an introduction to the interior design...

Chapter One

An Introduction tothe Interior DesignProfession

We spend over 90 percent of our day in interior spaces.

Despite this, most of us take interiors for granted,

barely noticing the furniture, colors, textures, and

other elements—let alone the form of the space—of

which they are made. Sometimes, of course, the design

of the interior does catch our attention. Maybe it’s the

pulsing excitement of a casino, the rich paneling of an

expensive restaurant, or the soothing background of a

religious facility.

AN INTRODUCTION TO THE INTERIOR DESIGN PROFESSION 1

As you are reading this book, you obviously have an interest in interiors and

interior design. It might be because you have always enjoyed rearranging the

furniture in your home. Maybe you like to draw imaginative floor plans for

houses. It could be that a relative or friend is a contractor and you have been

involved in the actual construction of a building in some way.

Interior design professionals provide the owners of homes and many kinds

of businesses with functionally successful and aesthetically attractive interior

spaces. An interior designer might specialize in working with private residences

or with commercial interiors such as hotels, hospitals, retail stores, offices, and

dozens of other private and public facilities. In many ways, the interior design

profession benefits society by focusing on how space—and interior environ-

ment—should look and function. By planning the arrangement of partition

walls, considering how the design affects the health, safety, and welfare of occu-

pants, selecting furniture and other goods, and specifying aesthetic embellish-

ments for the space, the designer brings the interior to life. A set of functional

and aesthetic requirements expressed by the client becomes reality.

The interior design profession is much more than selecting colors and fabrics

and rearranging furniture. The professional interior designer must consider

building and life safety codes, address environmental issues, and understand

the basic construction and mechanical systems of buildings. He or she must ef-

fectively communicate design concepts through precisely scaled drawings and

other documents used in the industry. The professional interior designer space-

plans the rooms and the furniture that goes into them, determining location of

partition walls, selecting colors, materials, and products so that what is sup-

posed to occur in the spaces actually can. Another critical responsibility con-

cerns how to manage all the tasks that must be accomplished to complete a

2 B E C O M I N G A N I N T E R I O R D E S I G N E R

project as large as a 1,000-room casino hotel or as small as someone’s home.

The interior designer must also have the business skills to complete projects

within budget for the client while making a profit for the design firm.

The National Council for Interior Design Qualification (NCIDQ)—an inde-

pendent agency whose purpose is to administer an examination testing the

competency of interior designers for professional licensing and association

membership—offers the following definition of the interior design profes-

sional. It was developed with the cooperation of practicing interior designers

and educators:

The professional interior designer is qualified by education, experience

and examination to enhance the function and quality of interior spaces.

For the purpose of improving the quality of life, increasing produc-

tivity and protecting the health, safety and welfare of the public, the

professional interior designer:

• analyzes the client’s needs, goals and life safety requirements;

• integrates findings with knowledge of interior design;

• develops and presents final design recommendations through

appropriate presentation media;

• prepares working drawings and specifications for non-load

bearing interior construction, materials, finishes, space plan-

ning, furnishings, fixtures and equipment;

• collaborates with licensed practitioners who offer professional

services in the technical areas of mechanical, electrical and load-

bearing design as required for regulatory approval;

• prepares and administers bids and contract documents as the

client’s agent;

• reviews and evaluates design solutions during implementation

and upon completion.1


Professional interior designers are not interior decorators and interior dec-

orators are not professional interior designers, although the public generally

does not see any difference. “Interior design is not the same as decoration.

Decoration is the furnishing or adorning a space with fashionable or beautiful

things. Decoration, although a valuable and important element of an interior,

is not solely concerned with human interaction or human behavior. Interior

design is all about human behavior and human interaction.”2

Although a professional interior designer might provide interior decoration

services, an interior decorator does not have the education and experience to

perform the many other services of a professional interior designer. A decora-

tor is primarily concerned with the aesthetic embellishment of the interior

and rarely has the expertise, for example, to produce the necessary drawings

for the construction of non–load-bearing walls and certain mechanical sys-

tems that are routinely produced by a professional interior designer.


History

COMPARED TO MANY other profes-sions, the interior design profession has arelatively short history. Architects, arti-sans, and craftspeople completed interi-ors before interior decorators beganoffering their services. Architects createdthe design of a building’s structure andoften the interiors. They would engagecraftspeople to create and produce thefurnishings needed to complete the inte-

rior. Other artisans lent their expertisewith decorative embellishments and theproduction of handmade pieces for theinterior. Of course, all this was accom-plished for the world of the wealthy andthe mighty—not the average person.

Many historians have credited Elsie deWolfe (1865–1950) as the first person tosuccessfully engage in interior decora-tion as a career separate from architec-ture. At about the turn of the twentiethcentury, de Wolfe established a career byoffering “interior decoration” services toher society friends in New York City.

“She was an actress and a society figurebefore she began to remodel her ownhome, transforming typically Victorianrooms with stylish simplicity by usingwhite paint, cheerful colors, and floweryprinted chintzes.”3 Her friends recog-nized her alternative decor, which was agreat contrast to the dark, deep colorsand woods of Victorian interiors. She isalso believed to be among the first deco-rators to charge for her services ratherthan be paid only a commission on thegoods she sold to clients.4

The door opened for this profession atthe turn of the twentieth century for sev-eral reasons. One was the developmentof new technologies during the nine-teenth-century Industrial Revolution thathelped make possible machine-made fur-nishings and other products.

These mass-produced items werecheaper and more available to the aver-age consumer. As demand for thesegoods grew, department stores—a newconcept in the nineteenth century—began displaying the new products in


Ethical Standards

The consequences of unethical

behavior by politicians, business lead-

ers, sports figures, and many others

are widely discussed in the media.

Ethical behavior by all members of our

society is expected, though not always

forthcoming.

Ethical standards help those

engaged in a specific profession under-

stand what is considered right and

wrong in the performance of the work

of the profession. In the case of inte-

rior design, ethical standards are guide-

lines for the practitioner’s work

relationships with clients, other interior

design professionals, employers, the

profession in general, and the public.

Interior design professionals who

affiliate with a professional associa-

tion are required to abide by that

organization’s written code of ethical

standards. When they do not, the

association may take action against

them—and it does not take ethics

charges lightly. Designers who remain

independent are also expected to

conduct their business in an ethical

manner, although they cannot be

charged with ethics violations. Many

unethical actions have legal

consequences as well.

Behaving ethically is not hard.

What is hard is facing the conse-

quences when one behaves in an

unethical manner, regardless of

whether or not one is affiliated

with an interior design professional

association.

their stores, attracting the average con-sumer. This exposure to new productshelped generate interest in the decora-tion of residences by trained decorators.

The success of the early decoratorsencouraged many women to seek thisavenue of professional and career enrich-ment. It was, after all, one of the fewrespectable ways for women to work inthe early part of the twentieth century.Educational programs were developed totrain the early decorators in period stylesand to provide the educational back-ground needed to plan interiors. One ofthe first schools to offer effective trainingin interior decoration was the New YorkSchool of Applied and Fine Arts, nowknown as Parsons School of Design.

