J O U R N A L O F T H E I N T E R N AT I O N A L I N T E R I O R D E S I G N A S S O C I AT I O N
www.iida.org
FALL 2009
CONTENTS
FALL
20 09
F E AT U R E S 10
BUSTING THE GREAT CONSTRUCTION MYTH BY MICHELLE BOWLES
18
REDESIGNING THE FUTURE INTERVIEWS BY RENE RYAN
10
28
SERENE IN THE CITY BY ASHLEY D E VECHT
STANDARD
36
FRAMES OF MIND BY MEREDITH LANDRY
OF PERFORMANCE
18
D E PA RT M E N T S 40
MATTERS OF DESIGN BY JEANNE HELLER FISHER
42
FORUM FOCUS FACILITY PLANNING AND DESIGN
44
RESOURCES BY ASHLEY DEVECHT
28
3ONATA #OLLECTION !RCHITECTURAL 2ESPONSE +OLLECTION )NC
46
INDUSTRY MEMBERS
47
AD INDEX
48
WHAT’S THE FUTURE OF DESIGN?
36
(ALLADAY 3TREET 3ANTA !NA #ALIFORNIA WWW ARK INC COM
!N ENVIRONMENTALLY FRIENDLY COMPANY
½NE CASEGOODS fa l l 2 0 0 9
1
N a t i o n a l Te r r a z z o & M o s a i c A s s o c i a t i o n The Miami International Airport South Terminal Expansion
presents the
Designer/Artist Sato Services, LLC Seattle, Washington Communications Arts Inc. Boulder, Colorado
2 0 0 9 H o n o r Aw a r d s The 2009 Honor Awards are presented by the National Terrazzo & Mosaic Association (NTMA). In its 86th year, the Awards honor superior craftsmanship in terrazzo installations and recognize excellence in design and function.
Miami, Florida
The NTMA establishes national standards for all terrazzo floor and wall systems and provides complete specifications, color plates and general information to architects and designers at no cost.
Architect Borelli & Associates Rodriquez & Quiroga Miami, Florida
National Terrazzo & Mosaic Association 2009 Honor Awards
JOB OF THE YEAR
Indianapolis International Airport Weir Cook Terminal Indianapolis, Indiana The Great Circle Route University of Wisconsin - Madison Grainger Hall Addition
Madison, Wisconsin
Designer/Artist The Zimmerman Design Group Wauwatosa, Wisconsin
Designer/Artist Lynn Basa Design Chicago, Illinois
Architect The Zimmerman Design Group Wauwatosa, Wisconsin
Career and Technology Center
Frisco, Texas
Architect SHW Group, Inc.
Phoenix Convention Center Phase II
Phoenix, Arizona
Designer/Artist Gensler; Beth Harmon-Vaughan Moody Arts, Troy Moody Phoenix, Arizona
World Market Center
Designer/Artist Jerde Partners Venice, California
Architect HOK Kansas City-Sport Kansas City, Missouri
The National Terrazzo & Mosaic Association, Inc.
(800) 323-9736
www.ntma.com
info@ntma.com
Architect JMA Las Vegas, Nevada
Las Vegas, Nevada
Houston, Texas
Photo Credit: Mark Dean, Dean Photography
Walnut Bend Elementary School
Designer/Artist VLK Architects, Inc. Houston, Texas Architect VLK Architects, Inc. Houston, Texas
Winona State University Maxwell Hall
A Condominium for Bart Kavanaugh and Betty Saks
Miami Beach, Florida
Designer/Artist Christopher Coleman Interior Design Brooklyn, New York
Children’s Medical Center Legacy Campus
Winona, Minnesota
Plano, Texas
Designer/Artist Teresa Cox St. Paul, Minnesota Architect Page Southerland Page LLP Dallas, Texas
Architect Holabird and Root Rochester, Minnesota
Photo Credit: Michael McBride & Jeremiah Adametz
Fontainebleau Hotel & Resorts
Designer/Artist Bill Glass & Demos Glass Locust Grove, Oklahoma Architect Cesar Pelli & Matrix Architects Inc. Tulsa, Oklahoma
Cambridge War Memorial
Cambridge, Massachusetts
Miami Beach, Florida
Photo Credit: Brennan Rimer Photographix
Tulsa, Oklahoma
Photo Credit: George Bouret
Photo Credit: Leslie Carrio
The Bank of Oklahoma Center
Designer/Artist BC Architects Coral Gables, Florida Architect BC Architects Coral Gables, Florida
The Vue at Lake Eola
Designer/Artist Forum Studio, Inc. St. Louis, Missouri Architect HMFH Architects, Inc. Cambridge, Massachusetts
Architect Forum Studio, Inc. St. Louis, Missouri
Orlando, Florida
PRICE $4.95
FROM IIDA
IIDA BOARD OF DIRECTORS 2008–2009 President DERRELL PARKER, FIIDA President-Elect VIVECA BISSONNETTE, IIDA, CID, LEED ACCREDITED PROFESSIONAL
For designers, and most creative professionals, inspiration is sparked from many sources:
Vice President of Communications STEVE McCOLLOM, IIDA, AIA
images, places, words, photos, music, people, dreams, impressions, drawings or diversions. The common thread is that inspiration leads us to a story; sometimes amazing, sometimes
Vice President of Government & Regulatory Affairs LAURA TRIBBLE, IIDA, ASID
confounding — always essential.
Vice President of Members LARAYNE LUNDELL, IIDA
For five years, Perspective has followed a brilliant formula developed by a team of bright, enthusiastic creatives who took the best of what Perspective could be, broke it into iconic components and wrapped it back together with cohesive graphics and enlightened content to present a thought leadership tome that Members and design enthusiasts would anticipate and devour every quarter. Now we’re taking a crack at raising the
winning studio Legendre+Rutter. You can
bar. When others follow the same path, we
learn more about Legendre’s concept cre-
are flattered by the imitation but recognize it’s
ation on page 8.
time to advance our own publication mission.
Also premiering in this issue, we introduce
This issue premieres a new focus for the
a new feature, “Myth Busting.” In the current
cover, which features the work of creative
economy, the industry is changing quickly. We
thought leaders who relish every facet of
make a strong case to destroy some of the
design and celebrate the process. Love it,
preconceptions blocking creative unity in our
like it, question it, but take some time to think
world. We take a big swing at the Construction
about it. We hope this new initiative helps to
vs. Designer conflict, and find that there are
create new ways to connect, communicate
some very successful relationships out there.
and charge ahead. Take advantage of this
We’re telling stories, in more ways than
change to discover a new perspective on
just words and articles. Enjoy our first instal-
the design process, as presented by award-
lation. And let us know what you think.
Vice President of Professional Development FELICE SILVERMAN, IIDA Vice President of Industry Relations ALLEN PARKER, INDUSTRY IIDA Executive Vice President/CEO CHERYL S. DURST, HON. FIIDA, LEED ACCREDITED PROFESSIONAL PERSPECTIVE TEAM Publisher CHERYL S. DURST, HON. FIIDA, LEED ACCREDITED PROFESSIONAL cdurst@iida.org Editorial Director JEANNE HELLER FISHER jfisher@iida.org
14 highly sustainable products.
Perspective Editorial Advisory Board SUZANNE BECKMAN, IIDA VIVECA BISSONNETTE, IIDA, CID DAVID HANSON, IIDA, FIDIBC, IDC, RID STEVE McCOLLOM, IIDA, AIA LANCE RUTTER FELICE SILVERMAN, IIDA BILL WITTLAND Advertising Representation STEVEN M. FISHER, FISHER MEDIA stevenmfisher@gmail.com Printing and Distribution eDoc Communications IMAGINATION PUBLISHING 312.887.1000 www.imaginepub.com EVP, Associations REBECCA ROLFES rrolfes@imaginepub.com SVP, GM Associations JOE STELLA jstella@imaginepub.com Associate Director, Client Strategy RENE RYAN rryan@imaginepub.com
DERRELL PARKER, FIIDA 2009–2010 IIDA PRESIDENT
Senior Art Director TIFFANY MEHNERT tmehnert@imaginepub.com Senior Editor MEREDITH LANDRY mlandry@imaginepub.com Director of Production and Operations HEATHER SLATTERY hslattery@imaginepub.com
CHERYL S. DURST, HON. FIIDA, LEED AP IIDA EXECUTIVE VICE PRESIDENT/CEO
6
fall 2009
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Production Manager ERIKA MEINERS emeiners@imaginepub.com
800.899.8916 johnsonite.com
THE SEDUCTION OF DESIGN
IIDA HEADQUARTERS STAFF 888.799.IIDA Monica DeAngelis, Manager of Member Services and Chapter Relations, mdeangelis@iida.org Sara Downs, Receptionist, sdowns@iida.org Cheryl S. Durst, Executive Vice President/CEO, cdurst@iida.org
In an effort to stay fresh, maintain design initiative and stretch professionals’ imaginations, IIDA reached out to Yann Legendre, graphics guru, to create a cover for this issue of Perspective. Love it? Can’t figure it out? Read on for the designer’s own insight about the work…
Elizabeth Fidoruk, CPA, Director of Finance, efidoruk@iida.org Jeanne Heller Fisher, Senior Director, Communications and Marketing, jfisher@iida.org Jennifer Hunter, Executive Assistant, jhunter@iida.org
The cover illustration has as much to do with the act of making as it does with the resulting artifact. In order to make a great poster, you must be able to sense the policeman or soldier lurking around the corner as you apply your message of provocation to the wall. You must feel the edge of the precipice, and step over it. Great design, universally, is about the creation of that which evokes and provokes. The seduction of great design can be a soft whisper in your ear or the smoke-crackled voice of a blues singer — raw, coarse and unapologetic in its call to your emotions. This cover is about that kind of seduction of design. The kind that leaves us saying, "I don't need to know exactly how or why this space or object was made, I only know that I love it. And I won't settle for anything else."
