Interior Design & Home Styling

Module 1: Introduction to Interior Design

MODULE 1:INTRODUCTION TO INTERIOR DESIGN

What you’ll learn in this module:

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

1.1 What is Interior Design?

“The space within becomes the reality of the building.” Frank Lloyd Wright, American Architect
and Designer
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.

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.
 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.
What makes an Interior Designer?
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.

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.

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.

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.

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.

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.

DE STIJL (1917 – 1931)

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.

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.

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.

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.

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.

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.
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.

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.)
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.
o Who else lives in this space/house? Are there children? Pets?
o Describe occupants lifestyle; how much time spent here, times of day, reasons etc.
o How often are friends/guests/strangers here? For what reasons?
o What about the way things are now doesn’t work well?
o 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.