Without neglecting history or disregarding the lessons learned along the way, design always looks forward. The International Interior Design Association (IIDA) embraces this ethos—gaining wisdom from our past as we charge toward the future of our industry and the association. As the interior design profession becomes more complex and multidisciplinary, it is our job to welcome change, adapt, and support our 15,000-plus IIDA members along the way.
In 2016, IIDA expanded its offerings to commercial interior designers, manufacturers, industry leaders, and students in an effort to fill a need for cutting-edge and worthwhile resources, programming, thought leadership, events, publications, and more. The association commissioned vital research about the industry, publishing the second installment in the acclaimed “Designed Leveraged” series, which makes the case for good workplace design with data and statistics, as well as the first-ever IIDA Compensation Survey and the Economic Impact of Interior Design report.
The findings of the IIDA Compensation Survey reveal current wages for interior designers who work for firms and manufacturers in the U.S., and will be available later this year. The Economic Impact of Interior Design report, previewed at the 2016 IIDA Advocacy Symposium, tells a compelling story about the economic and fiscal impact of the industry at the state and national levels—and is a critical tool for advocates who are making the case for interior design licensing to legislators.
IIDA efforts in 2016 also included supporting tomorrow’s design leaders. We saw the growth of our student programming, which included a record number of participants—more than 1,000 students and design professionals—in our dynamic Student Mentoring program last March. A series of inaugural IIDA Student Roundtable discussions, hosted by OFS Brands and held in Chicago, Atlanta, Los Angeles, and New York, again brought together design students and practitioners to discuss the preparedness of emerging professionals to take on the ever-changing challenges of the design industry. Continue reading →
What were you doing 20 years ago? IIDA Executive Vice President and CEO Cheryl S. Durst, Hon. FIIDA, LEED AP, opened Industry Roundtable 20, held January 6-8, 2017, with that simple question.
“Twenty years ago, commercial interior design was experiencing a transformative shift,” said Durst, who moderated the annual roundtable. “We began asking, ‘How do people work?’ instead of, ‘Where do people sit?’ We started to think beyond the job title and consider how people relate to one another in the workplace. We saw that work and life were overlapping in new ways. And, we recognized that good design is the solution for optimizing work and productivity in this new era.”
It was a fitting question to kick off the event: For two decades, Industry Roundtable has welcomed distinguished design leaders for a two-day, thought-provoking discussion about topics relevant to the Interior Design industry. This year’s topic, “Design Then, Design Now, Design Next: A 20-year Retrospective,” offered participants the rare opportunity to reflect on the history of the profession and assess the emerging economic, cultural, and social trends that are shaping the next generation of commercial interior design.
Eileen Jones, IIDA, SEGD, AIGA, LEED AP, principal and global practice leader, Perkins+Will, opened the event with her keynote presentation, “A 20-year Retrospective of the Commercial Interior Design Industry,” which provided an overview of how technology, sustainability, and the evolving purview of design have shaped the profession.
Her message was forward-looking, setting the tone for the remainder of the event. “Standing here at the end of the Information Age, we are in a unique position to figure out what is next and how we can change the world with design,” said Jones.
The group of 30 interior designers, manufacturer representatives, and thought leaders then participated in sessions focused on the future of people, place, and work, featuring speakers Julie B. Cummings, SPHR, SHRM-SCP, director of human resources, BKD, LLP; Jim Young, co-founder, Realcomm Conference Group; and Jim Ware, Ph.D., founder and executive director, Future of Work….unlimited. Much of the conversation focused on the multi-generational workforce and how to transition design leadership to younger generations.
“When I first started, I never would have imagined that human resources would be sitting at the table with design teams to talk about space,” mused Cummings who presented on The Future of People, “We need designers to guide us, consult with us on how space can meet the needs as the Boomers transition out and Millennials become even more of a force in the workplace. This is something all of my peers are wrestling with.”
Young and Ware, who spoke on the Future of Place and the Future of Work, respectively, echoed this sentiment during their presentations: Designing for the future will mean accommodating five generations, a growing population, and rising life expectancies while reckoning with a decrease in available space, a critical need for sustainable building practices, and ever-evolving technology.
“Design has the unique ability to bring together allied professions, solve problems from multiple points of view, and put society’s well-being at the forefront. This notion of the convergence of people, place, and work, and how we think about design in the context of these things is critical to what’s next for our industry,” said Durst.
An executive report, to be released in March 2017, will provide a summary of key insights from IIDA Industry Roundtable 20.
Read past Industry Roundtable executive reports online at iida.org.
