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ASID ICON

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VOLUME 13/NUMBER 1

the magazine of the american society of interior designers

icontents SPRING/11

FEATURES

14_ Plan B Design firm owners are making the tough decisions required to successfully navigate the changing economic landscape.

BY DOUGLAS QUENQUA

18_ Still in the Dark Everyone’s talking about LED lighting, but it may not be the solution for all lighting needs.

BY THOMAS PATERSON

22_ RealWorld DesignWeek The third annual ASID career event connected students and mentors for hands-on experience.

DEPARTMENTS

18

4_ President’s Letter

36_ Grassroots

6_ Of Note

38_ Showroom

10_ Innovations

39_ Resource Guide

26_ Up Close

& Advertisers

28_ Industry

40_ Iconic Spaces

30_ Environotes 32_ Design for Life 34_ Inside ASID WHY LED TECHNOLOGY TECHNOLOGIES COME AND go, each one labeled the “latest thing.” Many are true advancements destined to change the face of an industry, but there are also many that are simply trends. As design professionals, it is our job to understand the qualities that differentiate a fad product from a game-changer.

LED (light-emitting diode) lighting currently sits between the two ends of the spectrum, both a panacea and a much-hyped technical tool. The jury is still out as to whether LED will be a revolutionary lighting technology (dichroic lamps, for example) or a temporary favorite (remember fiber optic lighting?). Regardless of the outcome, as designers we must learn how to best use them in today’s projects.

Architectural lighting design is a fairly new profession, and even a decade or two ago, techniques were relatively simple. Easy dimming of most interior products and low materials costs meant that it was viable for designers to light every aspect of a space—every shelf, every art piece, every furniture detail, thousands of spotlights and downlights. This profligate use of energy, by leading designers of the day, was then moderated by dimming everything back to create balance and atmosphere.

MAY NOT BE WHAT YOU THINK IT IS

BY THOMAS PATERSON

Get More From ASID ICON Online Keep an eye out for the following icons throughout this and future issues, indicating additional online content at www.asid.org/icon.

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XIX #2, Pearls over Seafood Bar

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ABOVE Still in the Dark on page 18 ON THE COVER Illustration by Sam Ezeji

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PRESIDENT’S LETTER/

EXECUTIVE DIRECTOR

Michael A. Thomas, FASID

ASID PRESIDENT

DESIGN & ART PRODUCTION

Oswald Cameron, Sam Ezeji

GRAPHIC DESIGNERS

ADVERTISING ART Effie Monson

EDITOR Leslee Masters

Mike Hisey, Bill Lovett, Patricia Nolin, Marjorie Pedrick, Mark Tumarkin

SALES REPRESENTATIVES

ASID ICON 608 Massachusetts Ave., NE Washington, DC 20002-6006 P (202) 546-3480 F (202) 546-3240 icon@asid.org

SUBMISSIONS & CORRESPONDENCE

PROJECT MANAGER Megan Sapp

Karen Berube, K.Designs

PUBLICATION DIRECTOR Erik Henson

Michael Alin, Hon. FASID

EDITOR Kerry O’Leary

MARKETING ASSOCIATE

NAYLOR TEAM PUBLISHER Jill Andreu

DIRECTOR OF RESEARCH & KNOWLEDGE RESOURCES

Ethics is a code of values, which guide our choices and actions and determine the purpose and course of our lives.

ASID STAFF MANAGING EDITOR Jennifer Lipner

Michael Berens

Ethics: A Matter of Choice — Ayn Rand, American novelist and philosopher (1905 – 1982)

POSTMASTER CHANGES OF ADDRESS ASID ICON, c/o ASID Customer Service 608 Massachusetts Ave., N.E. Washington, DC 20002-6006.

Volume 13, Number 1, ASID ICON (ISSN 15270580) is published four times a year in March, June, September and December for the American Society of Interior Designers by Naylor, LLC, 5950 NW First Place, Gainesville, FL 32607; (800) 369-6220; (352) 331-3525 fax.

Copyright 2010 by Naylor, LLC. Reproduction in whole or in part prohibited without written authorization. Receipt of ASID ICON is a benefit of membership in the American Society of Interior Designers.

ASID ICON is printed on Rolland Enviro100 paper, containing 100% post-consumer fiber and manufactured using biogas energy. Rolland Enviro100 is certified EcoLogo, processed chlorine free and FSC recycled. The use of every ton of Rolland Enviro100 reduces ASID ICON’s ecological footprint by: 17 mature trees; 1,081 lb. of solid wastes; 10,196 gallons of water; 6.9 lb. of suspended particles in the water; 2,098 lb. of air emissions; and 2,478 cubic feet of natural gas.

Michael A. Thomas, FASID

ADVERTISING INFORMATION

Can I resolve a dispute fairly and equitably for my client with a contractor who consistently provides me with referrals to clients and design projects?

• Am I able to bring other team players into my projects without creating hidden agendas that may undermine my credibility?

• Can I take into account a project’s impact on the planet’s resources and make certain recommendations even when the client has no desire for a “sustainable” project?

Ethics calls upon each of us to act responsibly in all dealings with others, to perform in good faith when executing the design work, to provide counsel to clients without prejudice, and to specify appropriate materials and products without hidden agendas.

The motives behind our conduct as design professionals are inseparable from the rules of ethics.

However, ethics sits apart from the law. According to ASID legal counsel Alan Siegel, Esq., Hon. FASID, “What is legal is not necessarily ethical. And what is ethical is not necessarily legal. Laws constitute only the minimum standards of performance, the smallest amount one can get by with.” Ethics help us to decide what ought to be done, determine the right path to take and establish the best solutions, often well beyond what is required by law.

Sometimes the ethical choice may not seem to be in our own, best self-interest. At those moments, we will do well to remember that when we decide in the best interest of the client, the project and everyone we have relationships with, we encourage others to do likewise, which is of greater benefit to us in the long run. i

Erik Henson at (800) 369-6220.

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PUBLISHED MARCH 2011/AID-S0111/4874

ues that shape our ethics and guide the choices we make. We expect that others will behave in a certain manner.

Ethics asks us to trust the man on the street, to take him at face value and, by doing so, to expect him to trust us in the same and equal manner.

In the design profession, ethics pertain not only to making appropriate decisions but also to determining what are the “best” and/or “right” decisions.

Ethical judgments require more than sound skill sets, technical knowledge and design talent. They demand a solid understanding of the ethical issues that lie at the heart of all business or personal relationships. And just as design is filled with choices, ethics is filled with judgments.

In this day and age, the media often shape the public’s knowledge and assessment of current events. We in the design community need to be evervigilant and maintain a higher standard of excellence to ensure the public’s trust. When we work with clients, we need to be mindful of how ethics benefit us in two ways: • First, when we understand what ethics means to our clients, we can appreciate the choices they make during the decision making process, particularly their justification of critical or difficult decisions.

• Second, doing so sharpens our awareness of our own personal and professional values. This awareness can then guide our dealings with clients.

Each day of work presents us with choices that can raise ethical questions. Despite our attempts to do everything in the best manner possible, we may find ourselves drifting away from the “black and white” of ethical responsibility and slipping into ethical “shades of gray.” At those times, it pays to re-examine and reflect on the behaviors expected of a professional and how they apply to the situation at hand. For instance: • Am I able to remain totally objective while assisting a client in evaluating alternative designs or potential solutions?

• Am I able to set aside concerns about profit in the choices made on the client’s behalf when specifying and supplying product?

Heather Zimmerman

AS A SOCIETY, we share certain val-

the magazine of the american society of interior designers

Introducing the first of four trends for 2011/2012

Learn more at voiceofcolor.com voiceofcolorcafe.com @voiceofcolor facebook.com/voiceofcolor

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OF NOTE/

What Now

ASID ICON LAUNCHES A NEW WEB PRESENCE THIS YEAR/

UPCOMING DESIGN EVENTS/

ASID ICON. As readers may have noticed already, the magazine is now being published quarterly instead of bimonthly, with issues mailing to members in early March, June, September and November. As always, each issue of the magazine will continue to feature the high-quality, groundbreaking coverage of the interior design industry that ASID members have come to expect.

To offset the new publishing schedule and bring our members and readers the most up-todate information, ASID ICON is launching a new web portal, at www.asid.org/icon. The new site will include all the features members now appreciate about the digital edition of the magazine, but that’s just the beginning.

