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Interior architecture is the design of a building or shelter from inside out, or the design of a new interior for a type of home that can be fixed. It can refer to the initial design and plan used for a building’s interior, to that interior’s later redesign made to accommodate a changed purpose, or to the significant revision of an original design for the adaptive reuse of the shell of the building concerned.^[2] The latter is often part of sustainable architecture practices, whereby resources are conserved by “recycling” a structure through adaptive redesign.

Generally referred to as the spatial art of environmental design, interior architecture also refers to the process by which the interiors of buildings are designed to address all aspects of the human use of their structural spaces. Put simply, interior architecture is the design of an interior in architectural terms.

Interior architecture may refer to:

• the art and science of designing and erecting buildings and their interiors, along with other related physical features, by a licensed architect.
• the practice of an interior architect, where architecture means to offer or render professional services in connection with the design and construction of a building’s interior that has as its principal purpose relating interiors’ design to human occupancy or use.^[3]
• a general term to describe building interiors and related physical features.
• a style or method of design and construction for a building’s interiors and related physical features.
• the practice engaging work on already existing interior environments, where adaptive re-use and a knowledge of architectural strategies are necessary for re-designing existing space.^[4]

Evolution

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Adaptive reuse

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Although the original spatial hierarchy of a building is always established by its first architect, subsequent iterations of the interior may not be, and for obvious reasons, older structures are often modified by designers of a different generation according to society’s changing needs as our cities evolve. This process often re-semanticizes the building as a consequence, and is predicated on the notion that buildings can never really be complete and unalterable.

An altered building may look the same on the exterior, but its interior may be completely different spatially. The interior architect must therefore be sensitive not only to the place of the building in its physical and socio-political context, but to the temporal requirements of changing owners and users. In this sense, if the building has “good bones” the original architectural idea is therefore the first iteration of an internal spatial hierarchy for that structure, after which others are bound to follow

Cities are now dense with such buildings, perhaps originally built as banks that are now restaurants, perhaps industrial mills that are now loft apartments, or even railway stations that have become art galleries. In each case the collective memory of the shape and character of the city is generally held to be more desirable than the possibility of a new building on the same site, although clearly economic forces apply. It is also possible to speculate that there might well be further new interiors for these structures in future years, but for each alteration the technical and technological expertise of the era will determine the extent to which the building is modified in its building life cycle.

Certain structure’s interiors remain unaltered over time due to historic preservation, unchanged use, or financial limitations. Nevertheless, most buildings have only three possible long-range internal futures: First, designated significantly important to maintain visually unchanged, only accommodating unseen modern utilities, access, and structural stabilization, and restoration needs. Second, demolished to make way for a new building on the same site, or abandoned, becoming ruins. Finally, redesigned and altered to accommodate new uses.

There are many different degrees of alteration – a minor one to enable the building to conform to new legal codes is likely to prolong the first (or indeed later) iteration of interior space, but a major alteration, such as the retention of only the facade, is to all intents and purposes a new building. All possibilities within and between the two extremes are the domain of the interior architect.

If the practice of architecture is concerned with the art and science of new building, then the practice of Interior architecture is concerned with the alteration of existing buildings for new uses.^[2]

Sustainability

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A critical part in the evolution of interior architecture and design is the central theme of sustainability and consciously thinking of the environment and the materials being sourced- energy use, site selection, water usage, and material selection (Leigh Bacon^[6]). This sub-category of Interior Architecture focuses on finding creative and holistic ways of building new or retro fitting existing structures that have little to no impact on the environment. The eco-friendly movement became an important issue around the 1970s when the major energy crisis struck, making individuals aware of their contributions and what can be done to help lighten the impacts (BStone^[7]). Sustainability in Interior Architecture has really taken off in the last few decades with the help and advancements of technology, discovering new materials and efficient concepts that still lend the aesthetically pleasing aspect of a design. In past years, when it came to eco-design it had a stale and lack of luxury, elegance, and overall design; which inevitably received the reputation of being a “hippies” style or way of living. This is far from the case today with the overall known importance of being environmentally responsible, having an abundant amount of material options, and wanting to withhold an aesthetic design. Sustainable design is now a preferred and desired way of thinking and building that has and will be an ever-expanding and growing field. Some people confuse interior architecture with interior design. Because interior renovation will touch the change of the internal structure of the house, ceiling construction, circuit configuration and partition walls, etc., such work related to the structure of the house, of course, also includes renovation of wallpaper posting, furniture settings, lighting, etc. It is worth noting The thing is, the decoration construction team must be approved by the established interior design company to guarantee.^[8]

Earnings

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Statistics

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In the United States, median annual wages of wage-and-salary architects were $70,320 in May 2008.^[9] The middle 50 percent earned between $53,480 and $91,870. The lowest 10 percent earned less than $41,320, and the highest 10 percent earned more than $119,220. Those just starting their internships can expect to earn considerably less.

Earnings of partners in established architectural firms may fluctuate because of changing business conditions. Some architects may have difficulty establishing their own practices and may go through a period when their expenses are greater than their income, requiring substantial financial resources.

