January (a chance to leave – my fist airplane ride).  At Towson, while sitting in orientation for elementary. education. majors I looked around at my fellow class mates (they were wearing lots of denim with embroidered Disney characters peeking our of pockets, I felt it – I knew it - these were not my people) we toured the campus elementary education. facilities – albeit impressive, I was quickly realizing this was not the department for me.  Come registration (which was a physical meet with someone to sign up for classes ordeal – online is so much easier these days)  I mentioned I didn’t want to start the elementary education track but just take generals – so what was open… English, History, French 201, and Human Geography – I was a freshman, yikes – I made it through – didn’t care for my teachers, nor was any of it particularly interesting – I didn’t have a major,  I didn’t have much purpose.  What was I doing?

I went to BYU starting in January, more general education requirements: English, Biology, Economics, Religion, and a class for fun Introduction to Interior Deign – which changed my life.  I had the class after lunch at 1pm we would sit in a dark room reviewing slides and listen to lecture, (admittedly I would fall asleep in class occasionally – dark room, after lunch – inevitable) we had a few small projects I loved it, it opened an amazing world of recessed lighting and chair designs, I learned the names of styles and periods, I learned the technical aspects of the industry – codes – ADA – human scale.  I was excited!  I fell in love, and better yet, I felt like I found a place with my kind of people (artsy – but not too much, passionate, with a side of business and technical) – I had a major! 

I looked into the program, it was part of the College of Fine Arts and Communications – majoring was by selection: an application, practicum and portfolio, applications were only received in February – It was spring, I had missed it.  Only 20 students were accepted in each department per year(12 departments).  Over the summer, I pulled together my high school portfolio and worked on my application, I continued to take general education. courses in the fall.  I applied in winter, six weeks later I was sent a magical letter – I was in.  I could now take the art core classes!  Although I was accepted with the idea that I would pursue interior design that initial acceptance was to get into the college of fine arts visual arts dept. We would be juried yet again at the end of that first year and then be selected to enter our specific department.  As I had already taken 2 full years of general education. requirements, I was just about finished – I filled my schedule with the core courses and any non- prerequisite required interior design courses and built my portfolio accordingly.  At the end of that first core year I felt confident in pursuing interior design and was very pleased to have the next letter of acceptance, that was the end of my first junior year (there was no possible way to complete a four to five year design program in two years so I like to think that I had two junior years and I did the program in three).

I crammed as many interior design courses as possible into a semester, each year we were re-juried with a portfolio review in order to maintain our major – only the best – if our grades and skill level didn’t cut it, we could graduate with a BA in design, not the BFA in interior design.  Every year it was always a bit nerve racking, but we became very skilled at portfolio display and presentation.  Even up to our final BFA reviews we could be dropped to a BA.  As difficult and competitive as it was – I loved it.  It was a perfect fit.  I thrived, I became active in the Interior Design Club, ASID and IIDA – becoming student president of each.  I was a Teacher’s Assistant for Introduction to Interior Design for the Professor I took that first class from (she allowed me to teach a few lectures and I helped with grading), and a TA for Textiles and Historic Textiles – I learned from some of the best teachers in the industry – they wrote the books that many colleges and universities use (I had no idea how well known they were – until I began teaching myself and doing textbook research).  I loved it, all of it – even the parts I didn’t like, I loved.  My classmates were friends and co-workers. We worked tireless – pulling many over nighters in the design lab, we had fun.  I interned in the Baltimore area, knowing I wanted to come home to the East to work. I graduated the following year and felt well prepared to take on the real world.

I still love interior design, it is apart of me.  I have added teaching interior design to my list of loves – I guess that elementary school career path wasn’t too far off – I wanted to be a homemaker and a teacher – ultimately I am both not in the pre-prescribed idea – however, through design, I have helped hundreds of my residential clients make their home a better place to live and now as a college instructor I teach and inspire my students to love interior design as much and even more than I do.  

Friday, June 24, 2011

Ooh là là… Rococo Design

No. 10  Favorite Design Stylesimage

Like Roman compared to Greek – there is a sense of whimsy and an over decorative art for art’s sake quality to Rococo design.   Rococo is best associated with Louis XV where which it flourished (1730 – 1760) . image

Rococo is light, feminine, soft, asymmetrical, curvaceous, and playful—a pendulum-swing reaction to the heavy-handed masculinity of the Baroque/Louis XIV period before it. Painting and sculpture is elaborate ornate, highly pictorial. Though the Rococo style eventually spread to England, Germany, Russia, Italy and the Netherlands, there is something about it that remains whimsically and quintessentially French.The style is based on ornate natural forms – like shells, the name Rococo comes from Rocaille French for Shell. 

imageRococo fashion and its amazingly detailed and complicated decorative and flamboyant excesses for me and women alike.  A frivolity that was put to end with the French Revolution “off with their heads”. 

