Professional Documents
Culture Documents
Interior Design (Book 33 Pages)
Interior Design (Book 33 Pages)
An Introduction to
the Interior Design
Profession
As you are reading this book, you obviously have an interest in interiors and
interior design. It might be because you have always enjoyed rearranging the
furniture in your home. Maybe you like to draw imaginative floor plans for
houses. It could be that a relative or friend is a contractor and you have been
involved in the actual construction of a building in some way.
Interior design professionals provide the owners of homes and many kinds
of businesses with functionally successful and aesthetically attractive interior
spaces. An interior designer might specialize in working with private residences
or with commercial interiors such as hotels, hospitals, retail stores, offices, and
dozens of other private and public facilities. In many ways, the interior design
profession benefits society by focusing on how space—and interior environ-
ment—should look and function. By planning the arrangement of partition
walls, considering how the design affects the health, safety, and welfare of occu-
pants, selecting furniture and other goods, and specifying aesthetic embellish-
ments for the space, the designer brings the interior to life. A set of functional
and aesthetic requirements expressed by the client becomes reality.
The interior design profession is much more than selecting colors and fabrics
and rearranging furniture. The professional interior designer must consider
building and life safety codes, address environmental issues, and understand
the basic construction and mechanical systems of buildings. He or she must ef-
fectively communicate design concepts through precisely scaled drawings and
other documents used in the industry. The professional interior designer space-
plans the rooms and the furniture that goes into them, determining location of
partition walls, selecting colors, materials, and products so that what is sup-
posed to occur in the spaces actually can. Another critical responsibility con-
cerns how to manage all the tasks that must be accomplished to complete a
project as large as a 1,000-room casino hotel or as small as someone’s home.
The interior designer must also have the business skills to complete projects
within budget for the client while making a profit for the design firm.
The National Council for Interior Design Qualification (NCIDQ)—an inde-
pendent agency whose purpose is to administer an examination testing the
competency of interior designers for professional licensing and association
membership—offers the following definition of the interior design profes-
sional. It was developed with the cooperation of practicing interior designers
and educators:
The professional interior designer is qualified by education, experience
and examination to enhance the function and quality of interior spaces.
For the purpose of improving the quality of life, increasing produc-
tivity and protecting the health, safety and welfare of the public, the
professional interior designer:
• analyzes the client’s needs, goals and life safety requirements;
• integrates findings with knowledge of interior design;
• develops and presents final design recommendations through
appropriate presentation media;
• prepares working drawings and specifications for non-load
bearing interior construction, materials, finishes, space plan-
ning, furnishings, fixtures and equipment;
• collaborates with licensed practitioners who offer professional
services in the technical areas of mechanical, electrical and load-
bearing design as required for regulatory approval;
• prepares and administers bids and contract documents as the
client’s agent;
• reviews and evaluates design solutions during implementation
and upon completion.1
Professional interior designers are not interior decorators and interior dec-
orators are not professional interior designers, although the public generally
does not see any difference. “Interior design is not the same as decoration.
Decoration is the furnishing or adorning a space with fashionable or beautiful
things. Decoration, although a valuable and important element of an interior,
is not solely concerned with human interaction or human behavior. Interior
design is all about human behavior and human interaction.”2
Although a professional interior designer might provide interior decoration
services, an interior decorator does not have the education and experience to
perform the many other services of a professional interior designer. A decora-
tor is primarily concerned with the aesthetic embellishment of the interior
and rarely has the expertise, for example, to produce the necessary drawings
for the construction of non–load-bearing walls and certain mechanical sys-
tems that are routinely produced by a professional interior designer.
