MODULE 1
Fundamentals of Interior Design
1.1 What is Interior Design?
1.2 Qualities & skills of an
Interior Designer
1.3 Brief history of modern
Interior Design
1.4 Becoming an
Interior Designer
1.5 Descriptive design terms
1.6 Meeting your clients
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1.1 What is Interior Design?
Any interior environment is an interactive experience of
the structures, objects, surfaces, space and light felt by
the people who move through that building. The skill of
Interior Design is in:
Understanding the variety and sequence of
experiences in use and space that will happen in
an interior.
Responding to the user‟s needs and expectations,
within the determinants of the building.
The interior designer is an artist, a problem solver and a
form-maker. Interiors give life to a building and set the
stage for the players, or users, to enter and carry out
their performance.
“The space within
becomes the reality
of the building.”
– Frank Lloyd Wright,
American Architect and Designer
As an Interior Designer or home stylist, you are challenged to solve a number of problems and
meet many requirements at different levels and scales; privacy, connections, enclosures,
adjacencies, functions, sound, view, furnishings, lighting, mood, color and more. The solutions
are layered and intertwined intricately, creating specific effects. Along with achieving the
tangible criteria, your design needs to be engaging and evocative.
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1.2 Qualities and skills of an interior designer
Above all, the overriding quality you need as an Interior
Designer is a creative spirit; an urge to look at things
differently and to experiment; a desire to create something
unique that meets the functional and aesthetic requirements of
your brief and a flair for doing so.
Commitment and motivation
To be driven to change,
improve or restore an
interior environment.
To have the vision to see
through creative ideas to their
end manifestation.
To have belief and
confidence in self
expression.
To have the management skills
to supervise all disciplines and
aspects involved in a project.
Hands-on skills
To be comfortable in
working with three
dimensional form, color,
texture and space.
To have a natural skill for
knowing how materials sit in
close proximity.
To be skilled at producing hand
sketches or CAD drawings.
(Computer aided design.)
To have good analytical
and problem solving skills.
What makes an Interior
Designer?
Organizational abilities
To be able to handle a large
range of materials, products,
suppliers and services.
To be resourceful and efficient at
finding solutions.
To be disciplined in creating an
easily accessed store of
information, reference material
and resources.
To be able to plan a program of
work and meet deadlines.
To be a team player among other
service providers and suppliers.
Communication and perception
To be perceptive of people‟s
personalities, needs and aversions
and to be sensitive in investigating
these.
To foresee possible issues and
problems and to ask the right
questions to find solutions.
To have good verbal and written
communication skills and to be clear in
outlining plans and intentions.
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1.3 Brief history of modern Interior Design
Throughout the ages, historical
events, discoveries, inventions and significant people influenced
design and style, including interior
design. The strong classical
traditions from Egyptian, Assyrian,
Greek and Roman times influenced
designers of interior space right
through the Middle Ages.
As we moved into the modern
ages, these traditional lines and forms began to be overtaken by a freedom from cultural
history which coincided with a radically changing world. After
the industrial revolution, there were dramatic advances in
technology, engineering and in the arts and sciences. People
were living radically different lives and this began to be
reflected in how design changed.
Here we outline a few of the defining movements of modern style:
THE ARTS
AND CRAFTS
MOVEMENT
1880 – 1910
As mass production became standard and developments in
communications, travel, transport, reinforced concrete and steel
were shaping a very new way of living, a movement emerged
that showed a respect and desire for traditional methods - the
arts and crafts movement. In the midst of rapidly moving
industrialization, a world focused on machines and what they
could produce, it reinforced a strong link with nature by basing
design of buildings, furniture and artefacts around the skills and
workmanship of traditional craftsmen. William Morris was one of
the main instigators of this style.
Wood was a prominent material and was used in tapered
architraves, arches, paneling, beams, windows of various
proportions, picture rails and dados (like a picture rail at
arm/shoulder level). Arches were placed over doorways,
fireplaces, windows or as a division of space.