internationally recognized graphic designer and illustrator. Legendre utilizes a multiform visual approach to graphic design that he coined “Design Life” — an approach that requires imagery to provoke emotional thoughtfulness. Legendre’s book designs have been recognized with awards from AIGA’s “50 Books / 50 Covers” and “Les Plus Beaux Livres Français.” His illustration for The New York Times’ “Arts & Culture” section in 2008 won multiple awards. Legendre’s posters have been exhibited in France, Switzerland, Germany, Poland, Finland, Japan, China, Iran, Bolivia, Mexico and the United States. Learn more at www.LegendreRutter.com.
THE ASSOCIATION FOR DESIGN PROFESSIONALS PERSPECTIVE IS THE JOURNAL OF THE INTERNATIONAL INTERIOR DESIGN ASSOCIATION, © 2009
8
fall 2009
PHONE FAX E-MAIL WEB
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Dennis Krause, Senior Vice President, dennis_krause@comcast.net Jane Larkin, Research Librarian, jlarkin@iida.org Jessica Leung, IT Coordinator, jleung@iida.org Allison Levy, JD, Managing Director, Government and Regulatory Affairs, alevy@iida.org Carmen O’Donnell, Communications Manager, codonnell@iida.org Ely Padilla, Manager of Education Services, epadilla@iida.org Jenny Palmer, Manager of Industry Relations and Special Events, jpalmer@iida.org Imelda Santos, Accounting Manager, isantos@iida.org
Yann Legendre, a French designer who left his Paris studio in 2005 to work in Chicago, is an
INTERNATIONAL INTERIOR DESIGN ASSOCIATION (IIDA), 222 Merchandise Mart Plaza, Suite 567 Chicago, IL 60654-1103 USA
Michelle Kraker, Manager, Student Marketing and Social Media, mkraker@iida.org
888.799.IIDA 312.467.0779 PERSPECTIVE@IIDA.ORG WWW.IIDA.ORG
Lisa Toth, Director of Membership, ltoth@iida.org Martha Victor, Managing Director, Education and Professional Development, mvictor@iida.org Sharon Williams, Managing Director, Operations and Administrative Services, swilliams@iida.org Sarah Winchester, Staff Accountant II, swinchester@iida.org perspective@iida.org www.iida.org IIDA VISION AND MISSION IIDA, with respect for past accomplishments of interior design leaders, strives to create a strong niche for the most talented and visionary interior design professionals, to elevate the profession to the level it warrants, and to lead the way for the next generation of interior design innovators. The Association provides a forum to demonstrate design professionals’ impact on the health, safety, well-being and virtual soul of the public, balancing passion for good design and strategy for best business practices. IIDA stands at the intersection of passion and strategy where designers create extraordinary interiors and experiences.
As an interior designer, you’ve likely heard of or experienced firsthand construction projects turned turf battles. On occasion, relationships between interior designers and general contractors can become plagued with costly change orders and destructive communication breakdowns. Those general contractors and construction professionals just don’t get it, right?
Not so, say those in the construction field. It’s a misunderstanding on both sides. In fact, many have worked to educate designers and enhance the overall experience for them. It’s more than possible for interior designers and general contractors to work together seamlessly, effectively and efficiently. It’s simply a matter of solid communication, viewing the project from a holistic perspective, and respecting one another’s differences and unique skill sets.
By Michelle Bowles Illustration By Yann Legendre
BUSTING the great
construction MYTH
THE interior designer PERSPECTIVE
GENERAL CONTRACTOR BIDDING OPTIONS •
LUMP SUM PROPOSAL (CLOSED BOOK). The bidding contractor provides a bottom-line price inclusive of all documented scope. Line-item trade breakdowns are included for reference only and are subject to change at the contractor’s discretion as long as the bottom line doesn’t increase. Subcontractor proposals are collected by the general contractor and are not for review by the owner or designer. Subcontractor cost savings revert to the contractor, and cost overruns are the contractor’s burden. This option is best when drawings are in the bid document phase or the construction document phase.
Effective working relationships between interior designers and general contractors are vital to successful — and economical — projects. Yet, at times, interior designers say construction professionals fail to understand the designer’s role and point of view.
in the process, only to find the general contractor would fail to
•
NEGOTIATED, GENERAL CONDITIONS AND FEE (OPEN BOOK). The bidding contractor provides a proposal that includes only
order the materials in a timely fashion. When a material wasn’t
the cost for his or her services to complete the project, not the subcontractor costs. The “general conditions” portion consists of
available in the timeframe it was needed, Mitsch would have to
the contractor’s out-of-pocket expenses to properly man the project, including job site labor, project management, dumpsters and
re-specify. “The general contractor of this project made sure the
tools. The “fee” is typically represented by a percentage of the overall construction costs. The project team selects subcontractors
materials I specified were ordered early, and he warehoused
(all quotes are shared and reviewed openly). Subcontractor cost reductions are a direct savings to the tenant. This option is best
them,” she says. “That was a first. I wasn’t called in at the last minute to re-specify.” In the end, it was the client who benefited from fewer change
when drawings are still in the space-planning phase. •
GUARANTEED MAXIMUM PRICE (OPEN BOOK). The bidding contractor provides a proposal that includes subcontractor quotes based on design drawings. It includes allowances and necessary items to complete the project. The GMP is based on a
orders thanks to the well-connected team. In fact, for its next project,
combination of hard quotes and budgets, as documents aren’t entirely complete. The contractor guarantees that the total project
the client didn’t even bid out; the entire team was hired once
cost will not exceed the proposed amount based on the scope available. Cost savings are typically shared between the owner and
again. “It was a win-win for everyone,” Mitsch says.
the contractor. This option is best when drawings are in the design development phase.
Clearly, examples like this prove general contractors can work with interior designers seamlessly and effectively. So why are so many
Source: Jon Runquist, Sonoma Construction
designer/contractor relationships strained? COMMUNICATION BREAKDOWN
designer and the contractor. Had the contractor just been on top
not only reduces the risk of having to re-specify materials, but also
“WE [DESIGNERS] DO MAKE MISTAKES. POINT IT OUT TO US. WE HAVE TO COVER A LOT OF DETAIL IN A SHORT AMOUNT OF TIME.”
the different perspectives helped to make the
of it, there wouldn’t have been a problem. They got themselves
helps the designer come up with more accurate cost estimates.
— Jeryl Mitsch, owner and President of
project go so smoothly,” says Mitsch, owner and
in a jam and had to make a substitution.”
During the beginning stages of a recent project
A lack of communication is one of the biggest hindrances to
“General contractors either aren’t given enough time or they are
in which interior designer Jeryl Mitsch was
positive designer/contractor relationships, says Jennifer Barnes,
not proactive in ordering materials earlier,” she says.
involved, the project’s general contractor did
IIDA, LEED AP, Vice President of RTKL Associates in Baltimore.
something Mitsch had never before encountered.
On rare occasions, she’s experienced contractors who substituted
He gathered the entire team everyone from
the interior design team and the architect to the
products or materials without approval from the interior designer.
stone ordered from the Middle East. “The general contractor
“It’s very frustrating when the contractor doesn’t provide proper
dropped the ball and didn’t order in time. But by some miracle, I
and asked a simple but direct question: What’s
documentation on the substitute product. By the time we knew
stepped in and found 20,000 square feet of stone at the last minute
about it, the product was already installed,” says Barnes, IIDA’s
in the United States. But that’s not my job,” she says, adding that
the worst thing that has happened to you when
Facility Planning & Design Forum Advisor. “Not only is this a
having to do so negatively affected her billing hours and fees.
working with a general contractor?
breach of contract, but it diminishes the rapport between the
Involving the contractor early on during the design phase, she says,
landscape architect and the electrical engineer
“Everyone had a different story to tell, but all
President of Indianapolis-based Mitsch Design,
Shannon O’Kelley Berler, Principal at Studio 5 Design and
Another issue arises, Mitsch says, when contractors do not fully
Inc. “It was a wonderful experience. The general
Architecture in Coconut Grove, Fla., echoes the complaint that
to questions that are clearly defined in the drawings. “The prob-
contractors find themselves in a bind when they fail to order
lem with that from an interior designer’s standpoint is we make
materials on time. But she says that can be a result of the client
our money hourly,” she says. “If we have to be on site [answering
not bringing the contractor onto the project early enough.
unnecessary questions], it gets expensive.”
