Perspective Fall 2010

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05From IIDAViveca Bissonnette, IIDA, Assoc. AIA, CID, LEED APCheryl Durst, Hon. FIIDA, LEED AP

40ResourcesBy Elizabeth Cotner

10Design DialogueLauren Rottet, IIDA, FAIA

41Log On NowFind out what’s new

on IIDA.org

34MythBusters By Clare Curley

43CEU Understanding the concepts

behind generative design

38Ahead of the CurveFashion Institute of Design & Merchandising, San Diego

44ViewpointsWhat would you change about your Interior Design education experience?

Departments

tHE JoURnAL oF tHE IntERnAtIonAL IntERIoR DESIgn ASSoCIAtIon

Evolving SpacesA group of healthcare designers is finding ways to ensure healthcare spaces are generative and can grow with users for many years to come. What’s more, they’re learning to definitively measure success and apply principles across all design practices.

By Steve Hendershot

The State of Interior Design EducationAn in-depth look at how Interior Design education has evolved — and continues to evolve — from the eyes of those who know best: educators, practitioners, HR managers and recent graduates.

By Meredith Landry

All the Right PiecesInterior Design educators weigh in on how schools are evolving to ensure graduates come armed with a com-plete knowledge base that encom-passes the entire practice of design, including business skills.

Moderated by Michelle Bowles

282014

Contents

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IIDA.ORg 54 PERSPECTIVE Fall 2010

THE ASSOCIATION FOR DESIGN PROFESSIONALS

INTERNATIONAL INTERIOR DESIGN ASSOCIATION (IIDA), 222 Merchandise Mart Plaza, Suite 567 Chicago, IL 60654-1103 USA

PHONE 888.799.IIDA FAX 312.467.0779EMAIL [email protected] WEB WWW.IIDA.ORG

PERSPECTIVE IS THE JOURNAL OF THE INTERNATIONAL INTERIOR DESIGN ASSOCIATION, © 2010 PRICE $4.95

CHERYL S. DURST, HON. FIIDA, LEED APIIDA EXECUtIVE VICE PRESIDEnt AnD CEo

AAll of us who are part of the grand universe of Interior Design have a hand in the future of our profession. A significant part of our future depends on our ability to nurture the next generation of designers.

But the hard truth is the responsibility of ensuring design graduates are prepared, well-rounded and pro-fessional doesn’t rest solely with educators. From the furniture manufacturer to the professional association to the seasoned designer, we share accountability.

over the past nine months, we and our Members have operated under the notion that there is “no such thing as ‘business as usual.’” these interesting times — a combination of current economics, social media and changing client dynamics — have caused us to question much of what we’ve previously become accustomed to: prosperity, steady work, elastic bud-gets and the status quo.

Just as the status quo is no longer sufficient when it comes to the way we do business, “the same old, same old” won’t cut it when it comes to preparing the next generation of designers and securing the future of the profession.

that means each of us — from the design principal to the headquarters staff member, from the design professor to the furniture rep — must do our part in preparing future designers.

At IIDA headquarters, we’ve embarked on some inno-vative initiatives over the past year to help Student Members navigate the journey from recent graduate to emerging professional. During neoCon in June, we hosted a “Career Boot Camp,” enabling design stu-dents to gain firsthand insight from a panel of recent grads who successfully made the transition to the professional world.

Students’ overwhelming response to the boot camp proves without a doubt that the next generation of designers is enthusiastic, dedicated and passionate: the event sold out in three days, and our conference room was filled to the brim the morning of the event. our goal is to bring elements of that session to stu-dents who couldn’t attend neoCon beginning this fall.

In addition, we’ve launched a new series, “Hire Me!” on our student blog to spotlight Student Members. We know all too well the difficulty out-of-work design-ers experience in convincing potential employers to give them a shot. Imagine the increased difficulty stu-dents face, fresh out of school with little to no “real-world” design experience. “Hire Me!” is more than just a way to promote students; it gives them a forum to let us, the design world, know who they are and what they stand for.

Many of our Members have already whole-heartedly embraced their role in ensuring the future of design. A growing number of designers lend their valuable time to serve as mentors, adjunct professors and advisory panel members for colleges and universities. Many Industry Members are dedicated to sponsoring student competitions and are deeply engaged with educational institutions through innovative partner-ships. Are you contributing?

today, we challenge you to take your role as mentor, educator and influencer to the next level. It’s time that each of us asks ourselves, “What more can I do to impact the future of Interior Design?” Let us know what you are doing at [email protected].

VIVECA BISSONNETTE, IIDA, ASSOC. AIA, CID, LEED AP2010-2011 President

IIDA HEADquARTERS STAFF 888.799.IIDA

Michael Ancheta, Managing Director, Education Services and Programs,[email protected]

Monica DeAngelis, Manager of Member Services and Chapter Relations,[email protected]

Sara Downs, Receptionist, [email protected]

Cheryl S. Durst, Hon. FIIDA, LEED AP,Executive Vice President/CEo, [email protected]

Elizabeth Fidoruk, CPA, Director of Finance, [email protected]

Jeanne Heller Fisher, Senior Director, Communications and Marketing,[email protected]

Jennifer Hunter, Executive Assistant, [email protected]

Michelle Kraker, Manager, Student Marketing and Social Media, [email protected]

Dennis Krause, Senior Vice President, [email protected]

Jane Larkin, MLS Manager of Knowledge and online Architecture, [email protected]

Jessica Leung, Manager of It, [email protected]

Allison Levy, JD, Senior Director, government and Regulatory Affairs, [email protected]

Carmen O’Donnell, Communications Manager, [email protected]

Ely Padilla, Director of Continuing Education, [email protected]

Jenny Palmer, Manager of Industry Relations and Special Events, [email protected]

Lisa Romano,Membership Coordinator,[email protected]

Imelda Santos, Accounting Manager,[email protected]

Lisa Toth, Senior Director of Membership, [email protected]

Sharon Williams, Managing Director, operations and Administrative Services, [email protected]

Sarah Winchester, Staff Accountant II,[email protected]

[email protected]

www.iida.org

IIDA BOARD OF DIRECTORS 2010–2011

President VIVECA BISSonnEttE, IIDA, ASSoC. AIA, CID, LEED AP

President Elect PEtER ConAnt, IIDA, AIA, LEED AP

Vice PresidentAnnE-MARIE gIAnoUDIS, IIDA, LEED AP

Vice President ALLEn PARKER, InDUStRy IIDA

Vice PresidentStACy REED, IIDA, LEED AP

Vice President FELICE L. SILVERMAn, IIDA

Vice President LAURA tRIBBLE, IIDA, ASID

Vice President JACK E. WEBER, IIDA, MCR, LEED AP

Executive Vice President and CEOCHERyL DURSt, HonoRARy FIIDA, LEED AP

PERSPECTIVE TEAMPublisher CHERyL S. DURSt, Hon. FIIDA,, LEED AP [email protected]

Editorial Director JEAnnE HELLER FISHER [email protected]

Perspective Editorial Advisory BoardSUZAnnE BECKMAn, IIDA VIVECA BISSonnEttE, IIDA, ASSoC. AIA, CID, LEED AP DAVID HAnSon, IIDA, FIDIBC, IDC, RID StEVE McCoLLoM, IIDA, AIA LAnCE RUttER FELICE SILVERMAn, IIDA BILL WIttLAnD

Advertising Representation Steven M. Fisher, Fisher Media [email protected]

Printing and Distribution eDoc Communications

IMAGINATION PuBLISHING 312.887.1000 www.imaginepub.com

EVP, Associations REBECCA RoLFES [email protected]

Director, Client Strategy REnE RyAn [email protected]

Senior Art Director tIFFAny MEHnERt [email protected]

Editor MICHELLE BoWLES [email protected]

Senior Editor MEREDItH LAnDRy [email protected]

Editor ELIZABEtH ECKER [email protected]

Director of Production and Operations HEAtHER SLAttERy [email protected]

Production Manager ERIKA MEInERS [email protected]

ADVERTISERS IN THIS ISSUE

Suzanne Cabrera is a designer and illustrator living in greensboro, n.C. She is a former lecturer and instructor for the Interior Architecture Department at the University of north Carolina at greensboro. Drawing on a background in journalism, Suzanne strives to tell a story with each mark she puts on the page. through her avid documentation of the environments, people and objects that surround her, Suzanne works to embrace life much as her design role models—Charles and Ray Eames. Follow Suzanne’s illustrated chronicles at anopensketchbook.com.

