The Professional Interior

Design Course
Tutorial Ten

INTERIOR
DESIGN
Copyright 2002. J Morris. Revised 2021. Licensed in Britain to International News Syndicate.
 INDEX

Page

Introduction 3
Hospitality Design – Designed For Service 4
Retail Therapy – Creating the Right Moves 7
Design For The Disabled 10
Colour Services For Designers 12
Design With Flowers 13
Project Manage Your Clients Like a Professional 15
Design Industry Profile 23
Designer Profile – Danielle Herman 24
Designer Profile – Maryanne Young 25

(There is no assignment to submit from this tutorial, and you do not have to send
back the tutorial cover sheet.)

Please note: To enhance your learning experience, the course material contains many links to
external sites and documents. While every effort is made to ensure links are active and up to date,
there may be occasions when you find a link is broken or has changed/been redirected,
either legitimately or due to poor domain management by the site owner.
If you see any broken or misdirected links in your tutorial, please contact us at
questions@britishcollegeofinteriordesign.com and we will happily assist you.
Incorrect links will be promptly updated.

2
Introduction

This tutorial primarily completes the interior design component of the course – with the final two
tutorials devoted to business and marketing advice to set you on your way to a successful career in the
interior design industry.

In this tutorial, Stephen Crafti explores the areas of hospitality and retail design, and we ask several
practising professionals in the interior design industry some pertinent questions for an ‘inside’ view.

This is not, however, the end of your learning curve in interior design. You will find that, no matter how
knowledgeable you become, there is always more to learn: from books, magazines and, most importantly,
hands-on, practical experience.

Setting up a home office

Working from home can be isolating if you are sitting at a computer all
day and have little contact with a wider work community. However, if
you are planning to work from home as an interior designer, you will
find you won’t miss commuting one little bit and, as you will be going
about visiting clients and showrooms and dealing with trades, you will
have plenty of stimulation as well.

Working from home can also save a surprisingly large amount of money
as you do not have transport costs every day, can generally make your
own lunch and cups of coffee rather than buying them at a café and
need only a limited wardrobe of professional clothes for meetings. You
can also claim a substantial percentage of your household expenses and
work requirements such as computers and office furniture of your tax.
Working from home can reduce
your business costs.
Make sure you select a space for your home office where you will be able
to work without disruption or distraction. If possible, it should be in the
quietest part of your home. You will need plenty of clear surface area for drawing, preparing sample boards
etc. and loads of storage for all the magazines, brochures and samples you will rapidly accumulate!

The only way to prevent friends and family from assuming that just because you are at home, you can be
interrupted is to let them know your work hours and stick to them. If possible, put in a separate phone line
and have separate access to the office other than the front door.

As the desk is the work centre of your office, plan this area first. If you possibly can, place the desk near a
window, as a view beyond the room can help relieve boredom, and you will have access to fresh air. Ensure
you have easy access to the desk and adequate space around it to move your chair. You should not feel
restricted or bang into things on the way to your desk.

Make a list of things you will need to use regularly and store them closest to your desk for easy access,
preferably being in reach from your chair.

Design a storage system to suit your working style. If you are a ‘neatnik’ choose a system that allows you
to place everything out of sight when not in use. Fitted, coordinated storage cupboards are neater than
mismatched filing cabinets and freestanding cupboards. The less visual clutter you have around you, the
easier it will be to concentrate. Make sure that cupboards open and drawers slide with ease. Even if you like
some things out in the open for easy access, everything should have a place. Look at shop display systems
for some ideas on open display.
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Make sure you get a good ergonomically designed office chair to avoid bad posture and back strain. It should
provide good spine support and be height-adjustable. Make sure your lighting is not directly hitting your
computer screen or creating a shadow on your desk. Invest in a suitable desk lamp with an adjustable arm.

Finally, add personal touches that will inspire your creativity, such as a favourite artwork or fresh flowers.

Hospitality Design – Designed For Service

Stephen Crafti spoke with three leading specialists in café and restaurant design to discover the
practicalities of successful hospitality design.

In the 1980s, restaurants, bars and bistros, studded with spotlights and decked out in the latest theme, spelt
success. At least for the first few months, until another new venue became the ‘in’ place. Years later, the
focus in hospitality design isn’t on the latest look, but on providing practical design solutions.

BBP Architects have a large portfolio of work in the hospitality area. Their expertise extends to restaurants,
bars, nightclubs and tourism projects (food preparation areas in large hotels, bars within resorts, and food
courts within large shopping complexes). ‘One of the main changes in the hospitality area in recent times
has been a simpler approach to design. It’s now more pragmatic for the operators who are generally behind
the scenes, and the patron,’ says architect David Balestra-Pimpini, a director of the practice.

‘In the 80s, it was about the million-dollar fit-out. Now the focus is on the quality of the product and
designing comfortable spaces for patrons.’ The way the operator works at the back of the house, how the
food is presented and how the space needs to function, are all thought through. ‘Even how the dirty plates
are picked up and dealt with is considered in the design,’ he adds.

Brunetti’s cafe was recently refurbished by BBP Architects. Located in the inner Melbourne suburb of
Carlton (Australia), the European style café has been a drawcard in the area for decades. But its fine coffee
and Italian style food was overshadowed by its dowdy interior. Brunetti’s started its operation as a retailer of
Italian patisserie. Years later, it was providing a number of functions, without the facilities to deliver them.

‘It’s still a retail outlet where you can buy cakes and biscuits. But now it’s also a café, a restaurant (to the
rear of the premises) and a place to buy ice cream. We’ve had to create an identity for each area while
maintaining a sense of continuity,’ says Balestra-Pimpini.

While unifying the various functions under the one roof

appears relatively simple, the mechanics are considerably
more complex.

‘In the planning and programming stage, all the staff

needs are to be identified and planned for. Some staff work
by themselves, in one space. Others continually move
throughout the entire space (e.g. waiters). Their work
schedules also vary, with some being busy for certain parts
of the day,’ says Balestra-Pimpini, who identifies each role,
before any concepts are developed. And unlike most cafes,
where the cakes are brought in from outside, at Brunetti’s,
all the baking is done on the premises. ‘You start to see the Basement restaurant designed
circulation patterns and can then develop concepts.’ by BBP Architects

4
Patrons can now enjoy a new style Brunetti’s.
Carrara marble benches are framed with
dark timber walls (made of wenge). The cool
design story
terrazzo floors are balanced with the warmth of
sienna orange walls. The feeling evokes many
of the great coffee houses in Italy and France.
But at the same time, the interior recalls the
Modern floral
Floral prints have graduated to the next level today’s
history of the café, with the front feature designs embrace all things floral, but with a new,
wall doubling as a museum display of the modern twist.
company’s collection of coffee machines.
Whether it’s an upholstered chair or a bold new
While not apparent to the patron, there are wallpaper design, flowers are popping up all over,
numerous design features that assist both the sometimes in the most unlikely of places.
patron and the operators. Behind the marble As a designer, put your own spin on the traditional
counters are stainless steel surfaces for ease of floral motif.
cleaning. Restricted areas, where food could
lodge, are eliminated where possible. And
there are no skirting boards to collect dust.

