Interior Design

At its most simple, interior design is about optimising indoor spaces so that they serve a
specific purpose. The way in which a space is designed can make all the difference when
it comes to the safety, comfort and general convenience of those making use of it. 

An interior designer typically works on a project-by-project basis, aiming to fulfil the

brief they receive from their client. Some designers work for a design company, where
they often hold a job that requires them to work regular office hours.

A designer may charge on an hour-by-hour or project-by-project basis. They may

request that their client pays them once they reach particular milestones, such as drawing
a floor plan or presenting a colour scheme.

Wherever they work, designers often specialise in one or more types of project. For
example, they may work for a company that creates commercial spaces or run their own
business specialising in decorating small urban homes.

Many designers, especially those who have accumulated experience in the field and have
built up a portfolio of work, operate from home. They will meet with clients on-site or
in their home office, when discussing the scope and intended project outcomes.

Along with desk work, a significant proportion of a designer’s time is spent on site. Site
visits are an essential element of this work, as it allows a designer the chance to become
intimately acquainted with the project space.

Interior Design Process

1. The Brief
At the beginning of a project, a client may have a very specific brief outlining what they
want the final space to do and how it should look, or they may be more flexible and
willing to seek a designer’s advice. 
A designer must ascertain why the client is looking to create a particular style of interior,
what purposes it is intending to serve, what the budget for the overall project will be and
the time frame in which it is to be completed. 

2. Proposed Design

The next step is for the designer to put together their proposed design – or vision. They
will often use a range of tools and techniques to do this, from mood boards and drawings
to high-end interior design software. 
Some clients may find one format preferable to another and the designer needs to present
their concepts in a manner that the client understands. 
At this stage, the client may make further suggestions as to how the design would better
suit their preferences. It is the designer’s task to produce an interior that leaves the client
happy, but at the same time is in keeping with professional design standards.

3. Design Begins

It may take a couple of revisions and meetings before a client is satisfied with the
proposed interior. Once they have been approved by both designer and client, the
practical work can begin. 
A client may use a designer’s vision when working with decorators and builders, or in the
case of a relatively simple renovation, replicate the design themselves. For example, if a
designer has recommended particular shades of paint, a specific floor layout and an idea
for a unifying theme, the client may decide that they are capable of putting it into action. 
Commercial projects and those that require a designer or a team of designers to work
with a large organisation will need extensive logistical planning.

Significance of interior design

1. Influence Mood
Our surroundings influence our mood and thoughts from the moment we wake up in the
morning and see our bedroom décor. 
Although people have different tastes, everyone feels better when they live and work in
an environment that supports their wellbeing. 
Interior designers make use of colour, patterns, lightings and other elements, to create the
right atmosphere in any given space. For example, hospitals and clinics often feature
plenty of white and cream, to create an impression of cleanliness, purity and hygiene.
There is nothing about white paint that is intrinsically cleaner, but it has a powerful
psychological effect.

2. Improve Relationships
Interior design can even improve interpersonal relationships. Consider how much more
pleasant it is to spend time with others in a welcoming space. 
Even the happiest family or closest group of friends will have a better time in a clean,
well-designed home, as opposed to a messy environment. 
If you have children, providing them with a comfortable, safe home in which to grow is
one of the most valuable steps you can take in nurturing their emotional and
psychological development.

3. Cultural Significance
Finally, interior design is of cultural significance. Even if you have no desire to work as a
designer, studying the aesthetics of various eras is a great way in which to bring history
to life. 
If you enjoy visiting stately homes and other buildings from centuries that boast interiors
from a bygone age, you will appreciate how exciting it can be to imagine how other
people lived.
Interior design offers us a tangible means of connecting with previous generations, along
with a means of inspiring the next wave of designers

Essential Skills

1. Confidence

If you intend to work for yourself, you will need to be comfortable in promoting your
own work. 
When you are starting out, whether as an employee of a design firm or working on a
freelance basis, you must have faith in your ability to create and implement designs that
meet the client brief. 
You will need to feel secure in your unique sense of style and preferred way of working.

2. Creativity

Interior design involves a significant degree of creative thinking. You will need to use the
clients’ briefs as a starting point for the realisation of a grander vision. 
There are many elements to consider when planning a space and you will need to bring
them in harmony with one another. You need to strike a balance between working within
parameters specified by the client and weaving your own creativity into each project.