I feel our design education is shifting towards a focus on community, both in terms of how we design and who we design for. As design professionals and educators, we recognize that good design exists not as a privilege reserved for the wealthiest among us, but rather for all people. This is a value we must instill in our students, encouraging young designers to engage in their local commu-nity while constructing design projects that have a meaningful impact on our neighbors. This illustration is directly inspired by Community by Design, a local collaborative between design students, professionals and educators. Learn more at communitybydesign.org.

ABOUT THE COVER FROM IIDA

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Bentley Prince Street .............................. Inside Front Cover–1

Carnegie ...................................................................................25

IIDA ...........................................................................................42

Johnsonite ..................................................................17, 23, 27

Juxtaform, LLC ........................................................................37

KI ...............................................................................................11

Momentum Textiles .................................................................2

New York School of Interior Design ...........Inside Back Cover

National Terrazzo & Mosaic Association ......................... 6-9

Philadelphia University ................................................... 12-13

Williams-Sonoma, Inc. .............................................Back Cover

2010 HONOR AWARDS

2010 HONOR AWARDS

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2010 HONOR AWARDS

2010 HONOR AWARDS

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S P E C I A L A D V E R T I S I N g S E C T I O N S P E C I A L A D V E R T I S I N g S E C T I O N

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S P E C I A L A D V E R T I S I N g S E C T I O N S P E C I A L A D V E R T I S I N g S E C T I O N

10

DESIgN DIALOgUE

2

A peek inside the sketchbook and creative mind of Lauren Rottet,

IIDA, FAIA, Founding Principal of Rottet Studio based in Houston.

1 I didn't realize I wanted to be a designer until my second year at the University of texas at Austin. I was an art and pre-med major, and all I ever painted were buildings and the spaces in between them. one day, my boyfriend (who later became my husband) said, “Why don't you try architecture since all you draw are buildings?”

2 If I didn’t design, I would probably do genetics research, which was what I was going to do when I was studying pre-med. I am still fascinated by genetics.

3 My pet peeves are someone taking my pen or pencil out of my hand, someone abandoning a half-full bottle of water, and smoking.

4 My favorite examples of good design are a beautiful bicycle, comfortable high heels, a kayak and a good electric toothbrush.

5 to find inspiration from within, I set aside quiet time in the early morning, go swimming, visit the ocean or take a walk. For external inspiration, great food always gets me excited and inspired to do more. (I guess I’m like a puppy!) I’m also inspired by travel, books, magazines and walking in and out of buildings everywhere I visit.

6 Five words that describe design are …

4

Creation New Inspirational Thoughtful Purposeful6

1

5

3

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Philadelphia University School of Architecture

School House Lane and Henry AvenuePhiladelphia, PA 19144215.951.2943www.PhilaU.edu/MSIA

Master of Science in Interior Architecture

Philadelphia University’s Master of Science in Interior Architecture degree program will officially start in the fall of 2011. The new master’s program will join the current CIDA accredited, nationally recognized Bachelor of Science in Interior Design program in the university’s School of Architecture.

This degree program will provide a balance between a complete knowledge of the discipline and various skill sets needed for practical application, thereby ensuring that a graduate will be successful in principal, management, design or production positions. Our choice of the name Interior Architecture over Interior Design is a further reflection of our philosophy and pedagogy emphasizing the design of the entire interior environment, encompassing all parts of the interior volume and acknowledging the continuum between architecture and interiors.

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Gain the knowledge and skills to practice as an interior designer.The new Master of Science in Interior Architecture is for those with bachelor’s degrees in allied fields such as architecture, industrial design, architectural engineering, visual arts and design, and also for those seeking a new career in design.

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• Requires a study abroad program and internship

• Focuses on interior space and place

The Center for Sustainability, Energy Efficiency and Design (SEED) is a multi-disciplinary center for applied research, education and job creation for the design, construction, development and distributed-energy sectors.

ILLUStRAtIon By SUZAnnE CABRERA By StEVE HEnDERSHot

A group of healthcare designers is finding ways to ensure healthcare spaces are

generative and can grow with users for many years to come. What’s more,

they’re learning to definitively measure

success and apply principles

across all design practices.

spaces

ev lvingo

16 PERSPECTIVE Fall 2010

P“What’s really important to clients isn’t build-ing something faster or cheaper, even though that’s normally what they want to talk about,” Ruga says. “But they also have a dream, an aspiration, and if you focus your attention on that big idea, then it’s really easy to deliver successful design projects.”

Ruga, who lives in Manchester, U.K., and is founder of the Center for Health Design based in Concord, Calif., focuses specifically on healthcare design. His work on generative spaces follows decades of research on how healthcare design can influence patient out-

comes. Ruga’s goal is to elevate healthcare design beyond healthcare to what he calls the “health industry,” a broader term that reflects his belief that generative design can influence wellness.

one of the early experiences that influenced Ruga’s generative space theory was with Planetree, a network of healthcare cen-ters based in Derby, Conn. Ruga was friends with the executive director of a San Francisco Planetree center. Visiting the center, he observed the Planetree facility seemed to improve with time, unlike most design projects that gradually decay. Ruga noticed small things: an absence of the typical gradual accumulation of stains and “rogue signage,” and plenty of signs of life and vitality, such as balloons, photographs and the smell of fresh cookies baked by employees. He visited several Planetree centers and found the pattern was repeated each time. Ruga was deter-mined to replicate the phenomenon, and the Leading By Design research project was born.

His nine partners in the Leading By Design research project come from all walks of design, including Interior Designers, architects and manufacturers. Each participant has made an annual com-mitment to develop a case study in the area of generative space — first by incorporating Ruga’s ideas into the design process, then by tracking those projects over time.

one of the early successes is the Arlington Free Clinic (AFC), a project to create a new facility for a free health clinic in Arlington, Va. the project was led by tama Duffy Day, FIIDA, FASID, LEED AP, a Principal in the Washington, D.C., office of Perkins+Will.

Initially, the Perkins+Will project team created a spreadsheet of rooms needed, quantified those rooms and created an adjacency diagram to understand the flow of patients, volunteers and staff — in much the same way as all projects. In the initial plans, three components were included: the reception area, the clinic with pharmacy and the office area with a conference room dedicated to patient education.

next, the team split and diverged on two different paths. one half of the team reviewed the initial test fit provided by AFC, visited the shell space and created the first plans. Day, in the meantime,

Part of the value of Interior Design — and perhaps part of the allure of the profession for many designers — is longevity, the idea that the built environment will be an important, positive part of people’s lives for many years. Clearly, buildings can’t last forever; still physical spaces convey a sense of permanence, of importance. Interior Designers plan for how their work will be used years, even decades, from now.

It can be both disappointing and unsettling for designers to visit a space they created years prior, only to find it’s not reaching its intended potential, not working for its inhabitants or even that it’s in total decay.

But of course, there are those projects that perfectly fulfill the designer’s vision years after the fact — spaces that are alive, that are perfectly suited to the needs of the people who use them, and that seem to have grown even more beautiful and functional than when the work was completed.

the name for such environments is “generative spaces,” a term Wayne Ruga, Ph.D., FIIDA, AIA, Hon. FASID, uses to define spaces that improve over time and convey an ongoing sense of growth and vitality to the people who use them. Ruga is fascinated by the concept of generative spaces, and even more so by the idea of replicating them. After years of research, he believes he’s clos-ing in on the secret.