Ethical Standards
The consequences of unethical tion are required to abide by that
behavior by politicians, business lead- organization’s written code of ethical
ers, sports figures, and many others standards. When they do not, the
are widely discussed in the media. association may take action against
Ethical behavior by all members of our them—and it does not take ethics
society is expected, though not always charges lightly. Designers who remain
forthcoming. independent are also expected to
Ethical standards help those conduct their business in an ethical
engaged in a specific profession under- manner, although they cannot be
stand what is considered right and charged with ethics violations. Many
wrong in the performance of the work unethical actions have legal
of the profession. In the case of inte- consequences as well.
rior design, ethical standards are guide- Behaving ethically is not hard.
lines for the practitioner’s work What is hard is facing the conse-
relationships with clients, other interior quences when one behaves in an
design professionals, employers, the unethical manner, regardless of
profession in general, and the public. whether or not one is affiliated
Interior design professionals who with an interior design professional
affiliate with a professional associa- association.
their stores, attracting the average con- rior decorators and to refer to their
sumer. This exposure to new products profession as interior design rather deco-
helped generate interest in the decora- rating. The distinction reflected in these
tion of residences by trained decorators. new terms was first applied to those few
The success of the early decorators interior designers working with business
encouraged many women to seek this clients. In addition, many kinds of new
avenue of professional and career enrich- business clients appeared, slowly provid-
ment. It was, after all, one of the few ing other opportunities for the gradual
respectable ways for women to work in growth of the commercial interior design
the early part of the twentieth century. profession. Dorothy Draper (1889–1969)
Educational programs were developed to is well known for her design of commer-
train the early decorators in period styles cial interiors such as hotel lobbies, clubs,
and to provide the educational back- and stores. Her influence grew in the
ground needed to plan interiors. One of 1940s, and she is often identified by his-
the first schools to offer effective training torians as one of the first interior design-
in interior decoration was the New York ers to specialize in commercial interiors
School of Applied and Fine Arts, now rather than residences.
known as Parsons School of Design. Of course, numerous influential inte-
As the profession continued to grow in rior decorators and designers contributed
the major cities, “decorators clubs” were to the development of the profession
formed in order for the decorators to as we know it today. The names
meet, share ideas, and learn more about Eleanor McMillen, Ruby Ross Wood, Mrs.
their profession. The first national decora- Henry Parish II, Dorothy Draper, Billy
tors association was formed in 1931 and Baldwin, Florence Schust Knoll, and T. H.
was called the American Institute of Inte- Robsjohn-Gibbings are familiar to many
rior Decorators (AIID)—later to be called practitioners in the field. Architects Frank
the American Institute of Interior Design- Lloyd Wright, Mies van der Rohe, and
ers (AID). In 1975, the two largest groups Richard Meier along with designers David
of professionals at the time—AID and the Hicks, Mark Hampton, Michael Graves,
National Society of Interior Designers and Warren Platner are just a few of the
(NSID) merged to form the American fine professionals whose talent immeasur-
Society of Interior Designers (ASID). ably contributed to the growth of the inte-
By the 1940s, due to changes in the rior design profession in the twentieth
profession and the built-environment century. If you would like to learn about
industry in general, many individuals the history of the profession in greater
working in the field began to call them- detail, you may wish to read one of the
selves interior designers instead of inte- books listed in the references.
Getting In
Getting a job in interior design today • local magazines and newspapers
requires an appropriate education and mas- • Dun & Bradstreet Reference Book
tering skills from drafting and drawing to • Registrar of Contractors
effective communication. It involves learn- • Board of Technical Registration
ing technical areas of construction, • Yellow Pages directory
mechanical systems, and codes as well as • professional association chapters
showing you have the interest and enthusi- • family and friends
asm to work in the profession. Getting in You may need two or more versions of
also means knowing what kind of job you your résumé, each specific to a type of
want and whether you want to work in a design work you are interested in obtain-
residential or commercial specialty. You ing. For example, you should organize your
also need to consider if you would work résumé differently when you apply for a
best in a small studio, a large multi- position with a firm primarily engaged in
disciplinary firm, or an intermediate- residential design work versus one that
size practice. specializes in hospitality interior design.