Many firms pay tuition and fees toward continuing education requirements for their employees.^[10]

Education

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Purpose

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Education in interior architecture should include the study of historic architectural and interior decoration styles, building codes and safety, preserving and restoring old buildings, drawing plans of original designs, and building physical and virtual (computer-based) models. The field of interior architecture has a lot in common with interior design and decorating;^[11] however, it typically focuses on architecture and construction. Students of both fields learn to design comfortable, safe, and useful indoor spaces, from downtown penthouses to high school classrooms. A student of interior architecture will learn about much more than artistic concerns, such as choosing which style of furnishings works well in an open, loft-like apartment. Study will also include information on technical issues, such as seismic retrofitting (making old buildings safe from earthquakes).^[12]

Degree programs

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Interior architecture stands at the intersection of architecture, design of the built environment, and conservation. Interior architecture programs address the design issues intrinsic to the re-use and transformation of existing structures through both an innovative and progressive approach.

The National Center for Education Statistics states that the definition of a degree program in interior architecture is: “A program that prepares individuals to apply architectural principles in the design of structural interiors for living, recreational, and business purposes and to function as professional interior architects. Study includes instruction in architecture, occupational and safety standards, structural systems design, heating and cooling systems design, interior design, specific end-use applications, and professional responsibilities and standards.”^[13]

In addition to earning a degree in interior architecture, general licensure is required to work within the United States and some states have further licensing requirements.^[14] In many European countries and in Australia the use of the title “Interior Architect” is legally regulated. This means that a practicing professional cannot use the title of “Interior Architect” unless they complete the requirements for becoming a registered or licensed architect as well as completing a degree program.^[15]

Example programs

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Degree programs in Interior Architecture include:

• Rhode Island School of Design,^[16] Interior architecture and Adaptive Reuse; BFA, MDes, and MA Degree programs
• Woodbury University,^[17] BFA and MIA Degree Programs
• George Washington University, School of Interior Architecture and Design, BFA and MFA programs ^[18]
• Boston Architectural College, School of Interior Architecture, Bachelor of Interior Architecture/ Master of Interior Architecture ^[19]
• German-Jordanian University, School of Architecture and Built Environment, Department of Architecture and Interior Architecture, Bachelor of Science in Architecture/ Interior Architecture ^[20]
• University of Houston, Gerald D. Hines College of Architecture, Interior Architecture program ^[21]
• Sligo Institute of Technology, School of Engineering, Department of Civil Engineering and Construction ^[22]
• University of Nevada, Las Vegas, School of Architecture, Interior Architecture and Design ^[23]
• School of the Art Institute of Chicago, Department of Architecture, Interior Architecture, and Designed Objects ^[24]
• Cornish College of the Arts, Interior Architecture Department, BFA program.^[25]
• Auburn University, School of Architecture, Planning and Landscape architecture. Interior Architecture Program.^[26]
• University of New South Wales, Faculty of Built Environment, Interior Architecture program ^[27]
• University of Oregon, Interior Architecture Department ^[28]
• University of Sint-Lucas Ghent and Brussels, Interior Architecture Department ^[29]
• Drexel University,^[30]
• University of Indonesia,^[31]
• UCSI University^[32]
• Monash University, Interior architecture, Department of Architecture
• University of Bergen, Interior architecture and furniture design, Department of Design
• University of Memphis,^[33] Department of Architecture, Interior Architecture Program
• University of Idaho Interior Architecture, School of Arts and Architecture
• Marywood University Interior Architecture, BIA and MIA Programs, School of Architecture^[34]
• Konstfack University of Arts, Crafts and Design. BA in Interior Architecture and Furniture Design, MA Interior Architecture/Spatial Design, Department of Design.

Difference between an Interior Architect and Designer

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Interior architects focus on building interiors, space planning, and exteriors. This included planning a space to be functional, accessible, and aesthetically pleasing. They notate the appearance of the building, safety, and usability of the users in the building. They will create site plans, building sections, energy calculations, exterior elevations, window & door schedules, and more.^[35]

An Interior designer focuses more on the furnishings that will be included in the space and the decorations associated with the interior. This is not to be confused with an Interior decorator who purely focuses on design aesthetics and furnishings. They will select furniture, soft goods, drapery & window coverings, and wall coverings. They focus on the harmony felt in a space which relates to room placement, size, and layout.

Both professions have a middle gray area where both perform the same tasks. This includes the selection of interior finishes, creating drawings of interior elevations/details, and space planning around furniture placement.^[36]

Associations of Interior Architects and Designers

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Experienced and trained Interior architecture and Interior design professionals are often represented by national,^[37] European or international professional organizations and federations. These associations represent and advocate on behalf of its members to ensure that the expertise of the built environment professionals is recognized and respected.