Coverings March 14 – 17 Sands Expo & Convention Center, Las Vegas www.coverings.com Architectural Digest Home Show March 17 – 20 Pier 94, New York City www.archdigesthomeshow.com

Brand-new ASID ICON blog

Archives of past issues

Exclusive interviews with authors, members and more

Access to ASID social networks, like Connex

Digital versions of the current issue

Highlights from recent member and chapter projects

Links to member blogs

In-depth background material related to magazine features

KBIS April 26 – 28 Las Vegas Convention Center www.kbis.com

Live feeds, including ASID Twitter and Facebook posts New product features And more!

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NCIDQ EXAM DATES & APPLICATION DEADLINES For more information, visit www.ncidq.org

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Lightfair International May 15 – 19 Pennsylvania Convention Center, Philadelphia www.lightfair.com

HOTEC Design North America June 8 – 11 The Ritz-Carlton, Laguna Niguel, Dana Point, CA www.hotecna.com ASID@NeoCon June 13 – 15 Hotel Allegro, Chicago www.asidatneocon.com

GET QUALIFIED

June 1 Application Deadline for the Fall 2011 Examination (for first-time applicants only)

International Contemporary Furniture Fair May 14 – 17 Jacob K. Javits Convention Center, New York City www.icff.com

HD Expo May 17 – 20 Sands Expo & Convention Center, Las Vegas www.hdexpo.com

Look for these icons in our print issues to know when to access further content online Access articles online

Environments for Aging March 20 – 22 Sheraton Atlanta www.efa10.com GlobalShop March 28 – 30 Sands Expo & Convention Center, Las Vegas www.globalshop.org

Web-only articles and updates

April 1 – 2 Spring 2011 NCIDQ Examination

ASID@NeoCon

THE NEW YEAR has brought some changes for

CALENDAR .

Conquering the Digital Divide

August 2 Registration Deadline for the Fall 2011 Examination Sept. 30 – Oct 1 Fall 2011 NCIDQ Examination

December 1 Application Deadline for the Spring 2012 Examination (for first-time applicants only) *All supporting documents must be received by this date.

NeoCon World’s Trade Fair June 13 – 15 The Merchandise Mart, Chicago www.neocon.com

For more information, visit the Events section of www.asid.org.

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OF NOTE/

Required Reading THREE GREAT BOOKS TO ADD TO YOUR REFERENCE LIBRARY/ To order these books, visit the ASID Book Center at www.asid.org/bookcenter.

YOU’LL LOVE HOW OUR FABRICS CAN BRING YOUR PROJECTS TO LIFE.

Interior Graphic Standards, 2nd Ed. Corky Binggeli, ASID & Patricia Greichen, Allied Member ASID Wiley, $225/$325 _ With this completely updated encore, Interior Graphic Standards, 2nd Edition secures its place as the comprehensive resource for interior designers. In addition to thousands of detail drawings and carefully researched text, this edition includes new material on computer technologies and design practices, expanded coverage of residential design, energy use, sustainable design and more. An all digital edition, on CD-ROM and CAD-compatible, is also available.

Lighting Retrofit and Relighting: A Guide to Energy Efficient Lighting James Benya Wiley, $65 _ The ultimate guide to the retrofitting of lighting for greater efficiency and performance, this book evaluates the latest lighting system types, then demonstrates how to apply them for the greatest functional and cost-saving benefit. With numerous case studies and explanations of how to do an energy audit, the book is an ideal reference for a number of fields, analyzing current lighting technology and illuminating pathways toward a brighter future.

Design Details for Health: Making the Most of Design’s Healing Potential, 2nd Ed. Cynthia A. Leibrock, ASID & Debra Harris Wiley, $99 _ Updated with the latest research and case studies, based on significant innovations in healthcare design that have occurred in the last decade, this edition is a comprehensive primer on healthcare design for multiple typologies. Case studies include acute care hospitals, senior living facilities, medical offices and wellness centers. Updated with interviews with leading practitioners and providers, this is a must-have for both interior designers and healthcare providers.

Evidence-Based Design Findings JOURNAL PROVIDES LESSONS FROM ACADEME/ IN AN EFFORT to present up-to-the minute research and information that ASID ICON readers can

You likely know Sunbrella®’s name and stellar reputation as a performance fabric. But did

apply to their practices, below are synopses of recent articles published in the Journal of Interior Design.

Published on behalf of the Interior Design Educators Council, this journal features scholarly articles that cover interior design theory, research, education and practice.

you know we have hundreds of sophisticated colors, patterns and textures perfect for any project, any room, any time? For more information and a wealth of inspiration, visit www.sunbrella.com.

Adapting to Cultural Differences in Residential Design: The Case of Korean Families Visiting the United States As globalization brings cultural changes, interior designers are striving to understand the design needs of changing populations. This study examined Korean temporary residents’ housing perceptions and adjustment behaviors in U.S. residences.

Findings reveal both positive and negative impressions of their housing, in a variety of attributes.

Outside the Ivory Tower: The Role of Healthcare Design Researchers in Practice A growing body of research in evidence-based design (EBD) demonstrates that the physical environment correlates with health-related outcomes.

Hospitals now recommend that architects and designers have demonstrated experience in EBD and as a result, some firms have responded by hiring researchers whose fate ultimately rests on their ability to add value.

Lee, E. & Park, N.K. (2011). Adapting to Cultural Differences in

Bosch, S. & Nanda, U. (2011). Outside the Ivory Tower: The

Residential Design: The Case of Korean Families Visiting the

Role of Healthcare Design Researchers in Practice. Journal

United States, Journal of Interior Design, 36(2), 1-19.

of Interior Design, 36(1), v-xii. i

ASID members can now access the Journal of Interior Design free for 60 days. To access the free trial, just register at interscience.wiley.com/trial/joid10.

the magazine of the american society of interior designers

C L E A N.

S I M P LY B E A U T I F U L.

Sunbrella® is a registered trademark of Glen Raven, Inc. Richard Frinier chair by Century Furniture LLC.

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INNOVATIONS/

PLUMBING PURITY

NEW IDEAS THAT LEAN TOWARD GREEN

Air in Motion VENTILATION THAT’S AHEAD OF THE CURVE/ THE C)) MOTION Screen from Talus Furniture is a shutter that opens or closes with changes

in temperature, employing the concept of bimetallic strips. The plastic analog of such a strip can be applied to ventilation control, daylighting, solar energy, embraceable furniture and sculpture, all of which result in significant energy savings. The film lays flat at room temperature, and will curl and uncurl even on a winter day.

For more information, visit www.talusfurniture.com.

Goodbye, Germs and Bottles

Clean and Green A SMART, ECOLOGICAL SHOWER/ WITH ITS INNOVATIVE, patented system, the

EcoVéa continuously analyzes, sorts and treats water throughout the shower. Sullied water is directly evacuated while clean water is reused, but only after being filtered and treated to further purify it, sometimes making it even cleaner than the water from the supply network. Equipped with an electronic keypad, EcoVéa boasts up to an 80 percent reduction in water use and 70 percent in energy use.

For more information, visit www.reveeco.com

A GREEN AND SANITARY FAUCET/ THE STAINLESS STEEL Miscea combines

the functions of a faucet and a soap/disinfectant dispenser in one. Its interactive, glassengraved LED faucet head dispenses water together with your selection of soap. Touchfree for optimal hygiene, Miscea’s electronic dosing saves water and other dispensed products. The sensor technology also allows for motion-controlled temperature adjustment and the size and aesthetic work with residential or commercial applications.

For more information, visit www.miscea.com.

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1. The cell analyzes and sorts water continuously.

1a. If the water is sullied, it is directly evacuated through the drain. The system then uses new water to feed the shower.

3 4

1b. If the water is clean, it is filtered, treated and reused.

2. A small quantity of new hot water is injected in order to maintain a constant temperature.

2

3. Water sent to the shower head is clean at all times.

Evacuation

Treatment 1b

Cell 1

1a

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Residence of Designer Tess Giuliani New Jersey Tess Giuliani makes her bathroom a ‘magical reality’ with Geberit® Designer Tess Giuliani wanted to create a bathroom that gave the feeling of an elegant powder room, but with all the amenities of a full bath.

Positioned on the first floor as part of an addition to her home, the bathroom’s tight space required all of her creativity to achieve her vision of a serene, beautiful Japanese garden.

