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ASID ICON

Essentials for Your Design Practice

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the path to discovery understanding the intricacies of client needs

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VOLUME 12/NUMBER 4

the magazine of the american society of interior designers

icontents JULY/AUGUST/10

FEATURES

12_ the art of understanding Experts provide insight into high- and low-tech strategies for successful client needs assessments. BY JENNY REBHOLZ, ALLIED MEMBER ASID

16_ kitchen cognition Finding the right recipe for the kitchen of the future can be harder than it looks. BY DOUGLAS QUENQUA

DEPARTMENTS

16

4_ president’s letter

30_ inside asid

KITCHEN

6_ of note

32_ grassroots

10_ innovations

34_ showroom

COGNITION

20_ up close

35_ resource guide

22_ spotlight 23_ environotes

/FINDING A RECIPE

28_ industry

tor without having to open it? Suppose a camera embedded in the appliance could take a picture of its contents when the door is open, then display that image on the door the next time it sensed someone approaching. Finally you could heed your mothers’ advice and decide whether it was worth the energy— yours and the refrigerator’s—to open it. Who wouldn’t want such a resource-savvy appliance? Or a spoon that tells you if your soup needs more salt, a faucet that changes the color of the water depending on temperature to avoid burns, or a touch-screen countertop that could display thousands of recipes on demand? (Hint: possibly no one.) Such high-IQ inventions were among the brainchildren of the Counter Intelligence program, an ambitious MIT project that sought to harness the emerging technology of the late 1990s to create better, smarter, more earth-friendly kitchens. The project was launched in 1998 and concluded in 2005.

THAN IT LOOKS www.asid.org

Image courtesy of Thermador

WHAT IF YOU could see inside your refrigera-

KITCHEN IS HARDER

the magazine m ma of of the he americ american merican soc society of in so interior terior designers

36_ needful things

26_ design for life

FOR THE FUTURE

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& advertisers

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ABOVE kitchen cognition on page 16 ON THE COVER photo illustration by Sam Ezeji

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PRESIDENT’S LETTER/

Michael Alin, Hon. FASID

EXECUTIVE DIRECTOR

Sari Graven, FASID

ASID PRESIDENT

Karen Berube, K.Designs

DESIGN & ART PRODUCTION

Oswald Cameron, Sam Ezeji

GRAPHIC DESIGNERS

ADVERTISING ART Effie Monson

EDITOR Leslee Masters

Mike Hisey, Bill Lovett, Patricia Nolin, Marjorie Pedrick, Mark Tumarkin

SALES REPRESENTATIVES

ASID ICON 608 Massachusetts Ave., NE Washington, DC 20002-6006 P (202) 546-3480 F (202) 546-3240 icon@asid.org

SUBMISSIONS & CORRESPONDENCE

ADVERTISING INFORMATION

Erik Henson at (800) 369-6220.

NAYLOR TEAM PUBLISHER Jill Andreu

PROJECT MANAGER Megan Sapp

POSTMASTER CHANGES OF ADDRESS ASID ICON, c/o ASID Customer Service 608 Massachusetts Ave., N.E. Washington, DC 20002-6006.

Volume 12, Number 4, ASID ICON (ISSN 15270580) is published six times a year in January, March, May, July, September and November for the American Society of Interior Designers by Naylor, LLC, 5950 NW First Place, Gainesville, FL 32607; (800) 369-6220; (352) 331-3525 fax. Copyright 2010 by Naylor, LLC. Reproduction in whole or in part prohibited without written authorization. Receipt of ASID ICON is a benefit of membership in the American Society of Interior Designers. ASID ICON is printed on Rolland Enviro100 paper, containing 100% post-consumer fiber and manufactured using biogas energy. Rolland Enviro100 is certified EcoLogo, processed chlorine free and FSC recycled. The use of every ton of Rolland Enviro100 reduces ASID ICON’s ecological footprint by: 17 mature trees; 1,081 lb. of solid wastes; 10,196 gallons of water; 6.9 lb. of suspended particles in the water; 2,098 lb. of air emissions; and 2,478 cubic feet of natural gas.