As the profession continued to grow inthe major cities, “decorators clubs” wereformed in order for the decorators tomeet, share ideas, and learn more abouttheir profession. The first national decora-tors association was formed in 1931 andwas called the American Institute of Inte-rior Decorators (AIID)—later to be calledthe American Institute of Interior Design-ers (AID). In 1975, the two largest groupsof professionals at the time—AID and theNational Society of Interior Designers(NSID) merged to form the AmericanSociety of Interior Designers (ASID).

By the 1940s, due to changes in theprofession and the built-environmentindustry in general, many individualsworking in the field began to call them-selves interior designers instead of inte-

rior decorators and to refer to theirprofession as interior design rather deco-rating. The distinction reflected in thesenew terms was first applied to those fewinterior designers working with businessclients. In addition, many kinds of newbusiness clients appeared, slowly provid-ing other opportunities for the gradualgrowth of the commercial interior designprofession. Dorothy Draper (1889–1969)is well known for her design of commer-cial interiors such as hotel lobbies, clubs,and stores. Her influence grew in the1940s, and she is often identified by his-torians as one of the first interior design-ers to specialize in commercial interiorsrather than residences.

Of course, numerous influential inte-rior decorators and designers contributedto the development of the professionas we know it today. The namesEleanor McMillen, Ruby Ross Wood, Mrs.Henry Parish II, Dorothy Draper, BillyBaldwin, Florence Schust Knoll, and T. H.Robsjohn-Gibbings are familiar to manypractitioners in the field. Architects FrankLloyd Wright, Mies van der Rohe, andRichard Meier along with designers DavidHicks, Mark Hampton, Michael Graves,and Warren Platner are just a few of thefine professionals whose talent immeasur-ably contributed to the growth of the inte-rior design profession in the twentiethcentury. If you would like to learn aboutthe history of the profession in greaterdetail, you may wish to read one of thebooks listed in the references.



Getting In

Getting a job in interior design today

requires an appropriate education and mas-

tering skills from drafting and drawing to

effective communication. It involves learn-

ing technical areas of construction,

mechanical systems, and codes as well as

showing you have the interest and enthusi-

asm to work in the profession. Getting in

also means knowing what kind of job you

want and whether you want to work in a

residential or commercial specialty. You

also need to consider if you would work

best in a small studio, a large multi-

disciplinary firm, or an intermediate-

size practice.

When it comes time to look for a job,

be sure to do your homework on the com-

panies in which you are interested. If you

know something about the company

before the interview, you will make a far

better impression at the interview. Inves-

tigate the style and type of interior

design work the firm does by researching

trade magazines and local print media.

Look for the firm’s website and carefully

examine as much of it as you can. Talk to

professors who know something about the

company. Your college placement office

might be able to help as well.

You can also find out about possible

jobs and about a specific company by

researching:

• Chamber of Commerce articles and

reports

• local magazines and newspapers

• Dun & Bradstreet Reference Book

• Registrar of Contractors

• Board of Technical Registration

• Yellow Pages directory

• professional association chapters

• family and friends

You may need two or more versions of

your résumé, each specific to a type of

design work you are interested in obtain-

ing. For example, you should organize your

résumé differently when you apply for a

position with a firm primarily engaged in

residential design work versus one that

specializes in hospitality interior design.

The résumé also should be somewhat dif-

ferent if you are applying to a large

multidisciplinary firm versus a small firm.

The same goes for your portfolio. Showing

a commercial firm a portfolio of residential

projects could be a waste of time all

around. Résumés and portfolios are dis-

cussed in other sections of this book.

Looking for a job in interior design—

whether your first one as you finish school

or when you move from one firm to

another—is a job in itself. It is important

that you go about it in a sensible and

organized fashion. The more prepared you

are, the more homework you do before you

even start your search, the greater your

chances of gaining that ideal position.

8 BECOMING AN INTERIOR DESIGNER

High-End Residential,Construction Remodeling

DONNA VINING, FASIDPresident, Vining Design Associates, Inc.,Houston, Texas

What has been your greatest challenge as an interior designer?Interpreting clients’ wishes and giving them what they want andneed.

How important is interior design education in today’s industry?It is monumental. If we are to be a profession, we must have aconsistent, quality educational program, ever changing andevolving as today’s advances move faster and faster.

What led you to enter your design specialty?My mother was a huge influence. She was my very own SisterParish, always decorating our home. When I was a teenager, sheopened her own antique shop in a small house on the sameproperty as our home.

What are your primary responsibilities and duties?Everything!! When you are the owner, you have all the financialand managerial type of responsibilities and duties as well as beingthe lead interior designer. In residential, clients want you, andeven though my staff teams on all projects, I am heavily involvedin most of them.

What is the most satisfying part of your job?Hearing the clients say they love our work!

What is the least satisfying part of your job?Depending on others for my end product—so many people areinvolved, and it is hard to make things happen just like I want them.

Private residence: master suite.Donna Vining, FASID, ViningDesign Associates, Inc., Houston,Texas. Photographer: Rob Muir.


What is the most important quality or skill of adesigner in your specialty?Listening skills and teaching clients what is best forthem and their lifestyle.

What advice would you give someone who wants tobe an interior designer?Take business and psychology classes and realize thatthe actual design portion is a small part of thebusiness.

Who or what experience has been a major influenceon your career?My mother was a huge influence. And once I was in thefield, the ability to make things beautiful but alwaysfunctional and durable.

Private residence: dining room.Donna Vining, FASID, ViningDesign Associates, Inc., Houston,Texas. Photographer: Rob Muir.

Private residence: living room.Donna Vining, FASID, ViningDesign Associates, Inc., Houston,Texas. Photographer: Rob Muir.

ProfessionalAssociations

SEVERAL ASSOCIATIONS SERVE mem-bers of the interior design profession inthe United States and Canada. Some,such as the American Society of InteriorDesigners (ASID), serve broad segmentsof the profession. Others, such as theInstitute of Store Planners (ISP), repre-sent specialty designers. The two largestassociations in the United States areASID, with over 33,000 members, and theInternational Interior Design Association(IIDA), with over 10,000 members. InCanada, the Interior Designers of Canada(IDC) is the national professional associa-tion. Eight Canadian provinces also haveprovincial associations that support localinterior designers.

When you become a member of a pro-fessional association, you join a network ofcolleagues with similar interests. Manyinterior designers are sole practitioners,working by themselves from home officesor small studios. Chapter and nationalactivities of associations give sole practitio-ners and designers working in larger firmsopportunities to obtain and exchangeinformation and gain from peer relation-ships. Becoming involved in chapter andnational committees gives membersanother opportunity to hone leadershipand management skills as well as formextended networks that develop into valu-able resources for both personal and pro-fessional growth. Members of associations

are able to take advantage of the servicesoffered by a headquarters staff who analyzeand disseminate large amounts of informa-tion that the nonaffiliated designer maynot have access to, let alone time to readand absorb. Professional associationsalso serve as a filter and source of infor-mation to help members address issuesrelated to interior design practice, thushelping them remain effective practitio-ners of interior design.