The Geberit in-wall tank and carrier system was the perfect solution.

Having the tank in the wall and the toilet off the floor makes the toilet discreet and entirely opens up the room. The tiles, which are painted as a continuous sea of water with swimming Koi fish, are easily seen because the toilet is off the floor – giving it maximum exposure.

Aesthetically, Geberit was the perfect solution, giving the bathroom design a clean, warm, and Asian flair.

See how the Geberit concealed tank and carrier system can inspire you. For a free copy of the Geberit Now CD, our full line digital resource, visit us at www.geberitnow.com or call 866/787-3924.

It’s Technology Enabling Design.

Photographer: Peter Rymwid

www.geberit.us 866/787-3924

INNOVATIONS/

Global Cooling

How Much Weight Can the Geberit System Support?

NON-ELECTRIC AIR CONDITIONING/ ECOOLER IS A concept hollow tile that—when

connected with other tiles—creates a wall of waterfilled ceramics, alternately cooling internal spaces by seepage and evaporation. The tiles carry and transfer water and, using a designated connector, can be connected to other tiles, creating a cooling screen that takes advantage of the simple, natural phenomenon of cooling via evaporation.

For more information, visit www.studiokahn.com.

Reinvented Rubbish A NEW TREND IN TREADS/ RUBBISH, FROM CALIFORNIA-BASED Minarc, is composed of

old tires, melted down into a sleek 1/8-inch thick material that can simply be stretched over a form to create a unique sink structure.

Rubbish uses less than a pound of rubber per sink, for a shallowsloped surface adhered either directly to the cabinet underneath or framed in aluminum. The sink, completely recyclable, is available as a single basin of three feet or a double basin of approximately five feet.

For more information, visit www.minarc.com.

The Geberit Concealed Tank and Carrier System supports up to 880 lbs. (400 kg).

The strong support frame is manufactured from 16-gauge, powder-coated, structural steel tubing, and exceeds ASME A112.6.2 strength requirements.

With millions of installations throughout the world, the Geberit Concealed Tank and Carrier System enables unique design and utilizes water-saving, dual-flush technology.

Cents-able Design WARM BAMBOO MEETS CLEAN STEEL/ ALEX WHITNEY FOR Pli Design’s Pennyfields chair evokes

classroom nostalgia in a modern, eco-friendly package. Made from bamboo and refurbished steel, Pennyfields, which launched during London Design Week 2010, is crafted in Britain with sustainably harvested bamboo from China. This combination of cultures is reflected in the name Pennyfields, a street in Limehouse which was the first “Chinatown” in London. Pennyfields has received a Metamorphosis award from Metropolitan Works. i For more information, visit www.plidesign.co.uk.

www.asid.org

For a free copy of the Geberit Now CD, our full line digital resource, visit us at www.geberitnow.com or call 866/787-3924.

www.geberit.us 866/787-3924

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Plan B How designers are changing their business models to address the new economic landscape.

By Douglas Quenqua

WHEN IT COMES down to it, there are really only two things a small-business

owner can do to weather a recession: Cut costs or increase revenue. As the crippling slowdown in the building industry enters its third year, owners of small interior design firms continue looking for creative ways to do both.

Some are choosing to diversify, while others have intensified their focus on a specialty. Some have invested in marketing, while others severed relationships with pricey public relations firms. To some, excess office space has become an opportunity to bring in cash, while to others it’s an easy expense to shed. And nearly everyone has had to decide between letting employees go or bringing in others with the contacts and expertise to expand their business.

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Plan B

Increase Revenue • Diversify • Employ creative marketing • Build partnerships • Join time-share programs, e.g. Z Zipcar • Sublet excess office space

Cut Costs • Specialize • Eliminate pricey PR firms • Reduce staff • Eliminate car rentals/leases • Downsize office space

Regardless of which path an owner chooses, nearly all have found themselves tweaking their business model over the past few years in order to survive.

“You can go just so long trying to make ends meet,” says Melinda Sechrist, FASID, of Sechrist Design Associates, an interior design and landscape architecture firm in Seattle. “To get back to a profitable model, you need to make hard decisions. The numbers don’t lie, and if you’re not making money, you might as well go sit on the beach somewhere.”

BRANCHING OUT For many interior designers, this has meant diversifying. James Lothrop, FASID, AIA, is the owner of Lothrop Associates, a New York design and

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architecture firm firm that specializes in municipal projects. In 2007, he brought ght a new partner to the firm who specializes in affordable housing ing work, a move that he now credits with keeping his firm vital. l “He has brought in a real wealth of new clients to us, and also expanded our reach so that we’re working throughout New York, New Jersey and New England on affordable housing projects,” Lothrop says of the new partner.

“That’s been a real concrete example of bringing in talent that fits into the way your firm works,” says Lothrop, estimating that affordable housing projects now account for about 30 percent of his firm’s business. Diversification is not only necessary in a down economy, said Lothrop, it’s easier. “In a booming economy, it’s impossible to find good staff or good

partners,” he says. “No “Now there’s a wealth of talent out there that’s available availab and looking for work and willing to move.”

Not that you have hav make full-time hires in order to diversify. When cutting costs wasn’t enough to get her firm back to t where she wanted it, Sechrist sought outside partners who could help her approach new clients. “We are partnering with a couple architects who have been laid off from a large firm in Seattle that only did senior living,” she explains. “We want more people like them,” she adds, because senior-living facilities “tend to have multiple projects.”

Sechrist is also among the many designers with a renewed commitment to marketing, something she admits she often overlooked when business was

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“You can go just so long trying to make ends meet. To get back to a profitable model, you need to make hard decisions.”

INTERIOR DESIGN IN THE NEW ECONOMY

Melinda Sechrist, FASID LESSONS LEARNED FROM THE GREAT RECESSION

booming. “We were so busy before that we hardly even had to market ourselves,” she recalls. Over the past couple years, however, Sechrist has found luck through simple postcard campaigns. She sends past and current clients cards that show the firm’s recent work, along with an offer for free design time and a small discount from a local carpet or upholstery shop. “It did spur some small projects because it reminds people you are still there,” she says.

Sechrist also upped her attendance to conferences and design expos, “setting up a little marketing booth and taking it on the road,” as she describes it. And she is no longer shy about asking clients for referrals. “The best place to get new work is by just looking at where the work already comes from.”

INVESTING TIME Of course, some small-business owners are afraid to invest in marketing during a downturn because of the cost. But in the digital age, a designer can yield considerable results by investing little more than time.

Several designers credit their use of e-mail marketing, social media and even their own websites with keeping their firms humming during the recession.

Deborah Lloyd Forrest, FASID, principal of ForrestPerkins in Dallas and Washington, D.C., dropped her pricey public relations firm and instead began sending out a monthly e-mail newsletter to clients, media and friends in the industry and local press. “We had found that because our industry and our specialty area are rather small, that we know most of the players and they know us,” says Forrest.

“So a more personalized form of PR and contacting clients was actually a benefit.”

Judy Pickett, FASID, gave a boost to Design Lines, her eight-person residential design firm in Raleigh, N.C., by revamping its website. What used to be a “tired,” one-dimensional site is now a sleek, interactive experience that includes video—of both the firm’s work and customer testimonials—and a frequently updated blog.

Pickett and her director of communications worked with a Web design team for about a year prior to launching the updated site. “It was worth every dime,” claims Pickett. Although she declined to say what the new site cost, she said most firms

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could expect to pay between $7,500 and $10,000 if they use an outside firm. She says she now gets “between three and four solid leads a week” from the site. “The investment I made has really paid off,” Pickett confirms.

One word of warning though: “Don’t start a blog unless you’re going to write,” she advises. Just as an active blog makes your company look dynamic, one that hasn’t been updated in months makes it look sluggish and disengaged.

Another potential source of revenue that requires little startup cost is government RFPs. Like many successful companies, Lothrop Associates had long shied away from such work because of the extensive paperwork and small margins. But responding—and winning—RFPs gets easier with each successive try.

“We’re finding it works well if you keep after the same client,” says Lothrop, because most of the RFPs ask for the same information.

FINDING THE RIGHT FORMULA Unfortunately, few business owners are able to weather a downturn through generating revenue alone. Layoffs, cutbacks and other belt-tightening tactics are inevitable in a recession as deep as the current one. They key is to figure out what can be eliminated that won’t cut into your profits.