Behind the scenes, in the kitchen, there is a

gentle fall in the flooring, where spillage can
be hosed down if required. Council regulations
also set down certain standards pertaining
to mechanical ventilation. Even the loading
placed on the services by the equipment used
is finely tuned. As Balestra-Pimpini says, ‘The
materials and finishes represent only 30 to 40
per cent of what this place is about. It’s about
creating the right spaces.’

The café, ‘Hairy Canary’, has also become

a Melbourne landmark thanks to recent
refurbishment by BBP Architects. Run as a
European style bistro for many years, the Little Collins Street bistro was closed several years ago.

While the venue’s small and narrow dimensions were a constraint, the open car park next door allowed for
uninterrupted views of the city skyline. Its elevated position above the narrow street also created an idyllic
platform to view the passing crowds.

‘We pulled the entire front window out and replaced it with a garage-like door that can be tilted right back.
We also played with the internal spaces, elevating the front area to take advantage of the street scene,’ says
Balestra-Pimpini, who broke up the other two spaces, one with a long bar and the other with a larger dining
area at the rear. And while the kitchen was concealed at the rear of the café, the pizza oven, organic in form,
partially appears in the dining space to break up the symmetry of the walls.

BBP Architects also brought in new lighting, some pendants and some low voltage lighting in the ceiling.
‘The whole space is now more visually accessible, as well as functional.’

5
Interior designer Wayne Finschi is also well trained in the areas of retail and hospitality. Finschi started
his career as a junior window dresser with a leading women’s wear chain, before becoming the company’s
National Display Manager. ‘I suppose I’ve always had a strong commercial approach. With experience, you
get a feel for these things,’ says Finschi, who took up interior design later in his career.

Unlike some designers, who are keen to make a design statement that
simply impresses the magazines, Finschi is focused on ‘the return
experience’. ‘It’s not just about a one-off dining experience. It’s not just
about the aesthetics. You need to appeal to the senses. It has to be felt,
even if the reasons are not understood,’ he says.

The demographics and the culture of an area initiate the design process.
For the Lotus restaurant and bar, the owner envisaged a French-style
patisserie to replace the once iconic café called Pieroni. Originally
a garage, the domed-ceiling building formed an important part of
Melbourne’s history. But instead of French-style chandeliers and wrought
Lotus bar and restaurant
iron tables, Finschi suggested a contemporary Asian restaurant and bar.

‘Asian food suited the demographics (singles, professional and the upwardly mobile) and appealed to a
broader audience. A French-style also wasn’t appropriate for the space. It would have been jarring,’ he adds.

In Lotus, the contemporary Asian interior is as iconic as Pieroni was in its day. Drawing on the Asian
landscape and creating a contemporary twist, Finschi included an oversized sculpture of an Asian signature
block from the 18th century. A central starburst light also makes references to Asian fireworks. And a large
stone wall in the restaurant makes a connection to rice paddies. ‘Spaces need to gel with the type of food
served,’ explains Finschi.

More recently, Café Campari at Station Pier on Beacon Cove required a different approach. Located on
the water, the imagery of the French Riviera appeared most suitable for this idyllic location. However,
Finschi was keen to provide a contemporary twist to a retro interior. Black and white terrazzo were used in a
checkerboard design. And large murals, almost cartoon-like, adorn the walls.

‘We drew on some of the imagery of the 1950s (think Audrey Hepburn and the outline of a poodle), but
added some humour.’ One lamb is depicted being roasted on a spit, another seen racing away in the distance.
The murals, depicting French, Middle Eastern, Italian and Greek scenes, reflect the market of the venue.
Finschi often layers the spaces he designs. ‘You shouldn’t observe everything at once. It’s important to want
to explore the spaces.’ One of the nicest compliments Finschi receives is when people return to one of his
restaurants or cafés years later and discover something new about the place.

While new experiences are important, it’s the commercial viability of a venue that keeps it solvent.
‘Sometimes you mightn’t personally like a particular space. But if it’s busy night after night, you must have
answered the brief,’ says Finschi. At the end of the day, it’s the ability to answer the brief that distinguishes
the successful from the unsuccessful venues.

As Finschi says, ‘Often there’s little difference between the quality of the food served in one place to
another. But when it comes to design, there are enormous differences. How long each remains open gives
some idea about how successful the design was.’

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Retail Therapy – Creating the Right Moves

Stephen Crafti spoke with two design practices specialising in retail design to glean the secrets of
successful store design that not only looks good but encourages customers to linger and buy.

A breathtaking concept for a new store might stop shoppers in their tracks for the first few months. The
ingenuity and style divert the stream of traffic. But when people stop coming through the doors or simply
leave the store without opening their wallets, the applause is muted.

Retail design needs to attract the consumer’s attention. However, while the design might appeal to
magazines and photographers, it can be awkward for the user. More importantly, while it might stimulate the
visual senses, it sometimes bears no relevance to the product being sold. And while many designers fail with
their retail concepts, others carefully understand the idiosyncratic nature of this domain.

Mentor Design has always approached design from a broad perspective. Operated by Spartaco D’Aprano
and Diana Petruccelli, the practice has a broad work history that includes graphic design, photography
and imagery, interior design and exhibition design, enabling them to bring a number of design skills to
any project. They also clearly understand the exacting requirements of retail design. Their ability to take a
holistic approach is what makes their work with pharmacies and duty-free stores so successful.

‘We design everything from planning the space to all the joinery design and the signage programme. It’s
important to look at the way our clients do business and see where they are headed,’ says Petruccelli.
Understanding demographics, identifying the typical customer and defining where the proprietors want to
take the store down the track, are all crucial components in the development of the design.

‘We also look at the other side and look carefully at

the competing retailers,’ says Spartaco, who realises design in action
the importance of having a point of difference. ‘You
need to be able to express that difference in the store,
but not include it just for the sake of being noticed.
It’s not just a grab at someone’s attention for a
moment,’ he adds.

Before concepts take shape, Mentor Design spends a

considerable amount of time researching the culture
of the company. How does the company market
themselves, how do they advertise, and how do
they buy their products? The consumer’s behaviour
towards the product is also analysed, together with
their reaction in certain spaces.

A detailed questionnaire, sent to the retailer,

allows the duo to extract the right information.
In conjunction with gathering vital information,
Mentor visits other retailers, both locally and This walkway with a pistachio green
internationally. With duty-free stores all around the wall panel in a stucco lustro finish
world (many designed by Mentor), keeping up with with inset lighting. Stucco lustro is a
changing trends is also a prerequisite. ‘The visits are traditional plastering technique that
supplemented by looking at magazines and design needs to be applied by a specialist.
books. It’s not a static industry,’ says Petruccelli. Photo by Simon Kenny

7
The requirements of a pharmacy are considerably different from those of a clothing store. Both stores must
create appealing displays. But obviously one is a space made for lingering, the other for finding the product
or service as quickly as possible.

Let’s face it, when the customer isn’t feeling well or has a sick child at home, the ease of using a pharmacy
is crucial, not only for the customer but for the retailer who requires a systematic approach to the design of
their stores.

There are strict guidelines for pharmacies. Certain drugs need to be under protection (behind the counter).
Others can be identified with signage in the store. And while signage is one way of unifying certain drugs or
products, there are other means. ‘Materials and colours help to identify certain product groups. Bulkheads
and floor level changes can also be used,’ says D’Aprano.