Association members obtain informa-tion via newsletters, mailings, national

1 0 B E C O M I N G A N I N T E R I O R D E S I G N E R

Canadian Interior DesignProfessional Associations

National Association

• Interior Designers of Canada (IDC)

Provincial Associations

• Registered Interior Designers of

Alberta

• Interior Designers Institute of Brit-

ish Columbia

• Professional Interior Designers Insti-

tute of Manitoba

• Association of Registered Interior

Designers of New Brunswick

• Association of Interior Designers of

Nova Scotia

• Association of Registered Interior

Designers of Ontario

• Société des Designeurs d’Intérieur

de Québec

• Interior Designers Association of

Saskatchewan

and regional conferences, and emailnews flashes. Of course, associationwebsites also provide a great deal ofimportant information to interior design-ers, some of it only available to members.In addition, local chapters throughoutthe United States and Canada holdmember meetings on the local level andprovide information via chapter newslet-ters, educational seminars, and elec-tronic communications.

In addition, association membershipconveys a meaningful credential thatproves important in marketing to potentialclients. Acceptance into an association,especially at the highest level of member-ship, means you have met stringent criteriarelated to education, experience, and com-petency testing. It also means you arebound to abide by stated ethical standards.The prestige this offers helps you competeagainst individuals who have not obtainedthe education and other competency quali-fications of association members.

An important responsibility of theassociations is to function on behalf ofmembers in relation to government regu-lation and to national and even interna-tional issues. Professional associationshave staff departments that research gov-ernmental regulations that might affectthe professional practice of interiordesign and the health, safety, and welfareof the public. This information is for-warded so individual state or provincialchapters can inform local members aboutimpending legislation, regulation, andother issues that affect the profession.

Which association is best for you? Youalone can answer that question by

becoming involved in one, initially as astudent member while attending univer-sity or college programs and then advanc-ing to the first level of practitionermembership on graduation. Althougheach association provides similar ser-vices, the activities of the local chapteroften differ; this commonly influencesthe individual’s choice of organization.Attending a few local chapter meetingsand getting to know people in the chap-ters will help you determine which asso-ciation is right for you.

So you may have an understanding ofthe qualifications of membership in aprofessional association, Exhibit 1-1 pro-vides a brief overview of membershipqualification for ASID and IIDA. Theseassociations were selected because theyare the biggest, in terms of membership,in the United States. Membership qualifi-cations in other associations may vary.Exhibit 1-2 gives short descriptions of afew other professional interior designassociations. Addresses for all theseassociations are in the Appendix.


Private residence: kitchen remodel. Sally HowardD’Angelo, ASID, S. H. Designs, Windham, NewHampshire. Photographer: Bill Fish.


Exhibit 1-1

Membership Qualifications

American Society of Interior Designers (ASID)

Professional• graduation from recognized program of study in interior design• educational requirement must meet NCIDQ requirements• minimum two years’ work experience in interior design• completed NCIDQ examination• appellation usage: Jane Doe, ASID

Allied• graduation from recognized program of study in interior design• minimum two years’ work experience in interior design• appellation usage: Jane Doe, Allied Member ASID

Other membership categories exist for individuals who are not interiordesign practitioners.

International Interior Design Association (IIDA)

Professional• graduation from recognized program of study in interior design• educational requirement must meet NCIDQ requirements• minimum two years’ work experience in interior design• completed NCIDQ examination• Ten hours (1.0) continuing education units (CEU) credits every two years• appellation usage: John Smith, IIDA

Associate• graduation from recognized program of study in interior design• minimum two years’ work experience in interior design• Ten hours (1.0) CEU credits every two years• Appellation usage: Associate Member, IIDA

Other membership categories exist for individuals who are not interiordesign practitioners.

Note: NCIDQ requires a minimum of six years of education and work experience in orderto qualify to take the examination. The minimum educational requirement by NCIDQ is atwo-year certificate in interior design.


Exhibit 1-2

Other Professional AssociationsAmerican Institute of Architects (AIA)Represents the interests of professional architects. Interior designers may be eligiblefor affiliate membership in a local AIA chapter.

Building Office and Management Association (BOMA)Members are primarily owners or managers of office buildings. Interior designers whowork for firms specializing in large corporate office facilities often belong to BOMA.

Interior Designers of Canada (IDC)The national association of Canadian interior designers. It deals with issues of nationaland international interest on behalf of the members of the provincial associations (seeBox, page 10).

International Facility Management Association (IFMA)Members are primarily those responsible for the management and/or planning ofcorporate facilities. IFMA members may work for a corporation such as a large bankinginstitution, IBM, or public utility such as AT&T, or be independent facilityplanners/space planners.

Institute of Store Planners (ISP)Represents interior designers who specialize in retail stores and department stores.

National Kitchen and Bath Association (NKBA)Represents interior designers who specialize in kitchen and/or bath design or areretailers of products for kitchens and baths such as cabinet makers.

U.S. Green Building Council (USGBC)Represents individuals from across the built-environment industry working to promotebuildings that are environmentally healthy to live and work.

Note: Many other specialty associations may be of benefit to interior designers,depending on their specialty practice. Some are listed in the Appendix; others may befound in interior design trade magazines such as Interior Design, Contract, and Interiorsand Sources.


Corporate Headquarters,Offices, and Retail Spaces

FREDERICK MESSNER, IIDAPrincipal, Phoenix Design One, Inc.Phoenix, Arizona

What has been your greatest challenge as an interior designer?There is a fine balance between the activity of design and theneed to handle all the business activities that go into the normalday. They are both necessities and constantly in competition forthe ten hours per day we seem to feel are required.

What led you to enter yourdesign specialty?From a young age, I wasalways interested in howthings go together and indrawing. As I learned moreabout the tools of our trade,I became more interested inhow I could manipulatespace to affect people. Myinterest is in commercialdesign because I believe ithas the potential to havegreat impact.

What are your primaryresponsibilities and duties?Design mentor, financialcontrol, strategic planningfor the design firm, humanresources, design and projectmanagement, marketing, andfather confessor.

Corporate headquarters: entry.Fred Messner, IIDA, Phoenix DesignOne, Inc., Phoenix, Arizona.Photographer: Christiaan Blok.

What is the most satisfying part of your job?Teaching the many aspects of design as well aspracticing the same is the reward that is mostenjoyed.

What is the least satisfying part of your job?The challenge of dissatisfied clients due to anynumber of reasons is a part of the job that can be, attimes, very difficult.

What is the most important quality or skill of adesigner in your specialty?The ability to listen and interpret wants and needswith the best possible solution is the mark of a goodcommercial designer. In the design of office space,

it takes knowledge of competing space and construction methodsand understanding of the client’s sophistication, budget, andtaste as well as timelines. The best solution most often is acompromise that blends the most positive aspects of all.