Mitsch told the general contractor that, often,
fall 2009
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Indianapolis-based Mitsch Design, Inc.
review drawings. Some will call the interior designer for answers
contractor really pulled the entire team together.” she would specify materials for a project early
12
That was a major issue on a recent large-scale hotel renovation project for which O’Kelley Berler needed 20,000 square feet of
fa l l 2 0 0 9
13
That said, when a contractor does find a dis-
that must be hooked up to the electrical system, but the two may
best to point it out, Mitsch says. “If there is
not be compatible, Mitsch says. “That requires going to the client
something questionable in the drawing
to tell them what’s happened and that it’s going to cost more,”
maybe an electrical outlet in two different
she says.
shouldn’t make an assumption,” she says. “We
LET’S GET TOGETHER
do make mistakes. Point it out to us. We have to
The key to happy designer/contractor relationships, Wood says, is
cover a lot of detail in a short amount of time.”
finding a process that works, and communicating that process to all
places on two different drawings contractors
In those instances, Barnes says, it’s important
players. “That includes a well-defined scope of the project, a clear
for the contractor to be proactive in contributing
understanding of each player’s responsibility for the project, an
to the solution, not just looking for errors. It’s
established order for reporting information and making decisions,
also important to follow communication proto-
a team approach to resolving issues throughout the project, and
col while doing so. “Usually you want a writ-
open and clear communications within the team and with the
ten request for information submitted to the
client,” she says.
designer and a phone call or e-mail as a heads-
Barnes says it is possible to create an effective designer/
up, giving the designer adequate time to react,”
contractor relationship through teamwork and respect for each
she says. “Some contractors are good at com-
other. “It’s a matter of respecting one another’s areas of expertise,”
munication, but maybe not at managing that
she says. “We [designers] know the design intent; contractors
information flow. It may be a tedious process,
know means and methods. You want a contractor who brings
but it’s a mechanism to ensure designer intent
that value.”
is met and to safeguard everyone from incurring additional cost.” Lastly, oftentimes interior designers are not
Working as a team, Mitsch adds, sometimes involves standing
LOOKING THROUGH THE construction LENS General contractors and construction professionals clear up a few common misconceptions that interior designers may have regarding how they work and why they do what they do.
Operations Director for the Dallas Division of MAPP Construction LLC, contractors have valuable experience in determining how particular design details may impact the schedule, for instance. “Generally speaking, general contractors have a reputation for being just builders who are unable to provide design assistance,” he says. “Given the opportunity, general contractors have much to offer regarding details and field best practices. At MAPP, our pre-construction department routinely works with architects and designers to help prepare budgets and review details for the end-users.”
No. 2
Not all general contractors are created equal. Just as individual interior designers have
At the root of it, construction professionals rec-
unique skill sets and expertise, every general contractor has a
ognize that a lack of communication is to blame
specific level of experience and background to best suit a particular
up for one another. If an unresolved problem comes up while the
for rocky designer/contractor relationships
client is on site, the worst possible reaction would be for the con-
just as interior designers do. Ironic, isn’t it? Yet while both parties agree on the importance
project. Unfortunately, Runquist says, cost is often the deciding factor when choosing a general contractor. “You need to feel good about the guys you hire. In this economy, it’s hard to sell that,” he
brought onto the project early enough, says
tractor to place blame on the interior designer, or vice versa. “That
Joanna Wood, President of Club Design Group,
breaks down trust in the team,” she says. “Instead, pull your team
of solid and constant communication, oftentimes,
says. “If one contractor quotes $900,000 and another quotes $1
Inc., in Port Charlotte, Fla. “Unfortunately, too
together, work it out and then go to the client with the solution. I
that open dialog just doesn’t exist. “You have
million, you may go with the $900,000 guy and hope it’s OK. But
often the interior designer isn’t brought on
tell my team that if the contractor has done a messy job of hanging
designers on one side, architects on one side and
you get what you pay for at some point.”
board until they’re ready to ‘pick colors,’” she
wall coverings, wait until the client is gone before you talk with
the general contractor on another side,” says Jon
Instead, interior designers should look for contractors who have
says. “It is important that the client understands
the contractor.”
Runquist, President of Chicago-based Sonoma
worked on like projects. “When you get a lineup of contractors who
that each professional brings a different and important set of skills to the project. The interior
Construction, LLC. “We have to all throw our
have done similar projects, you are going to get similar numbers.
interior designer and the general contractor benefit the client’s
cards on the table. Everyone needs to have an
When they haven’t done similar projects, you get big variations in
In the end, solid teamwork and communication between the
designer approaches the project from a func-
bottom line by more cost-effective construction. “The client will
open discussion about what their role on the
numbers,” he says. Likewise, designers should choose contractors
tional and aesthetic perspective: How will the
end up with a better project and fewer change orders,” Barnes
project is.”
who fit with their personalities. “Hiring someone who is cheap
client use the building now and in the future?
says. Plus, adds Wood, “there is less stress for everyone involved
Where and what kind of storage is needed?”
and higher levels of trust by all parties.”
Joining the project late in the process, Mitsch says, leads to even more communication
14
brought onto the project late might specify system furniture
crepancy in the interior designer’s drawings, it’s
And as Mitsch has experienced first-hand, these effective working relationships don’t just lead to additional work in
breakdowns. The client may communicate to
the future. “I’ve worked with clients and contractors who have
the designer his or her intent for the project,
finished the project and become friends. I have clients who
but that may not align with the contractor or
come to my home for dinner parties,” she says. “It’s a way to
architect’s vision. For instance, a designer
develop larger networks.”
fall 2009
w w w. i i da . o r g
So what is it exactly that construction professionals want interior designers to know about
but doesn’t do things the way you like is going to make for a long project,” Runquist says.
how they operate and how to work with them most effectively?
No. 3
Interior designers should become familiar with general contractors’ bidding structure.
General contractors are more
No. 1
Runquist says it’s important for interior designers to understand
than just builders.
the three types of bid options and determine which is right for
In reality, says Damion Pourciau, Construction
them. “It’s getting a bit muddied,” he says. “Interior designers are
fa l l 2 0 0 9
15
asking for a combination of all three put together. It’s hard to
a designer may specify lighting fixtures to
on, you can understand everything that’s going
compete in that market.” Read “General Contractor Bidding
be installed in certain places on the ceiling
on in the space.”
Options” (pg. 13) to learn more about the three bid options.
without knowing what’s above the ceiling that
No. 4
Keep the communication
Interior designers aren’t the only ones who
you go to install the lights, you might realize
No. 5
should be included in project discussions
there’s an A/C duct or some other obstruction
project. In addition to the upfront team meetings,
could have an impact. “So in the end, when
lines open throughout the
early on. By not involving the construction professionals in
that will prevent you from installing it in the
Pourciau recommends team meetings throughout
the early planning stages, the team may experience costly
desired location,” he says. “If you can get the
the course of the project, ideally once a week. “It’s
mistakes on the project’s back end. For example, Pourciau says,
team together and look at the big picture early
really hard to do, especially in a down economy where everyone is looking at the bottom line,” he
IN HIS SHOES: From the Client’s Point of View Mark Hutchinson, President of Dunhill Partners West, a commercial real estate investment firm in San Francisco, weighs in on his experience working with interior designers and general contractors.
says. “But in the end, it saves you money.”
IN HER SHOES: From the Client’s Point of View Mona Grandinetti, Senior Project Manager for Pace Management, LLC, in Atlanta, shares her experience working with the construction and interior design teams on the San Antonio Marriott Rivercenter ballroom renovation.
Q: AS A PROPERTY
No. 6
Reinforce the design intent
MANAGER FOR NEW
as much and in as many
AND EXISTING CON-
ways as possible. Some designers, Pourciau
STRUCTION PROJECTS,
says, fail to fully communicate the design intent
WHO DO YOU TYPICALLY
to construction professionals. It can be difficult
BRING ON BOARD
Q: WHAT MADE THE SAN ANTONIO MARRIOTT RIVERCENTER BALLROOM RENOVATION PROJECT
to communicate the intent on paper and through
FIRST: THE GENERAL
A SUCCESS?
drawings alone. Whenever possible, 3-D render-
CONTRACTOR, THE
A: The project is a prime example where the entire project team – client, brand, property, AE/ID,
ings are useful for construction professionals.
ARCHITECT OR THE
miscellaneous consultants, purchasing agent, onsite project manager, general contractor, subcontractors
“Providing information upfront rather than just
INTERIOR DESIGNER?
and vendors – truly became a cohesive unit. It was a fast-track, 91,000-square-foot interior
assuming everyone knows what’s in the designer’s
A: It depends on the
renovation project designed by [A&D firm] RTKL Associates, with [construction management firm]
head is an ongoing issue,” he says.
size of the project. For smaller projects, I would
Constructors & Associates putting more than $11 million of interior construction finishes and FFE in
Contractors are not trying
consult a general con-
to be critical of designers.
tractor first. For larger
schedule would have resulted in severe penalties, as a major convention was booked immediately
No. 7
following planned completion.