3. Visualisation

Modern interior design entails the use of software, but a designer will still need to draw
on their ability to visualise how a space will look upon completion. In time, you will be
able to stand in a room and imagine in your mind’s eye how it would look following
decoration or innovation. 
Visualisation skills are also useful if an interior doesn’t turn out quite as you or the client
wish, because they will allow you to quickly determine the adjustments that need to be
made.

4. Adaptive
Willingness to use and adapt to various computer software: It is standard industry
practice to use software that allows you to model spaces before undertaking any work.
Mastery of such programmes requires time, practice and patience. 
New versions of popular packages are released on a frequent basis and it is a good idea to
keep up to date with new software features. If you do not find software easy to use, you
may need to arrange training, either online or in a classroom setting. 
You may also need to set aside time to practice using a programme before beginning a
project, as “learning on the job” may be very stressful in this scenario!\

5. Initiative
Not all projects will go to plan and you will need to draw on your own initiative when
you inevitably come across a stumbling block. For example, you may run a project that
unexpectedly goes over budget and have to devise a means of producing the desired look
at a lower cost. 
Sometimes, you will be faced with a setback in the form of illness and may then have to
make up for lost time. You will need to remain calm and work with your client to
reconfigure the schedule.

6. Own Style
Most people can learn the basics of design, but the most successful designers add their
personal flair to their projects. You may have always favoured a particular “look” or still
feel unsure as to your preferences. 
The more experience you gain in bringing client visions to life, the more confident you
will feel in adding your own distinctive “stamp” to every project. 
Versatility is a great asset and you should never override your client’s preferences, but
showing a signature style across your portfolio will allow you to build a distinct “brand”.
Even if you don’t sell your own products, it is still helpful to think of yourself as offering
a unique service. Therefore, you should aim to develop a USP – Unique Selling Point.

7. Apply basics Design Principals

There are a huge number of potential styles you can use to improve or create an interior
space, but there are certain “rules” or guidelines that most creative professionals
incorporate into their practice. For example, objects arranged in pairs are usually more
aesthetically appealing than those arranged in odd numbers and mirrors make a space
appear larger than it actually is.

8. Project Management

Each client represents at least one distinct project. Even when working in a team with
others, a designer will still need to take responsibility for organising their portion of the
design work, ensuring that it is ready on time. Freelance designers must possess
especially strong project management skills, as they must coordinate all stages and
aspects of the project. As you gain experience in seeing projects through to completion,
you will soon be able to provide accurate estimations as to how much time a room, home,
or commercial space will take.

9. Good Communication

A designer should anticipate that some clients will need extensive guidance in choosing
elements of an interior space, whereas others may have devised an unrealistic brief that
far exceeds financial and practical limitations. In these instances, a designer will need to
exercise tact and diplomacy, drawing on their past experiences when explaining to a
client what is and what is not feasible.

10. Financial Planning

A freelance designer needs to have an appreciation of cost – what fixtures and fittings
cost, how much it costs to cover a floor in a mid-range carpet, how much builders and
decorators typically charge for various jobs and all other common costs associated with
interior decoration. This is essential, in order to properly advise a client on how much
they should expect to spend on the project and the anticipated breakdown of costs.

11. Continued Learning

In order to offer their clients an up to date space, a designer needs to take responsibility
for keeping up with trends. 
However, a good designer knows that it isn’t a good idea to try out new fashions just for
the sake of it – every space is an individual project and requirements will differ in each
case.

12. Consulatation
Interior designers often work with people other than individual clients. For example, they
may need to collaborate with builders, painters and architects in order to realise a specific
vision. 

13. Adaptive Enviroment

Even if you choose to specialise in designing a particular kind of space, each
environment is different. You may work in an urban flat one week and then move on to
designing a country house interior the next. 
It is fine to favour one type of project over another, but don’t become too trapped in your
comfort zone. Pushing yourself outside your usual parameters will force you to tap into
your creativity and keep yourself engaged with your profession.

14. Professionalism
Interior designers often work with individuals and organisations who are spending a lot
of money in pursuit of a particular result. They expect their project to be well run,
completed on time and to be carried out in a professional manner. From the way you
dress to the way in which you talk to clients, aim to always uphold the highest possible
standards.

Project Planning and Client

Communication
Painting surfaces, choosing furniture and other aesthetic elements may be the most
exciting aspect of designing a space, but space planning is absolutely fundamental to the
success of any project. It is the only way a client and designer can be certain that that
space will be used to its full potential. Whether a client is looking to design a single room
in their house or overhaul a large office, the planning process will ensure that the space
meets the client’s intended purpose. Interior design projects can be costly in terms of both
time and money, so it is important that the space meets the client’s brief from the outset. 