Sari Graven, FASID

ASID STAFF MANAGING EDITOR Jennifer Lipner

EDITOR Kerry O’Leary

PUBLISHED JULY 2010/AID-S0410/9661

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Confers roles and recognition based on participation, rather than member category • Defines benchmark “professional” practices • Promotes ethical standards of practice • Thrives as an engine of knowledge and learning, focused on solving social, economic and environmental challenges • Invites co-creation of ideas among its volunteers • Relies on new forms of media to engage the profession and mobilize quickly around the issues of the day • Finds, engages and grooms emerging and recognized industry and professional leaders. As an association, our ability to lead in the areas of advocacy, education, recognition and networking is also changing, challenging us to re-think the role of associations in the 21st century. For example, we have not yet mastered the rapid methods of mobilization that our legislative activities now demand. We’ve also seen the emergence of for-profit groups offering continuing education, targeting “profitable” awards programs and/or providing facilitated social networking sites. If ASID is to sustain its leadership role, we must evolve to meet the changing needs of the profession alongside the changing role of associations. After 35 years we have a loyal membership, a great record of accomplishments and an enviable level of stability. But what’s next? What is the association of your dreams? i

PUBLICATION DIRECTOR Erik Henson

ues to thrive and attract new members is because we are a leader. We have been at the forefront of every major progression in our profession: the development of educational standards as a founder of CIDA, the development of professional standards as a founder of NCIDQ, a founding member of USGBC and its work on environmentally/socially responsible design, and a contributor to code development with the International Codes Council. We continue to lead in the legislative arena while maintaining our commitment to emerging methodologies and markets, like evidence-based design and design for aging. This year ASID is celebrating its 35th anniversary. Each of these groundbreaking endeavors has contributed to our success. However, these are fluid times; success now does not mean success tomorrow. Along with our staff, the ASID Board of Directors is responsible for the development and implementation of today’s accomplishments. But perhaps even more importantly, we are responsible for directing the future of the Society. In a 2010 article published in Associations Now magazine, three association thinkers challenge us to stop predicting the future (predictions are often wrong) and to start dreaming about the association we would like to be in 20 years. What will ASID look like in 2030? Who will it serve? What ground must we break to ensure our value to members and relevance to society? I began to dream about an association that • Eschews exclusivity in favor of diversity and creativity • Connects with non-traditional partners to deepen knowledge and solve problems • Defines leadership as the primary benefit of membership • Offers certification programs that validate members via experience and credentials

MARKETING ASSOCIATE

ONE OF THE reasons ASID contin-

Heather Zimmerman

– Center for Association Management

DIRECTOR OF RESEARCH & KNOWLEDGE RESOURCES

Predictions can seem like a fool’s game—“television is a flash in the pan” or “there is no reason for any individual to have a computer in his home”—but dreams are different.

Michael Berens

ASID 2030

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OF NOTE/

What Now

Carpet with Conscience

FREE ETHICAL RUG SOURCEBOOK AVAILABLE TO DESIGNERS/

working to end child labor in the carpet industry, has published the GoodWeave Rug Sourcebook, a hands-on tool for designers looking to source ethically produced, handmade rugs. The sourcebook lists more than 70 North American rug companies whose products carry the GoodWeave label, independently certifying that their rugs are child-labor-free. “Designers are essential to advancing GoodWeave’s work. By making their clients aware of this issue and advising them on the importance of purchasing child-labor free rugs, they can have a significant impact on the lives of children who are being exploited,” explains Nina Smith, executive director of RugMark USA.

U. Roberto Romano

RUGMARK USA, THE nonprofit organization

High Point Fall Furniture Market

CALENDAR .

UPCOMING DESIGN EVENTS/

HD Boutique Sept. 13 – 14 Miami Beach Convention Center www.hdboutique.com Healthcare Facilities Symposium & Expo Sept. 14 – 16 Navy Pier, Chicago www.hcarefacilities.com IIDEX / NeoCon Canada Sept. 22 – 25 Direct Energy Centre, Toronto www.iidexneocon.com

For a complimentary copy of the sourcebook, email your request to info@goodweave.org.