When an interior designer specifies a product that
or new projects, I would
doesn’t meet budget requirements, Runquist says,
first consult an architect.
place within 67 calendar days over three major holidays. Not meeting the aggressive construction
We had the right team at the right time. By executing a proactive approach, having multiple pre-con and coordination meetings, sometimes with 40-plus attendees, having a highly organized and
contractors may come back with an alternative that
experienced team committed to excellence, and effective and open communication lines, we finished
they believe retains the design intent but is within
with a quality project days ahead of schedule and within budget.
Q: HAVE YOU EVER EXPERIENCED A NEGATIVE DESIGNER/CONTRACTOR RELATIONSHIP?
A: Yes. Having issues on a project is not uncommon, so how the opportunity is tackled and resolved ultimately defines the success
budget. Designers shouldn’t feel threatened by this,
INTERIOR DESIGN FIRM FOR A PROJECT?
he says. “We’re not trying to redesign because we
A: I look at past projects and determine if their design strengths and work
think something doesn’t look good. We’re just
experience fits with the project.
trying to stay within budget,” he says.
of the team. Negative relationships cost all parties time, money, manpower and other valuable resources that could have been targeted
Q: WHAT GENERAL OBSERVATIONS HAVE YOU MADE ABOUT THE
Ultimately, interior designers and construc-
more effectively elsewhere.
Q: WHAT QUALIFICATIONS DO YOU LOOK FOR WHEN HIRING AN
WORKING RELATIONSHIP BETWEEN DESIGNERS AND CONSTRUC-
tion professionals agree that what matters the
TION PROFESSIONALS? AND HOW CAN IT BE IMPROVED?
Q: WHAT “DO’S” AND “DON’TS” WOULD YOU OFFER TO INTERIOR DESIGNERS AND GENERAL CONTRACTORS?
most is that their working relationship leads to
A: Contractors may try to find simple solutions to complex design elements
A: Open communication and unfettered dialogue is a must. Have a partner mentality — we succeed or fail as a team. Follow-through
a satisfied client. “The worst possible thing is an
and cut corners in the process. Better communication between contractor,
is key. Always give 100-percent effort. Be flexible and receptive to new ideas. Playing the blame game is not effective. Address
unhappy client,” Pourciau says. “There are
designer and client may help the parties understand the necessity behind
concerns early to avoid prolonged and costly fixes. Own up to mistakes; we all make them.
always challenges on a project. It’s just a matter
certain designs and the need to stick to the plan.
of coming together to resolve them.”
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Four experienced residential designers discuss the evolution of the profession, from the recession to the popularization of interior design to the oversaturation of the marketplace — and ponder what lies ahead.
Redesigning the Future
Redesigning the
FUTURE
Interviews by Rene Ryan
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Perspective: The economy has impacted everyone at every wealth level. How have your clients’ requests and interests changed? What are you doing differently to meet the needs of those clients? Jane Gates-Raile: We used to do everything from
to be far more reticent to undertake further work.
costs of those items — and they do cost more in most
Whether it was a period of paralysis in the marketplace
cases. For instance, low-VOC or VOC-free paint
or perhaps a financially-induced case of [seasonal affect
costs more than regular paint and can significantly
disorder], the telephone barely rang. I found that I was
impact a budget.
doing a lot more follow-ups either by telephone (preferred) or email (too easy to ignore) to motivate clients. Also, there were some surprising suggestions from
brand new construction and model homes to kitchen
clients that we should be cutting our prices in step
Bonnell: They’ve definitely been more aware of the effect of rising prices for energy, and this can be relatively significant in the long term. But that is also rel-
and bath and full residential interiors. But today, the
with the economic downturn. But our philosophy was
ative to one’s wealth to some extent. Some countries,
builders aren’t building, and the clients aren’t buying as
that this would set a dangerous precedent that would
like England, for example, have more stringent
much furniture because they think it’s frivolous. But
be difficult to recover from when the market returned.
they will invest in kitchen and bath remodeling because
Instead … we reviewed every client file to confirm
guidelines pertaining to environmental laws, which have informed us and changed how we approach all
that’s perceived to be an investment rather than an
that we had tied up all loose ends for the completion
of our clients and the recommendations we make.
expense. And they’re a little more cautious about how
of each project. If there were items still to be accom-
We have embraced LED technology in a fairly
they’re spending, so we work with them on price man-
plished, we added them to our work list.
significant way — more so than compact fluorescents,
agement, shopping and budget considerations. Before
We made certain to communicate clearly to our
[the recession], people might have been a little bit easier
clients that if a budget needed to be reduced, we would
improved the technology significantly over the past
with their money. Now, they’re very savvy shoppers.
gladly offer substitutions that would reduce costs
year and … they are relatively discrete and long-lasting.
without compromising the outcome of the design.
Our firm is seriously interested in lighting technology
Laura Barnett Sawchyn: I find that everyone is much more mindful about what they are spending. Many are only interested in doing what absolutely has to be done and phasing certain purchases. Clients who have large projects are still going forward, since it is that or an empty house. Many have started looking into retail or
for its aesthetic value; the green factor is only icing
Perspective: As the public becomes more aware of green and sustainable issues in the business and product worlds, what is the impact on residential projects?
Internet options for items, looking to save money on
Stankiewicz: Certainly the public is more aware of
certain things, so they can splurge on others. Others
green design, and with that education, they want to
have actually expected sources and us to give bigger
do what they can to utilize the available products or
discounts, expecting high-end furnishings at lower prices.
repurpose items they already have. Every client I
Because we bill at an hourly fee plus percentage, we
which I continue to loathe — because they have
have requests [green options] or talks about them.
have always worked on both large and small projects,
Whether they choose to do it or not is another thing
so we know how to do it. Fortunately, I was ahead of
because sometimes they’re just not aware of the
the curve and downsized a few years ago when I could
on the cake. Low-VOC paints and finishes have become easier to apply and are more durable. And low-flow faucets, showers and low-volume toilets have also improved in design and performance so they’re easy to recommend.
Perspective: How has your business changed now that more resources are available to the public at retail both in brick-and-mortar stores and online? Are they better educated about the design process or more disillusioned?
still place employees elsewhere, moved to a smaller
Barnett Sawchyn: There is a certain amount of pre-
office space, and drastically reduced overhead.
or post-shopping that occurs. In general, I find it nice that I can send a client to a Web site for further infor-
William M. Stankiewicz: Obviously, people have become a little more budget-oriented. While in the past they may not have asked what something costs, they now do before we order. Clients are also looking at doing projects in stages after we come up with a completed plan. Fenwick Bonnell: Through the worst period of this downturn, from January to late May, I observed clients
mation or just to peruse the line. I find that most of
Fenwick Bonnell, IIDA, ASID, is the co-owner, along with David Powell, of Powell & Bonnell, a Torontobased residential design firm that launched in 1990.
my clients are not willing to purchase online because there is nobody that can take care of things that may go wrong. As far as retail, many items in stores are discounted to the same price I can buy for, which is disheartening. My contract includes two options of working ... so if clients decide to buy for themselves, my hourly rates increase.
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A R T I C U L AT O R S
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Gates-Raile: Clients have become more familiar with
I do believe [the public] is more informed and
the process, but they don’t know how to put it together.
open to new ideas. But most clients understand that
jobs you have completed successfully, so we do our
They are educated, but don’t know how to manage
the designer has specific training and the ability to
utmost to provide superior service to our clientele.
it. Also, they rarely have the resources, experience or
produce results way beyond their expectations. That
creativity. That’s what I try to explain to them.
is why they hire us.
Stankiewicz: Clients are much more informed and educated than ever before, but my clients are not disillusioned about it at all. They know what to expect. The media is doing a great job in getting information out, not only to the design community, but also to the retail customer. For example,
Perspective: Historically, designers win business by reputation and word-of-mouth, but the world is changing even in this arena. Where do your strongest leads for new projects come from?
Ultimately, one’s reputation will be dictated by the
Perspective: The shape and makeup of residences has changed over the past 15 years. Larger, open spaces are part of the McMansion trend, while clean, open, contemporary spaces present opportunities at the opposite end of the home spectrum. Where do your clients fall in the continuum of home types, and how do you work with them to create inviting, warm homes?
Laura Barnett Sawchyn, IIDA, is a Chicago-based interior designer and owner of Laura Barnett Designs.
PitchRate.com has a partnership with IIDA. It is a
Gates-Raile: I advertise in the Tom Martino Trouble
free publicity tool that connects journalists with
Exclusive Referral Network, Google, the Better
experts like those in interior design. Because the
Business Bureau and Troubleshooter.com. Then I do
media can connect to these experts readily for free,
media advertisements. My leads come from all of
Barnett Sawchyn: Most of my clients are in urban
and materials — plus interesting shapes and warm
they can know the trends at a moment’s notice and
those resources plus referrals. Recently, a client
areas and even the suburban clients do not fall into the
colors help cozy it up, but first and foremost is layout
McMansion category. Even the very large residences
and furniture placement. The most beautiful item in
are more sophisticated. Large, open, multi-purpose
the world won’t work if it’s the wrong scale in the
rooms are in just about all new construction. The
wrong place.