Office space is a popular target. While a lease may make it impossible to immediately downsize, many designers find they can turn unused space into extra cash by renting it out—hopefully to someone with a complementary business. Sechrist, for example, now sublets part of her firm’s 11,000-square foot space to an art-supply and framing company she has often collaborated with. Not only does the rent bring in extra cash, but the two firms are now able to combine forces when seeking new business.

While some firms may be reluctant to compromise their work space, Lothrop advises practicality.

“Very few of our clients even come to our office anymore, so we don’t really need the impressive space.

We’re focusing instead on making it an appealing place for partners and employees.”

Other cost-saving strategies include joining Zipcar or a similar time-share program to save on car rentals or leases; canceling (or at least reducing)

Strategies for Success The ASID report, Interior Design in the New Economy: Lessons Learned from the Great Recession, is drawn from the experiences and insights of a group of ASID Fellows who took part in a discussion on the topic of how the recent economic recession has affected their interior design businesses and how business models and practices will need to change to stay competitive and profitable in the “new economy” that will emerge during the period of economic recovery.

These individuals represent a wide range of design specialties, business types and professional experience. Many are principals in their firms and have weathered previous economic downturns during their careers.

The strategies they shared may help other interior design professionals succeed in the months ahead.

To download a free copy of the report, go the ASID website at www.asid.org/bcdevelopment/strategic/.

subscriptions to industry magazines; and offering to let employees telecommute to cut down on office costs.

Because as any small-business owner can tell you, cutting staff, while often unavoidable, is the most painful sacrifice. Indeed, after Sechrist lost nearly half of her 22-person firm to layoffs (that number is now 10), she enrolled in a Washington state work-share program that allows employees to stay partially employed (they must work at her firm at least 20 hours a week) while collecting some unemployment.

“It’s difficult as an employer because you’re paying benefits but not producing enough work to cover costs,” she said. “But at least it holds your team together.” i Douglas Quenqua is a freelance writer based in New York City.

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thing.” Many are true advancements destined to change the face of an industry, but there are also many that are simply trends. As design professionals, it is our job to understand the qualities that differentiate a fad product from a game-changer.

LED (light-emitting diode) lighting currently sits between the two ends of the spectrum, both a much-hyped panacea and a technical tool. The jury is still out as to whether LED will be a revolutionary lighting technology (dichroic lamps, for example) or a temporary favorite (remember fiber optic lighting?). Regardless of the outcome, as designers we must learn how to best use them in today’s projects.

Architectural lighting design is a fairly new profession, and even a decade or two ago, techniques were relatively simple. Easy dimming of most interior products and low materials costs meant that it was viable for designers to light every aspect of a space—every shelf, every art piece, every furniture detail, thousands of spotlights and downlights. This profligate use of energy, by leading designers of the day, was then moderated by dimming everything back to create balance and atmosphere.

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Photo © Eric Laignel / Interior design by Marguerite Rogers Ltd / Lighting design by Sean O’Connor Lighting

TECHNOLOGIES COME AND go, each one labeled the “latest

WHY LED TECHNOLOGY MAY NOT BE WHAT YOU THINK IT IS

BY THOMAS PATERSON

STILL IN THE DARK

While they have a place, LEDs are not the easy answer to all lighting needs. Despite what we may have heard about their “perfect” qualities, they are simply part of the answer, one arrow in a quiver of solutions.

However, it is incumbent upon today’s designers to be efficient in energy use, in capital cost and in operating cost. More and more, designers are— and will increasingly be—called upon to cut energy usage, to minimize installed materials, and to meet LEED and other criteria for energy usage, embodied energy and recyclability.

While they have a place, LEDs are not the easy answer to all these requirements. Despite what we may have heard—that LEDs are the new panacea, energy efficient, of infinite life, dimmable, cheap to run, reliable—they are simply part of the answer, one arrow in a quiver of solutions. The more that designers know about LEDs (both strengths and weaknesses) the better they will know when to draw that specialized arrow.

ALL ABOUT LEDS

LEDs are now quoting 35,000 to 50,000 hours operating life—or five years on full-time. This is quite good, about the same as a $5 fluorescent tube and ten times the life of a halogen lamp. However, it is

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not infinite. Maintenance access is still necessary, as LEDs will need to be changed out at some point.

Also to be considered: changing out an LED module in a light fixture might cost $60 for the part alone, more still if it requires an electrician or factory technician to perform the work.

Just as fluorescents come in various tones of white, so do LEDs. (See sidebar, opposite page.)

Unlike fluorescents, which come in several standardized tones, LEDs are available throughout the range of whites. Extreme variability in cheaper products is a major consideration, while the better products will have much less variability. Designers must consider how much variance is acceptable in any project. For instance: On a white wall, close in, every variance of color will be immediately obvious. On the other hand, variations will be virtually undetectable when floodlighting from a distance on a stone wall.

Now, to discuss the much-heralded efficiency of LEDs. Despite what we all have heard, LEDs are not yet at the peak of lighting efficiency. They’re

advancing quickly, but not there yet. Efficacy, the measure of how much light for any given amount of power, is rated in lumens per watt (lm/W). An incandescent lamp might run at 10 lm/W, a good halogen at 25 lm/W, and linear fluorescents at 100 lm/W. Most LED products are between 25 lm/W and 60 lm/W in real-use circumstances, about the same as a compact fluorescent. Where LEDs win out, however, is their relative efficiency for a very small source (think undercabinet lighting, stair nosings, step lights) and where you need great focus (think spotlights).

Power supplies can also be a major complication for LEDs. With over a dozen ways of wiring and powering, calculating the power supply order could be a challenge for all but the most trained or dedicated designers. This is a great opportunity to draw out what you need and work closely with a sales representative or lighting designer to select the right power supply. These affiliated professionals can then develop a wiring diagram for you to provide to the electrician.

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Photo © Chris Eden/Callison / Architecture by Callison / Lighting design by Sean O’Connor Lighting

The biggest revolution in LEDs is also the newest—replacement modules that are just like a replacement fluorescent tube. These modules are rated in terms of their color temperature (white tone), lumens (light output) and beam angle (how concentrated the light is). Why is this revolutionary? Not only can you be sure now that in five years you’ll be able to replace that burned out module like-for-like, but as they get more efficient, you’ll retain the lighting performance and use less power. A simple module can also be changed out by unskilled staff, which is a vast cost-saving and makes it far more likely that the luminaire will survive several re-lamping cycles before replacement, thus increasing the overall product lifespan. Thus far, Helieon and Xicata modules seem to be the most established and future-proof brands.

THE RIGHT TIME AND PLACE

Lighting is a tool like any other, and as such, it is crucial to use the right tool for the right job. LEDs have many strengths and identifying the right use for them is vital. LEDs are ideal for spaces that call for “bite-size” chunks of light and require instantstarting, low brightness sources: under-shelf details, stair nosings, floating mirrors, retail display niches and vitrines, otherwise dark areas such as facades and landscapes.

Where don’t LEDs work as well? They are not ideal for spaces that require superb light quality (artwork, bar counters, dining tables) and those in which huge interior areas need to be lit (offices, lobbies), or where the light source is an object (chandeliers, etc.).

Proper testing for each project will go a long way toward telling you whether LEDs will do the job you want them to. And keep in mind that LEDs should only be a proportion of the lighting for any given project. Generally, it varies from 30 to 70 percent. Below or above that range, serious mockups should be in order to ensure an appropriate lighting scheme.

LEDs are still an emerging technology. Without a doubt, they will progressively find their niche and designers will know when—and when not—to use them. Despite some misuse of the still-new technology, ongoing education guarantees that today’s missteps will not darken their name in the long run. i Through his firm Lux Populi, Thomas Paterson leads a team of lighting designers on projects throughout the world. With expertise in residential, artwork and commercial lighting, he is sought after for complex projects requiring communication between the technical world of lighting and the real world of clients, interior designers, architects and project management.

LIGHTING LINGO BRIGHTNESS

Brightness is a function of how you direct the light. Does it flood out in all directions like a light bulb or compact fluorescent lamp? Is it directed?

Is there a reflector? Are you trying to have a glow from a table lamp, or spotlight a sculpture? To get a sense of the right angle, draw a perspective of the scene and then draw a wedge from the light source to the object. Even a somewhat out-of-scale drawing will let you measure the angle of the wedge and get a sense of the required angle.