How important is interior design education in today’s industry?It all starts here. This is the opportunity to start building a basethat will last a lifetime. Interests and habits that start in schoolwill carry designers into the profession.

Who or what experience has been a major influence on yourcareer?My involvement with IBD and then IIDA was a link to mycolleagues and the profession. It allowed me to gain insight intoeveryday occurrences with a different perspective. I have alsobuilt valuable friendships.

Corporate headquarters: receptionarea. Fred Messner, IIDA, PhoenixDesign One, Inc., Phoenix, Arizona.Photographer: Christiaan Blok.

Corporate headquarters:board room. Fred Messner,IIDA, Phoenix Design One,Inc., Phoenix, Arizona.Photographer: Christiaan Blok.


Commercial—College andUniversity Buildings

LINDA KRESS, ASIDDirector of Interior DesignLotti, Krishan & Short ArchitectsTulsa, Oklahoma

What has been your greatest challenge as an interior designer?Greatest challenge number 1: Keeping a marketing focus at alltimes. It’s my opinion that many if not most universities fail toprepare design students enough for the importance of thebusiness angle and the marketing of a firm—even if you are notthe owner!

Greatest challenge number 2: Accepting that in our type ofwork, no project is ever perfect. In our field (commercial design),we nearly always have to settle for projects that are less thanperfect—primarily to keep budgets under control, butoccasionally as a compromise with the client. I feel that havingtotal control over projects while in school is fun and tells theinstructor whether or not you’ve got what it takes; but it doesn’tprepare you for the necessary art of compromise.

What led you to enter your design specialty?I think each individual designer has to try things until he or shefinds a niche. One mostly applies for any design-related job atfirst—which often determines how one acquires a specialty. Afterseveral years in residential design, I felt very restless. In order tomake the move to a commercial firm, I had to be willing to getcomfortable with AutoCAD very fast. Luckily, I found anarchitectural firm willing to give me time to learn severalprograms in exchange for my immediate experience and expertisein the area of finishes and furnishings.

University: University of NorthernIowa, cappuccino bar. Linda Kress,ASID, Lotti, Krishan & Short, Inc.,Tulsa, Oklahoma. Photographer:Shimer@Hedrich Blessing.


What are your primary responsibilities and duties?As director, I now have the opportunity to look over projects thatmay be done by a younger designer before they go to the client. Ialso handle problems as they come up—diplomatically, of course.And I represent our firm in a marketing capacity, calling onclients. I am often part of a presentation team after our firm hasmade a short list and is going for the contract.

What is the most satisfying part of your job?Most satisfying: Working every day with talented, creativepeople—on most commercial projects one is part of a team. I findthis generally exciting and fun. Second most satisfying: The walk-through when a project is newly finished, the furniture isinstalled, and the client is excited and happy.

What is the least satisfying part of your job?Least satisfying: Not getting a project that I worked and marketedhard to get! Second least satisfying: Working on a project wherethe client does not allow me to do the professional job I knowshould be done, which results in a finished work that is far fromwhat it could have been.

University:University ofNorthern Iowa,bistro. Linda Kress,ASID, Lotti, Krishan& Short, Inc.,Tulsa, Oklahoma.Photographer:Shimer@HedrichBlessing.


What is the most important quality or skill of a designer inyour specialty?One must be a good listener—whatever your design specialty—bevery organized, and be able to work under pressure. Naturally, youshould be a good designer and constantly keep abreast ofdevelopments in the field.

Who or what experience hasbeen a major influence onyour career?Several of my professors at theUniversity of Missouri, butparticularly Dr. Ronn Phillips,who first introduced me to thereal depth and power of thisprofession. In class, he taughtus about design and behavior.In and out of class, he taught usthat what we do should alwaysbe useful; that we absolutelymust be able to think a thingthrough; that a career as adesigner should be interesting,challenging, rewarding, andexciting—but it would be up tous to make it so.

My three employers(architects John Lotti, GarretKrishan, and David Short) haveconstantly challenged me withprojects and tasks that alwaysseem a step above mycapability. In doing this, and inexpecting me to get the jobdone, they have helped mestretch and grow. It’s not alwayscomfortable, but it’s alwaysinteresting!

University: University of NorthernIowa, pizza bar. Linda Kress, ASID,Lotti, Krishan & Short, Inc., Tulsa,Oklahoma. Photographer:Shimer@Hedrich Blessing.

Interior DesignRegistrationand Licensing

BEGINNING IN 1982, states beganpassing legislation to license or registerprofessionals working in interior design.Of course, attempts to regulate interiordesign practice had been made before.Alabama was the first state to successfullyenact legislation affecting interior design.As of 2002, 24 jurisdictions in the UnitedStates and Puerto Rico had legislationthat required specific educational, workexperience, and testing requirements inorder for individuals to work as or callthemselves an interior designer. Exhibit 1-3 lists the states that have legislation per-taining to interior design work and thetype of legislation that has been enacted.Canadian provinces with provincial asso-ciations all have some form of legislation.

Legislation can take many forms. Insome states, it restricts who may call him-self or herself an interior designer. In thiscase, the legislation is commonly referredto as title registration. It does not limitwho may practice interior design butrather limits the title one may use as apractitioner. Some states have a state cer-tification regulation. This is similar to atitle act, but in this case practitioners cancall themselves certified interior designer.

Where such legislation exists, individ-uals cannot advertise themselves as a“registered interior designer” or certified

interior designer unless they meet theeducation, experience, and examinationrequirements defined by the jurisdiction.This type of legislation is currently thenorm in the Canadian provinces.

Some jurisdictions have gone one stepfurther and passed legislation that limitswho may practice interior design servicesas described by a state board of technicalregistration. If designers do not pursueand meet the requirements set by thestate to practice the profession, then theyare prohibited from performing the pro-fessional services of an interior designeras defined by the state. This type of legis-lation is called a practice act. Generally,interior designers working where a prac-tice act has been established are calledregistered interior designers or interiordesigner depending on the exact lan-guage of the law in the jurisdiction. As of2002, only Florida, Alabama, Louisiana,Nevada, Washington, D.C., and PuertoRico had enacted practice act legislation.

Within selected jurisdictions, licensingor other registration assures the con-sumer of interior design services that theperson hired for the project has the train-ing, experience, and competence torender professional interior design ser-vices. With licensure, problems occurringin the interior design phase are theresponsibility of the interior designer, andthe client has the opportunity to file acomplaint with the state board, which candiscipline the designer. This protectiondoes not exist where licensing is not ineffect. Interior designers use a combina-tion of skills, knowledge, and experience



Exhibit 1-3

Interior Design Registration Lawsin the United States

Alabama Title and Practice

Arkansas Title

California Self-certification

Colorado Interior Design Permitting Statute

Connecticut Title

Florida Title and Practice

Georgia Title

Illinois Title

Kentucky Title

Louisiana Title and Practice

Maine Title

Maryland Title

Minnesota Title

Missouri Title

Nevada Title and Practice

New Mexico Title

New York Title

New Jersey Certification

Puerto Rico Title and Practice

Tennessee Title

Texas Title

Virginia Title

Washington, D.C. Title and Practice

Wisconsin Title


to creatively solve functional and aes-thetic problems and meet the needs ofthe consumer. This is true whether theconsumer owns a home or a businessfacility. It can be argued that no otherprofession involves as wide a range oftechnical, aesthetic, planning, and health,safety, and welfare issues as interiordesign.

