Art of Decorating - Essay Example

Interior Design Introduction Interior design entails the art of decorating or designing the interior of a building or a room. The work of an interior designer is not clearly defined as projects undertaken vary widely. Interior designing involves a lot of planning, functional designing and use of space appropriately (Gibbs, 2005). Many people view interior design with the deluge of home makeover shows that dominate television shows today. In reality, Interior design is much more than designing for aesthetic value. There is a lot of complexity involved that encapsulates a lot more than people realise. There is consideration of communication as well as key user experience such as how spaces work, how the designs deliver a message and how people respond to them, communicating with other people and objects. As such, an interior designer has to have knowledge of the building regulations, health and safety laws, project planning and management, technical specifications with these entire put together in a creative fashion that generates a desired environment (Gibbs, 2005). Opportunities and challenges The world of interior design comes with both challenges and opportunities. As such, designers are constantly challenged to be creative so as to survive in a competitive market. These opportunities and challenges include the challenge of diversifying in to new territories for designers, the challenge of keeping the customer satisfied, creativity, keeping track of profits and losses, managing the growing needs of sustainable designs and globalisation among others (Ballast, 2013). Interior design also comes with a fair share of opportunities. With the advancement in technology today, interior designers have more opportunities to better their work performance and production. Technology is becoming pivotal to the world of interior designers in performing their day to day tasks. Interior designers today rely on technology as a way of implementing their designs, generating resource as well as a way of gathering data. Therefore, technology is being used as a problem solving tool. Designers are finding technology useful in making end solutions easier and shortening presentation time (Knackstedt, 2008). Designers are shifting from coloured pencils to computer aided design with experts asserting that designers with knowledge in the latest trends in technology as having the potential of being pioneers of new design methods in the market today. Employers, it is argued, prefer employing people who are technology savvy as compared to those with little knowledge of technology. However, with technology, come several challenges that may pose as a risk to the survival of interior design. This includes the issue of globalisation that has been brought about by the world becoming a global village due to advances in technology. Globalisation This is one of the key issues facing interior design today. Globalisation can be defined as coming together of people and all elements of the world into an integrated system guided by capitalism and free markets where cultural diffusion is rapid, states considered independent are weakened, and homogenisation of culture is encouraged (Dohr & Portillo, 2011). Simply put, the world is increasingly becoming intertwined and connected in many levels. This is all as a result of technology. Globalisation presents both the positive and negative effects in interior design. Globalisation has been described as the human mosaic or an approach to the culture of human geography. The main area affected by globalisation the world economy. Products used by designers are manufactured abroad cheaply in developing economies such as china. Technology has allowed products to be manufactured cheaply at low wages, low shipment costs and using cheap materials that are distributed fast all over the world. This is a major boost to countries which can afford to manufacture these products. Conversely, interior design can be said to contribute to the increasing gap between rich countries and the poor ones. This is because many developing countries still lack the technology to produce or manufacture products used by interior designers and therefore further fall back into isolation and poverty. When interior designers purchase these materials from the countries who can afford to manufacture them, their economic status is elevated and as such, leaves further behind poor countries (Dohr & Portillo, 2011). On one hand the profession improves global economy and on the other, it adds to the problems of underdeveloped countries. Scholars posit that globalisation has contributed to better profits for interior designs since the first world is unable to manufacture these materials at a cheap price due to the high economic living standards, by importing these materials, interior designers reap maximum benefits. Globalisation has brought about assimilation of cultures. There is continuous blending of ethnic groups into the host culture. This leads to loss of distinctive ethnic traits. Much of the authentic ethnic designs are lost due to what is seen as universalism, or international taste. This blend of culture is therefore threatening the existence of important cultural designs and traits of some ethnic groups to what can be accepted worldwide. An example of this mix of style and culture can be seen in Western Europe where apart from the oriental elements, designers are focusing on Afro ethnic elements in their display of colours and materials and other designs that are popular (Sloterdijk, 2013). This threatens the existence of some cultural elements altogether as they are absorbed or assimilated in to the “universal Culture”. The idea of blending cultures has had an