European Council of Interior Architects (ECIA) is the representative body for the European professional organisations in Interior Architecture and Design. Founded in 1992, ECIA currently represents 22 members-national organisations, with approximately 18000 professionals Interior Architects/Designers.^[38]

Styles

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Gothic Architecture

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Gothic Architecture was introduced at the beginning of the 12th century. It was used to bring heaven to Earth essentially. According to Abbot Suger, earthly light contained divine light, and the church was responsible for making this concept concrete through the church’s architecture. The design concept combined Byzantine, Romanesque, and Islamic architecture styles, making the style so eccentric and internationally spread. Popular colors such as ruby, gold, forest green, and plum were used in this period.^[39]

The famous paintings used as decoration were Unicorn paintings. These paintings represented the importance of marriage and happiness within the union. They were also stated to promote fertility for women and the marriage’s overall success. The most recognized sculpture of the gothic era is gargoyles. These carved/formed grotesques were used to lead water off roofs away from the sides of buildings. They removed the problem of rainwater damaging and eroding the mortar. They also were prominent in religion at the time. Gargoyles were used as a defense on buildings against demons.

The favored architectural features were pointed gothic arches, stained glass windows, and tracery. Pointed Gothic arches served a purpose for both decoration and structural purposes. For decorative reasoning, it is theorized that this idea was inspired by Islamic architecture. Structurally, it relieved stress from other elements in the building and directed most of the weight downwards. This helped support taller and thinner walls hence the immense structures present in this time. Stained glass windows were associated with High Gothic cathedrals. They reflected many colors of light and signified the Holy Spirit. For some, the artwork displayed was the only way they learned stories in the Bible as they could not read. Lastly, tracery is seen as bar or ribs used around openings such as windows.

Victorian Architecture

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This era was named after Queen Victoria. Victorian architecture featured gothic features such as spires, buttresses, and pointed arches. The era began in the 1830s as design went through the Gothic Revival and transitioned into the Victorian era, which ended around 1901 with Queen Victoria’s death.

Buildings were changed due to the creation of the architect profession and the now easier access to materials. Railways introduced access to materials, and the building production time decreased. Other notable progressions during this time were iron-framed construction, plate glass, terracotta, and polished granite.^[40]

Victorian architecture seems to be the opposite of today’s popular minimalistic design style. Victorian design is referred to as maximalist, overwhelming, and eccentric. Wealth became a cultural value that was demonstrated through design. This ostentatious display of ornamentation and detailing in furniture was to display class. Not only was this seen within the architecture and furniture, but it also appeared through graphic design and clothing. A bare room was equivalent to a lack of taste and wealth. The unique features that showcase the Victorian era are layered drapery, patterned wallpaper, and carved furniture. This era was during the Industrial Revolution, and these new materials were used in the interior designs.

Modern Architecture

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Modern Architecture, also known as modernist architecture, is created off the invention of new technologies within construction. This would include reinforced concrete, steel frames, curtain walls, and ribbon window. Some of its most notable features are the elimination of ornamentation and the minimalist aspects of the design. This style of architecture focuses on improving buildings’ functionality, using new materials, and moving away from common structural shapes such as square or rectangular buildings.^[41]

During World War II, research created new products and applications between 1940 and 1960. There were heavy influences of Scandinavian design inspired by Arne Jacobsen Scandinavia. Other notable pioneers of this movement were Walter Gropius and Le Corbusier. This transformed modern furniture from feeling cold and austere to warm and inviting. This was done using many textures such as wood, hemp, and leather and soft hues of popular colors. Also, within the design itself, Scandinavian design focused on the functionality and simplicity of furniture. This includes mid-century modernism, modernism, and contemporary. Most attraction to these styles would be to those born during this period, but since the recent reinvention of these design styles, it has become more widespread in current architecture and interior design.

As of current, modern architecture is taking a turn toward a more abstract-looking design, but this showcases how it was before this progression. These design styles have influenced modern architects and designers by providing alternatives to modern design’s common problem of feeling cold, too simple, and uninviting. Introducing more textures, warmer colors, and curvilinear lines have transformed modern architecture into a more usable style. It also influences incorporating sustainable materials into design in the 21st century. We have reinvented the style with sustainable materials and finishes without altering the original basis.

These styles have influenced the design process by emphasizing art usage to highlight a room rather than many embellishments. This includes but is not limited to paintings, sculptures, and wallpapers in almost every room to capture your eye. It also captures the importance of craftsmanship by highlighting how things are made and leaving it shown in rooms. This includes wood beams, room framework, and tiling, for example.

Interior design is the art and science of enhancing the interior of a building to achieve a healthier and more aesthetically pleasing environment for the people using the space. With a keen eye for detail and a creative flair, an interior designer is someone who plans, researches, coordinates, and manages such enhancement projects. Interior design is a multifaceted profession that includes conceptual development, space planning, site inspections, programming, research, communicating with the stakeholders of a project, construction management, and execution of the design.

History and current terms

In the past, interiors were put together instinctively as a part of the process of building.^[1]

The profession of interior design has been a consequence of the development of society and the complex architecture that has resulted from the development of industrial processes.

The pursuit of effective use of space, user well-being and functional design has contributed to the development of the contemporary interior design profession. The profession of interior design is separate and distinct from the role of interior decorator, a term commonly used in the US; the term is less common in the UK, where the profession of interior design is still unregulated and therefore, strictly speaking, not yet officially a profession.