For many pharmacies, Mentor Design uses high-grade commercial materials. The product ‘Flotex’, a short
piled carpet, which is extremely durable, offers a variety of colours. Timber vinyl is also incorporated
in many designs for pharmacies. ‘They’re easy to maintain, and patterns can be easily created,’ says
Petruccelli.

Glass shelving (6mm depth), rather than board, not only reduces the cost of a fit-out, but also increases the
light and transparency of the design. ‘All the modules (bays) are 600mm wide. It’s a standard width that
allows suppliers to bring in their products and insert them
easily into the store,’ Petruccelli adds.

The hierarchy of signs also allows the retail side of the

pharmacy to be easily identified, from home help to cosmetics
and gifts. The graphics and text not only need to be clear but
consistent. There are other signs that need to be addressed,
many of which already have their own identity. ‘It might be
health insurance, which is already clearly branded. But it needs
to be fully integrated into the store while remaining distinct,’
says D’Aprano.

In duty-free stores, the quick movement of people is essential.

‘Customers might only have a short amount of time between
catching flights. Aisles must be simple to walk through, and
there also needs to be good sightlines. There’s often impulse The quick movement of people is
buying at the duty-free stores. Customers need to be able to essential in duty-free stores
identify the department and the products in each quickly,’
says Petruccelli.

The Down Town duty-free stores are generally large (1,000 square metres). And while the size offers the
opportunity to carry a number of products, the layout of each store must be flexible. Signs need to be
moved around, as well as floor fixtures and shelving. And unlike many retail operations, where the financial
transactions are fairly straightforward, at a duty-free store, after the sale is made, it is then taken away,
packed and then reissued. ‘There are also different currencies to take into account,’ says Petruccelli.

The practice Shelton Finnis also understands the unique requirements of retail design. Shelton alone
(recently amalgamated with Finnis), is responsible for numerous BMW lifestyle stores. Linked to the BMW
car showrooms, the lifestyle stores offer everything from jewellery, wallets, giftware and pens, to bikes with
the BMW hallmark.

‘You have to be familiar with each product and how it’s perceived by the customer,’ says architect Scott
Shelton. ‘It’s about how you relate the brand to the customer, from how they walk into the store, to what
they see in front of them.’
8
From the moment customers walk into a BMW
lifestyle store, there are pause points, which create
the time to reflect in two or three directions. ‘The
design comment

“
sequential views are important. It’s risky to create
one main vista. You need to attract the consumer’s A good wall is a great backdrop
interest and lead them to explore the store,’ says and in itself can work as art. It frames
Shelton. ‘Customers are generally looking for
whatever is in front of it and is a key

”
speed. My aim in these stores is to slow them
down and make the experience pleasurable.’ element in creating your ‘set’.
Doug Meyer, Designer
In contrast to the BMW car showrooms, which
feature carpet and tiles, the lifestyle stores include
a floating timber floor. Many of the designs also include a large curved wall, framed with display plinths.
Most of the imagery, in the form of large-scale photos of the products, comes from BMW’s headquarters in
Germany.

‘The images are the focal point of the store, but the designers need to convey the excellence conveyed in
the photos in the store itself. Every design element in the store needs to be highly resolved,’ he says. The
extruded aluminium used for the mobile display cabinets, for example, reflects on the highly manufactured
machine-made products within the store.

All the senses are accounted for in any design. For both the Aveda stores (cosmetics) and RG Madden
stores (homewares/giftware stores in Australia), Shelton uses evaporating oil burners. And while lighting is
important for Shelton, the focus is on lighting the products rather than the store. ‘The light on the products
reflects back into the spaces,’ he explains.

The RG Madden stores, like many of Shelton’s designs, play on contrasts and textures. Rough textured
polished concrete floors are contrasted with off-white wall panelling. The coolness of the interior is offset
with the warmth of Tasmanian myrtle (a fine wood) display cases. Flexible space is also crucial in the RG
Madden stores.

All the display cases are on wheels and even the walls panels, which appear to be fixed, can be easily moved
around the stores. ‘They’re simply MDF painted panels with a suspension system built into the walls,’ says
Shelton, who was also mindful of the horizontal planes on which the goods were displayed. ‘The products
need to be at eye level or below. It’s not like a discount store where everything is piled up to the rafters in a
‘frenetic’ way.’

Unlike other design areas, which can take months and

sometimes years to realise, retail design, because of
commercial realities, is relatively expedient. ‘The time
span from the idea to the physical completion takes
about 12 weeks. You can see the results and quickly
discover if something isn’t quite working. That’s why the
design needs to be flexible to take account of last-minute
decisions by the client or reactions from the customer,’
says Shelton, who cites the case where a store was
designed with concrete shelves.

‘When it opened, there was considerable interest from the

media. But it didn’t have a very long life span. The owner
Simple textures are used to contrast
each other in the RG Madden stores. needed a jackhammer every time a change in the store
configuration was required.’

9
Design For The Disabled

Disabilities take many different forms and designing a house or apartment for a disabled person or
a commercial premise with facilities for the disabled takes extra thought and knowledge. If you are
designing premises for a disabled person, it’s a good idea to speak with a specialist in their particular
disability such as an occupational therapist or doctor or consult with organisations associated with
that particular disability in order to assess the client’s physical capabilities accurately.

The following guidelines give general ideas for compensating for specific disabilities:

Partial sight or blindness

• Check that floors are level, with non-slip surfaces
• If sight is partial, use contrasting colours and 5-minute interview
textures to make doors and furniture stand out and What do you wish someone had told you
provide good lighting and magnifiers at the start of your career… it is a tough and
• Provide plenty of well-organised storage space with hard job and when you are questioning what I
sliding doors on the cupboards am doing, know that I am doing what I love, so it
• Bathrooms should be easy to clean makes it worth it and don’t do it for the money.
• Special aids are available to help with cooking.
Cooktops and ovens should be electric rather than The best thing about my job is… being able
gas and have easy to identify and easy to use to express my creativity through my work.
controls
This is what sometimes makes my work hard
Impaired hearing
. . . the fact that I love what I do and it doesn’t
• The kitchen/eating/work areas should be designed
feel like work, it’s just something I love doing, and
to allow people to face each other when seated
I am so lucky I can do it for work. I couldn’t get
• Good lighting aids lip reading
motivated unless I loved what I did.
• Install visual cues for doorbells, phone etc. to
replace ring tones
This is what makes my work easier . . . the
fact that I love what I do...
Use of one hand only
• Kitchen aids are available for single-handed
You know me as an interior designer,
cooking
but earlier in life I was… always an interior
• Useful items are a food processor, electric can
designer. I knew from the age of 10 what I
opener and dishwasher
wanted to do, so straight after high school, I went
• One-hand cutlery and plates with rims
and studied interior design.
Limited use of both hands
In a nutshell, my
• Kitchen with everything in easy reach
work philosophy
• Ample work surfaces and electrical outlets
is… I love what I
• Appliances for single-handed cooking do because I can
• Lightweight cooking equipment such as saucepans express myself so I
and dishes feel totally fulfilled
• Lever handles on taps at work.
• Lever handles or touch latches on doors and
cupboards Greg Natale,
Interior Designer
• Heat-sensitive switches