CEDIA Expo Sept. 22 – 26 Georgia World Congress Center, Atlanta www.cedia.net/expo

Required Reading GREAT BOOKS TO ADD TO YOUR REFERENCE LIBRARY/

High Point Fall Furniture Market Oct. 16 – 21 High Point, NC www.highpointmarket.org

To order these books, visit the ASID Book Center at www.asid.org/bookcenter.

IFMA World Workplace Oct. 27 – 29 Georgia World Congress Center, Atlanta www.worldworkplace.org Healthcare Design Nov. 13 – 16 MGM Grand, Las Vegas www.hcd09.com For more information, visit the Events section of www.asid.org.

NCIDQ EXAM DATES & APPLICATION DEADLINES For more information, visit www.ncidq.org.

Building Type Basics for Housing, 2nd Edition Joan Goody, Robert Chandler, John Clancy, David Dixon & Geoffrey Wooding Wiley, $80 _ This updated edition is an invaluable guide for busy professionals who want to get moving quickly on new projects. A onestop reference for the essential information, this book helps designers from start to finish on housing projects of all sizes. Among other new information, this edition offers detailed project examples from today’s best housing designs, including more information on sustainable design and a fresh look at mixed-use developments.

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The ADA Companion Guide: Understanding the Americans with Disabilities Act Accessibility Guidelines and the Architectural Barriers Act Marcela A. Rhoads Wiley, $45 _ This reference guides designers through the ADAAG and ABA guidelines with explanations, commentary and illustrations, offering guidance on how to eliminate unnecessary architectural barriers for persons with disabilities. Featuring an easy-to-use format, the book includes special commentaries on crucial or hard-to-understand examples, with photographs that illustrate practical applications of the guidelines.

Color + Design: Transforming Interior Space Ronald L. Reed, ASID Fairchild, $75 _ This book, authored by ASID member Ronald Reed, presents color theory in terms of design principles such as balance, rhythm, emphasis, proportion, unity and variety. Infused with insights into how people perceive color, the book focuses on the user experience of a space and shows how important color is in the grand scheme of interior design. Geared toward all experience levels, the book includes numerous original illustrations showing color in a variety of interior spaces.

August 2, 2010 Fall 2010 registration deadline* October 1 – 2 Fall 2010 NCIDQ Examination December 1 Application Deadline for the Spring 2011 Examination (for first-time applicants only) April 1 – 2, 2011 Spring 2011 NCIDQ Examination *All supporting documents must be received by this date.

the magazine of the american society of interior designers


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OF NOTE/

Q & A with Caren Martin, FASID and Denise Guerin, FASID NEW BOOK ASSESSES STATE OF THE PROFESSION/

YEARS OF RESEARCH and hundreds of conversations with experienced design practitioners have resulted in the recent publication of The State of the Interior Design Profession (Fairchild), edited by Caren S. Martin, PhD, FASID, CID, IIDA and Denise A. Guerin, PhD, FASID, FIDEC, IIDA. We spoke with the authors about the issues integral to the profession and the inspiration behind this insightful book.

JOURNAL PROVIDES LESSONS FROM ACADEME/

IN AN EFFORT to present up-to-the minute

research and information that ASID ICON readers can apply to their practices, below are synopses of recent articles published in the Journal of Interior Design, a scholarly, refereed publication dedicated to issues related to the design of the interior environment. Designing a Retail Store Environment for the Mature Market: A European Perspective This multiple case study discusses elderly consumers’ physical and social needs and wants within two European food retail stores. Despite the clear benefits of functional, accessible and aesthetically pleasing shopping interiors, findings reveal that the store’s social environment and related experience may be equally important to older consumers. Petermans, A. & Van Cleempoel, K. (2010). Designing a retail store environment for the mature market: A European Perspective, Journal of Interior Design, 35(2), 21-36.

Understanding Furniture Design Choices Using a 3-D Virtual Showroom This web-based investigation uses a 3-D virtual showroom to explore factors considered when making residential furniture purchases. One finding from this study suggests that males and females differ significantly in their priority considerations, style preferences and the number of possibilities they try before making final decisions. Yoon, S., Hyunjoo, O. & Cho, J. Y. (2010). Understanding Furniture Design Choices: Using a 3-D virtual showroom. Journal of Interior Design, 35(3), 33-50. ASID members can now access the Journal of Interior Design free for 60 days. To access the free trial, just register at interscience.wiley.com/trial/joid10.