“Ultimately, one’s reputation will be dictated by the jobs you have completed successfully.� deliver those to the public. The public can then be
found us in the Parade of Homes and that ended up being a $1 million project in just sales.
of the room is critical. Using great, textural fabrics
!2#()4%-03 ).#
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Fenwick Bonnell, IIDA, ASID
better informed with their own interior designers.
scale of the furniture and how it relates to the scale
What is important about the virtual world is information flows more rapidly. You have to be in
Stankiewicz: Reputation by word-of-mouth is still the
that beat as an interior designer.
way to win business. My strongest leads come from business contacts I’ve developed over the past 32 years.
Bonnell: Our clientele is barely affected by the prolif-
I find that in order to stimulate word-of-mouth you
eration of online shopping and home dĂŠcor specialty
not only have to do it with people you know, but also
stores. Our firm specializes in high-end custom
online with social networking sites like Facebook.
design, that is how we grew our business during the previous recession and that was the catalyst to building
Bonnell: Word-of-mouth is still the strongest tool to
our own collection of furnishings and lighting.
winning new business, but we have had to employ
A large percentage of our design process is still based on a market that is not generally available to the public without the assistance of a designer. We are
22
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magazine editorials. It is true that a picture is worth a thousand words, so many of our jobs are photographed and then
process works within our firm. That includes a clear
promoted by our public relations staff to get the images
scope of work and a timeline as to how the process
out to a wider audience through both domestic and
unfolds and when to expect certain things to occur.
international editorial markets.
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1UALITY STAFFING SERVICE AND SOLUTIONS $ESIGN 0RODUCTION $RAFTERS &ACILITY 0LANNERS #!$ !RCHITECTS )NTERIOR $ESIGNERS 0ROJECT -ANAGERS
other methods including Web site promotion and
very clear at the initiation of a project how the design
fall 2009
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Bonnell: Our clientele is very broad in range and type from historical renovations to adaptive reuse and new construction. Our jobs range in square footage size because we like to be challenged by the variety of circumstances one faces from both types of jobs. Though I do have to admit to turning down a local job that we felt was too large for the client’s needs and risked being more of a “theme park� than a home.
Perspective: What do you see as emerging trends right now in residential design? Gates-Raile: Denver has been slow in picking up
“Let’s face it, the economy has really caused people to redefine what true wealth is for them and you will see it reflected in design preferences.� William M. Stankiewicz, FIIDA
are much more important than anything that can
true wealth is for them and you will see it reflected
happen over the computer. Design is internal. It’s
in design preferences.
the contemporary feel, but the emergence of these
personal — not a computer throwing out pre-fab
beautiful sleek styles are fabulous. A lot cleaner and
designs. Sure you can find products, but it’s the
Bonnell: It would appear that our clientele is becom-
less cluttered looks are becoming popular. And people
joy of creating something special that makes this
ing younger and more affluent, often with children
are looking for long-lasting products. Years ago,
business unique. That’s something you have to
and a career. This means that they are shedding the
when we would sell carpet, people would say, “I’m
communicate to your clients. You have to explain
style and tastes of their parents; the antiques are
going to buy the cheapest option and replace it in five
why you’re necessary.
being edited out to only the best, most unique pieces.
years.� But I try to help my clients understand that it’s wise to buy the best you can afford now and not
The living room is not just a place to entertain guests Barnett Sawchyn: Personalization is key — the
anymore and the kitchen isn’t a place to conceal a
replace it in five years. Design decisions are still the
“have it your way� method of selection. Custom
mess while your friends are impressed in the dining
same. The semi-retired and retired are following that,
is king. Of course, there is a trend toward clean,
room. The kitchen is becoming the hub of living and
but younger people aren’t.
entertaining. I see this trend continuing, refining itself in the years to come.
Bonnell: I think we’re going to see a lot of the follow-
In addition, land and energy costs could also
ing: Energy efficient appliances, LED technology,
affect the size of homes for the greater population
multi-use electronics, cleaner more modern dĂŠcor,
and we could see smaller, more efficient homes of
adaptive reuse of furnishings, hard surface flooring
higher quality that are planned for ease of living.
throughout, engineered pre-finished hardwood floors, and the use of a one-color scheme throughout.
Perspective: If you had a crystal ball, where would you predict the residential design world to be in 10 years?
Jane Gates-Raile, IIDA, is the owner of Interior Settings, a residential design firm in Denver. She has more than 40 years’ experience in Interior Design.
Urban centers will continue to become more densely populated so high-rise living will become more desirable, and not just the poor cousin to suburban living. Hopefully, developers will continue to present new ways for owners to live in these smaller spaces and abandon the 600-square-foot “two bedroom plus den� myth.
Gates-Raile: It will be very different than it is now.
Online Master of Science in Architecture Interior Design Specialization http://onlinegrad.unl.edu/IIDA
Being in business for 40 years, I’ve seen it make
contemporary lines, but ultimately people want
tremendous leaps and changes. The young designers
what they want. Very few ask what is the trend;
are going to have to learn a whole new way of
they choose what they like, colors and/or styles.
Perspective: What is your advice to interior designers starting out in the residential field? Barnett Sawchyn: Newbie designers should find
marketing and working with clients with fewer face-to-face interactions. And I don’t think this is for
Stankiewicz: In a word: Simple. Let’s face it, the
a very good firm with a superior who is willing to
the better. I think interactions on a personal level
economy has really caused people to redefine what
teach them the ropes — letting them contribute to
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design decisions by making suggestions. Of course, you have to filter their ideas before presenting
William M. Stankiewicz, FIIDA, has more than 30 years’ experience in Interior Design and is the owner and president of WMS Interiors, Ltd., a fullservice residential firm with offices in Hilton Head, S.C., and Atlanta.
them to the client, but how can they learn without the permission to try? Do not work for a bully or someone that doesn’t show you respect. Find a firm whose fundamental values match yours. Work really hard, be responsible, be willing and have a good attitude. Gates-Raile: It’s going to be a struggle. I’m down to two on my staff. It’s not going to go as quickly as it might have gone 10 to 15 years ago. Designers will need patience and persistence in order to stay involved in the business. Here in Denver, the design field is oversaturated. [Young people today]
“Urban centers will continue to become more densely populated, so high-rise living will become more desirable, and not just the poor cousin to suburban living.” Laura Barnett Sawchyn, IIDA
Three floors that move.
see television shows and it makes design seem so simple, but my advice is to get a good look at what is going on in the real world because that’s the only way to learn. Also, face-to-face interactions are going to be extremely necessary. We can communicate via email for the more mundane, but when it really comes to the design phase, I want that personal connection and contact. I also think the future of design is in the design fee. You can make a much better living with reasonable design fees that meet clients’ budgets than you can promoting product. I advocate for charging a flat fee by the project, not by the hour, but it varies from client to client. It’s a disgrace when you give yourself away. Stankiewicz: I would recommend [young designers] attend an accredited design school, complete their education there and become LEED certified. That is going to be important. And to be aware of state licensing efforts and know what that requires. Lastly, I would say they should get an apprenticeship at a well-respected design firm. Bonnell: Ask lots of questions. Write everything down. Be straightforward and honest, support your trades and learn from their experience. Do what is right, not what is easy, and always have your work professionally photographed.
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800.899.8916 johnsonite.com
SERENE IN THE CITY KOKO Architecture + Design, winner of the 17th Annual Will Ching Design Competition, crafted a winter wonderland in the heart of Manhattan.
By Ashley DeVecht
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Step into the More North gallery in New York and the hustle and bustle of city life will likely feel worlds away. White concrete floors, which give off the feeling of freshly fallen snow, guide visitors through this unique gallery, retail space and children’s playroom. Florescent light peeks through the thin metal walls, piercing the eyes the same way the winter sun might. And sleek birch trees, which shoot up through the space, make it seem as though you This wintry, Scandinavian ambiance is appropriate for a gallery of this kind; More North presents the work of Nordic painters and sculptors and also sells Scandinavian furniture, glass, ceramics and textiles. The space is intended to be a calm environment that reflects the timeless beauty and simplicity of Nordic design. The concept for the project was born in 2007, when the three principal partners and gallery owners — Monika A. Heimbold, Lena Biorck Kaplan and Linda Nordberg — decided to create a new Scandinavian art space in New York. To make their vision a reality, they turned to KOKO Architecture + Design, a small New York-based firm owned by husband and wife Adam Weintraub, AIA, and Mishi Hosono, AIA.
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Photography by Mikiko Kikuyama, www.mikikokikuyama.com
should snowshoe home, instead of hopping on the subway.