10
Back problems or difficulty in bending
• Storage and work surfaces should be high enough
to minimise the need for bending
design comment
• Ergonomic seating with good spinal support Undertaking the most basic tasks is
• Bed with spinal support encouraged by designer Neil Burley.
• Install handholds on the bath
Starting at the Bottom

“
Limited activity due to injury or medical condition
• Get rid of stairs or install an elevator or stair climber Being a designer is about
• Bedroom and bathroom should be on the same floor providing a service. It’s not just about
• Other levels require an additional toilet indulging yourself and accepting only
• Provide seating in the kitchen and other the most exciting commissions.’
working areas
• Use a layout for rooms in daily use that requires Burley started his career accepting
the least amount of movement, with items and
furnishings used frequently as close together the smallest tasks. ‘When I started,
as possible people were relieved to find that
• Provide electrical appliances for any strenuous I was interested in taking on the
household tasks where possible smallest job. They will come back to
• Install an entry intercom and cordless phone
you later on, knowing you can solve
Reduced mobility and use of a walking stick their problems, however small!
or frame
As above, plus:
Recording
• Check that floors are level, and surfaces
are non-slip
I keep a record of all client details.
• Ensure all doorways and circulation areas are big Who the clients were and the exact
enough for frame access nature of every job and you should
• Handholds in bathroom do this too. It will become the
• Seating that is easy to get up from foundation of your practice in later
years. Accurate recording remains an

”
Wheelchair semi-dependent or dependent
• Doorways and hallways need to be wide enough
integral part of my practice.
for wheelchair access Neil Burley
• Entrance level with principal rooms must have a Anibou furniture
toilet or full bathroom
• Check that floors are level, and surfaces are
non-slip
• Windows should be low enough for a seated person to see out
• Door and window handles should be easy to use and easy to reach
• Kitchen worktops need to be a convenient height and allowances made to work when seated
• Provide lever taps in kitchen, bathrooms and laundry
• Install a platform at the head end of the bath
• Bedroom and bathroom must be on the same floor
• Install hoists where necessary
• Adequate space must be provided for turning/circulation in all areas
• A garage should have direct access to the house
11
Medical problems
• For home dialysis, a room should be set aside and organised specifically for this purpose
• If the client or a family member suffers from epilepsy ensure all fires are guarded and avoid any sharp
edges on furniture, benchtops etc.

Colour Services For Designers

With modern technology, any colour of the

design story
rainbow is possible – and more – across a
spectrum of product ranges from paint to
laminate. We asked manufacturers how they
are helping interior designers make wise
colour decisions.
White light
It can be tricky lighting a pale room. Avoid your
white scheme looking cold or clinical with these tips.
Where once paint, fabric and floorcovering
manufacturers offered a limited colour palette • Textured walls can be emphasised by up- or
for designers and specifiers to choose from, down-lighting them close to the surface,
new technologies and consumer demand now
producing plays of light and shadow.
ensure an almost limitless selection of colours.
• Reflecting light off the ceiling will make the room
Even furniture manufacturers are moving into feel taller. Use wall-mounted fixtures or up-lights
similar ‘pick a colour, any colour’ territory, recessed into the floor. Focusing light in various
with the ‘Fortuna’, moulded polyurethane chair directions can also make a space feel bigger. Team
by Edra available in an astonishing range of downlighters with directional spots, for example,
64 colours. Even ‘plain’ white is a thing of the
and supplement with lamps.
past, with paint companies offering numerous
variations: from stark to chalky, cool to warm. • Put your lighting on several circuits and dimmers
so you can change them individually. Dimming
While the ever-widening range of options lights help make a space feel warmer.
is undoubtedly a good thing, overload can
become indigestible. To counter confusion, • Bring warmth to a living room by backlighting
manufacturers are looking at the way in which shelves with a yellowish light. This will throw
they market and package colour choices objects on the shelves into silhouette.
to smooth the way to satisfactory colour
selection, backed up by excellent customer
service and technical advice.

Most paint companies offer custom colour and

colour matching services, making any colour
possible and large brush-outs (extra large
colour sample cards) for designers.

Manufacturers of fabrics, carpets and laminates

cannot afford to produce their products in as
large a range of colours as the paint companies.
To select the right colours for the market with
each new range, they now rely on careful
colour forecasting to ensure their colourways
are directional.

12
The International Wool Secretariat produces regular colour forecast kits for interior textile and carpet
manufacturers. Licensees have exclusive access to the information, giving them a head start with new range
development. A more accessible source of colour forecasting for designers is the Pantone/View Colour
Planner.

Tod Schulman, Director of Marketing for the Textiles Division

of Pantone Inc says ‘Colour is symbolic and, from the moment design comment
we are born, it plays a major role in our lives. Yet because our
feelings about colour are often subconscious, we are not always As French fabric designer
aware of why we may express a certain passion or be drawn and master colourist Manuel
towards a particular colour or colour family. The world of colour
Canovas observed:
is a mystifying phenomenon and affects the way we feel in our

“
everyday lives.
There are no ugly colours.
The Pantone colour forecast has been created to show the There are no awful sounds.
symbiotic relationships between diverse industry groups, which There are only unfortunate

”
share many synergistic trends and ideas. Whether for home,
combinations.
fashion, contract interiors or lifestyle products, the relationship
between these categories has become much more closely related Manuel Canovas
over the past several years.’

With the support of these colour services and your knowledge of the colour wheel, your chances of selecting
an unfortunate combination is infinitesimally low.

Design With Flowers

Flowers and foliage are the essential finishing touch to any interior design. Here, Sally Sutton shares
her passion for all things abloom and advice on floral design.

The role of flowers in your design work should never be underestimated. A flair for flowers and foliage
will become your most precious tool, one you will learn to cherish for the magic it creates in your design.
Flowers can transform a room in a sweep of a gesture, creating ambience and style in a home, foyer or retail
space. Be it chic or savvy, elegant or rustic; you set the mood and flowers will create it!

Flower design relies on the usual design basics of combining textures,

colours and shapes for the greatest impact. Whilst the scope of your choice
will be determined by nature’s hand, this selection is always amazing.

It may be as simple as collecting three long sword-shaped leaves, placed

symmetrically on a low table, or as grandiose as a full massed display of
varying colour and stem lengths.

Simple or extravagant, your choice of floral design should not only look
sensational but also reflect the look you aspire to. Selecting what works for
your design style will require a long close look at the many facets of product
and style available.

Access to a good florist will enable you to have knowledge of the vast array
of flowers and foliage currently in season. Always use what is in season if
The role of flowers is very you can, for not only is it far less expensive but your design will, therefore,
important in your design work. correspond beautifully to the outside environment. Corresponding your

13
work with nature creates a definite affinity and,
in home settings, a natural and welcoming
ambience.
design in action
Deciding what product to use will depend on a
host of reasons, but deciding on the statement
you wish to make will narrow your choices.
Corporate design favours making a statement
that is strong and powerful, so your choice
would, therefore, be for large full-fruited
branches, strong glossy leaves and a single
striking centrepiece.