In ancient India, architects would also function as interior designers. This can be seen from the references of Vishwakarma the architect—one of the gods in Indian mythology. In these architects’ design of 17th-century Indian homes, sculptures depicting ancient texts and events are seen inside the palaces, while during the medieval times wall art paintings were a common feature of palace-like mansions in India commonly known as havelis. While most traditional homes have been demolished to make way to modern buildings, there are still around 2000 havelis^[2] in the Shekhawati region of Rajashtan that display wall art paintings.

In ancient Egypt, “soul houses” (or models of houses) were placed in tombs as receptacles for food offerings. From these, it is possible to discern details about the interior design of different residences throughout the different Egyptian dynasties, such as changes in ventilation, porticoes, columns, loggias, windows, and doors.^[3]

Painting interior walls has existed for at least 5,000 years, with examples found as far north as the Ness of Brodgar,^[4] as have templated interiors, as seen in the associated Skara Brae settlement.^[5] It was the Greeks, and later Romans who added co-ordinated, decorative mosaics floors,^[6] and templated bath houses, shops, civil offices, Castra (forts) and temple, interiors, in the first millennia BC. With specialised guilds dedicated to producing interior decoration, and formulaic furniture, in buildings constructed to forms defined by Roman architects, such as Vitruvius: De architectura, libri decem (The Ten Books on Architecture).^[7][8]

Throughout the 17th and 18th century and into the early 19th century, interior decoration was the concern of the homemaker, or an employed upholsterer or craftsman who would advise on the artistic style for an interior space. Architects would also employ craftsmen or artisans to complete interior design for their buildings.

Commercial interior design and management

In the mid-to-late 19th century, interior design services expanded greatly, as the middle class in industrial countries grew in size and prosperity and began to desire the domestic trappings of wealth to cement their new status. Large furniture firms began to branch out into general interior design and management, offering full house furnishings in a variety of styles. This business model flourished from the mid-century to 1914, when this role was increasingly usurped by independent, often amateur, designers. This paved the way for the emergence of the professional interior design in the mid-20th century.^[9]

In the 1950s and 1960s, upholsterers began to expand their business remits. They framed their business more broadly and in artistic terms and began to advertise their furnishings to the public. To meet the growing demand for contract interior work on projects such as offices, hotels, and public buildings, these businesses became much larger and more complex, employing builders, joiners, plasterers, textile designers, artists, and furniture designers, as well as engineers and technicians to fulfil the job. Firms began to publish and circulate catalogs with prints for different lavish styles to attract the attention of expanding middle classes.^[9]

As department stores increased in number and size, retail spaces within shops were furnished in different styles as examples for customers. One particularly effective advertising tool was to set up model rooms at national and international exhibitions in showrooms for the public to see. Some of the pioneering firms in this regard were Waring & Gillow, James Shoolbred, Mintons, and Holland & Sons. These traditional high-quality furniture making firms began to play an important role as advisers to unsure middle class customers on taste and style, and began taking out contracts to design and furnish the interiors of many important buildings in Britain.^[10]

This type of firm emerged in America after the Civil War. The Herter Brothers, founded by two German émigré brothers, began as an upholstery warehouse and became one of the first firms of furniture makers and interior decorators. With their own design office and cabinet-making and upholstery workshops, Herter Brothers were prepared to accomplish every aspect of interior furnishing including decorative paneling and mantels, wall and ceiling decoration, patterned floors, and carpets and draperies.^[11]

A pivotal figure in popularizing theories of interior design to the middle class was the architect Owen Jones, one of the most influential design theorists of the nineteenth century.^[12] Jones’ first project was his most important—in 1851, he was responsible for not only the decoration of Joseph Paxton‘s gigantic Crystal Palace for the Great Exhibition but also the arrangement of the exhibits within. He chose a controversial palette of red, yellow, and blue for the interior ironwork and, despite initial negative publicity in the newspapers, was eventually unveiled by Queen Victoria to much critical acclaim. His most significant publication was The Grammar of Ornament (1856),^[13] in which Jones formulated 37 key principles of interior design and decoration.

Jones was employed by some of the leading interior design firms of the day; in the 1860s, he worked in collaboration with the London firm Jackson & Graham to produce furniture and other fittings for high-profile clients including art collector Alfred Morrison as well as Ismail Pasha, Khedive of Egypt.

In 1882, the London Directory of the Post Office listed 80 interior decorators. Some of the most distinguished companies of the period were Crace, Waring & Gillowm and Holland & Sons; famous decorators employed by these firms included Thomas Edward Collcutt, Edward William Godwin, Charles Barry, Gottfried Semper, and George Edmund Street.^[14]

Transition to professional interior design

By the turn of the 20th century, amateur advisors and publications were increasingly challenging the monopoly that the large retail companies had on interior design. English feminist author Mary Haweis wrote a series of widely read essays in the 1880s in which she derided the eagerness with which aspiring middle-class people furnished their houses according to the rigid models offered to them by the retailers.^[15] She advocated the individual adoption of a particular style, tailor-made to the individual needs and preferences of the customer:

One of my strongest convictions, and one of the first canons of good taste, is that our houses, like the fish’s shell and the bird’s nest, ought to represent our individual taste and habits.

