THE GROWTH AND EVOLUTION OF INTERIOR DESIGN

Interior design is an art in which the spaces enclosed within a wall get furnished to create an appealing environment. It is concerned with significant realizations on how plans can be put in actualization to give decorative fixations. It intersects various cultures, political domains, the social, philosophical and technological discourse which merge materials, lighting, colors and furnishing to make the interior of any room or building exquisite. Baxter shows that this field was ignored and overlooked due to its lack of opportunity for growth and less income to bring firth. As we can see today, many interior designers have incorporated traditional and technological materials to give the career a new face for growth and expansion in the market.

The profession of design looks at spacing, client’s specifications, site visits and inspections, communication, consultation, planning, development and implementations. The practice of interior design can be dated back to Ancient Egyptians who decorated their mud houses with animal skins and spiritual sculptures and textiles made locally. It was evident in the royal tombs, where they buried their loved ones with gold ornaments and figurines to decorate the rich wealthy class. The Greek were not left behind where we see they came up with houses which had roofs while in their homes they had wooden furniture. Their utensils were silver and bronze cote to decorate the interior. The Romans loved class and comfort, which is seen from the cushions on their seats, furniture was made of marble, stone and wood to give a sense of beauty. Also had paintings on the wall and floors were made of mosaic[1].

Figure 1: Roman Design

Figure 2: Greek Design

Figure 3: Egyptian Design

Figure 4: Modern Interior Design

Interior design has been mostly male-dominated until women came up into the field where a majority of them are flourishing very well. Most were ridiculed and shamed in their work as being better in a male chauvinist world, in which women were thought to only do house chores and jobs like teaching quite undermining. Candace Wheeler was a prominent woman who shed light on design and developing interior courses for women to grow. She says design should give one a sense of belonging and lifestyle to bring out the best in them. The homes people live in are like nests and should bring out our tastes and opinions[2].

The 19^th, 20^th and 21^st century saw growth of modernism and postmodernism where the designers, especially women, got to remove their masks and showcase their work openly. A field given credit to men was now filled with women who have impacted it significantly to an eclecticism era. People are incorporating vintage materials with modern features to provide splendid looks to our homes, spaces, restaurants you name them. The likes of Dorothy Draper (1889-1969) who invented Modern Baroque and Andree Putmann (1925-2013), who founded Ecart International, are icons who paved the way that women can be great as well as men in the industry of interior designing. Interiors are widely composed of different objects to bring the final touch to look elegant. The history of interior design gets surrounded by issues of power, modernity, sense of belonging and the process of professionalization. It brings scholars from various fields to bring art to reality.

Nada Andric is a principal Associate in the Skidmore, Owings and Merills LLP (SOM), which showcases her excellent brilliant ideas to the design field. Like most women in her field born in a small town, she had to fight her way through to get recognized as an icon in interior design. In a male chauvinist society getting to such fields seemed impossible, but she defied the odds. Today we reckon of her great works, which have left a print in the lives of many and mainly interior design at large. One of her notable projects is Center for Curatorial Studies, Bard College founded in 1990. It is an art exhibition center tailored to practices of art and exhibition of writers, artists and scholars. It has been of significant impact since more than 275 students have been awarded M.A Degrees internationally. In 2006 was expanded, which now features the Hessel Museum of Art, which is home to people who have an ounce of bringing art to fulfillment.[3]

Nada, like so many other women, shows that the history of interior design was gender-biased, devaluing the importance of women in this field. Women got excluded from the narratives and how they get described shows them as insignificant. Nada, who were it not for her works, which put her on the spotlights in 2011 The Induction in the Interior Design Hall of Fame, most of us wouldn’t have known of her actions. She possesses excellent intellect in the field of architecture and interior design and her accomplishments in the projects she has done have given her national and internal recognition awards. Burj Khalifa, the tallest building in the world, has a mark of her great works there. More than 800 pieces of art were put in place to bring out the culture and art in the spaces people came into contact with. She visualized ideas run them through the help of a graphic designer and in the end, the results were splendid. We need each other to bring out the best of our abilities to the table. She says human life experiences are primarily played out in the interior spaces. We may, for instance, love the sky outside, but most of our time is spent at home. Dating back to ancient times where knights lived in castles and monks in a monastery, it is vividly depicted in the buildings we have today, which showcase the history of their origin since our spaces give us purpose and satisfy our needs and styles for this era.

Women who had been hitherto kept in housekeeping had to measure up because of the changing regimes in the social, political and economic spheres. They had to look for alternatives to bring an income and bring prestige to the man of the house, which saw most women enroll in learning. Embroidery, painting and drawing, which fetched ideas from nature, took a great form of transformation as they became decorative designs. Fashion grew as women sewed clothes of class, which got broadened from the knowledge acquired. Women today constitute the majority of the interior designers worldwide who are a source of inspiration for generations, fearless role models and give the power of good design to art [4].

References

” P. Sparke, Elsie de Wolfe, op. cit., M. Owens (ed.); P. Sparke, ‘Elsie de Wolfe and Her Female Clients, 1905–1915: Gender, Class and the Professional Interior Decorator’, in Women’s Places: Architecture and Design 1860–1960, B. Martin & P. Sparke (eds.), Routledge, London, 2003, pp. 47–68.

‘The Professionalization of Decoration, Design and the Modern Interior, 1870 to the Present’, Dorich House Conference, Kingston University, May 2006 http://www.kingston.ac.uk/design/MIRC/annual_conferences.html accessed 12 March 2008

The Myth of English Country House Style, 1930–1990’, in Interior Design and Identity, S. McKellar & P. Sparke (eds.), Manchester University Press, Manchester, 2004, ppReflibrary.

Wheeler, ‘Interior Decoration as a Profession for Women’, The Outlook, 6 April 1895, pp. 559–60 and 20 April 1895, p. 649; C. Wheeler, Principles of Home Decoration with Practical Examples, Doubleday, Page & Company, New York, 1903.
Baxter, ‘Thirty Years of Growth in the Literature of Interior Design’, Journal of Design History, vol. 4, no. 4, 1991, pp. 241-50.
[1] P. Baxter, ‘Thirty Years of Growth in the Literature of Interior Design’, Journal of Design History, vol. 4, no. 4, 1991, pp. 241–50.

Greek design

[2] C. Wheeler, ‘Interior Decoration as a Profession for Women’, The Outlook, 6 April 1895, pp. 559–60 and 20 April 1895, p. 649; C. Wheeler, Principles of Home Decoration with Practical Examples, Doubleday, Page & Company, New York, 1903.

[3] P. Sparke, Elsie de Wolfe, op. cit., M. Owens (ed.); P. Sparke, ‘Elsie de Wolfe and Her Female Clients, 1905–1915: Gender, Class and the Professional Interior Decorator’, in Women’s Places: Architecture and Design 1860–1960, B. Martin & P. Sparke (eds.), Routledge, London, 2003, pp. 47–68.

[4] The Myth of English Country House Style, 1930–1990’, in Interior Design and Identity, S. McKellar & P. Sparke (eds.), Manchester University Press, Manchester, 2004, ppReflibrary

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