IIDA Chapters and interior design coalitions are on the front lines of state-level advocacy. Starting today, we are spotlighting the advocacy efforts of these organizations, beginning with the Interior Design Coalition of California.
Article contributed by the Interior Design Coalition of California.
On Oct. 4, 2016, the Little Hoover Commission released their report on Occupational Licensing in California. The report makes a case for licensing commercial interior design in California, despite interior design was used as an example of a profession that should not be licensed at the first hearing and in initial discussions between commission staff and the Interior Design Coalition of California’s (IDCC) lobbyists. Continued discussions with Commission staff and IDCC testimony in subsequent hearings resulted in the case for the licensing of commercial design.
The Little Hoover Commission is an independent state oversight agency that was created in 1962. The Commission’s mission is to investigate state government operations and promote efficiency, economy, and improved service. By statute, the Commission is a balanced bipartisan board composed of five citizen members appointed by the Governor, four citizen members appointed by the Legislature, two Senators and two Assembly members. The Commission selects study topics that come to its attention from citizens, legislators, and other sources. In addition, it has a statutory obligation to review and make recommendations on proposed government reorganization plans.
This year, the Commission took on the challenge of putting together a series of thoughtful hearings to discuss occupational licensing in California. The focus of the Commission’s review is on the impact of occupational licensing on upward mobility and opportunities for entrepreneurship and innovation for Californians, particularly those of modest means. The Commission also examined the result of occupational licensing on the cost and availability of services provided by licensed practitioners to consumers. Lastly, the Commission explored the balance between protecting consumers and enabling Californians to enter the occupation of their choice.
During the first hearing, one panelist raised interior designers as an example occupation that did not require licensure because the panelist confused the work of designers and decorators. To counter this point, the Interior Design Coalition of California (IDCC) was thrilled to participate in the second hearing in June. Deborah Davis, FASID, director-at-large for IDCC, testified to the Commission regarding the work of interior designers and the need for interior designers to be licensed in the state of California. Davis was able to educate the Commission on our work and raise a variety of relevant points as to why licensure for interior designers working in the code-impacted environment would especially help those who own small businesses, 90 percent of whom happen to be women. The Commissioners responded well to Davis’ testimony, featuring our arguments in the final report. IDCC is looking forward to continued collaboration with the Little Hoover Commission and other stakeholders in the future as we continue to work towards our goals for the interior design profession in California in 2017 and beyond.
The Interior Design Coalition of California advocates for the legal recognition of qualified Interior Designers in the State of California. Through collaboration, education and advocacy, IDCC strives to present a unified voice for the California Interior Design community to support and protect the profession of interior design.
As a designer, finding inspiration everywhere is crucial to staying relevant, educated, and curious. Sometimes that inspiration is right outside your front door and sometimes it takes you to regions of the world you’ve never experienced. Today’s post is written by Richard N. Pollack, FIIDA, FAIA, 1999 – 2000 IIDA International President, who had the opportunity to travel to Bologna, Italy, for Cersaie, an international ceramic tile and bathroom exhibition. Read what he learned, including the technological advances being made in the Italian ceramics industry and the big tile trends to expect in the coming year.
In September, I had the privilege of being a delegate to Cersaie (pronounced: tcher say e), the annual ceramics fair in Bologna, Italy. Although many of the exhibitors were Italian, the fair is an international showcase of ceramics. My hosts were the Italian Trade Commission and Confindustria Ceramica – the Italian Association of Ceramics.
Confindustria Ceramica represents over 260 ceramic tile, sanitary ware, tableware, and refractory materials manufacturing companies, with Cersaie focused on the first two manufacturing segments. U.S. and Canadian architects and interior designers might think that ceramic tile usually refers to bathroom and kitchen tiles and mosaics, but it encompasses many types of wall and floor covering tile and panel.
Some significant statistics about the industry provided by Confindustria Ceramica:
- Overall recycling in Confindustria Ceramica factories is 99.5 percent with 100 percent of the water used in production recycled.
- Italian ceramics industry is adopting LEED 4 at the end of October 2016.
- Ceramics factories recycle material from other industry sectors, effectively making their recycling efforts more than 100 percent.