ENDNOTES

1. National Council for Interior DesignQualification. 2000. NCIDQ Examination StudyGuide. Washington, DC: NCIDQ, pp. 22–23.

2. Charlotte S. Jensen. September 2001. “DesignVersus Decoration.” Interiors and Sources, p. 91.

3. John Pile. 2000. A History of Interior Design.New York: John Wiley and Sons, p. 255.

4. Nina Campbell and Caroline Seebohm. 1992.Elsie de Wolfe: A Decorative Life. New York:Clarkson N. Potter, p. 70.

Allied Professions

The interior designer or client, to provide expertise in specific areas of an interiors project,

may hire professionals and consultants in allied fields.

• Architecture: The profession of designing and supervising the construction of buildings

of all types.

• Engineering: The planning and design of various technical aspects of a building or its

interior. Types of engineers that might be involved in an interior project include mechani-

cal, electrical, plumbing, heating and ventilation, and structural engineers.

• Facility planning: Synonymous with space planning. Facility planners often work for

client corporations.

• Graphic design: The design and development of a wide variety of graphic media for

print, film, advertising, books, and other areas of commercial art.

• Interior architecture: Many consider this profession synonymous with interior design;

however, most state boards of technical registration require that the term interior archi-

tect be used only by individuals who have graduated from a school of architecture or

been certified as an architect.

• Kitchen and bath design: The specialty design of residential and commercial kitchens

and/or baths.

• Lighting design: The specialty design of artificial and natural lighting treatments to

enhance the design and function of an interior or exterior space.

• Space planning: The planning of interior spaces, especially in commercial facilities. Gen-

erally, the space planner has less responsibility for the decorative aspects of the interior

than the interior designer.

As a former regulatoryboard member and president ofNCIDQ, I feel certification byexamination and the licensurethrough the states’ regulatoryprocesses is critical to theprotection of the public health,safety, and welfare. This ensuresthat the public can rely onthose individuals with certifi-cation and licensure as havingobtained a certain standard ofeducation and professionalexperience.

—Linda Elliott Smith, FASID

California licenses inte-rior designers and I thinkit’s very important for theprofession.

—Jain Malkin, CID

Critical.—Nila Leiserowitz, FASID

I would like to see InteriorDesigners certified by examina-tion and licensing of profes-sional qualification torepresent the rigorous educa-tion that we must have. Weneed to overcome the imagethat Interior Designers arenothing more than furnituresalesman by the public.

—Sandra Evans, ASID

It becomes more importantwith each passing year. Ibelieve that in the next coupleof decades certification andlicensing will become as impor-tant and ubiquitous as the CPAexam. And, because ofincreased liability related tointerior design issues (ADA,mold/air quality, ergonomics,etc.) the general public willbegin demanding qualifieddesigners.

—Jeffrey Rausch, IIDA

Passing a qualifying exami-nation and becoming regis-tered, or licensed, will be theminimum requirements forinterior design in the very nearfuture. Nearly half the states inthe US and many of the Cana-dian provinces already havesome legislation in place toregulate our profession.Another ten or so states arecurrently in the process of get-ting this type of legislationpassed. These two things willbecome the minimum require-ments for those wishing topractice or call themselves“interior designer” in the nearfuture.

—Terri Maurer, FASID

Critical to continuedadvancement of the professionthrough regulation of activitiesundertaken under the headingof “interior design.”

—Marilyn Farrow, FIIDA


“How Important IsCertification by

Examination andLicensing of InteriorDesigners Today?”

Very important. As inte-rior designers we work withlighting, building systems,finish materials and furnishingsthat impact the people livingand working in the spaces wedesign. We need to show com-petence in designing and spec-ifying for interiors spacesbeyond the pure aesthetics. Itis critical to be aware of thesafety of a building’s structuralmaterials, the furnishings, andthe finishes in respect to one’shealth and life safety.

—Sally Thompson, ASID

Monumental—the publicneeds to understand our pro-fession. Examination andlicensure assures the publicthat we are capable of protect-ing their health, safety, andwelfare.

—Donna Vining, FASID

It is very important to setindustry standards that requireat least minimum standards ofgeneral knowledge. We owe itto ourselves and to our clients.

—Michelle King, IIDA

Very important because ofthe liabilities that exist inoffering professional InteriorDesign services. A client ispaying for professional serviceand expects the designer to beaccountable for the results.

—Leonard Alvarado

Immensely!!!—Rosalyn Cama, FASID

QUESTION TO DESIGNERS


Medical office suite: multipurposeconference room. Terri Maurer,FASID, Maurer Design Group,Akron, Ohio.

The knowledge gainedthrough structured interiordesign education is invaluableas the basis for any practitioner.

However, because the inte-rior design profession contin-ues to evolve and expand, theinterior design practitioner’seducation must not stop atgraduation. With sources, pro-cesses, and code requirementsin a constant state of evolu-tion, the interior designer mustmake a commitment to lifelongeducation.

—Linda Elliott Smith, FASID

Education is of the utmostimportance. Competition isfierce, and the better preparedone is, the more successful onewill be. Education is anotherticket in the lottery. The moretickets you have, the betteryour chances are to win.

—Charles Gandy, FASID, FIIDA

Critical. As technologicaldata expands, so also does theclient’s need for professionalexpertise expand.


Interior design educationis extremely important. Thiscomplicated profession hasmany aspects far beyond aes-thetics; codes, materials,workflow systems, controllingcosts, and just the actual pro-cess of implementing a designcomplicates the process farmore than ever before. There-fore, a good design educationis a critical foundation for anyperson’s success as an interiordesigner today.

—M. Arthur Gensler Jr., FAIA,FIIDA, RIBA

Interior design educationis critical in today’s industry. Itis the first step on the way tobecoming a professional in thefield.

—Terri Maurer, FASID

It’s hard for me to imaginesomeone trying to enter thisprofession in a professionalcapacity and not have anyformal education. I think it’scritical.

—Beth Harmon-Vaughn, FIIDA

It is monumental. If we areto be a profession, we must havea consistent, quality educationalprogram, ever changing andevolving as today’s advancesmove faster and faster.


Educating designers iscrucial to the evolution of ourprofession in the next genera-tion of designers. We finally arelicensed in many states andhave begun on the true path toprofessionalism. But we mustforever shut the door on theuneducated designer’s ability todesign projects, especially com-mercial projects. The health,welfare, and safety of the publicare at stake daily in the deci-sions we make, and uneducateddesigners undermine the credi-bility of our profession.