COLOR

When discussing white light, one needs to consider color temperature, the tone of white—from warm almost candlelight white to sharp skybluewhite, to cold white. From an interiors point of view, the decision on color temperature arises

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from the needs of the space, whether a warm, intimate tone or something crisper and sharper.

Denoted by color temperature, it’s important to have a passing understanding of a few key color temperatures, and their usage.

• 2700K – Warm, cozy tone, similar to a standard light bulb—a good choice for residential applications.

• 3000K – Crisp but still warm, halogen-like tone—good for living and lifestyle spaces with some “pop,” widely used in retail.

• 4000K – “Office white” cool tone—great for spaces where alertness and focus is necessary.

The scale of color temperatures isn’t linear, so the shock between 3000K and 3200K can be immense, while difference between 4000K and 4200K is almost invisible.

A layman’s term for a technical aspect of lighting, how much light is enough? A good LED guide

is hard to come by, and experience will be your best indicator. Assess the light output number, in lumens/watt, against that of a familiar lamp type. (A 100W light bulb is about 1000 lm/W, for example.)

QUALITY

How do you know how good a product actually is?

Simple: Get a sample. There is no numerical basis for assessing the quality, function or reliability of the data relating to an LED product. Any sales representative who wants you to buy their product should be prepared to provide a sample. Take it to a similar context, if not the actual project, and see how it performs. Ultimately, this is the test—a light source is there to support vision, so use that sense to test the fixture, see it, use it, love (or hate) it, before you buy.

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THIS PAST NOVEMBER, more than 1,000 ASID members par-

ticipated in the Society’s third annual RealWorld DesignWeek (RWDW), a nationwide mentoring program that pairs ASID student members with practitioner and Industry Partner members for one-day job shadow experiences.

A first of its kind in the interior design field, RWDW’s goal is to educate future interior designers through in-person experience. Participation in mentoring relationships empowers students to succeed in the industry, build relationships with the design community and provides them with the tools to jumpstart their careers.

“RealWorld DesignWeek gave me the chance to learn things that you can’t learn in the classroom,” says Shari Lynn McCord, Student Member ASID, at Anne Arundel Community College. “It was an amazing opportunity to step into an interior design firm, learn about the day-to-day workload and to network with a great designer.”

The benefits of a student mentoring day are not just one-way, of course. “I loved the idea of giving back to the design community by hosting a student for a day, but I never imagined how much I would learn in the process,” describes Michelle Beamer, Allied Member ASID, principal of MB Interiors in Washington, D.C. “Seeing design through someone else’s eyes energized me and gave me new ideas.”

This year’s RWDW national spokesperson was Susan Szenasy, editor in chief of Metropolis magazine, the event’s media partner.

The program was also sponsored by Sherwin Williams, Industry Partner of ASID and print partner Canfield & Tack Inc. i Visit www.asid.org/rwdw for more information.

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1, 2, 7 – This year’s RWDW national spokesperson Susan Szenasy, editor in chief of Metropolis magazine, hosted three enthusiastic ASID Student Members at her office. Jamie Williams and Esther Crescioni, students at the Fashion Institute of Technology and Suzanne Knowlton, from New York School of Interior Design, got an insider’s look at what it takes to publish a top design magazine.

3, 5 – Michelle Beamer, Allied Member ASID, of MB Interiors in Washington, D.C., guides Shari Lynn McCord, Student Member ASID, from Anne Arundel Community College, through a day at her residential design firm. McCord joined ASID specifically for the opportunity to participate in the RWDW experience.

4, 6 – Leah Veneziano, Student Member ASID, from Corcoran College of Art and Design shadowed Morriah Mryszuk, ASID, for a day. Mryszuk, of Washington, D.C.- and Dallas-based ForrestPerkins, shared a typical day at this top hospitality design firm.

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1, 5 – DuVäl Reynolds, Student Member ASID, from Westwood College – Annandale observed the design process from start to finish, during his shadow day with hospitality designer Claud Turner, ASID, of Washington, D.C.’s ForrestPerkins.

2, 3 – Metropolis magazine editor in chief Susan Szenasy hosted several ASID Student Members, including Esther Crescioni and Jamie Williams, both from New York’s Fashion Institute of Technology.

4 – M o r r i a h M r ys z u k , A S I D, of ForrestPerkins, shared her insights and experience in the hospitality design industry with Leah Veneziano, Student Member ASID, from Corcoran College of Art and Design.

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2011

Come see.

neocon.com m|t|w

June 13–15 The Merchandise Mart Chicago

Photo © Morris Nathanson Design

UP CLOSE/

The Art of Conversion

WORK/LIVE-IN ARTIST COMMUNITY THRIVES IN A NEW ENGLAND MILL TOWN / PAWTUCKET, R.I., HAS always been a “working” PROJECT SPECS/ Project Name Riverfront Lofts Interior Design Morris Nathanson Design Design Team Principal: Morris Nathanson, ASID Co-developer: Phyllis Nathanson Architect Casali Inc. Architects Architect of Record Raynor M. Warner, AIA Location 10 Exchange Court Pawtucket, RI 02860 Photos by Chris Vaccaro Renderings by Tom Limone

THIS PAGE:

High-arched windows, exposed ductwork and refur-

bished maple floorboards echo the building’s original function as a factory. Some units contain mill architecture elements such as jewelry molds and scales.

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town. So when its once-industrial economy fell to international competition, the town was left with a striking era of architecture desperately seeking new purpose. Eighteenth-century textile mills, turned 1930s jewelry factories, line Pawtucket’s Blackstone River, in a town a mere five miles from downtown Providence. By the late twentieth century, the mills began to close.

Morris Nathanson, ASID, and his namesake firm sought to convert these spaces into artist communities, where residents could pay one mortgage to live, work and maintain an office or studio space.

Riverfront Lofts became the pioneer project of this cultural rebirth, marking the work/live-in concept as one with a huge community impact.

Nathanson first gained an understanding for work/live-in spaces nearly three decades ago, while working in New York City. In the 1980s, artists in the SoHo neighborhood were moving into sweatshops, a coexistent effort slated as the first artist work/live-in model—a concept Nathanson later applied to his home state. In 1986, he purchased a former Pawtucket paper mill, where his offices now stand. In 2002, he set his sights on a mill across the street, now Riverfront Lofts.

“I determined that we would, as much as possible, retain the historic elements,” reflects Nathanson on the project’s planning phase. In order to receive historic credit from the city and state government, the building’s exterior would remain true to its 1800s architecture. Inside the building, determining orientation of the residences was primary, due

in large part to existing mill-type elements, which include maple floorboards, brick walls and oversized windows.

Pre-existing tall ceiling heights of 12 to 17 feet accommodated one-and-two-level loft spaces, and 60 units of what Nathanson calls “vanilla spaces” were designed. Bathrooms and kitchens were completed for these spaces, but partitions could ultimately be determined by the buyer. Nathanson explains, “It appears to be a very typical, clean New England building on the surface, but each unit functions to the needs of the individual artist or resident.”

At the time when Nathanson began converting industrial spaces into these hybrid habitats, work/ live-in zoning did not exist in Rhode Island. Artists lived illegally in mills, at the whim of their landlords.

Nathanson went before city council in Pawtucket to explain the work/live-in concept. After convincing the city to give it legal status, Nathanson offered the project as a model to encourage conversion of more mill properties. “It was an education process,” he recalls, “and [the city’s] general attitude was very positive and helpful through the zoning process.”

The development of work/live-in space in Pawtucket changed the whole outlook on the value of an artist community. “This was major,” describes Nathanson. “The impact we can make, and our ability and responsibility to change the direction of a community and breathe new life into old buildings is inspiring. We were the pioneers of work/live-in and conversion of mill-type buildings in Pawtucket certainly, possibly in Rhode Island as a whole.” i

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UP CLOSE/

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Many units feature original elevator pulleys, open kitchens, wood beams, high ceilings and freight doors.

2. The former jewelry factory consists of two buildings: Lebanon and Vesta.

3. Two-level units have industrial staircases, original brickwork and skylights for natural illumination.

4. Units facing the river feature balconies. The conversion process for the building involved not only a historic preservation consultant, but a wetlands consultant as well.