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ART
NOUVEAU
1890 – 1910
This followed the Arts and Crafts movement and was another
reaction to the styles of the previous centuries. It shared the
interest in maintaining a style that reflected natural as opposed
to mechanical influence. However, it also acknowledged the
usefulness of mass production. It incorporated many distinctive
characteristics which were inspired by the flowing and curving
lines in nature. The natural forms of flowers, plants, trees and
swirling water were lavishly imitated in décor and furnishings,
though the effects were much more fluid and free than the rustic
style of the Arts and Crafts Movement.
Art Nouveau largely ignored historical design and as well as
taking inspiration from organic form, was greatly influenced by
the French use of color and the popular craze at the time for
„Japonisme‟. Tendrils and floral arabesques often lavishly
adorned objects and furnishings to the point of obscuring their
original shape. However, as this movement was based largely
on artistry and didn‟t lend well to mass production, it was a
relatively short lived era and was overtaken by progression to
more modern influences.
THE MODERN MOVEMENT
This movement reflects a strong desire to
leave behind the eclectic Victorian
tradition and the lavish style of Art
Nouveau. It was born from an era that
knew the traditional representations in art,
architecture and in everyday life no longer
blended with how modern life was
developing in such a new social,
economic, political industrialized world.
Ornamentation was rejected in favor of
more simplified forms and outlines. It
embraced technically innovative
manufacturing methods and new
materials. Concrete, steel and glass
became standard functional aspects of
design. Modernism accepted and worked
with industrialized mass production
techniques.
Another defining style of the 20th century was the De Stijl
movement or neoplasticism, from the Netherlands, which
influenced design and architecture. It was influenced by the
cubism style of painting and by geometric forms. It proposed
ultimate simplicity and abstraction in form and color. All visual
components were simplified into vertical and horizontal lines
and rectangular forms and only the primary colors, red, yellow
and blue, along with black and white were used. The iconic red
and blue chair designed in 1917 by Gerrit Rietveld is a typical
example of this style.
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DE STIJL
1917 – 1931
ART DECO
1920 – 1940
This design style first originated in France in the 1920s but
became very popular internationally. The organic forms and
lines popular in the Art Nouveau era were replaced with bold
geometric shapes and synthetic materials. Sleek, streamlined
finishes looked more futuristic than rustic. Curvilinear lines
became rectilinear. Even though it lost the softness of
previous styles, it was quite lavish in finish and décor.
Colors tended to be vivid and contrasting and its use of
symmetry was striking. It was an eclectic style but had a very
different, new feel. At the time it represented glamour and
modern advancement. The Chrysler building in New York and
the Fisher Building in Detroit are both examples of the Art
Deco style.
The Second World War caused this lavish expression of style
to decline but it became popular again in the 1960s because
of its elegance and sleek lines. Modern materials like steel,
aluminum and plastic were used. Glossy, hardwood floors,
lacquered furniture, inlays and stained glass added
sophistication.
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BAUHAUS
The Bauhaus style has probably had the biggest influence of all styles featured here on modern
design. It was conceptualized in Germany by an architect called Walter Gropius. It was a highly
creative movement throughout the first three decades of the 20th century and influenced art,
architecture, interior design, product design, industrial design and graphic design.
Bauhaus put much emphasis on aesthetic principles and favored pure geometric forms. It
integrated technology with art and craft more than any movement before it. Machinery and mass
production was looked on as a positive and progressive integration in the world of design and
Bauhaus furniture design bore this out. One Bauhaus concept was that design should be new
and original, not looking to precedent for guidance. Streamlined, geometric designs took full
advantage of the development of synthetic materials and the tensile properties of steel.
Bauhaus encouraged design to form the simplest possible structures needed for their function. It
was under this era that built in furniture became a trend. Mass production and design became
willing partners.
Since these influential periods, there has been an endless array of different fashions and trends
in interior design and décor. In Module 7 we will look at some currently popular ones.
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1.4 Becoming an Interior Designer
If you‟ve taken the decision to study this course, you probably
have a natural flair for design and décor. In order to grow as a
designer, it‟s vital to develop practices that keep a flow of
inspiration alive and thriving. Here are some tips which will not
only get you thinking like a designer, they will help you feel like
one and also help your own sense of style to emerge.