—Juliana Catlin, FASID


“How Important IsInterior Design Education

in Today’s Industry?”

We all want to make a dif-ference in someone’s life andbecause interior design impactsso many, it was a good way forme to make that difference.

—Charles Gandy, FASID,FIIDA

I have always been inter-ested in space and interiorenvironments and grew updrawing and painting and nat-urally wanted to major in art incollege. My college requiredthat I select a specialty, so Iselected interior design. I wasstill able to take art classeswhile learning a professionwhere I could find employ-ment.

—Rita Carson Guest, FASID

I had always loved readingfloor plans, even as a child; Ihad worked for several devel-opers—one in the architecturaldepartment—and had alwaysbeen interested in space plan-ning. And then the socialworker in me also liked theidea of working with people tocreate living environments thatfunctioned well.

—Jan Bast, ASID, IIDA

My passion began as adesire to create better placesfor people to live and work. Ibelieve that all interior design-ers share this basic passion.That passion has grown for meto include consideration forhow we affect the natural envi-ronment in the process. I stillfocus on interiors, but thechoices we make in the processhave a significant effect on thelarger environment we all share.

—Barbara Nugent, FASID

It provided an opportunityto use my artistic and analyti-cal skills and make a living,which I didn’t think I could dowith an art career.

—Beth Harmon-Vaughn, FIIDA

I saw it as a problem-solvingprofession that had as its toolsphysical space, psychology,marketing, surface materials,furnishings, lighting, and so on.

—Bruce Goff, ASID

Couldn’t live without thechallenges of artistic problemsolving.


It was my childhood dreamto improve interior environ-ments. I described my desire tomy grandfather, and he said Iwas describing a career in inte-rior design.

—Roz Cama, FASID

Creating environmentsthat impact people.

—Nila Leiserowitz, FASID

I envisioned interior designas an opportunity to apply mycreativity in a practical way. Isaw in it a way to fill my desireto improve our collective qual-ity of life and to satisfy myinterest in human behavior.

—Sari Graven, ASID

Believe it or not, I’d neverheard of interior design as a pro-fession until I was working myhusband’s way through collegeat a local university. I worked inthe dean’s office, where theinterior design program wasbeing developed, and the coursecurriculum came across my desk.I was so impressed with theinterdisciplinary approach ofthe program through art, archi-tecture, interior design,graphic design, and technologythat I became interested inpursuing that new major. I


“Why Did You Become anInterior Designer?”

found it fascinating that manyof the courses focused on vari-ous forms of creative problemsolving.

—Terri Mauer, FASID

I found I had naturaldesign skills that becameevident as I was taking electivecourses at university whilestudying for my BA in businessand marketing. I then took afew more of these courses, andthe rest followed.

—Jeffrey Rausch, IIDA

My love of art and design.I had a career as a graphicartist but found its one-dimen-sional aspect boring. I alwaysfound the presentation boardsmy fellow art students did forthe interior design classes fas-cinating, so I decided to giveit a try. Loved it ever since.

—Robin J. Wagner, ASID, IDEC

Love of beauty and orderfrom chaos.


Actually fell into it work-ing for a large design and fur-nishings firm after high school.I liked it and explored manyavenues of industry.

—Michael Thomas, ASID

I began thinking about acareer in interior design aftermany years of studying the fine

arts. I wanted to be able todevelop my fine arts experiencein a three-dimensional world.

—Linda Sorrento, ASID, IIDA

I liked the hardware store asa kid. While a business majorin college, I decided to addfashion merchandising to makeit more interesting and had totake a basic design course aswell as textiles. I met a fewinterior students and figured ifthey could do it, so could I. SoI switched majors and havebeen at it ever since.

—Melinda Sechrist, FASID

I was working in an archi-tectural firm while in schooland saw the potential for rapidadvancement in commercialinterior design. There was alack of technical knowledge inthe field at that time.

—Fred Messner, IIDA

Interior design is anextension of my creative natureand the fulfillment of mydesire to be of service to per-sons who endeavor to enrichtheir lives through their physi-cal environment.

—Sandra Evans, ASID

I became an interiordesigner because it was theclosest degree I could find to afine arts degree that my fatherwould fund. At that time, I wasinterested in all the art classes,but as I began to take interiordesign labs, I enjoyed thechallenge of interpreting aprogram combined with thecomplexity of transferring myideas into a two- or three-dimensional format.

—Linda Santellanes, ASID

I’m a registered architect,not a professional interiordesigner. I suppose you couldsay I’m a professional interiorarchitect who has a greatdeal of experience designinginteriors.

—M. Arthur Gensler Jr., FAIA,FIIDA, RIBA

As a teenager I becameinterested in spaces, particu-larly my own personal space,and how, with some thoughtand manipulation of the ele-ments within the space, thatenvironment could take on atotally different feel.

—Linda E. Smith, FASID

I started out wanting tobecome an architect. Lucky forme, the closest architecturalschool to me was at the Uni-versity of Manitoba, Canada(100 km away from my home-town). The program offers a


WHY DID YOU BECOME AN INTERIOR DESIGNER?

masters in architecture and isregarded very highly. Theundergraduate degrees offeredare environmental studies(three years) and interiordesign (four years). I chose theinterior design program. I knewI would have a solid professionto rely on if I did not continuestudying for my masters. (Theenvironmental studies programwould provide an undergraduatewith a very good foundation toproceed into architecture, but itwould not provide a soliddegree on its own.)

Once I graduated, I gavemyself one year to work in theindustry before going back toschool for my masters. I havebeen practicing interior designfor 15 years and have no inten-tion of obtaining a masters inarchitecture.

—Jennifer van der Put, BID,IDC, AEIDO, IFMA

I started drawing in kinder-garten. I was always fascinatedwith the details in the homesof friends while growing up.

—Pat Campbell McLaughlin,ASID

I was influenced by myuncle, who was a successfulresidential designer and had apropensity for the arts.

—Leonard Alvarado

At first it was because Iwanted to fix up my own

house. Then others startedasking for my interior designadvice and urged me to take itup as a profession.

—Greta Guelich, ASID

I wanted a profession inwhich I could use my creativeabilities while impacting thepublic in a positive manner.Interior designers have a greatresponsibility to the generalpublic (corporate design, hos-pitality design, etc.). How aspace functions, how peoplefeel in that space, is the publicsafe while in that space, canall people utilize that spaceregardless of physical ability:these are all considerationsI must make for every job.Interior designers have a greatresponsibility and a new chal-lenge with every new client.

—Christy Ryan, IIDA

It was a blending of techni-cal knowledge and the creativ-ity of implementing designtheories.

