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.