Keep a sketch pad, pencil and camera with you always.
Be observant. Every time you‟re in a home or building that
has anything of interest in it, take note of features, styles,
color schemes, materials, flow etc. Take pictures. (Ask
permission if needed.)
Create a source library for all your interesting finds. This is really useful to refer to
yourself and gives you a bank of material to use on clients mood boards.
Visit buildings as often as you can, including those under construction. Watch the
organization of space, the flow paths, the layering of functions and styling. Take notes
along with sketches and pictures. A measuring tape can also be useful.
Talk to people who use the spaces you visit and listen to their experience as users.
Regularly read interior books and magazines and pick out what appeals to you.
They will provide you with inspiration, sources and information.
Check your local library for more in depth reading on interiors.
Film and TV are a great source of design inspiration. Note how film makers capture an
era or mood with the use of interiors.
SKETCHING
Hand drawings are an excellent way to quickly record a space so
you can visualize it later. They are also a wonderfully quick and
effective way to illustrate and convey ideas to clients and to
record ideas for your own process. If you‟re already good at
sketching, that‟s a wonderful advantage. If you think you‟re not,
don‟t panic! Sketching is entirely possible to learn and trust us, it
doesn‟t take long. Practice, when no one is looking until you get
to a point where you‟re more confident. One excellent way to
develop your sketching skills is to attend life drawing classes.
No, you won‟t be drawing nudes for your clients but the skills this
practice develops will help you to be a much better sketcher as a
designer. And they‟re relaxing and enjoyable too.
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1.4.1 EQUIPMENT
Luckily, this is one profession where you don‟t need to get a bank loan to equip yourself with the
tools you need to get started.
For both planned and impromptu sketching, always make sure you have working pens with you
and your pencils are sharpened and ready to use. Ideally, use a desk or table and good lighting.
List of equipment:
Drawing pads in A3, A4 and A5 sizes
Pencils – the best grades are H, HB, 2H and 4H. (H stands for hardness which gives a
fine line. B stands for blackness.)
Scale ruler. Look for one with three scales – 1:100, 1:50 and 1:20.
Adjustable triangle (set square), as big as you can find.
Drawing compass
Scissors
Eraser
Scalpels with retractable blades for safety
Drawing pens, fine.
Measuring tape
Paper – good quality in A3 and A2 sizes and tracing paper in same sizes. Tee
square
Paints and colored pencils
Glue sticks
Portfolio case to transport your work securely in.
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1.5 Descriptive design terms
It‟s important to show clients that you know what you‟re talking about and have a good
command of the language of your profession. Here are some commonly used terms:
Adjacency: the relationship of objects or spaces that are near each other.
Angular: when straight lines meet at sharp points.
Balance: the overall sense of evenness in the design.
Contour: This is the outline but has a slightly more nuanced meaning. An outline is typically the
border between a drawn object and its surroundings, contour captures the shapes made by a
3D surface.
Corners: walls at 90degrees to each other.
Curvilinear: The professional way to describe a flowing or curving line or an outline of a shape
bounded by curved rather than straight lines. Emphasis: where an element, feature or strategy dominates.
Flow: the way movement within a space happens.
Flush: when a surface runs at exactly the same protrusion as an adjacent surface.
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Gestalt: The direct translation from German is “form” or “shape”. It‟s a psychology term which is
often used in design and is particularly suited to interior design. It means to have an overall
sense of something; to view a project as a whole and not just a sum of its parts.
Grayscale: working with black and white and all hues and tones in between.
Harmony: the pleasing and complementing coexistence of all aspects of a design.
Hierarchy: the order in which things happen or feature.
Holistic: taking an eagle‟s eye view instead of a microscopic one.
Integral: a necessary part of.
Labyrinth: a complex arrangement of spaces.
Layers: for example, finishes, furnishing, lighting.
Motif: a repeated element like a pattern in textiles, for example a paisley print. This gives
rhythm.
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Monochrome: contrary to popular belief, this does not refer to black and white. Monochrome
means to work with one color which can include any hue or tone of that color.