Whilst a modern home may also lean to such

striking masterpieces, do not choose too
dramatic a statement for the home. Homes may
be for entertaining and enjoying company, but
the central role of the home still remains that of
safety and pleasure.
As frequent travellers seek places to stay
Create your designs remembering the ambience with individuality and style, boutique hotels
of where they are to be used. Your dramatic are springing up to fulfil this niche. This
floral designs and adventures in colour will be hotel features two-storey suites with elegant
adored in the living areas, but simple sprigs of contemporary furnishings and neutral
aromatic flowers woven around a tea light at the colour schemes given punch with shots of
end of a bath will create far greater magic in the
colour such as this red feature wall.
bathroom!
Photo by Simon Kenny

Once decided on your choice, select your

product closely before buying. You may have decided on using a strong crimson centrepiece with deep green
foliage, but do not select the first product of that description you come across in your floral shop. There will
be an eternal array of choice fitting such a description for you to select from!

Look closely at the vast difference in the leaves and petals, the depth of colour, the array of textures from
glossy leaves to fleshy centres, slender flower tips to juicy buds. These are wonderful variations which will
add character to your design.

Another wonderful visual impact comes with foliage, which is the favourite of many. Their diversity is
amazing, whether it is the fine lacy foliage of the rainforest or the thick tubular leaves of exotics. Foliage can
be rolled, twisted, stapled and shaped. They are indispensable in creating form and structure.

Dried flowers are also popular, and the recent trend towards nature has encouraged the use of rosehips,
seedpods and twigs in a floral display.

Floral design enables you to be adventurous in your creativity. Select your style and work towards creating a
trademark. Many designers have built their reputation on their ‘signature’ flowers and adapted their favourite
floral combinations to suit the mood required. Find what you love and use it with confidence! For example,
you may love the height and shape of aspidistra leaves standing vertically behind the rotunda shape of protea
(if your budget can afford to use them in your display). This combination is a striking display for an entrance
hall but too striking in a cosy homely environment.

It can easily be adapted, though, by simply cutting the aspidistra leaves to half the size and changing the
display of the leaves from a vertical to a horizontal position. The protea remains in the same position.
14
Same product displayed differently to create two amazing displays! Remember. Flowers are versatile and
can be easily adapted to create the aura you desire. Don’t be afraid to experiment.

There are no golden rules which say that one flower is better than another for interior design. The wonderful
choice is yours but keep in mind certain factors when purchasing your flowers. To begin, stay clear of
flowers that shed their petals. A ring of fallen petals is certainly not attractive. No matter what product you
use, make sure that it is top quality.

Instead of using open blooms, look for buds for the evolution
from bud to bloom not only adds to your display but also ensures
the display lasts longer. Before arranging the flowers, cut the
stems and therefore encourage the flowers to drink the fresh
water. Change the water every two days and repeat the stem
cutting for long vase life.

Similarly, your choice of vase is purely individualistic. Today

there is emphasis on the flowers displayed, not the vase, so
simple glass – be it vials or vessels – are often used.

Strive to have confidence in your flower displays to guide you

in what to use in displaying them – be it the traditional vase to
the fashionable use of oasis (a foam into which flower stems are Adding shells to your arrangement can help
pushed for display purposes). Continue with your adventurous create a specific mood.
spirit! Add stones, or cones, tea lights or gumnuts, even shells!
Seek your mood and search for tools to create it.

The number of flowers to use in each display will depend on what you are trying to achieve. Simple
arrangements are dramatic and depend on the balancing of different heights to be successful. Bird of
paradise and other exotics are popular for this effect. White stones and white ceramic dishes are often used
in such displays. The addition of a single stem, be it rose or gerbera, is most effective.

For a wholesome image, try a bunch of wildflowers in a cane basket. Add berries, fruits and vegetables,
creating a colourful extravaganza. A romantic corner? Tea lights surrounding a tiny bunch of mixed roses,
tied with ribbon in a small glass vase, perhaps wrapped in a white net, are a lovely touch.

‘Floral Architecture’ is the rage in Europe. Begin your design work with flowers, and you will see why. It is
the most glorious passion. Every home needs it.

Project Manage Your Clients Like a Professional

By Joanna Chumus

The journey from novice interior designer to project professional doesn’t need to be a long and scary one.
A huge part of your job as an interior designer will involve the nitty-gritty of project management. You will
become the orchestra conductor, the teacher, the psychologist, the lifestyle coach, the administrator, the
accountant, the big brother or big sister, and much, much more. You will need to learn how to manage the
detail of your relationship with your client; how to avoid becoming overwhelmed by the project; how to
exude confidence in all that you do; and arrive at the project destination with your sanity intact.

Here’s our checklist – endorsed by three international veteran interior designers – that will help you manage
any interior design project with professional acumen.

15
Pre-contract signing

1. Prepare the tools of your trade

You will, by now, have drilled down into the interior design industry, and have researched local suppliers
and contractors you will be working within the coming weeks and months. You will have visited local
furniture suppliers, local paint and wallpaper suppliers, local lighting suppliers and more. You will have at
your fingertips an up-to-date list of local tradesmen and builders. You will have visited trade exhibitions,
scoured trade websites, and have started to get to grips with the many elements of interior design work. You
will have perhaps invested in some project management software such as www.designerlogic.com and will
have familiarised yourself with record-keeping processes. The time has come to prepare yourself for your
meeting with your client. Here’s how.

Make a list of the questions you anticipate your

future client asking you. Put yourself in their design story
shoes. What would you want to know if you
had employed ‘you’? Your experience? Your
projects to date? Your qualifications? Your
ability to source unique and quality furniture?
The Louis chair
During the reign of Louis XV and Louis XVI of
Your artistic background? Your vision? Imagine
yourself being interviewed by your client. Try and France in the 18th century, the business of furniture
imagine how others see you. How do you want making was turned on its head. Thanks to the
to present yourself at the meeting? Full of artistic discovery of Pompeii and the extravagant tastes of
integrity with little regard to what your client says both Louis’, France experienced a resurgence in the
and wants? Hardly! As a person who has little popularity of Greco-Roman antiquities, feminine
understanding of colour, light, space, architectural proportions and nature motifs - transitioning from
dimensions, the psychology behind the dimensions Rococo to neo-classicism.
and accessories of physical space? Definitely not!
Spend some time swotting up on these vital design
It was the first time in history that chairs were
elements.
created strictly for ornamental reasons. The Louis
Is your laptop in tip-top condition, fully charged XV chair is probably the most iconic of all pieces
and ready to go? Have you got mobile internet from that time. So iconic in fact that it was recreated
access organised? Have you got a list of up-to- in polycarbonate by French architect Philippe
date websites you can show your clients to inspire Starck in 2004 and 2008. Long live the king!
them into signing you? Have you got a notebook
and pen so you can write down your client’s
ideas? Make sure you are fully prepared to go and
meet your client as the professional you are. Be
prepared to make a good impression, one that sets
you apart from the rest.

2. Meet your client in their space

This can’t be over-emphasised enough. It’s only
by immersing yourself in their space that you will
be able to start re-designing it. Don’t expect them
to come to your office. This is not about you! You
need to immerse yourself in the psychology and
drama of their environment. Your first meeting
will be about getting to know your client, getting
to know how and with whom they live, getting to
know everything you can about them. Tune in to
any resistance to your work as a designer at their
space.
16
As UK interior designer Adrienne Chinn says, ‘With residential projects, I like to meet the whole family. I
have an easy-going chat with them about how they live, what they want to do with the space, whether they
want to build extensions, what their budget is, what their hobbies are, whether they entertain a lot. I try to
get a sense of the way they live their lives. If I sense that one partner is reluctant to have a designer working
on their space, I usually won’t take on the job. Everybody needs to be on the same page.’