The products I viewed were porcelain and ceramic, with this year’s technological advance being large format panels – some 1×3 meters and thinner panels – down to 3 millimeters for wall application. Although the original source material for manufacturing the tile was the red clay that came from around the city of Sassuolo, not far from Bologna,, now the raw materials such as feldspar, quartz, and others are sourced from other countries. Fabrication begins with constructing the panels, which may also have intrinsic coloring and textures added during manufacture, and are then printed with surface patterns. The printed surfaces are relatively thin, but the strength of the underlying panel and extremely hard glazes applied over the printing makes the products strong and long-wearing. Confindustria Ceramica noted that their members’ tile has the best longevity of all flooring materials including carpet, wood, and marble. Panels can be used for floor, wall, indoor, outdoor, and special applications – often using the same tiles.
A unique new product is a ceramic porcelain roof tile with integrated solar panels. The solar panels are the same shape and size as adjacent roof tiles, and are installed using a plug-in grid system that then connects to the building’s electrical system. Very cool!
As a delegate, I toured a factory near Sassuolo to see first-hand how the panels are manufactured. The factory building was very large to accommodate the long production lines but with relatively few people required. I saw the process from start to finish, with the panels formed, textured, printed, baked in kilns, quality checked and packed for shipment – quite impressive.
During my three days in Bologna, I learned what trends to watch for (Warning: “This is not your grandmother’s tile,” said a member of Confindustria Ceramic):
- Lighter colors with a softer feel and a predominance of blue as an accent color in tiles
- Large format concrete patterned panels from all manufacturers
- Almost invisible grout lines, highly rectified tiles
- Increased use of patterns, both subtle and strong, including strong dimensional surfacing
- More precious patterns, including geometric shapes such as hexagons and rhomboids
- 3-D textures from lightly textured through highly visible shadowing
- Small to large graphics, and all the stops in between
- Fabric textures on tiles, with tartans, plaid, herringbone, and madras – finished smooth or with varying dimension and texture
- Panels exhibiting more movement, with warps and wefts in the patterning to convey energy
- Many wood effects ranging from somewhat accurate wood representation to artistic images implying wood
- Greater focus on representing natural stone more effectively, including large-scale, book-matched marble, slate, travertine, granite, etc.
The show and its exhibits were quite striking, providing an excellent overview of Italian ceramic tile product and approach. The Italian ceramics industry produces high-quality products with a strong focus on design – and I should know – owing to all the Italian ceramic tile in my home.
Richard N. Pollack, FIIDA, FAIA, is Managing Principal of Pollack Consulting, which he created after founding and leading award-winning Pollack Architecture for 28 years. Pollack Consulting assists firms’ growth and success through improved business development, winning presentation techniques, business coaching, recruiting top talent, and ownership transition implementation. You can reach him at Richard@RichardNPollack.com or 415.508.6008.
IIDA Campus Center: Kendall College of Art & Design of Ferris State University (KCAD)
IIDA Chapter: Michigan Chapter
Where: Grand Rapids, Michigan
Board Members: Kelsey Ballast, Student IIDA, Campus Center President
Alanna Sanchez, Student IIDA, Campus Center President-Elect
Ashley Newton, Student IIDA, Senior Class Representative
Number of Student Members: 34
IIDA Campus Centers are the first point of contact interior design students have to IIDA. Each campus center is unique in design, programming, and initiatives, which makes for a varied student experience across chapters. Starting today, we want to highlight the diversity of IIDA student experiences by introducing you to a handful of campus centers. From how they run their group to what activities garner the most student interest, here is what we learned from IIDA Student Members Kelsey Ballast, IIDA Campus Center President, and Ashley Newton, Senior Class Representative.
A Winning Organizational Structure
The KCAD Campus Center Board of Directors consists of five students with representatives from each school class (freshman, sophomore, junior, senior). Each representative has individual responsibilities and everyone is voted in by their cohort. Board members meet monthly with a faculty advisor and schedule separate meetings on top of campus center meetings. What gives KCAD’s Campus Center structure extra support is the role not just of a campus center president but a president-elect. The president-elect, a junior, shadows the president, a senior, for the year with the intent of being well-familiarized with what exactly the president role entails. Says Kelsey, the president-elect position is “locked into being the president the next year, especially being a club at our university. There are more strings attached.”
Events That Engage
Two of KCAD’s most popular events encourage students and design professionals to network. “Students always want to take advantage of those opportunities and those are the things that get a high turnout and a lot of interest from our student members,” said Ashley.
At monthly update meetings, working professionals from a firm or manufacturer, with a focus on Kendall alumni, are invited to speak to students. Lunch and Learns are a more formalized affair with lunch provided (“Always a popular thing to be at,” said Kelsey) and professionals from the field bring samples of their work and explaining what they do to students. Representatives from Steelcase and Haworth are just some of the big names that have presented – an advantage of living in a historic furniture manufacturing center.