Ruga, along with a small group of design and healthcare profes-sionals, is in the midst of a long-term research project called Leading By Design, which spans the globe and is aimed at determining whether a formula for consistently creating genera-tive space “really works for anyone, anywhere, regardless of what kind of project they’re doing,” Ruga says. “We want to see if the changes are sustainable, if they are systemic and if the improve-ments that we make are not just temporary improvements, but [are] continually progressive over time.”

Based on early results from the project, Ruga thinks the answer is yes. But the “formula” isn’t simply a matter of choosing certain materials, or even of replicating successful generative spaces already created. Instead, Ruga’s solution involves learning and mastering design principles that are rooted in both social science and traditional physical design. one of the keys, he says, is learn-ing about the community being designed for — discovering its personality and its priorities, and understanding the kind of space it needs in order to flourish. often, this is different from what a client thinks he or she wants.

“I’m more willing to go out on a limb with a client and find that space ... that will change lives, not just be a competent solution.Tama Duffy Day, FIIDA, FASID, LEED AP, a Principal in the Washington, D.C., office of Perkins+Will.

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went back to the concepts of generative space in search of a new alternative structure for the project.

Day realized that in order to create a truly generative space, she would need to survey the people who received care at the clinic, as well as staff and volunteers, a diverse group that col-lectively speaks a total of 17 languages.

She asked patients, staff and volunteers about their expectations for the space, both visually and experientially. As a result of the findings — patients wanted light, beauty, comfort and visual inter-est, as well as an emphasis on community — Day altered her plans. the spaces allocated for health education classes, confer-ences and group counseling sessions grew, as did the waiting area and the space devoted to examination rooms. the pharmacy shrank from 28 percent of the total space to 12 percent.

“you might look at this and say it was a normal process for work, but I changed,” Day says. “My ability to be inquisitive has become more front and center, and I’m more willing to go out on a limb with a client and find that space that really would be an incredible space, something that will change lives, not just be a competent solution.”

Day will continue to study the clinic’s performance as a generative space, to see whether the facility and the community it houses improve and coalesce. But the early results are promising: the clin-ic’s director loves the new facility, and more than that, she believes she found a partner in Day. the AFC has opened the new clinic space (as well as achieved LEED gold certification and garnered four design awards), but Day’s involvement is ongoing. She’s con-sidered part of the clinic’s family now and is consulted on issues affecting the AFC’s future.

“What started off as a small project with a not-for-profit has become, in my mind, a lifelong commitment,” Day says.

“this can be measured. this can be tracked,” Ruga repeats again and again. It encapsulates his idea that such spaces are not only real and can be cultivated, but can be empirically analyzed to evaluate whether they are, in fact, generative. Spaces can most definitely be measured to determine whether they contribute to the communities around them and improve over time.

Ruga’s theories have been developed both through his own study and the work of colleagues like Day, who have not only imple-mented his ideas but also refined them as a result of their own experiences. Leading By Design participants hope that the case studies they are pursuing will form the basis for a reliable model of how to create a generative space.

“the more articles we write, the more times generative space is presented, the more often people see these case studies and see how this is happening, then the more successful this will be,” says Bruce Raber, Practice Leader, Healthcare, at Stantec Architecture in Vancouver, British Columbia, and a Leading By Design participant.

Wayne Ruga, Ph.D., FIIDA, AIA, Hon. FASID, founder of The Center for Health Design, Concord, Calif.

“You don’t make a generative space. You cultivate one, like a garden.”

The Measure of Success

CEU: EVOLVINg SPACES

How well do you understand the concepts behind generative design? Find out in this issue’s CEU on pg. 43.

Ruga expects generative space to gradually work its way to the forefront of healthcare design. He predicts that within three years, it will be “significantly on the radar screen and influencing main-stream practice.” Five years later, it will be mainstream, under-girded by a body of supporting research.

to speed along the process, Ruga’s CARItAS Project is sponsoring an award in recognition of healthcare organizations that cultivate generative spaces. the first award was presented to Payette for the design of the Pennsylvania State University Hershey Medical Center Cancer Institute in September at the Healthcare Facilities Symposium & Expo, an annual conference that Ruga started 23 years ago.

Unfortunately it can take years of study to determine whether a project qualifies as generative, and most Leading By Design case studies are still in their formative stages. But some of the par-ticipants have successfully applied generative space principles to their own operations: one business owner renovated his factory’s bathrooms and is upgrading the outdoor break area, and has noticed a change in employees’ work and attitude toward the environment. A design firm owner in San Diego asked her employees how well the company’s ideals matched their own, a process that led first to regular massages and bake-offs, then to a tripling of company revenue.

As more people add their work to the generative space ideal, Ruga knows the theory will evolve in ways he can’t anticipate. one thing he insists on, however, is that designers not take too much credit.

“you don’t make a generative space. you cultivate one, like a gar-den,” he says. “It takes some very thoughtful care about creating the right conditions for the place, and developing a mastery in cultivating these spaces is a continuous process of learning and improvement.”

Raber takes the garden analogy to heart. “If you continue to work on your garden, every year it gets better, and every year it’s more fun,” he says. “If you don’t work on it, it gets full of weeds and becomes a tangled mess. And healthcare buildings and organi-zations can become just like that where there isn’t continuous improvement.”

0013_ARCHITECTURAL_RESPONSE.indd 1 3/5/10 9:00:19 AM

The State of Interior Design Education

An in-depth look at how Interior

Design education has evolved — and continues to evolve

— from the eyes of those who know

best: educators, practitioners, HR

managers and recent graduates.

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But considering that the heart of the profession is education, have Interior Design programs at colleges and universities shifted accordingly?

they have, says Phil Bulone, IIDA, Dean of Education for the International Academy of Design & technology in tampa, Fla. Like design, knowledge is dynamic rather than static. So it’s natural for design education to respond to industry changes, says Bulone, who is also an IIDA Knowledge Center Advisor.

“Change is an inherent part of the field of design,” he says. “For example, national Interior Design education standards have gone through multiple major changes over the last four years alone in response to changes in the industry.”

But the current state of Interior Design education is not simply molded by changes in the profession. Educators should modify how they teach based on changes in the learner, says Jill Pable, Ph.D., Associate Professor of Interior Design at Florida State University and former Interior Design Educators Council (IDEC) President. And today’s learner, she says, is vastly different from the one of only a few years ago.

“overall, [today’s students] often have a different approach and attitude toward technology, with an expectation of quickly acquired knowledge,” Pable says. “At times, however, fast pace can threaten deep knowledge and critical thinking. therefore, it is our responsibility to instill [the] value of in-depth knowledge in learners, as this is a key to complex problem-solving that today’s challenges require. technology, in fact, can make deep knowledge acquisition very possible, if we take steps to direct it to do so.”

It’s clear that Interior Design education is shifting to meet the needs of today’s student and today’s design firm. But just what is the state of Interior Design education in 2010?

An Age of TechnologyA defining factor of Interior Design education in 2010 is the integration of technology. “technology has served as a significant catalyst for changing how educators and students not only share knowledge, but also how students think about design and how they communicate design ideas,” Bulone says.

this technological shift is echoed in hard data. the 2010 DesignIntelligence “America’s Best Architecture & Design Schools,” an annual survey on the state of Interior Design education, found that 52 percent of respondents say today’s course offerings are significantly more focused on technology integration.

Kristyn Ivey, Student IIDA, IIDA Student task Force, witnessed this shift during her four years in Marymount University’s Interior Design graduate Program, which she completed in May.

“the technology in Interior Design course was incredibly beneficial since it’s crucial to understand the industry’s software today,” she says. “But I was lucky to even take the class since they didn’t begin offering it until my last semester.”

the next evolution on the technology front may be online Interior Design education. the Art Institute of Pittsburgh–online Division recently launched an online Interior Design bachelor’s degree program, and many educators expect more schools to follow suit in the near future, Pable says.

“I don’t think we’ll be able to avoid it,” she says. “Like anything, online education is a tool, and it will need to be closely monitored and tweaked as necessary.”