When it comes time to look for a job, The résumé also should be somewhat dif-
be sure to do your homework on the com- ferent if you are applying to a large
panies in which you are interested. If you multidisciplinary firm versus a small firm.
know something about the company The same goes for your portfolio. Showing
before the interview, you will make a far a commercial firm a portfolio of residential
better impression at the interview. Inves- projects could be a waste of time all
tigate the style and type of interior around. Résumés and portfolios are dis-
design work the firm does by researching cussed in other sections of this book.
trade magazines and local print media. Looking for a job in interior design—
Look for the firm’s website and carefully whether your first one as you finish school
examine as much of it as you can. Talk to or when you move from one firm to
professors who know something about the another—is a job in itself. It is important
company. Your college placement office that you go about it in a sensible and
might be able to help as well. organized fashion. The more prepared you
You can also find out about possible are, the more homework you do before you
jobs and about a specific company by even start your search, the greater your
researching: chances of gaining that ideal position.
• Chamber of Commerce articles and
reports
Membership Qualifications
American Society of Interior Designers (ASID)
Professional
• graduation from recognized program of study in interior design
• educational requirement must meet NCIDQ requirements
• minimum two years’ work experience in interior design
• completed NCIDQ examination
• appellation usage: Jane Doe, ASID
Allied
• graduation from recognized program of study in interior design
• minimum two years’ work experience in interior design
• appellation usage: Jane Doe, Allied Member ASID
Other membership categories exist for individuals who are not interior
design practitioners.
Note: NCIDQ requires a minimum of six years of education and work experience in order
to qualify to take the examination. The minimum educational requirement by NCIDQ is a
two-year certificate in interior design.
Corporate headquarters:
board room. Fred Messner,
IIDA, Phoenix Design One,
Inc., Phoenix, Arizona.
Photographer: Christiaan Blok.
Commercial—College and
University Buildings
Allied Professions
The interior designer or client, to provide expertise in specific areas of an interiors project,
may hire professionals and consultants in allied fields.
• Architecture: The profession of designing and supervising the construction of buildings
of all types.
• Engineering: The planning and design of various technical aspects of a building or its
interior. Types of engineers that might be involved in an interior project include mechani-
cal, electrical, plumbing, heating and ventilation, and structural engineers.
• Facility planning: Synonymous with space planning. Facility planners often work for
client corporations.
• Graphic design: The design and development of a wide variety of graphic media for
print, film, advertising, books, and other areas of commercial art.
• Interior architecture: Many consider this profession synonymous with interior design;
however, most state boards of technical registration require that the term interior archi-
tect be used only by individuals who have graduated from a school of architecture or
been certified as an architect.
• Kitchen and bath design: The specialty design of residential and commercial kitchens
and/or baths.
• Lighting design: The specialty design of artificial and natural lighting treatments to
enhance the design and function of an interior or exterior space.
• Space planning: The planning of interior spaces, especially in commercial facilities. Gen-
erally, the space planner has less responsibility for the decorative aspects of the interior
than the interior designer.
masters in architecture and is house. Then others started major; then I was again
regarded very highly. The asking for my interior design encouraged to look at interior
undergraduate degrees offered advice and urged me to take it design by a professor. The
are environmental studies up as a profession. short of it is that I fell into the
(three years) and interior —Greta Guelich, ASID profession and haven’t looked
design (four years). I chose the back. It was the best educa-
interior design program. I knew I wanted a profession in tional/career decision I could
I would have a solid profession which I could use my creative ever have made.
to rely on if I did not continue —David Stone, IIDA
abilities while impacting the
studying for my masters. (The public in a positive manner.
environmental studies program Interior designers have a great To provide functional, aes-
would provide an undergraduate responsibility to the general thetically pleasing environ-
with a very good foundation to public (corporate design, hos- ments for people to live and
proceed into architecture, but it pitality design, etc.). How a work.
would not provide a solid space functions, how people —Sally Nordahl, IIDA
degree on its own.) feel in that space, is the public
Once I graduated, I gave safe while in that space, can
myself one year to work in the I always knew that I’d be
all people utilize that space involved with some type of
industry before going back to regardless of physical ability:
school for my masters. I have design, but I had to take a
these are all considerations number of art and design
been practicing interior design I must make for every job.