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FINDINGS

Evidence-Based Design Findings

WITH ALL THE ISSUES INTERIOR DESIGNERS FACE TODAY, WHAT PROMPTED YOU TO PUT TOOGETHER A BOOK ABOUT THE INTERIOR DESIGN N PROFESSION ITSELF? The interior design profession has developed from its beginnings gs into a profession that solves society’s problems. There are significant issues impacting the profession due to, among other things, the interdisciplinary nature of design practice and the lack of public awareness of the value of design. Therefore, interior design is at a crossroads … and we wanted to make sense of this movement in our profession. We wanted to begin a dialogue that addresses the issues impacting the profession … and it is also a “call to action” for members of the profession to become involved in its continuing development. THE BOOK COVERS A WIDE RANGE OF SUBJECTS, FROM DESIGN THINKING TO ETHICS AND ADVOCACY. DID YOU ENVISION THIS AS A BOOK THAT DESIGNERS WOULD READ FROM COVER-TO-COVER OR AS ONE THEY WOULD “DIP INTO,” DEPENDING ON THEIR INTERESTS?

Readers might find a specific topic of interest and start to explore that chapter, find related issues in other chapters, and move on from there. We also hope that readers act as resources to inform others with a new perspective on issues in the profession. We can hear that conversation: “What? You don’t think [insert topic here] is important to interior design? Well, let me show you what [insert authors’ name] thinks!” Designers will be challenged to think about issues they’ve not thought about before. YOU HAVE COLLABORATED WITH MANY OF THE AUTHORS WHO CONTRIBUTED TO THE BOOK. DID ANYTHING SURPRISE OR ENLIGHTEN YOU AS YOU READ THROUGH THE ENTRIES THEY SUBMITTED?

We wanted to offer authors an opportunity to share their opinions, thinking, ideas and outrages with their peers … they did this. A surprise was the level of humanity that came out in many authors’ voices. They were able to put a personal story into the essay, pulling the reader deeper into the experience. WHAT DO YOU HOPE DESIGNERS TAKE AWAY FROM READING THE BOOK?

Often, interior design practitioners are caught in their own silo of making a living; they must focus on the world of business economics. This book can take them away from that, provide a more holistic view of the profession and energize them with a new level of commitment to make change. For example, we hope students read this and discover that there are role models in the design community who have passion to move the profession forward. Readers may have a rekindling of their own passion; they may become mentors to younger designers; they may become interested in becoming an educator; they may begin to speak out on right-to-practice issues; and they may find the heart to continue to inform the public about the value of interior design in improving people’s lives in places they live, work and play. i To read more from Martin and Guerin’s ASID ICON interview, visit www.asid.org/icon. To purchase the book, visit www.asid.org/bookcenter.

the magazine of the american society of interior designers


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INNOVATIONS/ KITCHEN-READY AND ECO-FRIENDLY

Waste Not THE ECOLOGICAL KITCHEN/ EKOKOOK, A SUSTAINABLE kitchen from Faltazi,

recycles water and breaks down waste with three built-in microplants. Ekokook, whose fourth compartment is for washing, also contains dry and cold storage, prep areas/tables, a steam oven, gas burner, hotplate and extraction hood. Describes Faltazi, “All the air, water, wind and sun that reach a habitat must be seen as scarce resources to be captured and used. Each drop of water must be collected and used to the utmost before being evacuated to external networks.” For more information, visit www.ekokook.com.

NEW FROM SWEDEN

Above the Fold NEW DIMENSIONS IN SEATING AND SERVING/ GRAND CENTRAL TRANSFORMS from a space-saving occasional

table to the central piece of the room, with fourteen hinge-free folding pieces. Inspired by a pop-up map of New York City, the dual-identity table alters an open kitchen into an intimate, modern gathering spot. The first collaboration between Swedish designers Sanna Lindström and Sigrid Strömgren, Grand Central was unveiled during Milan Design Week in April 2010.