During the last few years, Interior Design has experienced a rapid evolution. From a focus on sustainability to an increased reliance on technology to a growing demand for enhanced professionalism, Interior Design continues to progress despite bleak economic forces that seemed primed to stunt such growth.

“The Technology in Interior Design course was incredibly beneficial

since it’s crucial to understand the industry’s software today.”

Kristyn Ivey, Student IIDA, IIDA Student Task Force

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given current students’ need for flexibility in their schedules and their deep understanding of technology and mobile devices, Bulone agrees that online education is an inevitable part of the future of Interior Design.

“We’re still in a time of transition. Many Interior Design education programs are still evaluating the best methods of delivering the various components of design knowledge through online learning,” he says. “there are opportunities for online hybrid approaches, where students could choose to take certain courses online while taking others in a physical setting.”

there are, however, potential risks when it comes to Interior Design students’ reliance on technology, points out John newland, Vice President of Architecture and Design for Herman Miller in Zeeland, Mich. newland works closely with design firm interns through Herman Miller’s Design Summer program, which offers seminars on systems furniture basics, interview skills and more.

“Students today are doing amazing things with technology in design. But with technology, you get to a solution and you’re done. you may miss some of the creative process,” he says. “technology must be counter-balanced with being able to talk about the design. Sometimes communication skills aren’t there [in students.]”

But ginny B. Baxter, IIDA, is optimistic that this balance is starting to be achieved in design schools. the ecologically focused design programs of the ’60s and ’70s gave way to an intense focus on technology in the ’80s, says Baxter, Individual at Work network Lead, Applied Knowledge, Herman Miller, Zeeland, Mich. But today, educators — who were a product of ’60s and ’70s design schools — are bringing back the focus on human ecology, helping to create a more holistic skill set in students. “I’m starting to see a very healthy and whole approach that balances technical skills and the ability to communicate to a client what happens to a person in a space,” Baxter says. “Students must get both focuses, rather than one or the other.”

Seeing the Big PictureIn recent years, Interior Design education has experienced a deep philosophical shift, from a philosophy of knowledge isolation to one of knowledge integration. Previously, it was an accepted practice to investigate issues only within distinct disciplines, rarely crossing the lines into other ways of thinking. But not today, says Amy Dahm, IIDA, Assistant Professor of Interior Design at texas Christian University (tCU) in Fort Worth, texas.

“Interior Design education now faces the challenge of providing both excellence in design thinking and processes, in addition to building skill sets required for successful practice in a highly competitive, technology-driven global economy,” she says. “these skill sets include rigor and clarity in written, verbal and visual communications; cultural awareness and sensitivity; seeking and

FiguresFactsThe numbers don’t lie. Here’s a closer look at some of the most recent Interior Design education and job-seeker statistics.

+

of the 441 IIDA Student Members who recently responded to a survey:

7491

57

%

%

THE PERCENTAgE

plan to concentrate on commercial design

76%would still choose Interior Design as their career path, if they knew then what they know now about the current economy

think their education has prepared them for their future career

who say getting an interview is the most challenging part of finding a job

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synthesizing accurate and relevant infor-mation quickly in order to make pertinent decisions; the ability to adapt to rapidly changing conditions; and understanding context of a designer’s role within the extended team.”

Interior Design schools, like that of tCU, are addressing this growing need through innovative interdisciplinary programs.

In the DesignIntelligence survey, 44 percent of respondents stated that a significant change in course offerings in the past five years has been more of an emphasis on

interdisciplinary collaboration and integrated practice.

this focus on collaboration and integration is helping produce Interior Design graduates who are able to see the big picture. Jan Harmon, Human Resources Manager for HoK in Los Angeles, says recent graduates passing through the global design firm’s doors in search

of employment have a more holistic view of the profession.

“one change I’ve observed over the past few years is that a number of Interior Design students are coming out of school with more than an Interior Design degree. they have been exposed to — or purposely studied — other related

areas, such as lighting design, business, planning, sustainable design, and have sometimes taken classes with architecture students.”

Bulone agrees. He, too, has noticed that Interior Design students today have a better understanding of the profession and its place in society.

“Students continue to express their fascination with the emotional and experiential aspects of design, and they see Interior Design as a means to affect social change,” he says. “Additionally, many students are aware of the current social, economic and political realities that affect the Interior Design profession.”

A Thick SkinJob preparedness seems to be lacking in Interior Design education, says Ivey, adding that it would have been invaluable in her search for full-time employment in Interior Design.

In the DesignIntelligence survey, only 14 percent of respondents said more of an emphasis has been placed on professional practice in course offerings over the last five years.

the effects of that missing component are even more hard-felt during difficult economic times like these. “our challenge hasn’t been in finding talented emerging designers, but an inability to hire them because of the realities of the current project workload,” says nicole Johnson, Human Resources Manager for HoK in Atlanta. “It’s very disappointing.”

What’s promising, however, is the increased involvement between schools, Interior Design firms, practicing designers and even manufacturers — a critical part of curriculum development.

“Senior designers are teaching classes while running design firms. they may only teach one night a week, but they’re involved and educating future employees,” newland says. “Manufacturers are sponsoring design competitions and working closely with design firm interns. We’re all helping students understand the practicality and the real world.” Herman Miller, for example, partners with Interior Design programs to help them conduct research to inform real-world projects, and conducts mock interviews and portfolio reviews with students.

of all the courses Ivey took in her four years as a graduate student, the most beneficial were those that incorporated in-person critiques from the professionals her professors brought into class.

“It gave me a sense of confidence that some of my designs might actually fly in the real world,” she says. “It also taught me that I need to be able to defend my work and to have a thick skin.”

And of all the tools an Interior Design school can instill in its students, these are perhaps some of the most important.

47PercentSATISFIED

20PercentNEITHER SATISFIED NOR DISSATISFIED

23PercentDISSATISFIED

10PercentVERY SATISFIED

Source: 2010 “America’s Best Architecture & Design Schools” study by DesignIntelligence, a survey of 381 professional practices

Facts+ Figures

“It is our responsibly to instill value of in-depth knowledge in learners, as this is a key to complex problem-solving that today’s challenges require.”

Jill Pable, Ph.D.,

Associate Professor of Interior

Design at Florida

State university

How satisfied are you with the state of Interior Design education in the United States today?

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28 PERSPECTIVE Fall 2010 IIDA.ORg 29

Today’s forward-thinking Interior Design schools are evolving to ensure graduates come armed with a knowledge base that encompasses the entire practice of design, including marketing, management, financial and communication skills.

Moderated by Michelle Bowles

For many Interior Design students and recent graduates, times are undeniably tough. thanks to ugly economic realities, entry-level jobs and even internships aren’t easy to come by. And for those fortunate enough to find work as Interior Designers upon graduation, they’re expected to hit the ground running.

the silver lining is the response of Interior Design programs at colleges and universi-ties across the globe. Programs are evolving to better meet the needs of Interior Design firms,

and enhance the level of professionalism for students and graduates. through formal and informal collaborations with other departments and design firms, pro-grams are ensuring graduates gain a comprehensive skill set that encompasses the entire practice of design, including busi-ness, marketing and communication skills.

Perspective spoke with several well-respected educators from across north America to find out how their programs ensure graduates are ready for the real world of Interior Design.

all the right pieces


How do you define your role as an Interior Design educator? Amy Dahm :: As an educator, my approach is to set up the structure for a balance between focused academic work — exploration of ideas, research, guided mentoring, building essential skill sets — and exposure to practice — students working with design professionals throughout the design process, field trips, formal critiques.

Andrew Furman :: one of the things I see my role being: someone who tries to enable conversations. [At Ryerson] we always are having these interesting conversations about “Interior Design plus what?” It’s always this wonderful moving target. [Interior Design] is one of the most interesting places to work as an educator because you have so many great collaborations and conversations with other educators and other collaborators. these collaborations and conversations are both structured and informal. there’s a formal structure in curriculum, but I think the real magic happens when you just allow things to happen.