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INDUSTRY/ DESIGN PARTNERS LEND A HAND AT HOME

A Fashionable Home FINE ITALIAN LIVING FROM A TOP NAME/ THE FENDI CASA home collection was created in

1989 with the aim of “dressing up” rooms in a similar manner to how Fendi designs its furs, clothes and accessories. Fendi’s furnishings—from modern to classic—are characterized by the iconic double “F’ logo and the unique spy bag fastener. All Italianmade, Fendi Casa’s craftsmanship and attention to detail form an integral part in the unabashed extravagance that is Fendi.

For more information, visit www.fendi.com/#/en/casa.

Above the Fold NEATEN UP

STAY ON TRACK WITH CUSTOM CLOSETRY/ THE RANGE AND scope of Closet Factory’s product line gives design-

ers the ability to provide impeccably styled organizational furniture, individually created and perfectly suited for any client. From elaborately ornate to classically simple, Closet Factory will expertly aid in creating the ideal unit for your client within their particular aesthetic desires, organizational needs and budgetary requirements.

For more information, visit www.closetfactory.com.

Legendary Durability DOMESTIC APPLIANCES FOR COMMERCIAL APPLICATIONS/ FOUNDED IN GERMANY in 1899 with a single promise of “immer besser,”

or “forever better,” Miele is steadfastly committed to high performance and environmental standards in appliances. Miele’s consumer appliance division includes laundry systems, dishwashers and built-in convection ovens, to name a few. The commercial product division, Miele Professional, offers kitchen and laundry appliances for commercial use as well as washer-disinfectors for medical, dental and laboratory applications. i For more information, visit www.mieleusa.com.

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Custom upholstery in 45 days

Enjoy exceptional service and pricing available exclusively to the design trade.

Visit WSIDesignerMarketplace.com to obtain more information, become a member, and shop online.

To reach a dedicated Trade Representative, call 888.827.4888 or +1.702.360.7147 if outside the US. pottery barn

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ENVIRONOTES/

By Sharlyn Underwood, ASID, LEED AP BD+C

Greater Than Just Green

© Romano 2007, www.romanophotography.com

SOCIAL RESPONSIBILITY IS AN ESSENTIAL ASPECT OF SUSTAINABILITY/

IN THE WORLD of sustainable design, there are many tints and shades of green, encompassing broad definitions of what it means to be “sustainable.” Most of the time, manufacturers are all-too happy to tout credentials for products that do not offgas toxic chemicals or those with high postconsumer recycled content and locally-sourced, rapidly-renewable materials.

Now go back and look at those same products whose green credentials seem unbeatable. Can you tell if they were manufactured or fabricated without child labor and by individuals who were paid a fair wage, while working in a safe and healthy working environment? As manufacturers become more transparent in their practices, these are issues that they should be addressing.

As interior designers, we are to promote health, safety and welfare in our work, and ultimately in our clients’ lives and environments. It should also be our responsibility to ensure that the manufacturers, fabricators and workers whose products we specify are also promoting health, safety and welfare within their work environments and communities.

However, verifying these less-quantifiable factors of product lifecycle can be a challenge.

Humanitarian working conditions at a factory across the world may not be as easy to identify as a material list, for example. And in many cases, designers simply may not have the time—or expertise—to do so. Fortunately, there are several third

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party certifications that we can utilize to help us in the process.

SETTING A STANDARD

In the textile industry, Goodweave is working to end child labor in the handmade rug industry. Not only do they certify products, through the Rugmark label, but they take action to address the underlying social issues of the industry. When Goodweave inspectors find children at work during random site visits, they remove the children from the facility, return them to their families when possible, and ensure that they are provided rehabilitation, education, vocational training and eventually job placement.

Two years ago, BIFMA introduced the e3 sustainability standard, otherwise known as level™.

Products carrying the level name have been certified by a third-party auditing firm using standards developed specifically for furnishings, based on an extensive and comprehensive review of each product. Similar to LEED, the standard includes various sections: materials, energy and atmosphere, human and ecosystem health, and social responsibility.

Within each of the sections are prerequisites, including—for the social responsibility section—requiring health and safety policies to be in place and followed, voluntary employment and no child labor.

In addition to those you’ll find on the level certification site, other manufacturers are working independently to bring design, environmental standards

and social responsibility together. One example of a company leading the way in socially responsible manufacturing is surfacing material innovator Maya Romanoff, whose extensive philanthropic outreach provides safe, clean and pleasant work environments to its employees and artisans. Similarly, O Ecotextiles is producing fabrics in ways that are non-toxic, ethical and sustainable. Cisco Brothers, Industry Partner of ASID, is a furnishings manufacturer located in a former factory in south central Los Angeles. They use only FSC-certified woods, water-based glues, natural latex, vegetable-dyed leathers and sweatshop-free craftsmanship.

ASK QUESTIONS

In addition to those companies who achieve a particular certification, a growing number of smaller manufacturers may walk the walk even if they cannot afford the extensive costs involved with third party certifications. Designers willing to roll up their sleeves and devise a list of questions regarding environmental and socially responsible issues will most likely be able to get straight answers from such groups. To devise a list of questions that address issues which matter to you, start by downloading the BIFMA level standard to use as a template. Feel free to try your questions out with some of these green manufacturers: Loll Designs, Q Collection, Baltix and el: Environmental Language, Industry Partner of ASID. In addition to thinking about the environmental and social issues for furnishing and finishes, keep in mind that accessories and artwork are often an easy, if overlooked, way to support the community, local artists and socially responsible organizations.

Some resources to consider are Green America and Ten Thousand Villages.

Social responsibility is a critical leg to moving forward with environmental practices. As a designer, exercise your ability to be creative, inquisitive and compassionate. Require that the manufacturers included in your specifications are being socially responsible, equitable and compassionate in their facilities, their communities and the world.

As more designers begin to inquire about social and ethical practices of manufacturers, increased demand will make this information more readily available and ultimately will affect market change. i A former member of the ASID Sustainable Design Council, Sharlyn Underwood, ASID, LEED AP BD+C, is a sustainable design consultant in Roanoke, Va.

the magazine of the american society of interior designers

DESIGN FOR LIFE/

By Jeanette Knudsen, Allied Member ASID

Accommodations for Caregivers THOUGHTFUL SOLUTIONS FOR CARING SPACES/

A STATISTIC TO consider: Approximately 22.9 mil-

lion American households provide unpaid care to an adult family member or friend. Not to be confused with paid personal care aids or assistants, these caregivers on average provide 21 hours of care per week, often while working full- or part-time outside the home. But, this “free” care all-too-often comes at a cost to the caregivers—they can experience feelings of isolation, depression and stress from balancing work, family and caregiving responsibilities.

Along with relief from the physical demands of care, these caregivers need emotional support, their own space and some sort of diversion or a hobby.

This is where the design community can help, by meeting their needs with thoughtful design solutions. As with any project, no two families and situations are the same, and each must be evaluated and addressed according to their individual needs.

Appropriately meeting the needs of both caregiver and cared-for can range from simple consultation on an existing home, to remodeling or renovation plans, consulting on a new home purchase, or being part of the team that builds a custom residence. In meeting these varied needs, two important areas to address are providing a respite space for the caregiver and ensuring the safety of the care recipient.

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The home should have a designated area for the caregiver. It should be that individual’s private sanctuary and personal space. The time they spend in this respite area is theirs and theirs alone. As with any design, this space is dependent on many factors, such as the needs of the client, the allowable space to work with, the budget and the design wishes of the client. This area need not be as luxurious as an entire suite. If circumstances require, something as simple as a comfortable chair in the corner of a room will serve the required purpose. Ultimately, it’s a place where the caregiver can escape temporarily to get much-needed relief from the physical and emotional exhaustion they may feel.

As for the care recipient, safety is always paramount. Think prevention: It’s very difficult to predict what an ailing resident might do. Checking the safety of the home will help the caregiver take control of—and eliminate—potential problems that may create hazardous situations. It is almost always more effective to change the environment than to change behaviors. By minimizing the danger in the home you can maximize the independence of the resident. A safer home reduces stress for all involved.

Additionally, when designing for the care recipient, pay particular attention to entryways and

walkways; be sure they are clear and unobstructed.

Specify adequate lighting to all areas of the home, especially in the halls and walkways. Do not add anything to the décor that could be a potential fall hazard. If area rugs are used in the space, for example, be sure they are secured. Or better yet, incorporate the feel of an area rug into the floor design. For families who are dealing with dementia, it’s important for them to have plenty of storage space, especially locking storage. Anything that is a potentially dangerous item needs to be locked away, including medications, cleaning supplies, toxic materials, tools, knives and breakable items. These are just a few suggestions to keep in mind. You will find when working with the caregiver and the family that these suggestions just scratch the surface of their needs.