3. Talk money!
Your client’s budget affects everything. Don’t be afraid
to ask your client at the meeting what their budget is.
It should be one of your first questions. This will affect
design in action
everything you do as an interior designer. If the budget
is small, be firm and explain your position. If you are
starting out, and this is your first project, don’t be bullied
into working on the cheap. This is a disastrous approach
and will ultimately affect your reputation when the chairs
you buy for your client break, chip or collapse under
them. Make sure you write down their budget figure and
ask them to check you have got it right as you will need
to include this figure in your presentation. Don’t feel you
have to work miracles if their budget is small. Do the best
you can with the budget you have been given. Always
deal in quality. Never be tempted to spread the budget too
thin. Make sure your client understands a smaller budget
will mean a leaner design experience. Cost in detail but
not too much detail. For example, only list final costs
for materials, furniture and accessories, that have your The reception area of this hotel
precious time factored into it. Prepare a secondary budget; would be a touch forbidding
one that would enable them to take their ideas to the next without the informal stools and fun
level. This is a valuable sales tool, and won’t position ‘b’ logo in the background.
you as pushy; it will allow you to sell your vision to your
Photo by Simon Kenny
client. They might not buy into your more costly vision
straight away, but it might give them food for thought in
the future.

4. Practice the art of listening!

Really listen to what your client is saying and repeat it back to them in as natural a way as possible. For
example, if your client starts talking about wanting to create a bachelor pad that reflects his lifestyle, ask him
questions that let him know you have understood what he wants. He might say, ‘I love the colour black, and
I want my apartment to be black and sleek-looking. I have just invested in a huge cinema-style TV and want
to restyle my kitchen and living areas so the TV is a focus.’ You could reply, ‘What do you love about the
colour black? How much time do you spend in your apartment? Do you entertain much? I can see from the
size of the TV that you want it to be a focus in your space. Tell me about your day? What do you do when
you come home from work? Do you watch TV while you cook? These types of questions might appear a
little personal, but you are acknowledging your client’s loves while mining for more information that will
help you get to the heart of what he wants. Remember that what your client doesn’t say is often as telling as
what he does say. For example, the cut of his clothes and the quality of his accessories will give you a clue
as to who you are dealing with, and how to style his interior space.

David Tay of Singapore’s Y2:Space believes learning how to really listen to what your client is saying is one
of the founding principles of superior interior design practice. David believes in a totally ‘ego-free’ design
philosophy. He says: ‘To design successful interiors, designers must aspire first and foremost to functionality

17
within a space, then aspire to tantalise and inspire those who will be living, working and using that space,
and lastly to express a client’s inner thoughts and motivations – creating a vision that is ‘packaged’ around
our client’s personal values. The next generation of interior designers should above all else, remove the ‘I’,
‘I’ and ‘I’ from the design process and learn to listen, really listen to what a client is saying.’

5. Prepare and submit your proposal as quickly as is feasible

It’s vital you submit your proposal as soon as you can after the meeting. Move mountains to do this. Clients
can and will forget you remarkably quickly, so once you’ve returned to your office, write up your meeting
notes and start planning the project on your computer immediately. Never email presentations. Always make
an appointment to follow up with your client, to sit down with them and talk them through it. If they insist
on an email presentation, only give them a taste of what you can offer them, and make it as tantalising as
possible without giving them too much detail.

Never, ever hand over your contacts/website addresses/wholesale price deals or other sensitive information.
Some people will take your ideas and contacts and try and do it all themselves.

6. On signing
When you’re offered the contract, get your client to sign and date your proposal and costing. Now the hard
work begins. Give them a copy and keep a copy for yourself. Take another copy and lock away the original.
You might need to refer to this if things go wrong, so you mustn’t lose it. You will want to organise a second
meeting at your client’s space. It is at this meeting that you can advise them on the latest industry trends –
from colour, to lighting, doorknobs to fireplaces, from lowering ceilings to partitioning rooms, but don’t
overwhelm them for the sake of showing off all your hard-won industry knowledge. Remember, if they have
agreed on a budget and you wow them with the current and future trends, chances are you’ll be expected to
perform miracles without any extra budget. Don’t do it. If the budget is bigger and you’re lucky enough to
cut your teeth on a retail or corporate client, you’ll have more scope to flip through industry catalogues with
them, and both get inspiration from what’s hot right now.

7. And finally, always keep calm, stay composed, and remain positive

If after following all of the above, you feel your project is not going according to plan, don’t panic. Go back
to your proposal and break things down into little chunks. Focus on getting individual elements of the design
process right, one at a time. Don’t try and organise painting and the buying of lights at the same time. Do
things methodically and systematically, working through the project plan that comes with your software.

UK designer Geertje Anderson MA (RCA) advises newcomers to the interior design field to keep calm
and composed at all times. She says: ‘My advice to an interior designer starting out would be this; put
everything in writing and remain composed and professional at all times. Focus on the positive at all times,
and don’t ever think about failing. Don’t leave anything to chance. If you document your interpretations
of your client’s brief in writing, and they have signed it, you can remain confident that you are both on the
same wavelength. Always look at the space through your client’s eyes but with your vision, knowledge and
expertise. Looking at a space through someone else’s eyes comes with practice. You get better at it the more
you do it. And last but not least, respect the people who work for you, your sub-contractors who help you
create the vision you’ve been employed to interpret for your clients. Without them, your ideas would remain
just that; ideas.

18
Our interior designers are:

Adrienne Chinn design story

Adrienne retraced her English father’s trans-
Atlantic journey when she moved to London
from Canada in the 1990s. After a varied career
in magazine journalism and as a TV and film
The rub test
The strength of fabric is measured by what’s known
researcher, she re-trained as an interior designer as a rub test, which, in simple terms, means the
at KLC School of Design and set up Adrienne length of time it will take before the fabric wears
Chinn Design Company Ltd in London in 1999, through.
launching herself into the interior design world
with a theatrical room-set inspired by ‘Fire’ at that Light domestic or decorative fabrics (up to 10,000
year’s House & Garden Fair, to the wafting notes
rubs) should only be used on pieces like cushions,
of music from Prokofiev’s ‘Romeo and Juliet’.
lampshades or upholstered headboards.
Since then, Adrienne has created unique interiors
based on close collaboration with her clients. She Medium domestic fabrics (up to 15,000 rubs) are
is proud to say she doesn’t have a house style, best for curtains, feature chairs or anything that’s not
but prefers to look at each new job afresh, and going to be jumped on daily.
enjoys bringing talented craftspeople on board
for specially commissioned items from rugs Heavy domestic fabrics (up to 20,000 rubs) are
through to furniture, glassware and art. When incredibly durable
not at her drawing board, she can often be found
and ideal for day-to-day
poking around dusty shops and barns in search of
inspirational items for her clients (and herself too upholstery.
if truth be told).
Commercial or contract
In 2008 she published her first interior design fabrics (up to 30,000 rubs)
book, The Home Decorator’s Colour & Texture will be so hard-wearing that
Sourcebook internationally, which has become a you’ll tire of them before
useful reference book for homeowners, designers they grow tired themselves.
and students in the UK and abroad. Adrienne
enjoys sharing her enthusiasm for interior design
through TV appearances, lectures and magazine
articles.