What about the more formal side of collaboration? What formal partnerships do you engage in with other departments?

crandon Gustafson :: one of our most fruitful collaborations is between the Interior Design department and the communication design program that we began here [at Harrington College of Design] four years ago. one example of a project [Interior Design and communication design] students worked on together was a display at neoCon. It was a real-life project because they were given a budget, they had a schedule and they worked with a contractor to get the project built.

the awareness of brand that the communication design students bring really helps our Interior Design students. the idea of a company or an organization’s brand being expressed in a three-dimensional space is something that gets talked about a lot, but when our students work together with graphic designers, they develop a common lan-guage about what that is and how to make it happen in a space.

Pamela evans :: the Interior Design program at Kent State University has always been multi-disciplinary. We’ve long collaborated with architecture, business, visual communica-tions, art and technology. our students take construction technology classes, where they learn alongside tech students. they take courses in visual communications and business. We’ve built these courses into the curriculum. It is key for students to understand that, as practitioners, they’ll work not just with other designers but with all types of profes-sionals and individuals on projects.

For example, some of our students recently worked on a project to design an extended care facility. they worked with the visual communication department on wayfinding and signage, as well as worked outside of the university with a local adult care agency. Because of projects like these, students develop analytical skills on a higher level. they learn to not get caught up in their own shell on their desktop. they understand what they are designing has a great impact on people.

What collaborative relationships do you maintain with Interior Design firms?

Gustafson :: one example of collaboration with the profession is one we organized last year with Perkins Eastman, an architectural firm that designs senior living facilities. they enlisted one of our graduate classes in an awareness-raising effort with the American Association of Homes and Services for the Aging (AAHSA), where they ran a competition to design and build a model “aging in place” apartment. Perkins Eastman and Catholic Charities actually funded the construction of two of these model apartments for the AAHSA conference in Chicago. It brought new ideas to that industry, the architectural firm got kudos and our students got recognition.

evans :: Beyond working with firms in our internship program, firms are now starting to come to us and ask for help with research for their projects. Firms have involved our stu-dents in data gathering activities — online research, observational research, preliminary design work. Both students and firms gain from this type of experience.

Dahm :: Some of our studios partner with local design firms for specific school projects. For these projects, students are critiqued by designers specializing in the project type. Students are especially attentive when up-to-date, relevant feedback from “real” design-ers is provided.

How do you stay on top of changing business needs and skills sets required by design firms?

Dahm :: tenure track professors must practice “scholarship,” which can range from producing research to continuing design practice. My scholarship focuses on connecting design practice with design education through web-based video. Much of my time out-side of class is spent videotaping design professionals around the country, a great way to stay in touch with the needs of practice. the videos of designers talking about their work are free and accessible to anyone on my website, projectconnectdpe.org.

evans :: Whenever we bring in alumni and other practitioners to juror projects or for internship reviews, we always try to do a de-briefing at the end to get their candid opinion of how the program is doing and where it can improve. the biggest thing is asking, “What do we [as an Interior Design program] need to do?” For example, at the senior reviews, I’ll sit with our alumni and other jurors over the lunch break, have a very candid discussion and take notes.

AMY DAHM, IIDA, is cur-rently a full-time Interior Design educator at Texas Christian university in Fort Worth, Texas. She began her career in workplace design with Chicago-based Solomon Cordwell Buenz & Associates, and later worked for Soucie Horner Ltd., a residential firm in Chicago.

CRANDON gUSTAFSON, IIDA, AIA, ASID, LEED AP, is currently the Director of the Center for Professional Development at Harrington College of Design in Chicago, and previously spent 20 years in professional practice. He teaches graduate-level courses in design theory and research methods.

ANDREW FURMAN, Assistant Professor in the School of Interior Design at Ryerson university in Toronto, is engaged in research relating to aspects of interiority, active transportation and the public realm. He defines the spaces that drive his research as “urban filaments.”

PAMELA EVANS, PH.D., IIDA, IDEC, LEED AP, currently serves as Associate Dean and Program Coordinator for Interior Design in the

College of Architecture and Environmental Design at Kent State university in Kent, Ohio. She is a long-standing member of IDEC and has

served on the Board of Directors and as president of that organization.


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THE RENAISSANCE DESIgNER

Ask any qualified professional Interior Designer, and they’ll tell you the same: the practice of Interior Design extends far beyond choosing color swatches and selecting tiles.

But few designers realize the extent of all that encompasses the practice better than Jennifer graham, IIDA, Assoc. AIA, MBA, LEED AP.

“A major part of being an Interior Designer is understanding how the business side of design impacts the business side of our clients and the end product,” says graham, Director at M Moser Associates in new york.

With this notion, graham enrolled in an MBA program at new york University as a young Interior Designer in the early ’90s. After the stock market crash of 1987, she realized that an MBA — combined with her design degree — would dem-onstrate her credibility and abil-ity to see the bigger picture of Interior Design.

Earning an MBA in management not only helped graham garner respect among clients, but also

design schools, we are not nec-essarily taught that budget is as much an issue as creativity. But the business world says budget is the no. 1 priority.”

As an Interior Design major at Bowling green State University, Molly Bryant, IIDA, opted to com-plement her Interior Design edu-cation with a minor in marketing. “[Interior Design and marketing] go hand in hand,” says Bryant, now an Interior Design Associate at Meyers + Associates Architecture in Columbus, ohio. “Design is a service. not only are you branding clients' environ-ments, but your work is a brand, and you have to know how to market yourself to the public.”

In her undergrad marketing classes, Bryant studied differ-ent demographics and market sectors, and learned to better communicate with and present to clients. today, she’s putting her business knowledge to good use in the commercial design projects on which she works. “If you can relate your ideas to clients with an understanding of their business sense, it helps clients see them in a different light,” she says.

helped her hone project cost analy-sis, project management, presenta-tion and other business skills.

Interior Designers with MBAs may not yet be the norm. Still, a good number of designers are opting for degrees in busi-ness, management, marketing and other relevant fields for professional development and personal growth.

MORE THAN A PIECE OF PAPERLike graham, Zanda Sakhi, IIDA, MBA, LEED AP, recognized the importance of business knowl-edge in Interior Design and made the decision to earn an MBA in international business. As Director of Interior Design at the Apollo group Inc. in Phoenix, Sakhi was tasked with designing facilities in countries all across the globe. She closely focused her MBA work on international design, and based her thesis on designing sustainable work envi-ronments in other countries.

graduate school taught Sakhi to better conduct research and demonstrate design RoI, as well as gave her a working knowledge of complex international busi-ness laws. “Earning my MBA has changed the way I approach projects financially,” she says. “In

PROFESSIONAL DEVELOPMENT FOR ALLof course, going back to school isn’t a feasible option for all designers. But that doesn’t diminish the fact that design-ers at all points in their careers should work to raise their level of business professionalism, graham says.

“It’s important for all involved to understand the business of design, not just those leading the design,” says graham.

Helping designers raise their level of business professional-ism is a guiding principle behind graham’s LMnoP professional development and networking organization for the A&D commu-nity. the group may have been founded to assist out-of-work designers, but today a growing number of employed designers take advantage of LMnoP’s workshops and events to enhance their professionalism.

“A lot of designers are missing that business of design focus,” graham says. “Even if you don’t get an MBA, at least get exposed to some of those elements.”

What do advanced degrees in business, management and marketing have to do with Interior Design? Plenty, according to some very successful, big picture-minded designers.

How else do your schools integrate communication, business, management and marketing skills — all of which are encompassed in the practice of Interior Design?

Furman :: We’re really trying to work toward the work-study co-op within the curriculum. A work-study project that students recently worked on is the industrial production of a recycling bin container for a client. the client told the students, “the stuff you can get from catalogues isn’t really appealing to us. We’re looking for something you could design and solve the problem for us.” the students made two prototypes, and there was some interest in both to actually realize them, so they’re being put into production.