Our goal is to bring peace of mind to all who occupy the space. In the end, we are improving their quality of life, protecting the health, safety and welfare of the caregiver and their family and providing them with a beautiful environment. i Jeanette Knudsen, Allied Member ASID, is a member of the ASID Design for Aging Council. Her firm, Design For A Life Span LLC, in Mesa, Ariz., specializes in design for aging, universal design, accessible and barrier-free design.

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INSIDE ASID/

A S I D I S E XC I T E D to present the 2011

ASID@NeoCon® National Conference, offering something for every designer. Whether you’re a NeoCon veteran or a first-time attendee, ASID@NeoCon provides countless opportunities and events to suit your passion and your practice.

Register now to design your experience today!

NETWORKING Connect with friends and colleagues, old and new, during social and networking events hosted during ASID@NeoCon. Members and non-members are invited to join ASID for Celebration: The ASID Awards, and the gala’s after party, FIRSTnight: ASID

Toasts Design, on Monday, June 13 at the Chicago Museum of Contemporary Art. RSVP and ticketing information will be available soon. Don’t miss this exciting opportunity to party with friends and colleagues in one of the hottest spaces in Chicago.

Members can catch up with each other anytime at ASID’s official host hotel, The Hotel Allegro, located just a few steps from the Merchandise Mart.

Make sure to stop by the ASID booth at The Mart to say hello as well!

EDUCATION ASID@NeoCon provides members with an array of educational opportunities. Pick and choose among

diverse experiences that suit your personal business objectives by selecting from a variety of educational options. The one-, two- and three-hour programs include an ASID Association Forum led by Virginia Postrel, author of The Substance of Style.

Through ASID’s unique partnership with MMPI, our professional development opportunities offered at NeoCon are available for purchase a-la-carte during your NeoCon registration. Please consider these outstanding education and learning programs as you customize and create your ASID@NeoCon experience.

Please visit www.asidatneocon.com or email neocon@asid.org for a complete description of the available educational programming and networking opportunities.

ASID Foundation Continues to Grow ANGELO DONGHIA FOUNDATION SUPPORTS RESEARCH GRANTS AND MORE/ IN 2003, THE ASID Foundation received a tremen-

dous gift in support of its mission, from a generous five-year, $1 million grant from the Angelo Donghia Foundation. The purpose of the grant is to provide assistance for the advancement of education in the field of interior design. The full grant was received in 2009, and since then the ASID Foundation has used the grant’s interest to fund new initiatives, all working to fulfill its stated mission.

Most recently, funding provided by the Angelo Donghia Foundation has allowed the ASID Foundation to launch its first Interior Design Research Grant Program, which, in its inaugural year, will award up to three grants of up to $35,000 each. The program was developed to help reduce gaps in research and expand the baseline of knowledge about how interior design impacts behavior.

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The grants will be used toward research and projects in 2011 and 2012.

In addition to its gift to the ASID Foundation, the Angelo Donghia Foundation has also made significant donations to the Angelo Donghia Materials Library and Study Center at the Parsons School of Design, the Angelo Donghia Studio for Interior Architecture at the Rhode Island School of Design, a number of AIDS organizations for continuing research on treatment methods and a cure for the disease, as well as annual scholarships awarded to talented interior design students throughout the United States. Angelo Donghia was an internationally-recognized interior design icon and source of inspiration to the design world, and founder of Donghia Inc. For more information about the ASID Foundation, visit www.asidfoundation.org.

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INSIDE ASID/

Where Do ASID Members Work?

FIRST-EVER MEMBER CENSUS PROVIDES VALUABLE DATA/ LAST YEAR, ASID conducted its first-ever mem-

ber census, focused on interior design practitioners. Among the questions asked were in what type of firm members worked and the size of the firm. Of the nearly 7,900 members who responded, this is what they reported.

For a complete look at the ASID Census data, go to www.asid.org/icon. To participate in the Census, go to www.asid.org/census.

SIZE OF FIRM

TYPE OF FIRM

Interior Design Firm

65%

Architecture and Design Firm

11%

self-employed

small business

medium

large

55%

30%

8%

8%

Retail/ Store

7%

Design-Build Firm

4%

Education/ Institutional

4%

Kitchen and Bath Firm

Corporation Manufacturer Construction or Utility

3%

2%

2%

2%

Government

1%

Industry Partner Update “SALES” LESSONS ARE GOOD MARKETING FOR INDUSTRY PARTNERS/ ASID INDUSTRY PARTNERS who use their exper-

tise—and new media—to teach interior designers how to sell in this uncertain economy can thrive, rather than just survive in 2011.

After interviewing dozens of vendors and suppliers nationwide, I’ve discovered that “old school” marketing strategies aren’t working so well anymore. Many Industry Partners still try to connect with designers by hosting private industry events, even while designer turnout at those events is often disappointing.

“We sponsor CEUs and lunches that are

www.asid.org

sparsely-attended,” laments a flooring company owner. Simply put: Getting the attention of design professionals is tougher now than ever before.

“Our biggest challenge today is getting one-onone face time with designers,” says Jackie Jordan, a spokesperson for Sherwin-Williams, Industry Partner of ASID. Adds Joe Jankowski of Hunter Douglas, Industry Partner of ASID: “Finding ways to establish top-of-mind awareness is more difficult in this crowded marketplace.”

However, Industry Partners can forge new and lasting relationships with designers by offering

By Fred Berns

more education on closing sales in tough times, including training designers on qualifying clients, overcoming price objections and procrastination, and upselling. A good place to start is by sharing their sales strategies through social media sites like Facebook and Twitter, or even via mobile apps, blogs and YouTube videos. i Fred Berns trains design professionals and industry partners on how to dramatically increase sales and profits. For his free “Supersize Your Success” report, visit www.fredforfree.com or email fred@fredberns.com.

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GRASSROOTS/

Truth from Fiction GETTING PAST COMMON MISPERCEPTIONS ABOUT LEGISLATION/ SINCE PUERTO RICO first passed legislation to license interior designers in the late 1970s,

many “myths” have developed about the purpose of interior design legislation. ASID believes that laws, regulations and legislation that allow designers to expand their practice opportunities by demonstrating advanced education and code knowledge should be supported.

Designers who become registered, certified or licensed do not limit others from practicing but open new areas to the entire profession. This legal process is no different than state regulations for architects, engineers, accountants or the hundreds of other professions that are subject to professional licensure regulation. Below are some of the myths that have developed about interior design legislation, along with the facts.

MYTH

FACT

Interior design legislation puts nonregistered interior designers out of business.

Interior design laws supported by ASID do not put anyone out of business and designers may continue to perform current services regardless of any legislation.

ASID-supported interior design laws allow designers to expand into areas where they were previously barred, such as stamping, signing and permitting.

Interior design is a purely aesthetic talent that deals with colors, fabrics, finishes and furniture. There are no technical aspects of interior design.

Interior design is an evolving profession that includes many technical aspects in a number of practice areas. In particular, individuals working in regulated spaces such as office, hospitality, healthcare, education and retail must account for compliance with building and energy codes, indoor air quality issues and the Americans with Disabilities Act.

Interior design registration, certification or licensure is merely an attempt by national associations to create monopolies for their members.

States set the criteria for licensure of interior designers and other professions.

Any individual who meets the requirements set forth by the state may become licensed. No national association has the authority to restrict or limit licensure nor do they have authority to issue credentials.

Other professions don’t have “special” laws, licensing procedures or requirements.

Most professions require testing and licensing. Some in similar professions, for example landscape design, become certified in order to expand their practice opportunities. Testing and licensing simply allows any designer to expand the range of services they offer by affirming their specific knowledge, skills and abilities. i

Contact the ASID Government & Public Affairs Team ASID has a full-time staff of experienced professionals working to protect interior designers’ rights in the government and public affairs arena. If you have any questions or would like to become involved in interior design legislative efforts, please contact the ASID Government and Public Affairs team at (202) 546-3480 or gpa@asid.org.

Don Davis, director – ddavis@asid.org Caitlin Lewis, government affairs manager – clewis@asid.org Visit us at www.asid.org/legislation.