effected on the long term sustainability of interior design. For example, the spread of the American dream that has spread throughout the world and carries the idea of being environmentally conscious. People require sustainable housing and designs. But the spread of this notion of being environmentally cautious has created what can be referred to as Mc Mansions and Urban sprawl. This therefore brings a contrast in countries dealing with high population and suburban living as a result of assimilation due to globalisation. There is also a good side to globalisation when it comes to learning and blending different cultures. As more people are moving around the world, they feel the need to retain an aspect of their culture wherever they go. Consequently, they prefer staying in hotels or buying homes that portray elements of their culture. Interior designers who have knowledge of various cultures for example, Indian, will attract clients looking to buy property that are designed with their cultural element in mind. Globalisation through technology has made this possible for interior designers to access and learn such cultures and as such will attract such clientele (Coleman, 2002). At the click of a button, they are able to access different forms of cultures therefore have an array of designs to present to their clients. The client’s choice is determined by the property style he or she is accustomed to. A good example is the Middle East clients who prefer homes with an older style and a feeling of luxury. They will often request for marbles and velvet textures. They also ask for rugs and carpets as they like walking barefoot around their homes. Most of the people from Middle East countries are Muslims and will therefore require a separate sink to wash their feet and hands before prayer. The Brits, Russians and Indians are interested in period detailing while the Chinese like clean and minimalist style and modern apartments as this is what they are used to. As foreign investors such s the Chinese travel to the UK, the interior designers might have to learn the Art of Feng Sui (Binggeli, 2011). Better communication and sourcing of materials abroad has allowed a mix in style of west and east and consequently creating a diversity in the use of furniture materials and accessories. Globalisation has also to more appealing designs and diversity which has in turn led to competition in the world of interior design. The stiff competition sets a trend to produce high quality work and sustainable designs. Globalisation has also led to sensitisation of global warming therefore calling for green designs for clients all over the world. Global warming has become a major issue in the world today. Designers are entrusted with the responsibility of cutting down the effect on the environment. Using the appropriate materials, proper energy use and packaging can have a tremendous impact on the campaign to save the planet. Worldwide recycling is also necessary in saving the planet. Interior designers can use old furniture and accessories differently and creatively. However, the change towards a more green approach has not changed the designs, passion and glamour dedicated to design (Pile, 2005). Socio-cultural, Political and economic influence on interior design The economic context relates to the status of a country’s economy. Recession which has been a major issue affecting globalisation and other important factors in the growth of the economy has had serious ramifications on interior design. Recession has slowed down construction and development of new buildings. This limits the availability of work for interior designers and other practitioners such as architects in the construction industry. Therefore, the popular trend nowadays is towards is not only towards cost effective designs but also designs that are not aesthetically challenging. Every country globally possesses some economic viability (Prakash& Kruse, 2008). This therefore makes contemporary interior design different from country to country. The need to be cost effective has informed new methods and designs such as prefabricated components used vastly in interior design today. This method was as a result of high cost of living driven by recession, as such there was need to reduce the cost of producing materials as well as the need to keep the customers satisfied. Such prefabricated materials used to construct homes are becoming a popular trend in the world and are also environmentally friendly. Therefore, economy has greatly shaped the upcoming trends in the world of interior design today. Political influence all over the world cannot be ignored when it comes to architecture and interior design. Politics plays a vital role in determining the direction of contemporary designs. A good example of this is in Malaysia where the government has come up with a policy that all public buildings have to use methods of industrialised building system to reduce depending on foreign workers. The concept of sustainability was also introduced to minimise the amount of electricity and water used in buildings. Therefore, the government has dictated the way interior designers will work in such buildings following standardised methods to cut down on cost of water and electricity (Prakash& Kruse, 2008). As pointed out earlier in the paper, society and culture greatly influence design and taste of people as they prefer what they are used to. Some designs are a representation or a symbolic identity of a people. For example most modern American designers make reference to old designs and local tradition in their work. Cultural context plays a pivotal role in influencing modern interior designs. Designs are constantly evolving according to times. Interior