The move toward decoration as a separate artistic profession, unrelated to the manufacturers and retailers, received an impetus with the 1899 formation of the Institute of British Decorators; with John Dibblee Crace as its president, it represented almost 200 decorators around the country.^[16] By 1915, the London Directory listed 127 individuals trading as interior decorators, of which 10 were women. Rhoda Garrett and Agnes Garrett were the first women to train professionally as home decorators in 1874. The importance of their work on design was regarded at the time as on a par with that of William Morris. In 1876, their work – Suggestions for House Decoration in Painting, Woodwork and Furniture – spread their ideas on artistic interior design to a wide middle-class audience.^[17]

By 1900, the situation was described by The Illustrated Carpenter and Builder:^[18]

Until recently when a man wanted to furnish he would visit all the dealers and select piece by piece of furniture ….Today he sends for a dealer in art furnishings and fittings who surveys all the rooms in the house and he brings his artistic mind to bear on the subject.

In America, Candace Wheeler was one of the first woman interior designers and helped encourage a new style of American design. She was instrumental in the development of art courses for women in a number of major American cities and was considered a national authority on home design. An important influence on the new profession was The Decoration of Houses, a manual of interior design written by Edith Wharton with architect Ogden Codman in 1897 in America. In the book, the authors denounced Victorian-style interior decoration and interior design, especially those rooms that were decorated with heavy window curtains, Victorian bric-a-brac, and overstuffed furniture. They argued that such rooms emphasized upholstery at the expense of proper space planning and architectural design and were, therefore, uncomfortable and rarely used. The book is considered a seminal work, and its success led to the emergence of professional decorators working in the manner advocated by its authors, most notably Elsie de Wolfe.^[19]

Elsie De Wolfe was one of the first interior designers. Rejecting the Victorian style she grew up with, she chose a more vibrant scheme, along with more comfortable furniture in the home. Her designs were light, with fresh colors and delicate Chinoiserie furnishings, as opposed to the Victorian preference of heavy, red drapes and upholstery, dark wood and intensely patterned wallpapers. Her designs were also more practical;^[20] she eliminated the clutter that occupied the Victorian home, enabling people to entertain more guests comfortably. In 1905, de Wolfe was commissioned for the interior design of the Colony Club on Madison Avenue; its interiors garnered her recognition almost over night.^[21][22] She compiled her ideas into her widely read 1913 book, The House in Good Taste.^[23]

In England, Syrie Maugham became a legendary interior designer credited with designing the first all-white room. Starting her career in the early 1910s, her international reputation soon grew; she later expanded her business to New York City and Chicago.^[24] Born during the Victorian Era, a time characterized by dark colors and small spaces, she instead designed rooms filled with light and furnished in multiple shades of white and mirrored screens. In addition to mirrored screens, her trademark pieces included: books covered in white vellum, cutlery with white porcelain handles, console tables with plaster palm-frond, shell, or dolphin bases, upholstered and fringed sleigh beds, fur carpets, dining chairs covered in white leather, and lamps of graduated glass balls, and wreaths.^[25]

Expansion

The interior design profession became more established after World War II. From the 1950s onwards, spending on the home increased. Interior design courses were established, requiring the publication of textbooks and reference sources. Historical accounts of interior designers and firms distinct from the decorative arts specialists were made available. Organisations to regulate education, qualifications, standards and practices, etc. were established for the profession.^[23]

Interior design was previously seen as playing a secondary role to architecture. It also has many connections to other design disciplines, involving the work of architects, industrial designers, engineers, builders, craftsmen, etc. For these reasons, the government of interior design standards and qualifications was often incorporated into other professional organisations that involved design.^[23] Organisations such as the Chartered Society of Designers, established in the UK in 1986, and the American Designers Institute, founded in 1938,^[26] governed various areas of design.

It was not until later that specific representation for the interior design profession was developed. The US National Society of Interior Designers was established in 1957, while in the UK the Interior Decorators and Designers Association was established in 1966. Across Europe, other organisations such as The Finnish Association of Interior Architects (1949) were being established and in 1994 the International Interior Design Association was founded.^[23]

Ellen Mazur Thomson, author of Origins of Graphic Design in America (1997), determined that professional status is achieved through education, self-imposed standards and professional gate-keeping organizations.^[23] Having achieved this, interior design became an accepted profession.

Interior decorators and interior designers

Interior design is the art and science of understanding people’s behavior to create functional spaces, that are aesthetically pleasing, within a building. Decoration is the furnishing or adorning of a space with decorative elements, sometimes complemented by advice and practical assistance. In short, interior designers may decorate, but decorators do not design.

Interior designer

Interior designer implies that there is more of an emphasis on planning, functional design and the effective use of space, as compared to interior decorating. An interior designer in fine line design can undertake projects that include arranging the basic layout of spaces within a building as well as projects that require an understanding of technical issues such as window and door positioning, acoustics, and lighting.^[1] Although an interior designer may create the layout of a space, they may not alter load-bearing walls without having their designs stamped for approval by a structural engineer. Interior designers often work directly with architects, engineers and contractors.