Mistakes can be difficult to correct at a later date. Space itself is expensive – in general,
the larger the space inside a building, the more it will cost. Therefore, clients will want to
get the best value from the space they have available and expect a competent designer to
use it in an efficient manner.
Key questions

1. Who Uses the Space

The needs and wants of the intended user group are central to the space planning
process. To draw on an obvious example, if a room is to be used for regular meetings,
relatively more space will be devoted to tables, chairs and other movable furniture,
compared with a living room designed for a family of four. If an interior is to be used by
adults, the furnishings may be finer and less resilient than those included in a child’s
playroom. 

Therefore, a designer needs to consider not only who is using the space, but what
purposes the space will actually serve.

For example, if it is to be a high-traffic environment, with many people coming and

going, the floors and carpets will need to be much tougher than in rooms that are only to
be used on an occasional basis, such as guest bedrooms.

2. Plumbing and Wiring

A designer needs to establish where plumbing systems and electrical outlets are
positioned, in order to devise a practical design. For example, if key plug sockets are
located centrally on one wall, it would be inadvisable to plan the space in such a way that
the position of heavy furniture makes accessing them impossible. On the other hand, a
client may be willing to have them repositioned. It is the responsibility of the designer to
ascertain their intentions and flexibility.

3. Acess Requirements

 If the space will be used by people who have special requirements, a designer must take
their needs into account when planning a space. Perhaps the most obvious example
relates to wheelchairs. A designer will need to consider whether their proposed layout can
accommodate people using wheelchairs, crutches, or other mobility aids. There is little
point in allocating space for furniture if the layout would prevent regular users of the
space from moving around comfortably.

4. Feel

What kind of “feel” does the client want to create in the space? 

Most clients will have some idea of the mood or tone they want the space to invoke. For
example, some might like the idea of a bright, airy room that feels large and spacious.
This would warrant a space that features a few simple pieces of furniture that offer
maximum utility. On the other hand, a client might specify that they are looking to create
a cosy room that feels enclosed. This would give a designer more leeway to incorporate
more pieces of furniture.

5. Furtinure

What kind of furniture must be included, and why?

Once the purpose of a space has been established, a designer must work with a client to
determine what kind of furniture and fittings are essential. For example, a kitchen will
require counters, a bathroom must contain a shower or bath and a dining room must have
a table that is large enough for everyone to eat at the same time. 

Other living spaces, such as lounges or hallways, are often more flexible, but similar
considerations must be taken into account – for example, if a client enjoys watching films
and wants to make their large-screen TV a focal point, a designer will need to either
ensure that there is enough space for a TV and stand, or that one wall is a suitable place
on which to hang a screen.
 6. Budget
A client may have a specific figure in mind, but they may not have a reasonable idea as to
the realistic cost of the project. 
A designer needs to use their experience and knowledge to shape the client’s
expectations. Having a ballpark figure from the outset allows everyone involved to make
sensible decisions on everything from material costs to contractors’ fees.

7. Complimentary Spaces

If the designer has been asked to design a number of spaces in close proximity to one
another, how can they make sure that the spaces complement one another?

Although a designer might be asked to design or renovate a single room or space within a
building, many clients will ask a designer to work on multiple spaces within a single
project. For example, they may request that an open-plan office and a meeting room be
coordinated using a similar colour scheme and that they have the same ambience. In
order to fulfil the project brief, a designer would have to choose two layouts that serve
different purposes, yet still feel sufficiently similar that walking from one space to the
other does not feel jarring.

Principles of Planning a Space

Check and double-check the dimensions of the space. Measurements should always be

checked at least twice, preferably by two different people. Making errors early on in the
planning process can have significant ramifications for the latter stages of the project.
 1. Sketch

The first step is to make a sketch of the space and potential layout of key pieces of
furniture. It doesn’t have to be exactly to scale, but the more accurate it is, the better. 
Interior designers often use graph paper and a pencil at this stage. The aim is to jot down
initial thoughts and impressions. These are not usually shared with the client – they are
for the designer’s use only. 
Although there are many computer programmes available that assist designers in
planning spaces, most people favour old-fashioned drawing materials at this stage.
Planning tools: CAD and CAM

Presenting a plan to the client

There are three main techniques in widespread use that allow designers to communicate
information to clients - design boards, sample boards and digital presentations.