It’s a reality-based project that gives students the experience of having a real client that they visit, and having the client coming in for critiques and design discussions. Students quickly realize how much is part of the design process. they learn to deal with clients, budgets and all the hiccups that happen in the course of realizing a project.

evans :: In our fourth year, we use a team approach to projects, where someone is the project manager and they work with team members. We teach project management and leadership skills early on, but students are given the chance to apply them during their

senior year. Students have the opportunity to manage a project, create time reports and manage different work styles. they experience what it’s like to work in a firm.

Time to get out your educator crystal ball. Will the need for increased professionalism in Interior Design continue to grow over the next few years?

evans :: the bar is always going to be raised. there will be a greater need in the future for our profession to communicate how we affect the quality of life and the things we do extremely well that no one else can do. We have to capture that and put it on the fore-front. Every student of Interior Design and every educator needs to learn to say, “this is what we bring to the table. these are the skills no one else has.”

Furman :: With Interior Design, there is some misinformation out there. We’ve gotten a lot of press through entertainment and all these other things. Anything is great to get your name out there, but we have to do more education with the public.

Gustafson :: As educators, we’re the perfect model for our students in terms of talk-ing to the public about what designers do. As a teacher, you need to present an idea that’s new to a student, but you always have to do it using things they already know. An example is the pomelo, a fruit not widely known. When you say it’s a grapefruit inside, it’s shaped like an oversized pear and it has a really thick rind, suddenly your listener has a very clear picture.

Likewise, our students need to talk to clients and the public about something they don’t necessarily know. If we, as teachers, think hard about how we present new information to students, we can be a model for how they can express to the public and clients the value of Interior Design.

34 PersPectiveFall 2010 iida.org 35

DT

Mythbusters

It’s been said that Interior Design educators exist in a bubble, separate from the “real world” of design. True? Perspective spoke with several successful professors to get the whole story behind this stereotype.

impression that Interior Design educators aren’t as in touch with the practical side of design as they should be. Moreover, when hiring recent college grads, she feels they often lack basic business skills, con-tributing to this notion.

“[Many] programs have no business element to them,” Radaj says. In response, she has begun leading workshops for students, recent grads and seasoned designers alike on networking, marketing, business etiquette and presentation skills.

Unfortunately, Radaj isn’t alone in her beliefs on education. The opinion that many Interior Design students are short-changed because programs — and some professors — are out of touch with the real world of design is shared by others like Stephanie Henley, Principal at Beasley & Henley Interior Design in Winter Park, Fla. “We find that new grads don't have a clear idea of how much paperwork and computer time is involved in Interior Design,” Henley says. “And they could all use an etiquette and personal presentation class.”

Most importantly, Radaj says, some educators fail to highlight the importance of communica-tion skills in their programs. “You can create the most beautiful functional space, but if you can’t verbalize it or sell it to clients, it doesn’t matter,” she says.

Fair or not, Interior Design educators — like educators in all fields — struggle against accusations of ivory tower syndromes.

It’s more critical than ever for Interior Design educators to prove the stereotype wrong, says Michael Ancheta, Managing Director of Education Services and Programs for IIDA. “Especially now, if edu-cators are living in an ivory tower, they’re going to lose contact with what they really should be teaching and lose sight of what they are as educators,” he says. “Their students will suffer and not be prepared [for jobs when they graduate].”

But is the entire Interior Design education system in need of a complete overhaul? Or is the stereotype completely unfounded? When it all boils down, the truth lies some-where in between.

barrierstobridge-buildingTo be fair, nearly all Interior Design pro-grams take steps to introduce the real world into the classroom through intern-ships and studio practice. In addition,

it’s common for educators to invite practitioners to speak to students, and many adjunct professors are also practicing designers.

Making the Grade By Clare Curley

“Thinking out of the box was really not encouraged. I designed a dog-friendly hotel that I was told I should reconsider as it would be tacky.”

DeAnna Radaj, Bante Design, LLC,

Milwaukee

DeAnna Radaj was building a career in retail management when she decided to quit her job in order to become an Interior Designer. Her first step was to enroll in the Interior Design program at a local university in Milwaukee. Radaj wanted to follow her passion — eco-friendly and healthy home design — but the reception she received in school wasn’t quite what she expected.

As the green movement was gaining trac-tion, she recalls, the coursework didn’t seem to be keeping up with the trend, and there was little talk of eco-friendly or universal design. “Thinking out of the box was really not encouraged,” she says. “I designed a dog-friendly hotel that I was told I should reconsider as it would be tacky.” Since then, green design has sky-rocketed. The program did start offering green and eco-friendly design classes, and pet-friendly lodging has become a hot trend in hospitality, according to World Travel Guide.

Today, Radaj runs a Milwaukee-based business, Bante Design, LLC, where she focuses on designing healthy spaces — primarily residential — for clients who suf-fer from mental and physical disabilities and want to live a more eco-friendly life-style. But the experience left her with the

36 PersPectiveFall 2010

E

O

But building a solid bridge from the world of Interior Design practice and Interior Design education — and keeping up with evolving trends like digital fabrication, 3-D modeling and sustainability — isn’t as black and white as it may seem.

Michelle Carroll, Assoc. IIDA, LEED AP, a recent graduate of Illinois State University in Normal, Ill., says geography poses some limitations to the continuing development of educators. A design and sales assistant for a kitchen and bath design studio in Geneseo, Ill., she says, “I do think that there are tendencies of some Interior Design professors to be out of touch with the current industry. The Interior Design profession in Bloomington-Normal, Ill., is not quite as booming as that in Chicago.”

Negative stereotypes of professors prob-ably also aren’t being helped by a new challenge to the profession: an overall shortage of educators. Denise A. Guerin, Ph.D., IIDA, FASID, FIDEC, a Distinguished Professor in the University of Minnesota’s Interior Design program

and President of Interior Design Educators Council (IDEC), says an expansion of pro-grams and the aging population of educa-tors are causing the shortage.

If some schools aren’t drawing as many high-quality educators as they could, the institutions themselves may be partly to blame. A 2006 IDEC report highlighted “an inability for professionally qualified Interior

Designers to pursue teaching opportunities” because, among other reasons, positions usually require at least a master’s degree. Some educators want to change the require-ments so practice counts for more in the hiring process.

And while in an ideal world, all educators would simultaneously remain part-time practicing designers, it’s simply not real-istic. “When people like myself pursue a career in college teaching, we're required to produce research or creative work in order to be tenured and promoted," says John Weigand, IIDA, a professor and Chair of Architecture and Interior Design at Miami University in Oxford, Ohio, who practiced for 10 years before entering aca-

demia. “However, it's very difficult to meet this requirement by continuing to practice, given the time this takes. So what we do is switch gears.” That new gear usu-

ally involves writing, presenting at conferences and focusing on sub-jects other than designing interior spaces.

schoolingthedesignerEducators also say that when it comes to preparing graduates for the real world of design, the relationship between aca-demia and practice is a two-way street.

“It is impossible to teach enough business or have students take enough business courses to be prepared for the business world. And it's not business skills that we teach; it's business knowledge,” says Guerin. “Practitioners need to consider that somewhere they must take responsi-bility for educating their entry-level design-ers in business, too.”

That’s why many programs stay in touch by tapping the expertise of people like Eileen Jones, IIDA, AIGA, Principal and National Discipline Leader for Perkins+Will’s Branded Environments Group in Chicago. While lead-ing research and design development for clients, Jones has taught design studios, juried class projects and presented at schools across the United States.

In doing so, Jones doesn’t see educators as existing in bubbles, but as profession-als who want to stay connected to the field. “I believe there is a growing under-standing that the academy and the prac-tice are linked in their efforts to advance the profession,” she says.

Others, like Radaj, agree that professional education doesn’t stop the minute you get your diploma. Radaj adds that firms should do more to prep their employees, as well.

What’sWorkingineducation?One way a handful of schools are address-ing the issue of connecting academia with practice is through cross-disciplinary pro-grams that give students a wider exposure to the profession. Weigand helped create one such program at Miami University. The program revolves around studio practice, with an emphasis on collaboration, includ-ing the participation of outside scholars, in-residence critics and guest lecturers.