The period of French Rococo is marked by a departure of the orderliness of classical design by using free form and asymmetrical movements, C and S scrolls, cabriole legs, and motifs of plants, shells and flowers. Known for it’s frivolity, playfulness, lightheartedness and asymmetrical design.

  

imageimageimage

Rococo Influence:  I love to use a few French rococo lines in design, although rarely do I incorporate more than a textile, pattern or accessory.  In 2009, I participated in the Family Tree Organization’s Great Chef’s Dinner the theme was “Paris in Paradise” with the idea based from the guest chef’s restaurant in Bermuda and he being French. I immediately thought of a French Rococo inspired Eifel Tower Sand Castle.  It measured over four feet off the table, made of carefully cut – mostly to scale cardboard pieces covered in burlap and plaster for  texture with additional plaster “c” and “s” curves, painted sandy tan and highlighted with gold metallic paint. Clusters of seashells adorned the structure. Brown sugar made my sand filled base and bright turquoise buckets with silver shovels dug into find more shell treasures. It was a fun interpretation of Rococo.

Great Chef Charity Event 2009 01

 Great Chef Charity Event 2009 02

  image

Why Hire an Interior Designer?

Why Hire an Interior Designer?  Avoid costly mistakes; an Interior Designer can help you make the right decision the first time, saving you both time and money.  Through understanding your needs, desires, and concerns an Interior Designer will create a functional plan that will make the best use of your space at the moment and for years to come.  With a developed plan an Interior Designer can help you realize professional results in space planning, color selection and usage, material selection, furnishings, and window treatments, tailored to your needs and style.  An Interior Designer will determine the best use of existing furnishings and accessories in order to make the greatest use of your assets.DSC00018

When should I get an Interior Designer Involved ?  It is best to bring an interior designer in at the beginning of a project or even at the anticipation of a project.  An Interior Designer will help you know where to start, be excited about the potential of your project and help visualize the end result. This will also give you an idea of cost, time, and the realties of the project.  If you have already begun a project and are stuck not knowing where to go next or feeling overwhelmed by the prospects,it is time to step back and allow a professional to evaluate the process and the needs of your existing project.  This will make the finishing aspects go smoother and perhaps look into areas for design improvement.  If you have a mostly finished project, but it is not really feeling finished an Interior Designer can help with the “tweaking" making the space truly finished. Solving problems that make even a challenging project end well.DSC_0113

The Future of Interior Design

No. 9 Interior Design: Professional Hopes and Dreams

“Interior design is a multi-faceted profession in which creative and technical solutions are applied within a structure to achieve a built interior environment. These solutions are functional, enhance the quality of life and culture of the occupants and are aesthetically attractive. Designs are created in response to and coordinated with the building shell and acknowledge the physical location and social context of the project. Designs must adhere to code and regulatory requirements, and encourage the principles of environmental sustainability. The interior design process follows a systematic and coordinated methodology, including research, analysis and integration of knowledge into the creative process, whereby the needs and resources of the client are satisfied to produce an interior space that fulfills the project goals.”  http://www.ncidq.org/AboutUs/AboutInteriorDesign/DefinitionofInteriorDesign.aspx 

blueprint%20B%20AND%20W%20SAMLL

I carry many job titles. As interior designers we are a professionals, many are business owners and operators, we are problem solvers, therapists, sales people, experts in many products and systems - our clients assume we know about everything from technology and innovation to technical details and codes – and many times we do – it pays us to know these things, we are market and trend watchers, we are artists, artisans, craftsmen, we are idea smiths, creative, innovative, we are driven by functional creativity, we are coordinators, we focus on the human scale – humanizing defined space – making it ergonomic and user friendly, we are marketers and publicity hounds,  we are sensitive to our clients needs and wants, we are relationship developers – we become a apart of our clients lives and businesses, we are interpreters, we are educated and continue to further our education, we are teachers and informants, we are detectives and even on occasion mind readers, we are visionary.  To the contrary as a profession, we are underpaid (after all we probably should - but we don’t - bill like lawyers), under recognized (architects are remembered for their structures – sometimes we are acknowledged for our contributions in a project too – but I challenge you to name the interior designer or firm on a particular remarkable project – when it comes to design we usually just remember the remarkable project), we are over worked with expectations to time ration (we work magic but it takes time – TV has deceived us with design projects finishing in under an hour with commercials – unlimited resources and budgets).  