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ADVERTISER

POSITION

ASID@NeoCon .......................................... 37 www.asidatneocon.com

Lutron Electronics Co. Inc. ........................ 2 www.lutron.com

Bradley Corporation ................................... 1 www.bradleycorp.com

NeoCon 2011.............................................. 25 www.neocon.com

Environments for Aging ...........................31 www.efa11.com

Palette Contemporary Art & Craft ......... 38 www.palettecontemporary.com

Ferguson Enterprises ................................. 7 www.ferguson.com

PPG Industries, Inc. .................................... 5 www.voiceofcolor.com

Fire Farm Lighting.................................... 38 www.firefarm.com

Pratt & Lambert ........................................ 33 www.prattandlambert.com

Geberit North America ....................... 12, 13 www.geberit.us

Putnam Rolling Ladder Co. Inc............... 38 www.putnamrollingladder.com

GlassFilm Enterprises .............................. 38 www.glassfilmenterprises.com

Roche Bobois ............................................. 11 www.rochebobois-id.com

Glen Raven...............................................8, 9 www.glenraven.com

Sherwin-Williams Co. .... inside front cover www.sherwin-williams.com

Juxtaform .................................................. 37 www.juxtaform.com

Stoneside ................................................... 39 www.stoneside.com

Kravet Inc......................outside back cover www.kravet.com

Thief River Linen, Inc. .............................. 38 www.trlinen.com

Lightfair International... inside back cover www.lightfair.com

Williams-Sonoma .....................................29 www.williamssonoma.com

RESOURCE GUIDE/

SECTION

PAGE

Of Note...................................................6 ASID ICON Online www.asid.org/icon Design Details for Health: Making the Most of Design’s Healing Potential, 2nd Ed., Cynthia A. Leibrock, ASID & Debra Harris www.asid.org/bookcenter Interior Graphic Standards, 2nd Edition, Corky Binggeli, ASID & Patricia Greichen, Allied Member ASID www.asid.org/bookcenter Journal of Interior Design www.interscience.wiley.com/trial/ joid10

Plan B ................................................... 14 Deborah Lloyd Forrest, FASID ForrestPerkins www.forrestperkins.com dforrest@forrestperkins.com James Lothrop, FASID, AIA Lothrop Associates www.lothropassociates.com jlothrop@lothropassociates.com Judy Pickett, FASID Design Lines www.designlinesltd.com jpickett@designlinesltd.com

NCIDQ www.ncidq.org Innovations .......................................... 10

EcoVéa by Reveeco www.reveeco.com Miscea faucet www.miscea.com Pennyfields chair by Pli Design www.plidesign.com.uk

Leah Veneziano, Student Member ASID Corcoran College of Art and Design leah_veneziano@corcoran.edu

Michelle Beamer, Allied Member ASID MB Interiors www.michellebeamer.com michellebeamer@gmail.com

Jamie Williams, Student Member ASID Fashion Institute of Technology jamie_williams@fitnyc.edu

Esther Crescioni, Student Member ASID Fashion Institute of Technology sandbabypr@hotmail.com

Up Close.............................................. 26

ASID Small Business Resources www.asid.org/bcdevelopment/ marketing

Shari Lynn McCord, Student Member ASID Anne Arundel Community College shari.mccord@goeaston.net

Interior Design in the New Economy: Lessons Learned from the Great Recession, www.asid.org/ bcdevelopment/strategic

Morriah Mryszuk, ASID ForrestPerkins www.forrestperkins.com mmryszuk@forrestperkins.com

Still in the Dark ................................... 18

DuVäl Reynolds, Student Member ASID Westwood College – Annandale duvalreynolds@yahoo.com

C)) Motion Screen by Talus Furniture www.talusfurniture.com Ecooler by Studio Kahn www.studiokahn.com

ASID RealWorld DesignWeek www.asid.org/rwdw

Suzanne Knowlton, Student Member ASID New York School of Interior Design sfkhome@gmail.com

Melinda Sechrist, FASID Sechrist Design Associates www.sechristdesign.com mksechrist@sechristdesign.com

Lighting Retrofit and Relighting: A Guide to Energy Efficient Lighting, James Benya www.asid.org/bookcenter

RealWorld DesignWeek ....................22

Susan Szenasy Metropolis magazine www.metropolismagazine.com sss@metropolismag.com

International Association of Lighting Designers www.iald.org iald@iald.org

Claud Turner, ASID ForrestPerkins www.forrestperkins.com cturner@forrestperkins.com

el: Environmental Language, Industry Partner of ASID www.el-furniture.com Goodweave www.goodweaveusa.org

Morris Nathanson, ASID Morris Nathanson Design www.morrisnathansondesign.com mnathanson@mndinc.net

Green America www.greenamerica.org Loll Designs www.lolldesigns.com

Riverfront Lofts www.riverfrontloftsri.com

Maya Romanoff www.mayaromanoff.com

Industry ...............................................28

O Ecotextiles www.oecotextiles.com

Closet Factory, Industry Partner of ASID www.closetfactory.com Fendi Casa, Industry Partner of ASID www.fendi.com/#/en/casa Miele, Industry Partner of ASID www.mieleusa.com Environotes ........................................ 30

Thomas Paterson Lux Populi www.luxpopuli.com Thomas@luxpopuli.com

Cisco Brothers, Industry Partner of ASID www.ciscobrothers.com

Sharlyn Underwood, ASID, LEED AP BD+C sharlynu@yahoo.com

Q Collection www.qcollection.com Ten Thousand Villages www.tenthousandvillages.com Design for Life ....................................32 Jeanette Knudsen, Allied Member ASID Design For A Life Span www.designforalifespan.com jmknudsen@cox.net Iconic Spaces ..................................... 40

Baltix www.baltix.com BIFMA level www.levelcertified.org/bifma

Molly McGinness, ASID, LEED AP Molly McGinness Interior Design www.mollymcginness.com molly@mollymcginness.com

Rubbish by Minarc www.minarc.com

ADVERTISERS BY CATEGORY ACCESSORIES Roche Bobois .......................................11

GREEN PRODUCTS Roche Bobois .......................................11

APPLIANCES Ferguson Enterprises ........................7

KITCHEN ACCESSORIES Williams-Sonoma .............................29

ARTS & CRAFTS CONTEMPORARY Palette Contemporary Art & Craft .................................................38

LADDERS Putnam Rolling Ladder Co. Inc.................................38

BATH WASTE OVERFLOW (BWO) SOLUTIONS Geberit North America.............12, 13 CARPET/ RUGS Roche Bobois .......................................11 CONCEALED SANITARY SOLUTIONS - IN WALL Geberit North America.............12, 13

LIGHTING Ferguson Enterprises ........................7 Fire Farm Lighting ...........................38 Lutron Electronics Co. Inc...............2 Roche Bobois .......................................11 LINENS/BEDDING Thief River Linen, Inc. .....................38

CUSTOM BLINDS & SHADES Stoneside ..............................................39

PAINT PPG Industries, Inc. ............................ 5 Pratt & Lambert.................................33 The Sherwin-Williams Co. ........................ inside front cover

CUSTOM STORAGE SOLUTIONS Roche Bobois .......................................11

PARTITIONS - WASHROOMS Bradley Corporation ...........................1

DECORATIVE GLASS GlassFilm Enterprises.....................38

PLUMBING FIXTURES Ferguson Enterprises ........................7

FABRICS Glen Raven......................................... 8,9 Kravet Inc..........outside back cover Thief River Linen, Inc. .....................38

SPACE ARTICULATORS Juxtaform .............................................37

FURNITURE Kravet Inc..........outside back cover FURNITURE, COMMERCIAL & RESIDENTIAL Roche Bobois .......................................11

TRADESHOWS Lightfair International.... inside back cover WINDOW FILM GlassFilm Enterprises.....................38

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ICONIC SPACES/ Photo Corbis Images

Molly McGinness, ASID, LEED AP PRINCIPAL & DESIGNER, MOLLY MCGINNESS INTERIOR DESIGN/

I LIVED NEAR the Alhambra in Granada, Spain and was moved

Memories of the Alhambra

and impressed by the spaces that easily took you from the outside in and back out again. Rooms were filled with texture by the ornamental relief carved into the walls, and the intricate mosaics bursting with color seemed endless.

remind me how rooms should be enchanting enough to draw you in and make you want to return.

Do you have an “Iconic Space” to share? E-mail it to icon@asid.org.

40 icon spring/11

the magazine of the american society of interior designers

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