—Linda Isley, IIDA

My father was an engi-neer—too technical. I had agreat art teacher mentor injunior high school and highschool who encouraged me topursue an artistic career. Myuncle was an architect, so thatseemed logical. I went to col-lege for architecture butstruggled through a pre-arch

major; then I was againencouraged to look at interiordesign by a professor. Theshort of it is that I fell into theprofession and haven’t lookedback. It was the best educa-tional/career decision I couldever have made.

—David Stone, IIDA

To provide functional, aes-thetically pleasing environ-ments for people to live andwork.

—Sally Nordahl, IIDA

I always knew that I’d beinvolved with some type ofdesign, but I had to take anumber of art and designclasses in college to decidewhich area was a good fit. Iwas steered into graphic designby a guidance counselor in col-lege who didn’t understand ourprofession at all. But when Itook a job in college workingwith architectural models, Irealized that architecture anddesign were where my trueinterests lay.

—Suzanne Urban, IIDA, ASID

I have always beenintrigued by the built environ-ment and how space, volume,and aesthetics impact our well-being and quality of life.

—Robert Wright, ASID



I didn’t plan to become aninterior designer. I started outwith a degree in psychologyand, later, through a circuitousroute, discovered this field.This was way before Art Genslerhad created the field of corpo-rate office interiors. Healthcare design in those daysdidn’t even exist. In fact, inte-rior design as we know it wastaught in only about threeschools across the country. Atmost universities, it was in thehome economics department,which was anything but com-mercial or institutional interiordesign. It’s actually quite aninteresting story how I gotinto the field, but it wouldtake several paragraphs to evenscratch the surface. It was,however, quite fortuitous, as Ifound I really enjoyed it and itbrought together many of mytalents and abilities. I alwayshad a good head for business,was persuasive and also cre-ative. Those are important pre-requisites for this field,especially if one wants to beself-employed.

—Jain Malkin, CID

My mother told me I couldnever make money being anartist. I still like to create, andthis seemed to be a goodavenue for that.

—Debra May Himes, ASID,IIDA

On looking back, I can’tsay for sure that any one thingswayed me. I always knew thatI wanted to be in an artisticprofession, yet there was alsothe mechanical side and thewhat-makes-it-work? how-was-this-done? aspect. I think inte-rior design found me. Once thedecision was made, I havenever regretted nor doubtedthe choice.

—Derrell Parker, IIDA

I considered interior designa perfect place to blend myartistic abilities with a desirefor a professional career.

—Juliana Catlin, FASID

I wanted to focus on theeffect of environment on per-sonal success.

—Neil Frankel, FIIDA, FAIA


Healthcare: Rotunda with mural of Hygeaand Panacea (Greek goddesses of preventionand treatment), Scripps Breast Care Center,La Jolla, California. Interior architectureand design, Jain Malkin, Inc., San Diego,California. Photographer: Glenn Cormier.


The plan has always fasci-nated me. As a very youngchild, I drew house plans forfun. And I had a high schoolart teacher who introducedrural kids to the world ofapplied art. Everybody assumeda college-bound rural kid wouldbecome a teacher or homeeconomist. I enrolled in theCollege of Arts and Sciences asan art major! A couple of pre-architecture courses pointedme in the direction of architec-ture or interior design. Eco-nomics and circumstances putme in the interior design mas-ters program at the Universityof Missouri, Columbia. I havenever been sorry. The intimaterelationship between an inte-rior and the people who liveand/or work there is fascinat-ing. I truly believe that whenan interior works, people livebetter, work better, learnbetter, and heal better.

—M. Joy Meeuwig, IIDA

I loved the idea of assistingpeople and business.

—Ellen McDowell, ASID

Growing up in the familycarpet business, I learned toappreciate the construction ofhomes and of buildings. Overthe years, I was exposed tohow people worked and lived.In school, I was taught draft-ing at an early age. Art classestaught freedom of expression. I

thought I wanted to becomean architect or a home builder,and some day I might be. Incollege, I learned what an inte-rior designer was. I realized Ihad several of the intereststhat make an interior designer.I believe I am a designerbecause the field of designfound me.

—John Holmes, ASID, IIDA

I was already an architectfor 20 years and could notseparate the roles of architectand interior designer so I tookthe NCIDQ so I would be legit(South Carolina has no title orpractice act for interior design).

—W. Daniel Shelley, AIA, ASID

To help people createbeautiful and functional envi-ronments that promote healingand safety.

—Beth Kuzbek, ASID, IIDA,CMG

Engineering is too dry,and architecture is generallytoo focused on the massingand overall look. Interiordesign allows me to create theexperience.

—Michelle King, IIDA

I enjoy helping people, thepractical creativity of the pro-fession, and that every day isdifferent in the life of adesigner.

—Stephanie Clemons, PhD,ASID, IDEC

I will give you the long ver-sion! This is the story I sharewith eighth-graders who areinterested in interior design:

I grew up the daughter of anarchitect and engineer. Myfather designed our house andhad it built in 1966. My par-ents always gave me great free-dom in decorating my room—from painting in whatever colorI wanted to allowing me tohang whatever I wanted on thewalls. When I was in the sev-enth grade, I really wanted aloft. The ceilings in our con-temporary house were veryhigh. My father said if I drew aplan of what I wanted, hewould build it. So I had thiswonderful loft space in myroom with my mattress uphigh. It was very cool for a 12-year-old!

I was in high school and notsure what I should study incollege. I loved arts and craftsprojects but didn’t take art inhigh school. However, I didtake mechanical drafting, andin the summer I worked a littlebit in my father’s office draft-ing elevations and floor plans.When I was in high school, Ihad a science teacher who saidI should study forest engineer-ing because it was a field withfew women in it and I wouldmake a lot of money. Soundedgood to a 17-year-old—tromp-ing around in the woods with abunch of guys! I entered theUniversity of Maine at Orono



and promptly flunked out afterone semester. While I was inOrono, however, I decoratedmy dorm room and won anhonorable mention prize for myroom. That prize got me tothinking that maybe I couldmake a living doing what I’dalways enjoyed so much, so Ientered Bauder College inAtlanta, Georgia, and receivedan AA in interior design in1983. I graduated top of myclass—proving that once Iknew what I wanted to do Icould excel at it.

I worked for an office furni-ture dealer (Herman Miller) forthree years. Then, in 1986,when I asked for a raise (I wasmaking $12,000) and wasturned down, I decided to startmy own company. At the ageof 23, I started Lisa WhitedPlanning and Design, Inc. Ikept the company until 2001.

In 1988, realizing I reallyneeded to add to my designeducation, I entered theBoston Architectural Center,studying architecture. I studiedfor three years, commutingfrom Portland, Maine, toBoston (two hours each way)two nights per week. I did notget my degree—but the addi-tional education was invalu-able. I also took classes overthe years at the Maine Collegeof Art (color theory, etc.). In2000, still wanting to add tomy education, I entered

Antioch New England GraduateSchool and gained an MS inOrganization and Management,graduating in fall 2002.

—Lisa Whited, IIDA, ASID,IDEC

I love buildings, the exte-rior blending with the interior,and bringing them together ina harmonious manner to createa special place to live, enter-tain your friends and family,work, and, especially, relax.