That collaboration seems to be working, according to Daniel VonderBrink, an archi-tecture graduate of Miami University who studied Interior Design. “A couple classes pooled architecture with Interior Design, graphics or fine arts. I think the program made me a stronger student and prepared me more for the real world because I was able to build upon the ideas and experi-ences of other students,” he says, adding, “The best professors that I had did not always have the most industry experience. They were successful because they were able to change their teaching style to meet the students' needs.”

Also helping ensure Interior Design programs and educators stay connected with the practice world

is the National Council for Interior Design Qualification (NCIDQ), which mandates both formal education and practical experience.

In addition, an increasing number of schools are relying on adjunct profes-sors to help with the teaching load, especially in studios. According to a 2008 IDEC survey of its members, about two-thirds had more than 10 years of practical experience. Most planned to continue practicing on a part-time or consulting basis.

But many professors point out that practicing Interior Designers shouldn’t underestimate the significance of research in the role of educator.

“We are much closer to the profession, to the ability to apply theoretic constructs to everyday problems, than in some areas of academia,” says Guerin, who spends much of her time analyzing post-occupancy evaluations of employees who work in sustainable buildings to identify their satisfaction and performance.

In many instances, educators have been instrumental in improv-ing the way designers approach their practice. In healthcare, for instance, evidence-based design — the practice of basing design decisions on credible research to achieve the best possible outcome — became the standard, thanks to the work of Interior Design scholars.

Weigand says, “Interior Design is changing very quickly, and we need to teach students to adapt and to learn how to learn, not just teach them skills.” It’s the ability to “think critically and broadly” to write, communicate, understand ethics and work collaboratively across disciplines that really matters.

Some educators might be lagging, but forward-looking programs like Guerin’s and Weigand’s prove that many professors not only get it, they’re dedicated to producing a more well-rounded, better prepared generation of designers.

Negative stereotypes of professors probably also aren’t being helped by a

new challenge to the profession: an overall shortage of educators.

“Interior Design is changing very quickly, and we need to teach stu-dents to adapt and to learn how to learn, not just teach them skills.”

“I do think that there are tendencies of some Interior Design professors to be out of touch with the current industry."

John Weigand, IIDA, professor and Chair of Architecture and Interior Design, Miami University, Oxford, Ohio

Michelle Carroll, Assoc. IIDA, LEED AP

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Fashion designand Interior Design comple-ment each other flawlessly on the San Diego campus of the Fashion Institute of Design & Merchandising (FIDM). In fact, the design disciplines work together so seamlessly, the project recently collected two major industry acco-lades: a winner of the 37th Annual IIDA and Interior Design magazine Interior Design Competition and Contract magazine’s Education Winner for the 2010 Interiors Awards. the brains behind the col-orful geometric space — and con-sequently the intelligence behind FIDM’s other three main branches throughout California — is West Hollywood-based Clive Wilkinson Architects. Project Architect Ben Loescher shares his thoughts on the 31,000-square-foot space that occupies the entire third floor of a commercial high-rise in downtown San Diego.

AHEAD OF THE CURVE

“FIDM’s founder and president is very adamant that every campus feel like its own place, so they each have their own angle. [In San Diego] we drew a lot of inspiration from the landscape and wanted to reflect the environment in the architecture.”

“We’ve previously worked with advertising agencies, high-tech companies and similar firms that understand the impor-tance of collaboration. So we’ve employed this collaborative feel in creative workplaces before. But an educational space is meant to prepare individuals to work in these creative environments, so the same strategy works.”

“Because it’s a very compressed space in a commercial office building, trying to create a campus for 130 full-time students that features all the same elements as a campus for 5,000 was very challenging.”

“this project has enor-mous potential when it comes to changing the way people think about designing educational spaces. traditionally, educational spaces are designed to minimize exposure to anything peripheral, students are there to receive whatever is on the whiteboard, and outside influences are wholly unwelcome. But in this space — and in accord with FIDM’s philosophy — students are meant to learn from everything that’s going on around them.”


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By Elizabeth Cotner

RESOURCES IIDA.ORg

BOOKS

the Job of Your Life: Groundbreaking Steps for Getting the Work You WantBy Karen Schaffer, 256 pagesSentor Media Inc.June 2008, C$23.95

If you’re at a crossroads when it comes to your career, you could probably use a friend to guide you in finding your dream job.

The Job of Your Life: Groundbreaking Steps for Getting the Work You Want by Karen Schaffer, a career expert based in nova Scotia, Canada, is a guide to career exploration. While it helps job seekers define their goals and master the ropes of job-hunting, it’s much more than a how-to manual. It’s also a guide to soul searching and discovering true passions and pur-pose — and then pursuing a new career that will fulfill them.

Schaffer, who holds a master’s degree in psychology and is a yoga instructor, helps readers define their goals and overcome their fears about making career changes. there’s even an entire chapter devoted to emotional breakdowns. She also provides advice on networking, acing an interview and writing effective resumes and cover letters. the 10th anniversary edition of the book, published in 2008, includes sev-eral additional chapters.

Schaffer writes with a light-hearted, hon-est voice, encouraging readers to poke fun at their fears about their career paths. Her humor comes from her understand-ing of job seekers’ dilemmas, and she’s determined to help her readers pursue their passions.

night Fever 2: Hospitality DesignBy Marlous van Rossum-Willems and Sarah Schultz, 608 pagesFrame PublishersSeptember 2010, $95

When it comes to even the world’s finest hospitality spaces, the average consumer sees just the surface level: the beauty and awe of such spaces. Interior Designers, on the other hand, look at the same spaces through a different lens — one that reveals the stories behind these spaces.

Night Fever 2: Hospitality Design by Marlous van Rossum-Willems and Sarah Schultz of Frame magazine, unveils the stories behind the designs of 175 of the finest hospitality interiors around the world in three volumes: Eat, featuring restau-rants; Drink, which spotlights bars and clubs; and Sleep, which highlights hotels.

Night Fever takes readers on a whirlwind journey around the world. new york, London, Berlin, Mumbai, Hong Kong, tokyo and Monterrey, Mexico, are just a few of the stops along the way. Featured work includes that of young designers and architects, as well as more established professionals like Marcel Wanders and his Mondrian hotel design in Miami.

Each entry features dynamic photography, explanatory text, floor plans and profiles of the design firms. As a bonus, the book puts design resources at the reader’s fin-gertips: It lists the contact information of all designers and architects, including an index with addresses, websites and more.

Consider Night Fever 2 the blueprints behind the world’s most fantastic spaces for wining, dining and sleeping.

Where We Work: creative Office SpacesBy Ian McCallam, 272 pagesCollins Design (HarperCollins Publishers)April 2010, $50

Where We Work: Creative Office Spaces by Ian McCallam showcases the interiors of internationally recognized agencies in the design, advertising and media industries. they’re spaces that not only defy the common notion of office space, but also reflect the creative work of the employees that work within their walls.

the book is based on McCallam’s website, this Ain’t no Disco: It’s Where We Work (thisaintnodisco.com), which was featured in the Spring 2010 issue of Perspective. It features 45 contemporary office interiors from Africa, north and South America, Asia and Europe. the book reveals up-and-coming trends in office design through vibrant pictures, detailed floor plans and thoughtful analyses of each project’s cre-ative achievements.

McCallam attributes these “jaw-droppingly unique” spaces to the companies’ focus on creative work. From an agency that places a ’50s style diner within its walls, to an office inspired by a puzzle and a meeting room designed like a bathroom, the highlighted spaces prove what cor-porate designers have long known to be true: that workspaces can be functional and beautiful.

He not only discovers the legacy his father left behind through such structures, but he also gains valuable insight into his father’s character through interviews with colleagues, students, lovers and the chil-dren he had with them. He also interviews Louis Kahn’s contemporaries — Frank gehry, Ed Bacon and B.V. Doshi, among others — who provide insight into the genius and influence of the architect.

the film, which was nominated for an Academy Award for Best Documentary Feature, chronicles both the journeys of a world-famous architect and of a son who is finally able to discover and love the father he had always longed to know.