Interior designers must be highly skilled in order to create interior environments that are functional, safe, and adhere to building codes, regulations and ADA requirements. They go beyond the selection of color palettes and furnishings and apply their knowledge to the development of construction documents, occupancy loads, healthcare regulations and sustainable design principles, as well as the management and coordination of professional services including mechanical, electrical, plumbing, and life safety—all to ensure that people can live, learn or work in an innocuous environment that is also aesthetically pleasing.

Someone may wish to specialize and develop technical knowledge specific to one area or type of interior design, such as residential design, commercial design, hospitality design, healthcare design, universal design, exhibition design, furniture design, and spatial branding. Interior design is a creative profession that is relatively new, constantly evolving, and often confusing to the public. It is not always an artistic pursuit and can rely on research from many fields to provide a well-trained understanding of how people are often influenced by their environments.

Color in interior design

Color is a powerful design tool in decoration, as well as in interior design, which is the art of composing and coordinating colors together to create a stylish scheme on the interior architecture of the space.^[27]

It can be important to interior designers to acquire a deep experience with colors, understand their psychological effects, and understand the meaning of each color in different locations and situations in order to create suitable combinations for each place.^[28]

Combining colors together could result in creating a state of mind as seen by the observer, and could eventually result in positive or negative effects on them. Colors can make the room feel either more calm, cheerful, comfortable, stressful, or dramatic. Color combinations can make a tiny room seem larger or smaller.^[29] So it is for the Interior designer to choose appropriate colors for a place towards achieving how clients would want to look at, and feel in, that space.^[28]

In 2024, red-colored home accessories were popularized on social media and in several design magazines for claiming to enhance interior design. This was coined the Unexpected Red Theory.

Specialties

Residential

Residential design is the design of the interior of private residences. As this type of design is specific for individual situations, the needs and wants of the individual are paramount in this area of interior design. The interior designer may work on the project from the initial planning stage or may work on the remodeling of an existing structure. It is often a process that takes months to fine-tune and create a space with the vision of the client.^[30]

Commercial

Commercial design encompasses a wide range of subspecialties.

• Retail: includes malls and shopping centers, department stores, specialty stores, visual merchandising, and showrooms.
• Visual and spatial branding: The use of space as a medium to express a corporate brand.
• Corporate: office design for any kind of business such as banks.
• Healthcare: the design of hospitals, assisted living facilities, medical offices, dentist offices, psychiatric facilities, laboratories, medical specialist facilities.
• Hospitality and recreation: includes hotels, motels, resorts, cruise ships, cafes, bars, casinos, nightclubs, theaters, music and concert halls, opera houses, sports venues, restaurants, gyms, health clubs and spas, etc.
• Institutional: government offices, financial institutions (banks and credit unions), schools and universities, religious facilities, etc.
• Industrial facilities: manufacturing and training facilities as well as import and export facilities.^[30]
• Exhibition: includes museums, gallery, exhibition hall, specially the design for showroom and exhibition gallery.
• Traffic building: includes bus station, subway station, airports, pier, etc.
• Sports: includes gyms, stadiums, swimming rooms, basketball halls, etc.
• Teaching in a private institute that offer classes of interior design.
• Self-employment.
• Employment in private sector firms.

Other

Other areas of specialization include amusement and theme park design, museum and exhibition design, exhibit design, event design (including ceremonies, weddings, baby and bridal showers, parties, conventions, and concerts), interior and prop styling, craft styling, food styling, product styling, tablescape design, theatre and performance design, stage and set design, scenic design, and production design for film and television. Beyond those, interior designers, particularly those with graduate education, can specialize in healthcare design, gerontological design, educational facility design, and other areas that require specialized knowledge. Some university programs offer graduate studies in theses and other areas. For example, both Cornell University and the University of Florida offer interior design graduate programs in environment and behavior studies.

Profession

Education

Main article: Interior design education

There are various paths that one can take to become a professional interior designer. All of these paths involve some form of training. Working with a successful professional designer is an informal method of training and has previously been the most common method of education. In many states, however, this path alone cannot lead to licensing as a professional interior designer. Training through an institution such as a college, art or design school or university is a more formal route to professional practice.

In many countries, several university degree courses are now available, including those on interior architecture, taking three or four years to complete.

A formal education program, particularly one accredited by or developed with a professional organization of interior designers, can provide training that meets a minimum standard of excellence and therefore gives a student an education of a high standard. There are also university graduate and Ph.D. programs available for those seeking further training in a specific design specialization (i.e. gerontological or healthcare design) or those wishing to teach interior design at the university level.

Working conditions

There are a wide range of working conditions and employment opportunities within interior design. Large and tiny corporations often hire interior designers as employees on regular working hours. Designers for smaller firms and online renovation platforms usually work on a contract or per-job basis. Self-employed designers, who made up 32% of interior designers in 2020,^[31] usually work the most hours. Interior designers often work under stress to meet deadlines, stay on budget, and meet clients’ needs and wishes.