But the students at KCAD are also very proactive about making sure these programs and resources are available. They work with their faculty advisors that have connections with larger industries and maintain lines of communication with the larger Michigan Chapter. The reciprocal relationship is a defining characteristic between the IIDA Campus Center at KCAD and the Michigan Chapter. “This becomes a big family that you can leverage later on. You get to know most people through your time here that you never know when they’re going to be able to help you out or give you input, advice, or experience with anything,” says Ashley.
We’re a Big Family
The IIDA Campus Center at KCAD has specific campus center board members that act as additional liaisons with Michigan Chapter leaders. This has been instrumental in forming close relationships that feel like family. “Being a freshman coming into design school, I was a little worried of not feeling that community and feeling very competitive all the time. IIDA has definitely softened that and has created a community here at our school and then a community of designers broader in our region,” said Kelsey.
Ashley echoes the sentiment: “Kendall is a commuter campus and so having that opportunity to be in a group with our students that is outside of schoolwork and extends to more professional events, or gives you a glimpse into what you do outside of school and beyond school, has been fantastic for both social and professional reasons. The opportunities of networking with and meeting people — it becomes a lot more fun to go out and have those conversations when we’re either interviewing for jobs, even just talking to other professionals in general.”
Today’s post is written by Kelsey Ballast, Student IIDA, winner of the inaugural IIDA Booth Design Competition at Orgatec. The competition provided students the opportunity to design a trade show booth at this year’s Orgatec Trade Fair in Cologne, Germany, on Oct. 25-29. Kelsey received an all-expense-paid trip to Orgatec to see her design concept realized, courtesy of Vitra, as well as a tour of the Vitra campus.
The amount of incredible design that I have been immersed in over the last couple of weeks has been completely overwhelming in the best way possible. I was fortunate to have been selected as the winner of the IIDA Booth Design Competition at Orgatec, where I was flown to Cologne, Germany to attend Orgatec, an event billed as “the leading international trade fair for the modern working world.”
As I wandered through the chaos that was the day before Orgatec’s opening, hoping to find the IIDA booth, I was overwhelmed and in awe. The mess of boxes and people running around setting up complicated and massive showrooms made me feel a bit anxious to see my design. I was hoping that it all came together and would be able to fit in among these other impressive spaces.
As the booth came into view, relief overcame me when I saw that it had actually come together. The team wandered through the booth, but I found myself observing. Seeing the team interact with the space – knowing the thought and intention behind it all – I was overjoyed.
On the first day of the show, we arrived early to get all of the IIDA brochures and accessories in place. At 9 a.m., the PA system echoed through the halls, signaling the show was now open. Not 30 seconds later, crowds of people were streaming past our booth. Visitors stopped in and took photos of different areas and elements in the booth. I did not expect this at all! As the day went on, the atmosphere around the booth was very positive. The space was used exactly as I had hoped – as a place of respite and relaxation for visitors to sit and have a conversation with one another or just kick their feet up for a minute.
I was also able to spend time exploring the hundreds of showrooms spanning almost 1,400,000 square feet. The part that amazed me the most was that all of these showrooms were constructed solely for the show. They were all within large halls, so each vendor constructed their own architecture to define the space.
It was such an eye opening and inspiring experience to explore the madness that is Orgatec. The amount of innovation, new companies, and variety widened my perspective of the industry and opened my eyes to the endless possibilities of a career in interior design.
The next part of my trip was a tour of the Vitra Campus in Weil am Rhein, Germany, which is near the border of Switzerland. The hillside surrounding the campus was covered in the warm golden tones of the changing fall leaves and harvested fields. The juxtaposition of nature’s perfection with the clean lines of the many buildings at the Vitra Campus was something from a dream. I witnessed the brilliance of multiple architects’ and designers’ work, including Jacques Herzog, Pierre de Meuron, and Zaha Hadid, just to name a few.
These buildings were like nothing I’ve ever seen or experienced before. Every element was intentional and thoroughly designed in the purest way. But don’t take my word for it: Check out vitra.com for a virtual tour of the campus.
I am so thankful to IIDA and Vitra for providing me with this opportunity. Everything I was able to do and see has altered my view of design for the better and enhanced the way I see and will execute my designs going forward. My time in Germany has taught me that design should reflect authenticity, purity, and the value of experience, and that’s a lesson I won’t soon forget.
See Orgatec from Kelsey’s point of view by visiting the IIDA HQ Instagram feed and searching #iidatakeover.