for 15 years and have no inten- classes in college to decide
Interior designers have a great which area was a good fit. I
tion of obtaining a masters in responsibility and a new chal-
architecture. was steered into graphic design
lenge with every new client. by a guidance counselor in col-
—Jennifer van der Put, BID,
—Christy Ryan, IIDA
IDC, AEIDO, IFMA lege who didn’t understand our
profession at all. But when I
It was a blending of techni- took a job in college working
I started drawing in kinder-
cal knowledge and the creativ- with architectural models, I
garten. I was always fascinated
ity of implementing design realized that architecture and
with the details in the homes
theories. design were where my true
of friends while growing up. —Linda Isley, IIDA
—Pat Campbell McLaughlin, interests lay.
ASID —Suzanne Urban, IIDA, ASID
The plan has always fasci- thought I wanted to become I will give you the long ver-
nated me. As a very young an architect or a home builder, sion! This is the story I share
child, I drew house plans for and some day I might be. In with eighth-graders who are
fun. And I had a high school college, I learned what an inte- interested in interior design:
art teacher who introduced rior designer was. I realized I I grew up the daughter of an
rural kids to the world of had several of the interests architect and engineer. My
applied art. Everybody assumed that make an interior designer. father designed our house and
a college-bound rural kid would I believe I am a designer had it built in 1966. My par-
become a teacher or home because the field of design ents always gave me great free-
economist. I enrolled in the found me. dom in decorating my room—
College of Arts and Sciences as —John Holmes, ASID, IIDA from painting in whatever color
an art major! A couple of pre- I wanted to allowing me to
architecture courses pointed I was already an architect hang whatever I wanted on the
me in the direction of architec- for 20 years and could not walls. When I was in the sev-
ture or interior design. Eco- separate the roles of architect enth grade, I really wanted a
nomics and circumstances put and interior designer so I took loft. The ceilings in our con-
me in the interior design mas- the NCIDQ so I would be legit temporary house were very
ters program at the University (South Carolina has no title or high. My father said if I drew a
of Missouri, Columbia. I have practice act for interior design). plan of what I wanted, he
never been sorry. The intimate —W. Daniel Shelley, AIA, ASID would build it. So I had this
relationship between an inte- wonderful loft space in my
rior and the people who live To help people create room with my mattress up
and/or work there is fascinat- beautiful and functional envi- high. It was very cool for a 12-
ing. I truly believe that when ronments that promote healing year-old!
an interior works, people live and safety. I was in high school and not
better, work better, learn —Beth Kuzbek, ASID, IIDA, sure what I should study in
better, and heal better. CMG college. I loved arts and crafts
—M. Joy Meeuwig, IIDA projects but didn’t take art in
Engineering is too dry, high school. However, I did
and architecture is generally take mechanical drafting, and
I loved the idea of assisting
too focused on the massing in the summer I worked a little
people and business.
—Ellen McDowell, ASID and overall look. Interior bit in my father’s office draft-
design allows me to create the ing elevations and floor plans.
experience. When I was in high school, I
Growing up in the family —Michelle King, IIDA had a science teacher who said
carpet business, I learned to I should study forest engineer-
appreciate the construction of I enjoy helping people, the ing because it was a field with
homes and of buildings. Over practical creativity of the pro- few women in it and I would
the years, I was exposed to fession, and that every day is make a lot of money. Sounded
how people worked and lived. different in the life of a good to a 17-year-old—tromp-
In school, I was taught draft- designer. ing around in the woods with a
ing at an early age. Art classes —Stephanie Clemons, PhD, bunch of guys! I entered the
taught freedom of expression. I ASID, IDEC
University of Maine at Orono
and promptly flunked out after Antioch New England Graduate classes; the books Designing
one semester. While I was in School and gained an MS in Places for People, A Pattern
Orono, however, I decorated Organization and Management, Language, Humanscape, Envi-
my dorm room and won an graduating in fall 2002. ronments for People, and even
honorable mention prize for my —Lisa Whited, IIDA, ASID, Human Dimension for Interior
room. That prize got me to IDEC Space—the ergonomics part
thinking that maybe I could even seemed interesting to me.