Highlights of the Design: White Concrete Floors “The white floor was a way to pull light in however we could,” Weintraub says about the gallery’s dyed white concrete floors, which are topped by a poured resin. “It definitely gives you the feeling of walking on freshly fallen snow.”
Birch Trees “Trees became an integral part of the design concept; a way of referencing not only the landscape of Scandinavia, but also the tradition of wood in modern Scandinavian architecture and design,” Hosono says. “By combining shorter lengths we were able to keep the diameter of the birch thick and control the curve of the wood. Through traditional wood joinery, we were able to splice the various pieces together into very convincing birch trees.”
Tree Storage Wall The focal point of the lower level is the “forest” built into the wall. Originally, half of the closets in the unit were intended for storage, now they are used as a group of play stations — including a dress-up closet, a computer station and an interactive play wall. “In our designs for children’s spaces, we always try to create elements that are open to children’s interpretations and imagination. By turning the trees into the negative space, the forest enters the imaginary world,” Weintraub says.
Florescent Light “We felt the lighting would enable us to create our
“More North was very clear about the overall concept
North design, especially after the KOKO team was
for the gallery: ‘A new showcase to feature all aspects of
three other architects and boasts a unique array of
allowed a sneak peek of the gallery’s art. “There is an
Scandinavian art and design for downtown New York,’”
international experience.
unusually strong connection between Scandinavian and
Weintraub says. “[We] began at the end of a hot summer,
Weintraub attended Cranbrook School in Bloomfield
and we were convinced that we wanted to create a
Hills, Mich., for prep school where he was surrounded
Nordic landscape in the middle of Tribeca.”
by the designs of Eames, Saarinen and Bertoia. After
Japanese design,” Hosono adds. “Both share an approach to nature and abstraction.”
northern landscape through light rather than form. We hoped to capture the feeling of light reflecting off of snow,” Hosono says. The florescent tube lights behind the cash wrap light the gaps between the wood, mimicking the intensity of winter light.
And since the gallery had a limited budget for the
Paper Thin Metal Walls
receiving his undergraduate degree from Harvard
project and a short time span for completion — six
INTERNATIONAL EYE
University, he was awarded a traveling fellowship that
months — the agile KOKO team seemed like the perfect fit.
KOKO won the 2009 Interior Design Magazine and IIDA
allowed him to study architecture for children in parts of
Will Ching Award, which recognizes and rewards talented
Europe, including Finland, Sweden and Denmark.
IT’S ALL ABOUT THE DETAILS
designers working in firms of five or fewer employees,
Following her attendance at the Seisen International
That attention to detail is exactly what caught the eyes of
“Instead of trying to make everything clean and pris-
for their More North design. The award encourages new
School in Tokyo, Hosono received an undergraduate and
the Will Ching competition judges, including Erla Dögg
tine, we treated it almost like a box within a box,” Weintraub says. “We
ideas and techniques in the design and furnishing of
graduate degree from the University of Pennsylvania.
commercial spaces.
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Along with Weintraub and Hosono, KOKO employs
fall 2009
Their diverse experience came in handy for the More
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The loft-style layout of the gallery could have been a challenge in this project, but KOKO used painted, recycled
Ingjaldsdóttir, Associate IIDA, AIA and Principal at Minarc; Suzanne Tick, President of Suzanne Tick, Inc.;
steel walls to distinguish the gallery from the retail space.
created a floating wall with lighting underneath it so it really is a paper thin envelope that appears to be a floating paper shell.”
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and D.B. Kim, Principal Designer at D.B. Kim Inc. The panel was unanimously impressed with the elements of
either the design of the gallery or the retail space. Downstairs, the space transitions into a playroom
the More North design, including the creative lighting
where children can amuse themselves with toys, such as
choices, the use of unique materials and the simplistic
blocks and trains, all made by Scandinavian designers,
color palette (see sidebar on page 33).
while their parents peruse the artwork upstairs. By
“The gallery’s interiors follow a very consistent color
erecting a cluster of 25-foot birch trees from the play
scheme, which is enhanced by a series of texture contrasts,”
level up through the gallery level, KOKO was able to
Ingjaldsdóttir says. “And an unexpected use of materials
weave the two areas together.
gives the project a special appeal.” Tick says that she, too, was moved by the sense of cohesion throughout the space. “I was taken by the
The team aimed to create a mature, simplistic playroom that allowed young visitors to use their imaginations. “Every architect jumps at the opportunity to design an
overall consistency and detailing throughout the space.
art gallery, but I think the lower level children’s space is
[More North was] a clean, sophisticated backdrop to
what makes More North truly magical,” Hosono says.
Nordic Art,” she says.
Weintraub and Hosono say they have the gallery owners to thank for their success. “We were able to
WEAVING WORLDS TOGETHER
experiment with new materials and unusual features not
The biggest challenge for the design team was how to
often incorporated into typical gallery design,” Hosono
effectively incorporate the three distinct purposes of the
says. “I think being a small studio enabled us to gain the
space — gallery, retail and playroom — into one fluid pro-
trust of the client much more intimately.”
gression of rooms. The gallery space is used as both a display for Nordic artists and a retail space for other Nordic
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And Kaplan agrees. “We had total confidence in [KOKO’s] creativity and their detailed way of carrying out
designs such as furniture and ceramics. Artists needed to
the design,” she says. “The vision was simple, and KOKO
know that their work would not be overshadowed by
immediately got it.”
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FRAMES
Psychology may play a greater role in the business of Interior Design than most might think. When it comes to business, we’ve all heard the phrase,
editor of Psychology Today — in his book, Emotional
“Leave emotion out of it.” But according to a growing
Intelligence: Why it can matter more than IQ, a New
number of industrial-organizational psychologists and
York Times bestseller.
researchers, the more we acknowledge, understand and appropriately use our emotions to guide our actions, the
“Emotional intelligence helps [designers] cross the bridge between the unspoken inner-world of hopes
more likely we are to get ahead in the workplace. And
within a client and the screaming reality of construction,”
in a highly creative and personal field like Interior
says Kathryn Cherne, a principal with Chicago-based
Design, understanding your emotions and those of your
firm Design Inside and a former practicing psychologist
clients can help make your designs more holistic and on
with the University of Michigan. “The interior designer
target. It also can help improve your relationships with
is in a unique position from the other members of a
co-workers and team members.
construction team. As a bridge between tradesperson
“It’s impossible to leave emotion out of anything,”
and client, the designer must embrace balance, aware-
says Susan Kornacki, Co-Founder of EI Skills Group, an
ness, responsibility and empathy in order to successfully
emotional intelligence assessment and skills training
communicate with all parties and keep the project
consultancy in New Haven, Conn. “Our emotions are
on track.”
formed from our senses, they’re what make us human.
The ability to feel, use, communicate, remember,
And interior design is an incredibly sensory profession,
describe, identify, learn from, manage and understand
so it’s vital to be tuned into that.”
emotions is necessary for the smooth progression of any
But getting ahead isn’t about simply feeling your emotions, Kornacki says, it’s about using the wisdom of the emotion.
design project, Cherne says. And that’s incredibly important to interior designers since, according to Jodie Leppa, IIDA, CID, LEED AP, President-Elect of the IIDA Northland Chapter, and
THE BASICS
Office Director of the Minneapolis-based commercial
Emotional intelligence (EI) is defined as the ability to
design firm SmithGroup, design is an emotional profession.
identify, assess and manage the emotions of one’s self,
OF MIND BY MEREDITH LANDRY 36
fall 2009
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“Creativity is driven by emotion,” says Leppa, who’s
of others, and of groups. The term was first introduced
participated in several SmithGroup-sponsored EI training
by psychologists Peter Salovey and John D. Mayer in
sessions. “If it was not, our environments would
1990, but was popularized five years later by Daniel
be, sadly, purely utilitarian and lacking in spirit or
Goleman — a Ph.D. from Harvard University and former
substance.”
We explore the relationship between emotion, perception and the profession.
ILLUSTRATION BY YANN LEGENDRE fa l l 2 0 0 9
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Based on the business acumen EI can provide, it’s no surprise that by the mid-1990s corporate America got wind of the concept and researchers began studying
Perceiving emotions; using emotions; understanding
helped her deal with co-workers and everyday job stressors,
emotions; and managing emotions.
but also in her dealings with clients.
the link between higher emotional intelligence skills
ing on competencies including self-awareness, self-man-
other’s emotions,” she says. “Then I’m able to use that
and success in the workplace. Among that early
agement, social awareness and relationship management.
knowledge to facilitate effective discussions and, ulti-
research was a 1997 study of 130 executives, which found that how well people handled their own emotions
mately, manage them to meet the client’s goals for a
Regardless of the precise definition or the assessment
space that reflects their brand and culture.”
means, the theory is the same: The more we understand
determined how much people around them preferred
emotion, the more we can use it to our advantage. The
to deal with them, according to the Rutgers University-
first step to developing solid EI skills, Kornacki says, is
up on subtle cues in a person’s body language, facial
based Consortium for Research on Emotional
to acknowledge the desire to do so. Simply being aware
expression and tone of voice. “I am able to tell if a client
Intelligence in Organizations.
of your intentions can help to heighten your sensitivity
likes something before they even open their mouth, or
Since then, academic and corporate proponents of EI continue to claim that having a higher EI can lead
any skill, awareness, practice, more awareness and more practice is what’s going to help people identify emotions
Design, effective communication and strong relationships
and then manage their own emotions most effectively.”