Martin Eek

For more information, visit www.sannasigrid.com.

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the magazine of the american society of interior designers


INNOVATIONS/

Take Note FURNITURE FROM PAPER/ A MIXTURE OF shredded newspaper, glue and water is applied in several lay-

ers to create Pulp 2.0, furniture from Studio Jo Meesters. Dried, cut in two and removed from its mold, the furniture’s pieces are glued back together before applying the last layers of the pulp mixture. Finalized with an epoxy resin treatment, Pulp 2.0’s water-resistant qualities make it ideal for kitchens. The collection includes a table, chair, four pendant light fixtures and a cabinet. For more information, visit www.jomeesters.nl.

Smoking the Competition A CLEAN COMBINATION OF FOOD AND FIRE/ PALLAS BACK, FROM U.S. woodstove company Euroflues, is a sootless fire-

place with cooking capabilities ideal for any kitchen. Three cooktop burners and a pizza and baking oven top the stove, and a convenient wood drawer is built-in at the bottom. With 79 percent energy efficiency, Pallas Back features a Keramott liner, for a white soot-free chamber, walnut wood handles, and is certified to the cleanest European wood stove emission standards. i For more information, visit www.euroflues.com.

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The Art of Understanding High- and low-tech strategies for successful client assessments By Jenny Rebholz, Allied Member ASID

PROGRAMMING, INFORMATION GATHERING, assessing client needs … no

matter the industry lingo, this part of the design process is an essential time for discovery. Every design student learns about this phase of the project process and each year of work experience brings a re-examination of how to successfully develop trust, probe clients for the right information and expose the true nature of the design challenge. As the economy continues to apply pressure to homeowners and businesses, and demanding clients want to dictate the process, designers have a responsibility to the profession and to their businesses to maintain control of this crucial stage of design work. While the fundamental success of programming relies on good questions and active listening, professionals have developed and continue to create a variety of tools, methods and best practices to establish defined project goals. However, assessing client needs must go beyond the facts and tap into the heart of the homeowner and the soul of an organization. “Getting to the soul of the design means getting to the soul of the client,” says Polly Zeleny, CAPS, president and creative director of Concept360, Industry Partner of ASID. “Design needs to go deeper and further than ever before. And that means as designers we go there with our clients.”

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The Art of Understanding

“Getting to the soul of the design means getting to the soul of the client. Design needs to go deeper and further than ever before. And that means as designers we go there with our clients.” - Polly Zeleny, CAPS, Concept 360, Industry Partner of ASID

BACK TO BASICS

The analysis phase of a design project requires designers to identify, dissect and analyze client problems. Asking good questions, actively listening to clients and taking note of their body language are part of the fundamentals of this phase. Never underestimate the power of a “good” question. “Clients need us to ask questions they never thought would be included in an analysis of their lives,” says Bruce Goff, FASID, principal of Domus Design Group. “Most clients think that they know themselves, but since they are looking from the inside out, they miss a lot.” Developing a formal list of questions and comprehensive checklists helps ensure the right questions are asked in order to collect valuable data. To develop a solid list of questions, Goff recommends referencing industry publications and networking outside of your trade area. “Find out what others do,” advises Goff. “Don’t be fearful about connecting with people.” Asking the right questions is only part of the equation. Without active listening, designers may not pick up on slight nuances in the conversation, thus missing out on revealing information. “When designers see so many clients and projects, they can miss the subtext. Or legitimate reactions from past experiences can cloud the nuance in your current communication,” describes Zeleny. “There is no experience that can take the place of active listening—listening with no agenda, no internal dialogue, only the sole intent of helping to understand the client’s needs.”