make a living doing what I’d I love buildings, the exte- (Weird, huh?)
always enjoyed so much, so I rior blending with the interior, Now my life has taken many
entered Bauder College in and bringing them together in turns away from the plans I
Atlanta, Georgia, and received a harmonious manner to create had when I was 30! But I love
an AA in interior design in a special place to live, enter- my work—I love being a pro-
1983. I graduated top of my tain your friends and family, fessional designer.
class—proving that once I —Linda Kress, ASID
work, and, especially, relax.
knew what I wanted to do I —Kristen Anderson, ASID,
could excel at it. CID, RID
Strong interest in
I worked for an office furni- architecture, fine art, and
ture dealer (Herman Miller) for construction.
At the time I started interior
three years. Then, in 1986, —William Peace, ASID
design school in 1981, I was
when I asked for a raise (I was
30-year-old wife and mother,
making $12,000) and was
working in a furniture business Through growing up in
turned down, I decided to start
my husband and I owned. I was Japan, I realized that life
my own company. At the age
good at helping the customers experiences shape who we are.
of 23, I started Lisa Whited
and thought it would be logical Everything about my living
Planning and Design, Inc. I
to finish my college degree in environment—region, culture,
kept the company until 2001.
interior design rather than in interior dwellings, etc.—influ-
In 1988, realizing I really
journalism (which is what I was enced the development of my
needed to add to my design
majoring in in the 1960s when I character and how I feel about
education, I entered the
dropped out to get married, as myself and living. In high
Boston Architectural Center,
many women did in those school, I specifically realized
studying architecture. I studied
days). that I wanted to influence
for three years, commuting
As it happened, the FIDER- others, as I knew so well how
from Portland, Maine, to
accredited program at the Uni- our environment can affect our
Boston (two hours each way)
versity of Missouri was power- motivation and zest for life. I
two nights per week. I did not
ful. I soon came to understand decided to do this through
get my degree—but the addi-
the true impact designers can interior design, where I could
tional education was invalu-
have on environments and, develop interior environments
able. I also took classes over
therefore, on people (and I’m a that enhance motivation and
the years at the Maine College
people person). I loved every positive experiences for others.
of Art (color theory, etc.). In
aspect of my education, but I —Susan B. Higbee
2000, still wanting to add to
especially loved the people
my education, I entered
part—the design and behavior
After reaching a previous I have always had a great This is my second career. I
career goal as a journalist early interest in our history and was a fashion designer for
in life, I decided the only thing culture as a society. The rooms many years, but as I became
left to do was to write a book we choose to inhabit are our caught up in the business side
and quickly realized I didn’t interpretation of a personal of the profession, I missed the
know much about anything history. creativity. Once a designer,
other than journalism. I I grew up in a ranching always a designer. I switched
thought I should pursue family in Wyoming. The life- professions from fashion
another interest for the subject style and environment did not designer to interior designer
of the book and went back to lend themselves toward much because (1) I wanted to design
college to study interior design. more than a practical exis- more all-encompassing projects
College led to practicing. tence. As I was growing up, calling for unique solutions in
—Suzan Globus, ASID when I would visit a place or which I could deal directly
see a picture of a room that with the end user, and (2) I
As a child, I was influenced had been purposely composed wanted to move to a more
by my mother and grand- and designed, it felt so enrich- entrepreneur-friendly field in
mother. Growing up in Miami, I ing. Rooms carry the spirit of which I could work alone or in
spent a lot of time watching their inhabitants, a well- a small team and still accom-
them renovate homes and designed room can excite the plish great things.
soul much the same as an —Sally D’Angelo, ASID
boats. It was then I realized I
could mentally visualize a exhilarating conversation.
—Cheri R. Gerou, AIA, ASID
space in three dimensions.
Interior design just seemed to
be the natural direction for me.
—Sally Thompson, ASID