But given that the concept of
colors,” she says. At EI Skills Group, after the initial workshop, Kornacki and Caruso coordinate follow-up coaching sessions with interested clients where practice involves
And practice comes in various forms. There are single-session training semi-
EI is relatively new and the
get a sense of their color preferences based on certain dialogue. For example, extroverts tend to prefer warm
“EI is absolutely trainable,” she says. “But, as with
to improved communication and relationships. And
DEFINING THE DIFFERENCES
Cherne says that her training has enabled her to pick
to external and internal emotional stimuli.
in almost every business, but particularly in Interior are vital to one’s success.
nars, weekend retreats and weeklong workshops, for example, offered for individuals,
field is rapidly growing, it
groups, or entire organiza-
still has varying definitions
tions. But not all training
RESOURCES For more information on emotional intelligence in the workplace, check out:
and means of measure-
begins with an emotional
ment. Most, however, fall
intelligence assessment
WORKING WITH EMOTIONAL INTELLIGENCE
into three main model
test, which Kornacki says
by Daniel Goleman
types — an ability-based
is the best way to deter-
model, a mixed model or a trait-based model.
mine what areas need the most practice.
Kornacki and her partner at EI Skills Group, David Caruso, Ph.D., rely on an abilitiesbased model to define EI and to assess their clients. According to Caruso —
“If you score really low on identifying emotions, for example, it might be hard for you to make a decision about someone’s emotional state based on the visual information on their
co-creator of the Mayer, Salovey, Caruso Emotional
face,” she says. “But you may score high in other areas,
Intelligence Test (like an IQ test that measures emotion-
so we wouldn’t want to focus on those as much.”
al skills) — emotional intelligence combines feelings
38
“The tools I’ve learned help me to be sensitive to
Other models measure one’s emotional skills by focus-
No matter how interior designers decide to learn and
THE EMOTIONAL INTELLIGENCE CONSORTIUM www.eiconsortium.org
THE EMOTIONALLY INTELLIGENT MANAGER by David R. Caruso and Peter Salovey
EI SKILLS GROUP www.eiskills.com
showing them a series of slides and asking them to identify the emotion in the image. Afterwards, they’ll go back through each slide and dissect the person’s eyes, the intensity in their face, the energy, their body language and expression. Participants also learn through auditory training by listening to movie clips, and eventually they’re asked to actually emote certain words in a group setting. Aside from being able to pick up on subtle emotional cues from clients, and knowing how to communicate expectations and manage conflict more effectively, Cherne says, a designer with high EI is not easily threatened by criticism. “I don’t feel the need to defend myself if a client doesn’t like a particular pattern or attack a contractor for not understanding a drawing,” she says. “Instead, I prefer to take these inevitable bumps as an opportunity to listen and learn from other people.” As for how long it takes to truly become emotionally intelligent, Kornacki says it doesn’t happen overnight.
with thinking, and thinking with feeling. It can be
hone their EI skills, the outcome can be advantageous to
“The awareness part can happen overnight, but the skill
described as four related, but different, abilities:
their practice. Leppa says her EI training has not only
building takes time.”
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42 FORUM FOCUS
44 PERSPECTIVE RESOURCES
Facility Planning & Design
Perspective editors review a new documentary film and the
46 INDUSTRY MEMBERS
48 WHAT’S THE FUTURE OF DESIGN?
latest Web sites on design-related topics
MATTERS OF DESIGN
WELCOME 2009 – 2010 BOARD OF DIRECTORS
By Jeanne Fisher OPPORTUNITY GREEN NOVEMBER 6 – 8, 2009: A CONVERGENCE OF THE MOST INNOVATIVE DESIGN AND BUSINESS MINDS DRIVING TODAY’S GREEN ECONOMY. Sustainability is producing new rules, new methods and new strategies for the way designers work. Opportunity Green is an experience unlike any other; a two-day full immersion of the most relevant opportunities, paradigms and practices that will permanently shift your outlook on what’s possible for your company, and your career. Gain an insider’s view of the hottest green business topics, including Johnson & Johnson’s cutting edge methods of sustainable product design, Gensler’s Next Generation Workplace and Art Center College of Design’s exploration of lifecycle analysis, to name a few. More importantly, engage with 500 of the brightest, results-producing, innovative business influencers of like mind (and color). The first 25 IIDA Members to register receive a 25% discount, reducing the conference cost to $695. Find details on the IIDA Web site, www.iida.org. Learn more about the conference at www.opportunitygreen.com. INTYPES: INTERIOR DESIGN NOW HAS ITS OWN LANGUAGE In the ’90s, Professor Jan Jennings struggled to talk with her Interior Design students about design practices that had been used throughout history and across cultures.There were no names, for example, for a dramatic staircase in the lobby of a luxury hotel or for two similar chairs situated side-by-side in a large space. For decades, common practices had no common nomenclature. Now, Jennings, a professor of design and environmental analysis, and a cast of Cornell colleagues have produced the first searchable, online database for contemporary design with imagery from real buildings. The work is a collaboration of four faculty members from the colleges of Human Ecology, Arts and Sciences, and Agriculture and Life Sciences and more than a dozen master’s students.
Inducted June 14 at the Annual Meeting 2009 during NeoCon World’s Trade Fair, congratulations to the 2009 – 2010 Board of Directors • Laura Tribble, IIDA, ASID of Tribble Design Associates – VP Government & Regulatory Affairs, 2009 – 2011 • Felice Silverman, IIDA of Silverman Trykowski Associates, Inc. – VP Professional Development 2009 – 2011 • Derrell Parker, FIIDA of Parker Scaggiari President 2009-2010 • Viveca Bissonnette, IIDA, CID, LEED AP of Carrier Johnson + Culture - President Elect, 2009 – 2010 • LaRayne Lundell, IIDA of L2 Design Studio – VP Members 2009 – 2010 • Steve McCollom, AIA, IIDA - VP Communications 2009 – 2010 • Cheryl Durst, Hon. FIIDA, LEED AP – IIDA CEO
KUDOS Congratulations to the IIDA Chapter Award Winners! • Small Chapter of the Year Award: Northland Chapter • Large Chapter of the Year: Southern California Chapter • Excellence in Newsletter Publishing Winner: Southwest Chapter Honorable Mention: Oregon Chapter • Excellence in Community Service Winner: Texas-Oklahoma Chapter Honorable Mention: Northern California Chapter • Excellence in Graphics/Overall Winner: Alabama Chapter Honorable Mention: New York Chapter • Excellence in Graphics/Special Event Winner: New England Chapter Honorable Mention: Mid-America Chapter • Excellence in Programs/Chapter Winner: Northern California Honorable Mention: New England Chapter • Excellence in Programs/City Center Winner: Northern Pacific Chapter Honorable Mention: Carolinas Chapter • Excellence in Programs/Campus Center Winner: Northern Pacific Chapter Honorable Mention: Carolinas Chapter • Excellence in Membership Marketing Award Winner: Northern Pacific Chapter Honorable Mention: Southern California Chapter • Excellence in Web Site Development Winner: Texas-Oklahoma Chapter Honorable Mention: Northern California Chapter • Excellence in Forum Education Activities Winner: Northland Chapter Honorable Mention: Southern California Chapter • Excellence in GRA Activities Winner: Carolinas Chapter Honorable Mention: Texas-Oklahoma Chapter
“We had to invent a naming practice and a vocabulary for students to use in talking about design,” Jennings says. “Interior design had borrowed language from architecture and visual arts, but when it came down to it, we didn’t have
GO GET ‘EM: MEMBER STIMULUS CAMPAIGN
a typology for contemporary design practices that have been occurring across history, style and culture.”
IIDA Headquarters offers a program to help you gain more members in your Chapter.
The project, titled Intypes for the Interior Archetypes Research and Teaching Project, officially launched this summer at NeoCon World’s Trade Fair with its two founding partners, IIDA and Interior Design magazine. “The project brings the field of Interior Design to a whole new level,” says Cheryl Durst, Hon. FIIDA, LEED AP, IIDA executive vice president and CEO. “The Intypes approach gives credence and relevance to the history and legacy of interior design as a profession, as a discipline and as a viable and vital contribution to society as a whole.”
Industry levels of Membership), will enable new Members to be reimbursed for their application fees, gain visibility and notoriety on www.iida.org, and become part of specialty practice forums, online communities and busy, active Chapters. Referring Members who recruit five prospective Members will be entered in a raffle for two tickets to their
The project, 13 years in the making, so far has named nearly 70 interior archetypes.