designers should embrace diversity and learn different cultures as the world becomes integrated and more demand for cultural retention and identity stands prevails (Sandbrook, 2014). They should also play a role in preserving the environment by using materials that are renewable and eco friendly and sustainable designs and accessories that save on fossil fuels. Sustainable designs are becoming popular due to rising cost of fossil fuels. As such, the changes will affect the style and form of modern interior designs to the new paradigm. Issues facing interior design as written in the contemporary press One of the issues that have been written about challenges faced by interior designers in the market today is the lack of a professional identity. There is absence of a unified and cohesive professional identity for the interior designers who work under code regulated interior environments. To achieve a critical mass of societal comprehension and respect for the profession of interior design that will allow professionals to effectively pursue the right to practice as licensed or registered design professionals, there is need to have a Regulated National body of interior designers (Binggeli, 2011). This is a constant issue that is synonymous with contemporary interior designers. They lobby for a body that will be in charge of regulating designers just like in other professions such as medicine, law or accounts. This way, there will be a distinction between mere decorators and respectable professionals that are interior designers. The issue of changing rapidly changing trends in the environment of interior design is also a prominent feature in the literature of the profession lately. The designs and methods of data sourcing have greatly been affected by trends such as advances in technology. Those designers who are not up to date with the current trends in the market are likely to lag behind as they rely on old methods only to design and come up with innovative designs for their customers. They may also lose young clients who may find them as old fashioned in the way of doing things. There is wastage a lot of time in their presentations and this trickles down to actual work on the ground. The challenge of dealing with clients who cannot settle on a specific design exists. Some clients change their mind in the middle of a project that has taken much time and effort in planning and implementation (Ballast, 2013). This might kill the morale especially of new designers. The issue of non-payment is also a great challenge to interior designers. Some clients may refuse to pay for a project on the account that they are not satisfied with the overall outcome or with frivolous arguments such as the amount of pay is not commensurate with the work done. Such are the challenges that have been written about that continue to affect the work of interior designers. Conclusion The role of interior designers continues to change rapidly in a competitive environment. Although the confusion between interior design and decoration is not likely to end soon, advances in chemical manufacture of chemicals continue to inspire innovation in integrated and topical treatments for materials used by designers ranging from stain resistant to antimicrobial properties (Pile, 2005). There is a lot of information and practice that goes accompanies interior design and this is why it is worrying that the profession is still fighting to be recognised for its special and unique skills. The designers still struggle in their endeavour to be taken seriously. A lot has changed over the years, in the past, designers used to judge a material according to performance elements and aesthetics. Today, things are different as designers research the chemical makeup of materials as well as the sourcing and the process of production. Maintenance is also looked in to as well as end of life disposal options. Technology also affects how designers do their work with new advertising platforms such as the popular social media. Designers are encouraged to source for new clientele through such mediums as it is quite the trend nowadays. Availability of computer aided design to adopting building information software and the capability of viewing spaces in three dimensions (3D) has revolutionised field of interior design making it possible to coordinate faster with other consultants involved in construction (Sloterdijk, 2013). The future of Interior design looks great and an interesting field for upcoming designers. Diversification of designs will also be of paramount importance as the world continues to become much smaller and interlinked by technology. Reference list Sandbrook, R. (2014). Civilizing globalization: a survival guide. Sloterdijk, P. (2013). In the world interior of capital. Cambridge, Polity Press. Coleman, C. (2002). Interior design handbook of professional practice. New York, McGraw- Hill. Prakash, G., & Kruse, K. M. (2008). The spaces of the modern city: imaginaries, politics, and everyday life. Princeton, Princeton University Press. Gibbs, J. (2005). Interior design. London, Laurence King. Pile, J. (2005). A history of interior design. London, Laurence King Publishing. Ballast, D. K. (2013). Interior design reference manual: everything you need to know to pass the NCIDQ exam. Belmont, Calif, Professional Publications. Dohr, J. H., & Portillo, M. (2011). Design thinking for interiors inquiry + experience + impact. Hoboken, N.J., John Wiley & Sons. Knackstedt, M. V. (2008). The challenge of interior design: professional values and opportunities. New York, NY, Allworth Press. Binggeli, C. (2011). Interior Graphic Standards. Hoboken, John Wiley & Sons. .  Read More

 

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