In some cases, licensed professionals review the work and sign it before submitting the design for approval by clients or construction permitting. The need for licensed review and signature varies by locality, relevant legislation, and scope of work. Their work can involve significant travel to visit different locations. However, with technology development, the process of contacting clients and communicating design alternatives has become easier and requires less travel.^[32]

Styles

Art Deco

The Art Deco style began in Europe in the early years of the 20th century, with the waning of Art Nouveau. The term “Art Deco” was taken from the Exposition Internationale des Arts Decoratifs et Industriels Modernes, a world’s fair held in Paris in 1925.^[33] Art Deco rejected many traditional classical influences in favour of more streamlined geometric forms and metallic color. The Art Deco style influenced all areas of design, especially interior design, because it was the first style of interior decoration to spotlight new technologies and materials.^[34]

Art Deco style is mainly based on geometric shapes, streamlining, and clean lines.^[35][36] The style offered a sharp, cool look of mechanized living utterly at odds with anything that came before.^[37]

Art Deco rejected traditional materials of decoration and interior design, opting instead to use more unusual materials such as chrome, glass, stainless steel, shiny fabrics, mirrors, aluminium, lacquer, inlaid wood, sharkskin, and zebra skin.^[34] The use of harder, metallic materials was chosen to celebrate the machine age. These materials reflected the dawning modern age that was ushered in after the end of the First World War. The innovative combinations of these materials created contrasts that were very popular at the time – for example the mixing together of highly polished wood and black lacquer with satin and furs.^[38] The barber shop in the Austin Reed store in London was designed by P. J. Westwood. It was soon regarded as the trendiest barber shop in Britain due to its use of metallic materials.^[37]

The color themes of Art Deco consisted of metallic color, neutral color, bright color, and black and white. In interior design, cool metallic colors including silver, gold, metallic blue, charcoal grey, and platinum tended to predominate.^[35][39] Serge Chermayeff, a Russian-born British designer made extensive use of cool metallic colors and luxurious surfaces in his room schemes. His 1930 showroom design for a British dressmaking firm had a silver-grey background and black mirrored-glass wall panels.^[37][40]

Black and white was also a very popular color scheme during the 1920s and 1930s. Black and white checkerboard tiles, floors and wallpapers were very trendy at the time.^[41] As the style developed, bright vibrant colors became popular as well.^[42]

Art Deco furnishings and lighting fixtures had a glossy, luxurious appearance with the use of inlaid wood and reflective finishes. The furniture pieces often had curved edges, geometric shapes, and clean lines.^[33][37] Art Deco lighting fixtures tended to make use of stacked geometric patterns.^[43]

Modern art

Modern design grew out of the decorative arts, mostly from the Art Deco, in the early 20th century.^[44] One of the first to introduce this modernist style was Frank Lloyd Wright, who had not become hugely popularized until completing the house called Fallingwater in the 1930s. Modern art reached its peak during the 1950s and ’60s, which is why designers and decorators today may refer to modern design as being “mid-century”.^[44] Modern art does not refer to the era or age of design and is not the same as contemporary design, a term used by interior designers for a shifting group of recent styles and trends.^[44]

Arab materials

“Majlis painting”, also called nagash painting, is the decoration of the majlis, or front parlor of traditional Arabic homes, in the Asir province of Saudi Arabia and adjoining parts of Yemen. These wall paintings, an arabesque form of mural or fresco, show various geometric designs in bright colors: “Called ‘nagash’ in Arabic, the wall paintings were a mark of pride for a woman in her house.”^[45]

The geometric designs and heavy lines seem to be adapted from the area’s textile and weaving patterns. “In contrast with the sobriety of architecture and decoration in the rest of Arabia, exuberant color and ornamentation characterize those of Asir. The painting extends into the house over the walls and doors, up the staircases, and onto the furniture itself. When a house is being painted, women from the community help each other finish the job. The building then displays their shared taste and knowledge. Mothers pass these on to their daughters. This artwork is based on a geometry of straight lines and suggests the patterns common to textile weaving, with solid bands of different colors. Certain motifs reappear, such as the triangular mihrab or ‘niche’ and the palmette. In the past, paint was produced from mineral and vegetable pigments. Cloves and alfalfa yielded green. Blue came from the indigo plant. Red came from pomegranates and a certain mud. Paintbrushes were created from the tough hair found in a goat’s tail. Today, however, women use modern manufactured paint to create new looks, which have become an indicator of social and economic change.”^[46]

Women in the Asir province often complete the decoration and painting of the house interior. “You could tell a family’s wealth by the paintings,” Um Abdullah says: “If they didn’t have much money, the wife could only paint the motholath, the basic straight, simple lines, in patterns of three to six repetitions in red, green, yellow and brown.” When women did not want to paint the walls themselves, they could barter with other women who would do the work. Several Saudi women have become famous as majlis painters, such as Fatima Abou Gahas.^[45]

The interior walls of the home are brightly painted by the women, who work in defined patterns with lines, triangles, squares, diagonals and tree-like patterns. “Some of the large triangles represent mountains. Zigzag lines stand for water and also for lightning. Small triangles, especially when the widest area is at the top, are found in pre-Islamic representations of female figures. That the small triangles found in the wall paintings in ‘Asir are called banat may be a cultural remnant of a long-forgotten past.”^[45]