Inspired by design from Montreal to Marrakech, Adrienne loves to hop on an aeroplane to explore new
places and bring back fresh, exciting design ideas to her interior design projects. Above all, she aims to
create interiors which are unique to her clients, reflecting their own personal tastes, interests, collections and
hobbies. You can view Adrienne’s design projects, articles and interior design directory of suppliers on
www.adriennechinn.co.uk.

Our previous projects include

• Full house refurbishment including kitchen extension and loft conversion, Henley-on-Thames,
Oxfordshire
• Design of family home, Huntingdon, England
• Contemporary pied-a-terre for industrialist,
Southwark, London
• Full house refurbishment of Georgian rectory,
Suffolk
19
• Living room in the family home, Fulham, London
• Bathroom designs for a boutique hotel, Isle of
Arran, Scotland
• Design consultant, classic stately home, Bath,
England
• Design of Riad in Morocco
• Living room, dining room, master bedroom and
en-suite bathroom for the family home, Epping,
London.
• Full house refurbishment including kitchen
extension and loft conversion, Barnes, London
• Penthouse flat, Fleet Street, London
• Penthouse flat, Hampstead, London
• Large Victorian flat in classic style, Kensington,
London
• Design of warehouse conversion flat by Tower
Bridge, London
• Design consultant, classic traditional flat, The
Albany, Piccadilly, London
• Conversion of two 18th century listed barns into
two homes, Kent, England
• Complete interior design for riad hotel in Morocco
• Interior design of the boutique hotel, Isle of Arran, Scotland
• Luxury Art Deco marble bathroom, Bayswater, London
• Contemporary bedroom and en-suite bathroom, Kensington,
London
• Contemporary flat in Kensington, London converted from
Victoria ballroom and including bespoke staircase
• Family home in Fulham, London including bespoke staircase
• Retro 1970s pied-a-terre, Hackney, London
• Large contemporary family home, Cambridge, England
• Full design of large 1970s property, Kent, England
• Houseboat interiors, Thames, Putney, London
• Large kitchen/living room design, Pimlico, London
• Penthouse flat, Kensington, London including bespoke staircase
• Luxury rental flat, Hyde Park, London
• Luxury rental flat, Paddington, London
• Edwardian home, Marylebone, London
• Victorian flat, Marylebone, London
• Design of 1930s flat in Art Deco style, Ealing, London
• Design of offices for exclusive wine importers, Slough
• Design of reception and boardroom, Liverpool Street, London
Images from the Glenisle Hotel
• Design of Indian hair and beauty training school, Stratford, on the Isle of Arran
London
• Design of Kensington hotel in high Victorian style
20
• KLC Stand, Decorex 2000 and public seating area
• Numerous kitchens and bathrooms

Adrienne Chinn Design Company Limited

Trident Business Centre
89 Bickersteth Road
London SW17 9SH
T: 0208 516 7783
M: 0789 991 6268
E: adriennechinndesign@hotmail.co.uk
W: www.adriennechinn.co.uk

Adrienne is a full member of the BIID – British Institute of Interior Design. Adrienne was recently selected
for an Honourable Mention Certificate in the Design Awards 2009 for a family bathroom design.

David I. Tay

For over a decade, David I Tay, Principal designer of Y2:SPACE, is acknowledged as one of the leading
designers in the region.

David enjoys an international reputation founded on a multinational clientele. In 1990, he was invited
to publish his biographical record alongside luminaries such as I.M. Pei and Kenzo Tange in the United
States of America’s ‘Baron’s Who’s Who in Interior Design’, which celebrates outstanding professional
achievements, superior leadership and exceptional service in the field of Interior Design.

Leading names in industrial design have also sought David’s skills. B&B Italia, one of the most exclusive
furniture manufacturers in the world, commissioned David to design the ‘i chair’, a stunning expression of
Eastern heritage within the context of contemporary design. B&B Italia has prided itself on working with
the world’s finest designers, including Paolo Piva, Richard Sapper and Antonio Citterio – and David is the
second Asian to be invited to design for them.

David’s portfolio also includes a broad selection of clientele such as

The Hyatt, The Oberoi, The Hilton, The Pan Pacific, The Sheraton,
Beaufort, Omni and Meritus Hotels, CitiBank, Shell, Sogo and
The Aurora Group, Taipei for the Jade Pavilion. In the hospitality
industry, his Bali Oberoi was credited among the top 100 hotels in
the world, while his Pan Pacific Orchard in Singapore was the only
hotel in Singapore in 1997 to win the prestigious worldwide award
for ‘Hotel of the Year’ organised by Executive Travel in association
with AT&T and CNN International.

As concept designer for Estee Lauder’s solid perfume museum

collection 2001 exhibition, David worked on the design theme to
enhance the character for each collectable piece. In 1999, he was
commissioned to research and write a paper on retail concepts
for the Sogo department stores in the context of interior design
in Indonesia. Lately, he has been invited to spearhead the design
‘revamp’ of Sogo Senayan in Jakarta to lead the rest of the Sogos in
Indonesia as their flagship.
David I. Tay

21
In 1991, David’s work for Citibank was personally selected
by Mr John Reed, Chairman of CitiBank, as the Model
Branch for the Asia-Pacific region. His re-design of the
design comment

“
CitiBank Shenton Way and Orchard Road branches in Warm up the modern
Singapore makes them two of the most unique CitiBank
branches in the world. look by adding personal
touches. One simple detail can
David’s skills have also been procured by statutory completely transform your
and government bodies including Singapore Economic
Development Board, Singapore Tourist Promotion Board,
space. A favourite photograph
Ministry of Foreign Affairs and Ministry of Culture. or a special item from a client’s

”
travels can add so much.
Nurturing his heritage in his art, Singapore’s National
Museum and ‘The Pioneers of Singapore’ Wax Museum Lisa Versacio
demonstrated his specialty in exhibition work. At Empress
Place, David re-created the grandeur and mysticism of
the Han Dynasty, Tang Dynasty, Silk Route and Warring States. These re-creations of history were widely
recognised as being among the finest museum exhibitions in the world at the time.

In his earlier years, David has been involved in the Singapore arts and cultural scene. He has received many
invitations from major commercial sectors, statutory boards and government institutions to be a member of
various judging panels for many prestigious events. These events include Singapore’s first Miss Universe
Contest 1987, the IBM Art Award 1988, Miss Tourist in Singapore and the Singapore Tourism Promotion
Board’s ‘Best Travel Articles’. In 1986, David was invited by Singapore Telecom to design their installation
throughout Singapore, and recently, he was invited by Discovery Channel Asia to host their Interior Design
showcase in the launch of their new lifestyle programme in Singapore.

In recognition of his love for Asian culture, David was given three assignments in his role of Concept Artist,
Designer and Planner – from Indonesia, a very prestigious retail boutique covering over 50,000 sq ft of
floor space in the most expensive shopping complex in Jakarta; in Udaipur, India, a 10-acre development
comprising of a luxury hotel, convention centre and shopping mall; and in China, the esteemed Jade
Pavilion, exhibiting one of the most exclusive jade collections in the world at the World Expo 2010.