Muted: colors that are softened or dimmed; made less bright. One way of achieving this is by
adding complimentary colors. Negative space: the empty space between objects. More negative space allows what‟s in the
positive space to stand out more. Negative Space, referring to the empty space between design
objects, is certainly a prized term among designers. Some designers use negative space to
create “secret” messages, like the right-pointing arrow between the “E” and the “x” in FedEx.
Even when it is not being put to such clever purposes, though, the amount of negative space
allowed importantly impacts the proportion of a design.
Overlap: when functions, activities or spaces merge.
Perimeter: the outlines or edges of a plan.
Radial: lines radiating from a common center.
Rectilinear: the opposite to curvilinear. This refers to a shape consisting of parallel and
perpendicular straight lines. Scale: the relationship of elements to each other.
Sequence: The users experiences as he/she moves through a building/space.
Structured: designs that are strongly geometrical; based on straight lines, standard proportions
and symmetry. Symmetry: Visual and physical balance.
Variegated: the opposite of monochrome – this means there is a variety of colors present.
Wedge: an area or form between two other areas or forms.
Unity: A completed, harmonizing design.
Vivid: the opposite of muted – vivid or vibrant refers to very bright color. The juxtaposition of
muted colors provides low contrast; the juxtaposition of vivid colors provides high contrast.
Translucent: allows light through but not well defined images. (Transparent allows both light
and images through, like a window. Opaque doesn‟t allow either light or images through.)
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1.6 Meeting your clients
In Module 10, we will give you some advice on getting clients and building your business. Here we discuss the importance of your relationship with clients.
1.6.1 THE FIRST MEETING
First impressions really matter. You don‟t get a second chance to make yours. Here are a few
tips:
People do business with people they like. Keep your attitude friendly and likeable but
professional. Don‟t allow the conversation to focus on you. At the beginning of the
meeting, create a relaxed atmosphere by talking about something neutral, like the
weather or a current topic but keep it light and positive and don‟t get side tracked into a
long discussion about something irrelevant. Complement something about the client‟s
home that you like.
Prepare yourself for anything you might be asked; about your own home, about your
experience as a designer, about other clients. Even if it‟s your first client, you‟ll have had
input into your own home and possibly family and friends spaces to quote.
Dress in a way that shows you are well groomed, professional and stylish but not in a
way that attracts too much attention to yourself – no loud colors, patterns, eye catching
accessories etc.
1.6.2 TAKING YOUR BRIEF
Let your client do plenty talking before interrupting or asking questions. Sense where
he/she is unsure or hesitant so you know where creative solutions are needed.
Next, ask the questions you need answers for. Some designers find it useful to send
a prepared questionnaire in advance.
• Who else lives in this space/house? Are there children? Pets?
• Describe occupants lifestyle; how much time spent here, times of day, reasons
etc.
• How often are friends/guests/strangers here? For what reasons?
• What about the way things are now doesn‟t work well?
• Any other questions you think may be relevant.
After you‟ve determined the functions and uses of the building and highlighted any
problems that need to be solved, move on to style.
Be very observant and make notes about the shape, size, natural light, flow and
feeling in each room. Don‟t say too much at this point about solutions. Firstly, you
might come up with different ones on reflection and secondly, you might do yourself
out of a job!
Ask plenty questions about preference in styles, color, texture, finishes, lighting,
mood and feel. Make sure you‟re clear about what the client wants you to achieve.
Repeat back what you‟ve picked up to check you‟ve got it right.
Try to get a sense of the personalities you‟re creating the interior for and let this
inform your choices.
Take any measurements you need to make sketches and plans. Some designers
also take photos at this point, which is really helpful.
Ask your client for any plans or drawings of the building as it is which would be a
help.
To finish the meeting, explain how you work including an idea of timescales, fees
and payment structure.
When you‟re back at your own working space, put together your notes, impressions,
measurements and pictures while everything is fresh in your mind. Also jot down any
ideas that have come to you so far.
To protect yourself and your client, make the agreement formal as soon as possible.
Contracts are very clear but some clients are intimidated by them. A letter of
agreement may work better. Send a letter or email acknowledging what you‟ve
agreed and including your letter of agreement for signing.