“Courtyards and upper pillared porticoes are principal features of the best Nadjdi architecture, in addition to the fine incised plaster wood (jiss) and painted window shutters, which decorate the reception rooms. Good examples of plasterwork can often be seen in the gaping ruins of torn-down buildings- the effect is light, delicate and airy. It is usually around the majlis, around the coffee hearth and along the walls above where guests sat on rugs, against cushions. Doughty wondered if this “parquetting of jis”, this “gypsum fretwork… all adorning and unenclosed” originated from India. However, the Najd fretwork seems very different from that seen in the Eastern Province and Oman, which are linked to Indian traditions, and rather resembles the motifs and patterns found in ancient Mesopotamia. The rosette, the star, the triangle and the stepped pinnacle pattern of dadoes are all ancient patterns, and can be found all over the Middle East of antiquity. Al-Qassim Province seems to be the home of this art, and there it is normally worked in hard white plaster (though what you see is usually begrimed by the smoke of the coffee hearth). In Riyadh, examples can be seen in unadorned clay.^[47]

Media popularization

Main article: Interior design magazine

Interior design has become the subject of television shows. In the United Kingdom, popular interior design and decorating programs include 60 Minute Makeover (ITV), Changing Rooms (BBC), and Selling Houses (Channel 4). Famous interior designers whose work is featured in these programs include Linda Barker and Laurence Llewelyn-Bowen. In the United States, the TLC Network aired a popular program called Trading Spaces, a show based on the UK program Changing Rooms. In addition, both HGTV and the DIY Network also televise many programs about interior design and decorating, featuring the works of a variety of interior designers, decorators, and home improvement experts in a myriad of projects.

Fictional interior decorators include the Sugarbaker sisters on Designing Women and Grace Adler on Will & Grace. There is also another show called Home MADE. There are two teams and two houses and whoever has the designed and made the worst room, according to the judges, is eliminated. Another show on the Style Network, hosted by Niecy Nash, is Clean House where they re-do messy homes into themed rooms that the clients would like. Other shows include Design on a Dime, Designed to Sell, and The Decorating Adventures of Ambrose Price. The show called Design Star has become more popular through the five seasons that have already aired. The winners of this show end up getting their own TV shows, of which are Color Splash hosted by David Bromstad, Myles of Style hosted by Kim Myles, Paint-Over! hosted by Jennifer Bertrand, The Antonio Treatment hosted by Antonio Ballatore, and finally Secrets from a Stylist hosted by Emily Henderson. Bravo also has a variety of shows that explore the lives of interior designers. These include Flipping Out, which explores the life of Jeff Lewis and his team of designers; Million Dollar Decorators explores the lives of interior designers Nathan Turner, Jeffrey Alan Marks, Mary McDonald, Kathryn Ireland, and Martyn Lawrence Bullard.

Interior design has also become the subject of radio shows. In the U.S., popular interior design & lifestyle shows include Martha Stewart Living and Living Large featuring Karen Mills. Famous interior designers whose work is featured on these programs include Bunny Williams, Barbara Barry, and Kathy Ireland, among others.

Many interior design magazines exist to offer advice regarding color palette, furniture, art, and other elements that fall under the umbrella of interior design. These magazine often focus on related subjects to draw a more specific audience. For instance, architecture as a primary aspect of Dwell, while Veranda is well known as a luxury living magazine. Lonny Magazine and the newly relaunched, Domino Magazine, cater to a young, hip, metropolitan audience, and emphasize accessibility and a do-it-yourself (DIY) approach to interior design.

Gallery

• Grand Central Terminal in Midtown Manhattan
• Hotel San Domenico in Taormina
• Apothecary room
• Villa del Balbianello
• Lounge (1850)
• Bar in Rotterdam
• Balboa Bay Club
• Axel Springer Tower [de], Berlin
• Lutheran church in Nervi

Notable interior decorators

Main pages: Category:Interior designers and Category:Interior design firms

See also: Category:Interior designers by nationality

Other early interior decorators:

• Sibyl Colefax
• Dorothy Draper
• Pierre François Léonard Fontaine
• Syrie Maugham
• Margery Hoffman Smith
• Elsie de Wolfe
• Arthur Stannard Vernay
• Frank Lloyd Wright

Many of the most famous designers and decorators during the 20th century had no formal training. Some examples include Sister Parish, Robert Denning and Vincent Fourcade, Kerry Joyce, Kelly Wearstler, Stéphane Boudin, Georges Geffroy, Emilio Terry, Carlos de Beistegui, Nina Petronzio, Lorenzo Mongiardino, Mary Jean Thompson and David Nightingale Hicks.

Notable interior designers in the world today include Scott Salvator, Troy Adams, Jonathan Adler, Michael S. Smith, Martin Brudnizki, Mary Douglas Drysdale, Kelly Hoppen, Kelly Wearstler, Nina Campbell, David Collins, Nate Berkus, Sandra Espinet, Jo Hamilton and Nicky Haslam.