1. Design Boards - A design board should serve as a means by which the client sees
the “story” of the space and the narrative behind the designer’s plans.   
 2. Sample Boards - are collections of materials that provide the viewer with a quick
overview of the elements planned for the space. They demonstrate the paint
finishes, floor coverings, fabrics and even metals that a designer intends to use.

3. Digital Presentations - Digital presentations allow a designer the opportunity to

present their ideas at a pace that suits them, giving a client the opportunity to ask
questions along the way.

Using PowerPoint, Keynote, Prezi, or another presentation-building application, allows

designers to build attractive presentations that keep them focused on the most salient
content. 

A presentation will often begin with a summary of the project brief, the key
considerations a designer had to keep in mind when drawing up their initial ideas and an
overview of their work so far. A breakdown of the estimated budget and potential project
schedule are other typical inclusions.
 Presentations should be simple, yet effective in appearance. Drawings translate well to
presentation slides, but photographs of samples are not advisable, because the camera
will not produce a true reflection of the colours and textures. It is best to bring copies of
samples to the presentation instead.

Whilst there will be some variation depending on the working preferences of the
designer, the typical phases that make up a design project are as follows: 

- Programming : entails gathering vital information about the overall scope and
purpose of the project.

- Conceptual design : plans are drawn up and aesthetic options considered. At this
point, the client is invited to give their input as to the kind of “look” or finish that
they are hoping to achieve.

- Design Development:

- Construction Drawings

- Construction Administration

 Budgets
Before the work begins, both designer and client need to be clear on all costs associated
with the project. Costs and fees are divided into two categories – “hard costs” and “soft
costs”. 

Hard costs include those associated with fixtures, furniture, equipment and construction.
Fixtures, furniture and equipment are often assumed to be around 10% of the construction
budget. 

Soft costs pertain to the expertise a client is “buying” and include the designer’s fees,
project management fees, contractor’s fees and contingencies.

Planning Rooms and Spaces

1. Kitchen

Whatever the client’s specific requirements, almost any kitchen will need to be designed
with three “zones” in mind – a washing zone (the sink), the preparation zone (the
refrigerator and counters) and the cooking zone (centred around the oven).

Designers need to think not only about the aesthetics of a kitchen, but also address
potential safety concerns. For example, cooking entails working with heat, so it is not a
good idea to position appliances in such a way that everyone entering the room has to
walk directly in front of the stove. Other practical considerations involve ventilation –
some kind of system for eliminating smoke and odours will be required and appropriate
waste receptacles will also need to be included in the plan. 
Again, this warrants in-depth thinking regarding the ways in which people will actually
use the kitchen in day to day life. It is conventional, for example, to position a bin within
a cupboard close to the sink, so that food waste can be removed from dishes before they
are placed in a dishwasher or sink.

Kitchen Layout

 Galley

 U/L-shapped
  Island

2. Bedroom
A bedroom needs to trigger feelings of rest and relaxation and encourage comfortable
sleep. The focal point and most important piece of furniture is the bed. It must be
positioned in such a way that those sleeping in the room can access it easily. 
Factors to consider include how much space must be made available either on one side of
the bed (if a single bed) or both sides (if two people are to share the bed). There are
industry-standard sizes for single, Queen, double and King-sized beds and these are
useful when putting together an initial floor plan. However, a designer should never
assume that a client will choose a bed in line with these measurements. It is important
that, from an early stage, the designer knows precisely what kind of bed the client
requires.
 3. Living Room
In terms of a living room, it is important to consider how the furniture will be used and
how people will interact when using the space. For example, if a living room is designed
for a couple who intend to use it as a space in which to relax after a hard day at work, it
makes little sense to base the design around two armchairs positioned several feet away
from one another. In designing this kind of space, you need to think about who will be
socialising in the space and the degree to which they are intimate with one another.

Furniture arrangements can be classed as symmetrical or asymmetrical.

The right choice will depend on the kind of mood the client is hoping to create and how
they want the space to be divided.

Maintaining complete symmetry, particularly if the furniture has clean lines, will create a
formal atmosphere. One or more collections of assorted items will give a more laid-back
feel, but if overdone will appear sloppy.

If a client wants attention drawn to an object or piece of furniture positioned in the centre
of the room, a designer may work with double axis that run both ways. They will then
place the object at the point of the intersection. 

“Local symmetry” can also work well. For example, positioning a group of chairs in such
a way that there is an axis of symmetry can provide a neat focal point within an otherwise
casual space.