WEBSITES

School of Interior Designwww.schoolofinteriordesign.org

School of Interior Design is a hub for all scholars of Interior Design. the site provides resources to connect visitors with Interior Design schools and courses worldwide, including lists of top schools and their entry requirements. the career-focused site also offers information about the stages of the profession and its numerous disciplines. It’s a site that both new and experienced designers won’t want to miss.

neocon.comwww.neocon.com

Whether you missed this year’s neoCon in Chicago, or you attended and are in search of even more resources, neoCon.com is the go-to destination for all things Interior Design. Created by the brains behind Designer Pages, a search platform to help designers find and share product information, neoCon.com includes videos from the show and information on the winners of the Best of neoCon People’s Choice Awards. the site also spot-lights Interior Design celebrities, including IIDA’s Cheryl Durst, and what they found most intriguing and inspiring at the show.

DOCUMENTARIES

Building GreenProduced and Hosted by Kevin Contreras

going green doesn’t mean sacrificing comfort or good design. that’s what archi-tect Kevin Contreras of Building green tV conveys in 13 videos on green design.

the Building green videos, which have been aired on public television and are available for free at topdocumentaryfilms.com and on youtube, cover topics such as Interior Design, doors and windows, exte-rior and interior finishes, lighting, floors and closets, among other topics.

throughout the videos, Contreras designs and constructs his own home in Santa Barbara, Calif., to instruct on principles of green building and living an eco-friendly lifestyle. During each 25-minute video, he meets with experts to explore building and design techniques. In the final video, he reveals his luxurious, entirely green home.

While Contreras covers the basics of such buildings, he also surprises viewers by using unlikely materials to construct his home. From insulating the house with bales of straw and recycled blue jeans, to designing the interior with organic fabrics and paints, Contreras proves it’s easy, cost-effective and healthy to go green. More videos and information on building green are available at buildinggreentv.com.

My Architect: A Son’s Journey By Nathaniel Kahn

When legendary architect Louis I. Kahn was found dead in Penn Station in new york City in 1974 after suffering a heart attack, he left behind a legacy of mono-lithic structures across the globe. But he also left a son who never knew his father.

In the documentary My Architect: A Son’s Journey, nathaniel Kahn travels the world to discover his father’s identity. He tours all of Louis Kahn’s buildings, including the yale Center for British Art in new Haven, Conn., the Indian Institute of Management in Ahmedabad, India, and the Bangladeshi Capitol Complex.

IIDA.org is the starting point for information to keep you up-to-date with association-specific and industry-related news.

CHECK OUT WHAT YOU CAN LEARN:>> DesignMatters Blog, which created a lightening-rod effect about the definition of Interior Design and recently featured a profile on Lewis goetz, FIIDA, FAIA, group goetz, Washington, D.C. Read it regularly on the homepage.

>> Deadline for the 5th Annual IIDA/Metropolis Smart Environments Awards Competition® is near — submit your entry form by Sept. 23 to be considered. Log on to the “Competitions” page for details, FAQ with Metropolis editor-in-chief Susan Szenasy and previous winners.

>> Buy IIDA — to make it easier to show your IIDA pride, we’ve created a catalog of IIDA branded products you can purchase, including bags, baseball caps and environmentally friendly, BPA-free cups. Find it on the “Membership” page.

>> After devouring this issue of Perspective, when you’re hungry for more or anxious to start a conversation about an article and no one is nearby to talk to, tell us. All articles feature Member and Industry comments. tell us in the “Articles” section.

LOg ON NOW

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IIDA.ORg 43

CEU

Adapted as an exercise by Michael Ancheta, Managing Director, Education Services and Programs, IIDA

exercise:1. Define “generative space” environments.

2. the Leading By Design research project developed into actual design ideas and processes. What are some of the key factors in mastering this design concept?

3. the Arlington Free Clinic is a successful example of a “generative space.” What outcomes did tama Duffy Day conclude after surveying patients, staff and volunteers?

4. How can a “generative space” be measured?

5. List examples of operational applications of “generative space” principles and their benefits.

learning objectives:• Be able to define “generative space” design.

• Explain in general terms the process of the Leading By Designing research project and identify actual successful models.

• Understand the role of case studies to measure “generative space” design and its analytical value to the community.

contact information:

name Firm

Full Mailing Address

E-Mail

Phone

instructions:Individuals who read this article and complete the series of questions may be eligible to receive continuing education credit (CEU) as approved by IDCEC. Completed exercise should be returned to IIDA via:

mail IIDA Education Department fax IIDA Education Department C/o Perspective CEUs C/o Perspective CEUs 222 Merchandise Mart, Suite 567 312.379.0779 Chicago, IL 60654-1103 USA

e-mail [email protected]

this course has been approved for one hour of continuing education credit (0.1 CEU). Upon returning a completed exercise to IIDA, registration information will be forwarded to you. If you have any questions, you may contact the IIDA Education Department at 312.467.1950 or toll-free at 888.799.IIDA.

Find more CEUs at www.IIDA.org in the Events Calendar.

evolving spaces

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WHAT WOULD YOU CHANgE ABOUT YOUR INTERIOR DESIgN EDUCATION ExPERIENCE?

ELIzABETH DELAURENTIS, IIDA, LEED AP, INTERIOR DESIgNER, VOA ASSOCIATES INC., ORLANDO

the education experience that I wish I had the resources for in college was to travel. Art and architectural history classes meant more to me when I’ve had the opportunity to go to Europe.

there is no comparison to seeing the Sistine Chapel ceiling in person rather than in books.

gREgORY DUNLOP, IIDA, ASID, INTERNATIONAL DIRECTOR OF gLOBAL PROJECTS, gROHE, BOSTON

Design education has for many years been rooted in the fine arts. this has been appropriate given that Interior Design is a creative and artistic profession, but Interior Design is also

a business. It is a business grounded in sales, marketing and economics. If I could add anything to my excellent education, it

would be courses on the business of design.

CICI ROSS, IIDA, INTERIOR DESIgNER AND SPACE PLANNER, LEgACY HEALTH, PORTLAND, ORE.My formal design education spanned several disci-plines including landscape architecture, residential architecture and Interior Design. Each of these educational programs lacked adequate exposure to basic business practices and effective commu-nication. Both of these disciplines are vital to all facets of Interior Design, from the intern managing the materials library to the senior designer.

ELIzABETH WILLIAMS, IIDA, LEED AP, SENIOR INTERIOR DESIgNER, MARMON MOK ARCHITECTURE, SAN ANTONIOIf I would have changed anything, it would be to take a few more construc-tion and business courses. If schools could incorporate a semester of project management methods, I think this would be great, as well. there is a plethora of software out there being used to bring in projects on time and on budget. Students should have access to and knowledge of these pro-grams. While some individuals might be creative, they may find that when exposed to project management, they actually would make an outstanding project manager and are happier in this role.

VIEWPOINTS


To learn more about NYSID and the opportunities that await you, please visit us on the Web at nysid.edu, or attend an open house:

Saturday, November 6 at noonWednesday, November 17 at noon and 6 PMWednesday, January 5, 2011 at noon and 6 PM

RSVP (212)472-1500 x 205 or www.nysid.edu

GRADUATE & CONTINUING STUDY IN INTERIOR DESIGNAT NYSID

A National Leader in Design Educationwww.nysid.edu

Programs of Study:Professional Level MFA in Interior Design

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Institute for Continuing and Professional Studies

Enjoy exceptional service and pricing available exclusively to the design trade. Visit WSIDesignerMarketplace.com to obtain more information, become a member, and shop online. To reach a dedicated Trade Representative, call 888.827.4888 or +1.702.360.7147 if outside the US.

POTTERY BARN POTTERY BARN KIDS PBTEEN WEST ELM WILLIAMS-SONOMA WILLIAMS-SONOMA HOME

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Perspective Fall 2010

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Transcript of Perspective Fall 2010