I work in a perplexing industry.  Somewhat regulated, but not really understood by the public or politicians as to why we have titles like CID (certified interior designer), we suffer continued ego battles between similar professions – some, but not all, architects and contractors call us names like inferior desecrators, roll their eyes during meetings, put up a fight during the whole process, ignore or discount our input – they rarely get what we really do, certainly many don’t see the value of our profession or how much we benefit a project, they see trouble (we can own some of those stereotypical judgments – we have our own ego/ diva moments too, and unfortunately often times one bad experience taints the rest) – but those who fought the most always enjoy the credit for a well finished space (although they were certainly a part and also deserve due credit, their work was not alone and is greatly enhanced by our professional capabilities making it more human, comfortable and esthetically pleasing as a result)

Education is important.  Interior designers are educated and continue to learn about our ever evolving industry resources.  We also educate our clients, we are their resources, and act as a primary tool to represent our profession to the public. We must represent well and promote our industry.  We must show case our abilities, achievements and qualifications and help the public discern the differences in professionalism.

There are many talented decorators who have a knack, an eye, and even carefully developed specialized skills, some perhaps could argue they are even more talented than someone with a degree; however, there is a right of passage and professional accolades that mark an interior designer who has passed (even suffered) through course work and development. (I encourage these skilled individuals to enhance their natural talent with additional training and a degree to solidify their abilities – there are many local two year and part time associate degree programs). There is a foundation of skills from drafting, space planning, computer systems, codes, history, and textile fibers to working as a team, critiques, and developing professional ties that one cannot gain with out proper training.  I will acknowledge that in business there is room enough for all, however as a profession we need to determine what sets us a part and while not tearing down another’s business promote what makes us great as a professional – and distinctions in the industry.    

“Differences between Interior Design and Decorating: Many people use the terms "interior design" and "interior decorating" interchangeably, but these professions differ in critical ways. Interior design is the art and science of understanding people's behavior to create functional spaces within a building. Decoration is the furnishing or adorning of a space with fashionable or beautiful things. In short, interior designers may decorate, but decorators do not design.  Interior designers apply creative and technical solutions within a structure that are functional, attractive and beneficial to the occupants' quality of life and culture. Designs respond to and coordinate with the building shell and acknowledge the physical location and social context of the project. Designs must adhere to code and regulatory requirements and encourage the principles of environmental sustainability.  The interior design process follows a systematic and coordinated methodology—including research, analysis and integration of knowledge into the creative process—to satisfy the needs and resources of the client.  Many U.S. states and Canadian provinces have passed laws requiring interior designers to be licensed or registered—documenting their formal education and training—and many of them specifically require that all practicing interior designers earn the NCIDQ Certificate to demonstrate their experience and qualifications. By contrast, interior decorators require no formal training or licensure.”   http://www.ncidq.org/AboutUs/AboutInteriorDesign/DifferencesBetweenInteriorDesignDecorating.aspx image

My own hopes and dreams for my future in this industry is to continue the educational track, I have enjoyed teaching, advising and mentoring future interior designers.  I bring real experience and opportunities to the class room.  I was well taught and have used my own education to benefit my clients and community, I hope to inspire many future interior design professionals. 

How do we want to be known in the future? Our industry must decree professionalism.  We must take an active role and make it known that our expertise is a necessary part of any project.  We rely on our professional organizations to help promote this image, ultimately no project, commercial or residential, should allow for the interior environment to be considered as an after thought.  Our professional involvement in a project early on will make for much better final results, fewer construction change orders or project redo’s happen when the right decisions are made prior to construction or during the process, budgeting is more thorough and the details that are often not allotted for which really make a project shine are part of the whole package.  As president of the Maryland Chapter of the American Society of Interior Designers I developed an ad (shown at right) which ran in the 2010 BSO Show house book and the Fall 2010 and Spring 2011 Maryland Home and Garden Show, showcasing what sets an ASID designer apart from the rest.

Touch & Feel

image

No. 8 Texture

Interior Design is a very tactile industry, designers like to touch and feel – we have pay special attention to texture and carefully balance them, there is thought and purpose to our composition. 

Everything has a visual and physical texture.  We touch first with our eyes then with our hands.  Our ability to articulate texture is important, we need to know how to utilize and describe textures. 

How do we describe a visual and tactile element through words? Choosing our words carefully, we can convey varied connotations which can promote or dismiss options. Looks can be deceiving… and offer some playful serendipitous results!