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Nila Leiserowitz, FASID, IIDA, Assoc. AIA, managing director at Gensler, believes observing body language is another key skill that aids in successful assessment. “When you have your first physical engagement, it is important to pay attention to body language. By watching clients in action and how they engage with you and others you will begin to understand how they receive information,” she says. “How they sit, their eye contact, will help you determine if they are connecting with you or not.” She also advises to be mindful of your own body language, as it “communicates to them as well and can very quickly set the tone for the meeting.” DIGGING DEEPER

Thanks in large part to the Internet, designers can— and should—begin assessing clients even before the first meeting. Savvy designers use online sites such as Google and LinkedIn to gain a quick understanding of the client, including their business and educational background. Leiserowitz references a variety of methods used throughout what she refers to as the “discovery” phase to assess client needs. “We use visioning sessions to identify business drivers and goals and to build consensus,” she describes. In such sessions, the design team graphically documents the process (see illustration above) in front of the client to capture the information in real time. “It is a way of keeping clients thinking and allows them to react to the images and engage in conversation.” Leiserowitz and her team also use a “fly on the wall” method, in which the design team simply

the magazine of the american society of interior designers


Courtesy Gensler

watches people work. By observing the actual habits of the employees, the team begins to uncover more than meets the eye and may observe habits that management was unaware of or unable to communicate. Designers such as Suzan Globus, FASID, LEED AP, principal of Globus Design Associates, often look to local sources of information and research for their public library projects. “We review census statistics for the towns in which we are designing libraries to note the demographics of the population or identify any changes in it,” describes Globus. “We review circulation and collection statistics. We drive through the town where the building is, or to be located, and visit popular sites to understand where people go when they have a choice. We read local blogs and publications and look into the local government, schools, churches and civic organizations. We review the town’s history to get a sense of place. Occasionally we conduct surveys, focus groups and strategic planning sessions.” Part of digging deeper in the programming phase of a corporate project means ensuring you are receiving the full picture of the company. “A thorough corporate analysis requires a global perspective from the top down and from the bottom up,” describes Pat Algiers, ASID, president of Patricia S. Algiers & Associates Inc. “The designer must become the advocate for those who perform the tasks and explain to executive management why the prescribed solutions are required.” Algiers finds that designers are often more involved with facility managers, who may not have a direct line to the global view or executive level

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strategy. The designer needs to connect with a variety of stakeholders to ensure the programming truly reflects the needs of employees at all levels as well as the strategic direction of the company. One way that Goff has worked with residential clients to dig deeper into their lives is by giving them several disposable cameras to take pictures of their life throughout the day, allowing his team to see life through the client’s eyes. Time spent observing and interacting with the clients helps designers grasp the emotions and functionality within the home. Regardless of the tactic, these designers are looking beyond the facts of the project to uncover the emotion and psychology that will yield a successful design. “Customer psychology and human behavior are the new power tools,” says Zeleny. “To be able to tell a client ‘based on your emotional profile, and what you have told me about this space—you have two options that will support you’ … That’s a very different vocabulary and conversation.” In fact, according to Zeleny, there are four personality types—identified by her LifeTraits® quiz—that form patterns as to what aspects of design excite and stress the client. Using LifeTraits helps designers to better assess “how quickly the client needs communication, how much hands-on approach, what vocabulary needs to be paired with the design concept, and what colors will stress each personality.”

by final outcomes. Designers such as Goff see the need for metric-based analysis or a process for judging the effectiveness of a project. His firm uses the in-depth documentation and approvals acquired during the programming phase to conduct what he refers to as a 360° review—the lessons learned in the initial programming serve as a basis for evaluating the success of a design at the end of the project. This documentation also allows his team to judiciously make decisions on the change of scope throughout the project. “We have a formal process where the programming is approved by the client and all the needs are laid out and agreed to,” describes Goff. “At the end we go through with the client to evaluate the project, we benchmark if we solved the documented issues—‘did we do what was asked?’.” Algiers believes the future of programming will include a more detailed and systematic assessment of existing furniture and equipment in relation to sustainability. She feels designers will really need to assess how items can be reused creatively to provide a fresh look while meeting the need for change. And Globus looks to the media to help elevate the importance of programming in the design process. “The design press has an opportunity to feature how successfully the program is met in addition to the aesthetics of featured projects which would help explain and promote the value of design.” i

NEXT STEPS IN PROGRAMMING

Jenny Rebholz, Allied Member ASID, is a writer and mar-

While the programming phase is a critical step in the project process, true success can be best judged

keting consultant for the interior design and architecture community.