David has a personal vision which he infuses into every aspect of his work and art:

‘To continue to aspire for something beyond a higher point, a subtle and unmistakable touch of the love and
pride beyond mere skill; almost an inspiration which gives to all work done, which is most art.’

And for those who have experienced his art, they leave with an unexpressed emotion inspired by the soul.

Singapore’s David Tay

Y2:Space Ltd
203 Henderson road #04-04 (Wing A) Singapore 159546
Tel: (65) 64621213
Fax: (65) 64621281

UK’s Geertje Anderson MA (RCA) -

Geertje Anderson MA (RCA)
+ 44 (0)1223 352573
+ 44 (0)7858 262120
2121vision@gmail.com
UK designer Geertje Anderson MA (RCA)

22
Geertje was nominated for the KBB Industry Design Award for her design on the Grove Lane Bathrooms,
Huntingdon, UK.

*Joanna Chumas is the former deputy editor of three interior design and property publications – Emirates
Home, Inside Out magazine UAE, and Manazel Today, UAE. She is a journalist with 20 years’ experience,
specialising in lifestyle subjects. She continues to write about homes, property, people and places all over the
world from her Cambridge UK base.

Design Industry Profile

Julie Sollander is the Director of Commercial Furniture Supplier. Here she gives some insight into the
workings of a busy and successful showroom.

What was your background before becoming involved in the design industry?
I was involved in the fashion industry for 29 years, beginning at dress design school, then into retail fashion
buying and finally into manufacturing both locally and off-shore.

What do you stock in your showroom?

We offer contemporary commercial furniture for the hospitality and contract market.

Is your showroom trade only or open to the public?

We focus on supplying to the architect and design
community. If our furniture is appropriate for the
public we will always accommodate, but I stress this is design story
not our main focus.

How do you promote your business? Egyptian

We actively promote our business and product via
several different methods: through marketing, whether
that be advertising in trade magazines or product
launches, and client presentations.
Cotton
The term Egyptian cotton is usually applied to
the extra long-staple cotton produced in Egypt
What services do you offer interior designers? and used by luxury brands worldwide. In fact,
Our sales team are very client-focused by offering the cotton species which produces extra-long
the right product, with an emphasis on quality at an
staple ‘Egyptian’ cotton is the native American
affordable price and a level of service that enables their
species Gossypium barbadense which was
projects to be carried out with a minimum of stress.
introduced to Egypt by Mohammad Ali Pasha
Do interior designers come to your showroom, or do in the 19th century.
you also have sales reps who go to them?
Both.

What trade fairs and industry events do you regularly

attend?
The Milan Furniture Fair (Italy), Orgatec (Germany),
Promosedia (Italy) and the Valencia Furniture Fair
(Spain).

What do you find most enjoyable or satisfying about

being involved in the design industry?
There are many things. However, a sense of pride in

23
seeing our installations completed, by the due date, with a completely satisfied client and designer is very
high on the list.

Designer Profile – Danielle Herman

Interior designer Danielle Herman specialises in residential design, though her work as a designer has
also included getting rid of pigeons!

What was your background before becoming an interior designer?

My previous career was in film production. I was a producer for various directors, specialising in television
commercials. I started out as a personal assistant and learned from the ground up. I was exposed to
all aspects of film work, including casting, wardrobe, set design and dressing, location scouting, crew
scheduling, pre-shoot and post scheduling, quoting and client liaison.

Where did you study interior design?

I did a three-year course at the Melbourne College of Decoration, which is now a TAFE course.

How did you find your first clients?

Word of mouth.

What area of interior design do you now specialise in?

Mostly residential, which covers everything from paint colour consultancy through to supplying window
treatments, furniture, flooring, lighting and accessories. I also design kitchens, bathrooms and custom made
furniture plus carry out some small renovations.

I have also done small offices and liaison work

with the architect and builder on a large warehouse
design in action
conversion.

What is the philosophy or focus of your design

practice?
To make my client happy with the result – as if it is
their own work.

How do you market your skills and attract clients?

All my work has been through word of mouth. I did
put an ad in the local paper once, but that was not
successful.

What do you find most satisfying about your work

as a designer?
A happy client. And that I’ve created something Open-plan living is now the norm for
especially for them. both old and new homes, but it can
be tricky to know how best to occupy
What industry events and trade fairs do you attend? a big open space. One way to avoid a
Comfia Designex, Furnitex and Colourways confusing jumble of furniture is to
seminars. section off separate areas (such as
‘living’ or ‘dining’) with a large floor
Which design publications do you subscribe to or rug. This gives some structure without
recommend?
the need for physical dividers.
Elle Decoration, World of Interiors, US House &
Garden.
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How much do you charge for your services and how (ie hourly rate, percentage of budget)?
Most of my work is charged out on an hourly rate, which is ₤50.00. Other income is derived from adding a
percentage on goods supplied, such as fabrics, window treatments and furniture. In some instances, I use a
set fee for a specified job.

Could you describe one project that has been particularly satisfying or difficult for you and the process of
the project?
It was a conversion of an open warehouse on a wharf. I had four weeks before the client was to move in, and
it required everything to be done to it.

All that was a given was the floor (tar) the ceiling (iron), two giant sliding doors and nesting pigeons. I
organised the building of three edit rooms, one machine room, a kitchen and two toilets. The warehouse
room walls and tar floor were then painted and the dividing walls secured with battens and hessian.

I added new entrance windows and new front door plus rear glass sliding doors. I then had new desks made
using old doors and arranged and used all existing furniture and artworks the client already had.

And I got rid of the pigeons! Everyone loved it.

Designer Profile – Maryanne Young

Maryanne Young, Interior Designer, Sydney, NSW

What was your background before becoming an interior designer?

Working in public relations and organising major events, including exhibitions on the QEII luxury liner.

What led you to a career in interior design?

I fell into it accidentally. I guess it’s in the blood as I come from a very artistic family. I draw and had done
homes up before being asked by an architect to work for him as an interior designer.

Where did you study interior design?

I did a one-year vocational course in interior design and
decoration. design comment
In what area of interior design do you now specialise?
I have always approached interior design from an
architectural point of view, probably from working with
architects, and I now specialise in apartment blocks.
“ Design can improve the
quality of life for everybody, give
you pleasure and improve the
quality of life through products
What is the philosophy or focus of your design practice? or buildings that work well, are

”
Simplicity with elements of classicism. affordable and look beautiful.
How do you market your skills and attract clients? Terence Conran
Textiles designer and author
Word of mouth and a magazine article on one of my
projects.

What do you find most satisfying about your work as an interior designer?
The creative process and three-dimensional aspects. Also, the fantasy which allows you to create for
someone, their dream and make a living out of it.

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What industry associations are you a member of?
I have a fairly good source base which I think is more important than anything else.

What industry events and trade fairs do you attend?

Comfia Designex.

Which design publications do you subscribe to or recommend?

I recommend InDesign magazine.

How much to you charge for your services?

AUS $110 per hour.

Could you describe one project that has been particularly satisfying or difficult for you and the process of
the project?
Converting an old apartment block into a home which won an MBA award was very satisfying. The research
was extensive. As the building was not heritage listed, I was able to do a few things sympathetic to its
original self. Looking back now, the choices I made were definitely the right ones. It took a year to complete,
and I was involved in all aspects of the project.

end of tutorial ten (10).

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