Texture words: abrasive, aged, biting, boiling, bubbly, bumpy, burning, bushy, chapped, chiseled, cheap, clammy, coarse, cold, cool, corduroy, corrugated, cottony, creamy, curdled, cushioned, danger, damp, dank, dirty, downy, dry, dusty, embedded, engraved, fiery, fine, fluffy, fluted, foamy, freezing, furry, fuzzy, glassy, glossy, grainy, greasy, grimy, gripped, gritty, grooved, hairy, hard, harsh, hot, icy, inlaid, itching, lacy, loose, matte, matted, metallic, moist, nubbed, patina, pebbly, pierced, pocked, polished, plush, pressed, prickly, pulpy, raw, rich, rocking, rusty, rutted, sandy, scalding, scaled, scarred, scorching, scratchy, sculptured, searing, shaggy, sharp, sheen, sheer, shiny, silky, sleek, slick, slimy, slippery, smooth, soft, sopping, spiky, splintered, steely, sterile, stinging, slubbed, stubbly, tangled, tickling, tight, tweedy, velvety, warm, waxy, wet, woolly

How would you describe these textures:

Stone

,     imageimage imageimage

Wool

Wood

image 

Wednesday, June 22, 2011

There is just something about Spanish Colonial Design…

No. 7  Favorite Design Styles

Understanding design periods begin with understanding geography and socio-economic and political history… imageSpanish colonial design has many facets including time line and geographical trends it takes a great deal of influence from the medieval and renaissance periods and Moorish Spain. Mixing these with styles with a colonizing the new world in somewhat creating the old world fashion we get the very beautiful and versatile Spanish Colonial Style.

The Style: With influence of Persian, Medieval, Renaissance, Baroque, Spanish, Mediterranean, Moroccan, and more… this style is commonly seen with wrought iron details, arabesques, colorful geometric patterned tiles, warm terra cottas, rich dark woods, plaster walls, beamed ceilings, heavy furniture.  This style leads into the

Mexican Hacienda Style, it influences the southwest style, is indicative of the California Mission style, and is reawakened with an updated during the Mission style revival 1890 – 1915 and Spanish Colonial Revival 1915- 1931.  There is a richness and a romance that embodies this design.  See below for more history.

I just want to sit back and listen to Classical Spanish Guitar (click on the video to enjoy) scroll through the Art de Mexico Furnishings and Lighting Catalog  - and dream of the designing a rich luxurious Spanish Colonial Estate.

File:Moresque ornament, Peter Flötner.jpg

 

image image

Great examples and descriptions:  http://decortoadore.blogspot.com/2008/09/spanish-colonial-interiors.html (two photos immediately below are from that blog)

 

 

 

 

 

 

 

 

 

image image

 

 

 

 

 

 

image

image

History Lesson:  What is Moorish, who were the Moors? Moors were Muslims who invaded Spain in the 8th century and established a civilization in Andalusia that lasted until the late 15th century also known as a Muslim people of mixed Berber and Arab descent, now living chiefly in northwest Africa. When something is called imageMoresque it is characteristic of Moorish art or architecture, an ornament or  decoration in Moorish style.

Mudéjar: Mudéjar is the name given to the Moors or Muslims of Al-Andalus who remained in Christian territory after the Reconquista but were not converted to Christianity. It also denotes a style of Iberian architecture and decoration, particularly of Aragon and Castile, of the 12th to 16th centuries, strongly influenced by Moorish taste and workmanship. The word Mudéjar is a Medieval Spanish corruption of the Arabic word Mudajjan مدجن, meaning "domesticated", in a reference to the Muslims who have submitted to the rule of the Christian kings. After the fall of Granada in January of 1492, Mudéjars kept their status for some time. However, they were forced to convert to Christianity in the mid 16th century, and were known as Moriscos from that time until those who refused to convert to Christianity were expelled in 1610. Their distinctive style is still evident in architecture as well as the music, art, and crafts of the region.  http://en.wikipedia.org/wiki/Mud%C3%A9jar 

In 1492, Spain drove out the last Moorish king of Granada. After their victory, the Spanish monarchs negotiated with imageChristopher Columbus, a Genoese sailor attempting to reach Cipangu by sailing west. Castile was already engaged in a race of exploration with Portugal to reach the Far East by sea when Columbus made his bold proposal to Isabella. Columbus instead "inadvertently" discovered the Americas, inaugurating the Spanish colonization of the continent.  The Spanish Empire (1402- 1899 ) was one of the largest empires in world history, and one of the first global empires. It included territories and colonies ruled by Spain in Europe, the Americas, Africa, Asia and Oceania between the 15th and late 19th centuries.  It was said “the sun never sets on the Spanish Empire” The 16th and 17th centuries are sometimes called "the Golden Age of Spain”

Spain took this hint of Persian, Medieval - Renaissance, Mediterranean style and introduced it to it’s conquests – creating colonies that reflect this flavor, yet used many local products and craftsmen – giving it a flair all of its own.  An example Diego Columbus’ Home (Son of Christopher Columbus and First Governor of the New World,  Santo Domingo, Dominican Republic – see photos below) was constructed from dead coral which was a readily available product, durable and carve-able like the building stones in Europe.  This stone also was used in the first Cathedral of the new world.   

image

  image image

 DSC06236