—Kristen Anderson, ASID,CID, RID

At the time I started interiordesign school in 1981, I was30-year-old wife and mother,working in a furniture businessmy husband and I owned. I wasgood at helping the customersand thought it would be logicalto finish my college degree ininterior design rather than injournalism (which is what I wasmajoring in in the 1960s when Idropped out to get married, asmany women did in thosedays).

As it happened, the FIDER-accredited program at the Uni-versity of Missouri was power-ful. I soon came to understandthe true impact designers canhave on environments and,therefore, on people (and I’m apeople person). I loved everyaspect of my education, but Iespecially loved the peoplepart—the design and behavior

classes; the books DesigningPlaces for People, A PatternLanguage, Humanscape, Envi-ronments for People, and evenHuman Dimension for InteriorSpace—the ergonomics parteven seemed interesting to me.(Weird, huh?)

Now my life has taken manyturns away from the plans Ihad when I was 30! But I lovemy work—I love being a pro-fessional designer.

—Linda Kress, ASID

Strong interest inarchitecture, fine art, andconstruction.

—William Peace, ASID

Through growing up inJapan, I realized that lifeexperiences shape who we are.Everything about my livingenvironment—region, culture,interior dwellings, etc.—influ-enced the development of mycharacter and how I feel aboutmyself and living. In highschool, I specifically realizedthat I wanted to influenceothers, as I knew so well howour environment can affect ourmotivation and zest for life. Idecided to do this throughinterior design, where I coulddevelop interior environmentsthat enhance motivation andpositive experiences for others.

—Susan B. Higbee



After reaching a previouscareer goal as a journalist earlyin life, I decided the only thingleft to do was to write a bookand quickly realized I didn’tknow much about anythingother than journalism. Ithought I should pursueanother interest for the subjectof the book and went back tocollege to study interior design.College led to practicing.

—Suzan Globus, ASID

As a child, I was influencedby my mother and grand-mother. Growing up in Miami, Ispent a lot of time watchingthem renovate homes andboats. It was then I realized Icould mentally visualize aspace in three dimensions.Interior design just seemed tobe the natural direction for me.

—Sally Thompson, ASID

I have always been inter-ested in art and architectureand decided to focus on theinterior environment when Ibecame familiar with this fieldin college.

—Janice Carleen Linster,ASID, IIDA, CID

I have always had a greatinterest in our history andculture as a society. The roomswe choose to inhabit are ourinterpretation of a personalhistory.

I grew up in a ranchingfamily in Wyoming. The life-style and environment did notlend themselves toward muchmore than a practical exis-tence. As I was growing up,when I would visit a place orsee a picture of a room thathad been purposely composedand designed, it felt so enrich-ing. Rooms carry the spirit oftheir inhabitants, a well-designed room can excite thesoul much the same as anexhilarating conversation.

—Cheri R. Gerou, AIA, ASID

This is my second career. Iwas a fashion designer formany years, but as I becamecaught up in the business sideof the profession, I missed thecreativity. Once a designer,always a designer. I switchedprofessions from fashiondesigner to interior designerbecause (1) I wanted to designmore all-encompassing projectscalling for unique solutions inwhich I could deal directlywith the end user, and (2) Iwanted to move to a moreentrepreneur-friendly field inwhich I could work alone or ina small team and still accom-plish great things.

—Sally D’Angelo, ASID



Corporate: office lobby. SusanHigbee, Group MacKenzie,

Portland, Oregon. Photographer:Randy Shelton.

From a young age, I wasalways interested in design. Ienjoyed art classes and visitingart museums with my parents. Iwould spend hours with largesheets of paper, drawing entirecities with buildings, houses,and roads. My cities were per-fect places to race my match-box cars. I enjoyed creating myown little world with LincolnLogs and Legos. My Barbiesalways had the best-laid-outtownhouse on the block. Whenasked what I wanted to bewhen I grew up, I would alwaysanswer, “an architect.” I don’tthink I really knew what thatmeant, only that it had some-thing to do with creating the

built environment.I took all the design and

drafting classes I could in highschool. I was fortunate to havethe opportunity to participatein the Georgia Governor’sHonors program in Design. Mytype of artistic talent—moretechnically oriented—seemedto be the perfect match forarchitectural design. I enteredcollege determined to get intothe School of Architecture andstudy interior design.

—Kristi Barker, CID

To design for the builtenvironment.

—David F. Cooke, FIIDA, CMG

I want a career thatutilizes both my technicalcapabilities and creativetalents. Interior design isabout balancing what isphysical and tangible withaesthetic ideals. To me, formand function should be a happymarriage. I also enjoy havingnew challenges on a regularbasis. Each new project offersa chance to approach thingsdifferently, to solve a newproblem.

—Kimberly M. Studzinski, ASID



Institutional: commissioner’soffice, County AdministrationBuilding. Kim Studzinski, ASID.Buchart Horn, Inc./BascoAssociates, York, Pennsylvania.Photographer: Bryson Leidich.


Art, architecture, anddesign were always of interestto me. I started out as anengineering major in college,mostly because I was familiarwith it due to two of my sistershaving engineering degrees.Quickly I knew engineering didnot involve enough design andfound myself coming homefrom class and sketching,drawing, doing anything thatwas artistic. I needed to get itout of my system. My firstchoice was to transfer to anarchitectural program, but theuniversity I attended did notoffer architecture and finan-cially I could not transfer toother universities with qualityprograms. My university didoffer environmental design as adegree program. I excelled inthe program and mentally knewI had made the right decision.

—Jennifer Tiernan, IIDA

In high school, I was fasci-nated by the way a building’senergy was embedded in itsstructure. I considered study-ing architecture, but at thattime women were not encour-aged to be architects, and Ientered a liberal arts programinstead. After graduation, Itook a series of aptitude tests,and architecture looked likethe best career choice, so Ienrolled at the Boston Archi-tectural Center. After two and ahalf years of going to school

nights and working days atanything I could get related toarchitecture, I burned out onschool but continued to work.A recession and a move toDenver took me into retailmanagement and humanservices work. In 1988, Imoved back to Boston and gota job with an architect. Avocational counselor advisedthat, because I loved colorand texture and was mostinterested in how peopleexperienced and used interiorspaces, I might study interiordesign. So back I went to theBAC’s interior design program.

—Corky Binggeli, ASID

My dad was a contractorand, as a kid, I worked withhim on some of his projects. Ithought of becoming an archi-tect but lacked the disciplineto study, especially math,while I was in college. I wasmuch more interested in fol-lowing sports and finding ahusband than getting an edu-cation. I ended up with aneducation and married later inmy career.

—Mary Fisher Knott, CID,RSPI, Allied Member ASID


Lodging: atrium, Millennium Hotel, St.Louis, Missouri. Jennifer Tiernan,Geppetto Studios, Inc.

an introduction to the interior design...

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