Chapter’s signature event. Any Member who doesn’t reach five recruits but attains the most recruits in their Chapter
The Intypes workgroup is hoping their project inspires designers to think about these issues, and opens the
will also be eligible. Winner recruiters will also be featured on www.iida.org.
door to more formal research in interior design. Learn more at www.intypes.cornell.edu.
40
Active Members referring Professional and Associate Members (sorry, this offer is not available for Students or
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For application forms, more details and the fine print, check out www.iida.org/membership.
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FORUM FOCUS: Facility Planning and Design IIDA’s Facility Planning and Design Forum provides a network for those responsible for managing the complexities of corporate, institutional and production facilities. Perspective spoke with Forum Advisor Jennifer Barnes, IIDA, LEED AP, to learn about the current issues facing this group of design professionals.
What trends are currently emerging for designers with a
progress and measure the benefits of “going green” for upper
facilities focus?
management. I could see facility designers becoming more
Corporations are really embracing sustainability. I think it has
involved in real estate decisions to ensure comprehensive
finally taken root, but many corporations are playing catch up,
sustainability objectives are met.
and this puts immediate pressure on the facilities professional to respond to upper manage-
Why are corporations finally seeing the need to operate
ment’s new agenda. As sus-
more sustainably?
tainable practices emerge,
I think growing public awareness, along with increased atten-
facility personnel will play an
tion on the lifecycle cost-benefit of sustainable design, has
integral role in their implemen-
changed the corporate philosophy. In the past, many companies
tation and oversight. As sus-
were interested only if there would be no increased upfront
tainable practices mature,
cost to projects. I am now seeing more of an interest with
they will become part of a
smaller projects, as well as higher-profile projects where the
facilities professional’s day-to-
public relations benefit of pursuing LEED, for example, may
day responsibility.
have been the motivating factor.
How sustainability becomes sustainable.
Knowledge of comprehensive sustainable design principles will become part of the core competency expected of facility planners as we go forward.
42
What will these trends mean for designers who have
How has the current state of the economy affected facil-
chosen a planning path or for students who may be con-
ities professionals?
sidering it?
Depending on the business sector, a down economy can
Knowledge of comprehensive sustainable design principles
often increase the workload for facility personnel. Many com-
will become part of the core competency expected of facility
panies will choose to reconfigure existing space in lieu of
planners as we go forward. LEED certification will become a
building out new. There are a lot more “paint and putty” pro-
required credential. I think companies will need to redefine
jects that can be handled in house rather than hiring outside
their design standards to achieve new corporate sustainabili-
design consultants. Of course, the hardest-hit sectors will not
ty goals. Designers will need to lead the implementation, track
be immune to layoffs.
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800.899.8916 johnsonite.com
PERSPECTIVE RESOURCES BY ASHLEY DEVECHT
Design is integral to nearly everything we use — whether it’s the pen we
design*sponge
write with, the water bottle we drink out of, or the wallet we carry our cash
www.designspongeonline.com
in. And when we use these products, we’re not only interacting with the
Design Sponge has established a large fan base — an estimated 40,000
design, but also with the designers responsible for giving life to what was
daily readers — due to its thorough coverage of all things design. The
once only an idea.
founder, Grace Bonney, manages to stay on top of new trends in interior
But it’s rare that we ever hear directly from these designers, let alone learn their motivation or inspiration for creating these necessary yet intuitive designs.
design and offers sneak peaks at furniture collections from up-and-coming designers.
Until now — thanks to Objectified, director Gary Hustwit’s latest documentary, which covers our complex relationship with manufactured
+MOOD
objects and, by extension, the people who design them. “If you could get
http://plusmood.com
all of these designers and design experts together at a dinner party, what
+MOOD covers architecture, design and interiors through approachable and
would they talk about?” blogged Hustwit. “This film will hopefully represent
informative content. Each article highlights an innovative design with a
that conversation.”
detailed description, colorful photographs and multiple floor plans. All this
Hustwit’s list of interviewees reads like a roster of the most powerful
information could be overwhelming in a typical blog format, but at +MOOD,
players in design including Paola Antonelli of the Museum of Modern Art in
the content is well categorized and accessible thanks to the site’s reader-
New York, Jane Fulton Suri of IDEO, Andrew Blauvelt of the Walker Art
friendly design.
Center in Minneapolis, Chris Bangle of the BMW Group in Munich, Objectified A documentary film by Gary Hustwit www.objectifiedfilm.com 76 minutes
Germany, and Rob Walker of The New York Times Magazine. Jonathan Ive,
Architonic
Senior Vice President of Industrial Design at Apple, Inc., even offers up his
www.architonic.com
beliefs on the role of design in the world and discusses the obsession that
Architonic aims to keep architects and designers up-to-date on the latest in
is product design.
products, materials, design and concepts related to interiors. The information
But the documentary is more than a tribute to all things product design. Later in the film, the tone shifts and Hustwit addresses the tension between design and the environment. Although sustainabil-
here is impartial and selective. You can find suppliers, online auction houses, and industry news and trends.
ity is not the focus of the film, the conversation creates the sense of conflict moviegoers often crave. Finally, as you would hope from a documentary about design, the aesthetics are entertaining and engaging. An added bonus
Contemporist
is the soundtrack, which includes the popular El Ten Eleven (also featured in Hustwit’s first film Helvetica). The verdict: Objectified
www.contemporist.com
is a must-see for designers. To order a copy or view a screening of the film, check out the Web site at www.objectifiedfilm.com.
A “contemporist” is someone who appreciates contemporary design. And this site is devoted to nothing but that. It covers contemporary lighting, interior design, architecture and furniture. And the format — similar to that of a blog — allows for user comments. Numerous large, colorful photos accompany each blog entry enabling users to truly experience the design.
WEB SITES Color Matters
MoCo Loco, the Modern and Contemporary Design Blog
http://colormatters.blogspot.com
http://mocoloco.com/
As a designer, you know that color can be crucial. But this blog takes color
MoCo Loco is an online design magazine committed to featuring modern and
to a whole new level. Written by color psychology expert Jill Morton, this blog
contemporary design and architecture. Residential architecture, interior
treats color fanatics to constant updates on color news and trends. Morton
design, furniture, accessories, lighting, floor coverings, wall coverings, books,
posts about color in politics, color as it relates to healthcare, and even color-
Web sites, audio-video and retail stores are among the topics that Harry
ful interiors. Morton also wrote a series of e-books titled “Color VooDoo.”
Wakefield, Editor and Publisher, covers. Filled with inventive ideas and designs, this blog is a treat for any fan of contemporary design.
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45
INDUSTRY MEMBERS*
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The Winter 2010 issue of Perspective will dissect some of the most influential global projects from the past year and focus on the design trends those projects represent. We also profile several multidisciplinary designers who are thriving in today’s economy by crossing boundaries both physically and in their practices.
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WHAT’S THE FUTURE OF DESIGN? Design students and recent graduates share their predictions, hopes and goals.
“[Interior design] will continue to grow away from the decorating image portrayed by HGTV and Trading Spaces and people will start to see us as interior architects. It seems that we are entering a new era of design, which includes that of an almost affordable modernism, where designers have to be ‘creatively creative.’ Meaning, the pressure is on us more than ever during these economic times to find creative, modern, green, but most importantly, cost-effective solutions to a design problem.” —Brett Woodring, IIDA, Kent State University, Kent, Ohio, Class of 2009
“I believe that the future of design is the unity of the design industry through professional certification and accreditation, in order to promote the beauty, safety, sustainability and psychology of our environment.” —Jennifer Haycox, IIDA, LEED AP, Oregon State University, Corvallis, Ore., Class of 2009
“We are a generation of new ideas supported with technological advancements never known before, and like all the designers before us, the wheels of creativity and innovation are not going to stop despite economic conditions or generational presence in the workplace. People will always want to do something new, create something more beautiful and be the first one to figure out how to do it.” —Rebecca Lee, IIDA, LEED AP, Miami University, Oxford, Ohio, Class of 2009
“The future of design is space that informs social responsibility. Technology will be a driving force in our industry, with interactive customizable environments for the consumer.” —Joseph Ferrugio, IIDA, Woodbury University, Burbank, Calif., Class of 2010
“Now, in addition to learning basic design standards, including sustainability, students and job-seeking graduates are exploring related fields to expand their knowledge and improve their resumés. I think the future of design is an interdisciplinary movement. Young designers with diverse skills will find it easier and be more successful working in an interdisciplinary environment.” —Adrienne Nelson, IIDA, Iowa State University, Ames, Iowa, Class of 2009
“The future of interior design looks positive. There are more people aware of what we do, although they may not grasp the full picture of our profession, we are gaining awareness and understanding. We need to keep proving our worth and importance and show not only the design world, but everyone, what we are truly capable of.” —Jami Bruns, IIDA, LEED AP, Iowa State University, Ames, Iowa, Class of 2010
“In the future, I believe we will see the need for designers to take on a greater responsibility for the health, safety and welfare of the public, and, as individuals within these created environments, we must demand a level of responsibility [as well as] respect for those who carry out these tasks.” —Katie Pohlman, LEED AP, Kansas State University, Manhattan, Kan., Class of 2010
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