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KITCHEN COGNITION /FINDING A RECIPE FOR THE FUTURE KITCHEN IS HARDER THAN IT LOOKS By Douglas Quenqua

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the magazine of the american society of interior designers


tor without having to open it? Suppose a camera embedded in the appliance could take a picture of its contents when the door is open, then display that image on the door the next time it sensed someone approaching. Finally you could heed your mothers’ advice and decide whether it was worth the energy— yours and the refrigerator’s—to open it. Who wouldn’t want such a resource-savvy appliance? Or a spoon that tells you if your soup needs more salt, a faucet that changes the color of the water depending on temperature to avoid burns, or a touch-screen countertop that could display thousands of recipes on demand? (Hint: possibly no one.) Such high-IQ inventions were among the brainchildren of the Counter Intelligence program, an ambitious MIT project that sought to harness the emerging technology of the late 1990s to create better, smarter, more earth-friendly kitchens. The project was launched in 1998 and concluded in 2005.

www.asid.org

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Image courtesy of Thermador

WHAT IF YOU could see inside your refrigera-


“We played around with equipment that other people might not have for five, 10 years and tried to see where all the potential kitchen integration lies,” says Leonardo Bonanni, who worked on the project as a graduate student and then served as lead researcher. “It ranged from helping with cooking, to nutrition, to health and safety, to social activities in the kitchen.” Like others before them, Bonanni and his MIT colleagues tried using technology to make the perfect kitchen. Also like their predecessors, they learned that not everyone wants that. During the project’s seven-year run, it produced a number of promising prototypes. In addition to those mentioned above, there was a cup that turned color based on the temperature of the liquid (useful in avoiding burns, like the one that

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led to the infamous 1994 liability lawsuit against McDonald’s); an “intelligent floor” that could tell where a person in the kitchen was standing thanks to embedded scales; and an oven mitt that actually yelled “fire” when it detected extreme temperatures. (It also produced some inventions that were obsolete before they could become reality: Who needs a countertop that stores recipes when millions of free ones are just a Google search away?) “My work was things like growing food in the cabinets using hydroponics or making and recycling dishware on-site in a little machine,” explains Bonanni. “Other stuff was much more banal, like recipe search engines and the idea that you’d even be carrying a computer around, that there would be one on your fridge and one next to your stove.”

“Some of the stuff was meant to be far-fetched,” he says. “It was meant to be provocative.” WHOSE FUTURE?

The research took place in a room called La Cantina, “the cellar” in Italian, a fully functional kitchen built in the basement of the MIT media lab. Of course, this particular kitchen was decked out with every manner of touch-screen and networking device available at the time. But technology and the kitchen have a long and complicated relationship. If the Counter Intelligence project reminds you of General Electric’s unfulfilled promises from the 1964 World’s Fair or the 1940s “Kitchen of Tomorrow,” you’re not alone. Like the space-age kitchens imagined by earlier generations, the MIT

the magazine of the american society of interior designers


LIKE OTHERS BEFORE THEM, MIT’S COUNTER INTELLIGENCE RESEARCHERS TRIED USING TECHNOLOGY TO MAKE THE PERFECT KITCHEN. ALSO LIKE THEIR PREDECESSORS, THEY LEARNED THAT NOT EVERYONE WANTS THAT. program tried to use the emerging technology of the time to make the kitchen a clean, efficient, automated little factory. But it seems every generation needs to learn for itself that there is a limit to how much technology people want in their kitchen. “In the past few years, I’ve seen a big backlash and a return to rustic granite countertops and local food and caring about organics and quality concerns,” shares Bonanni. “The ‘Kitchen of the Future’ has a tainted history,” he points out. “It’s the idea of a factory in the home and getting your food faster, and in a lot of ways that World’s Fair technology led to a lot of processed foods and the invention of a lot of needless appliances.” Ted Selker, the MIT professor who oversaw the program as its director, doesn’t disagree. “In the 1940s they were showing people using radiation in their kitchen to sterilize food,” he says. “In the ‘60s, a lot of homes had power takeoffs on the counter that you could put a mixer on top of or something. My mom had a thermatically controlled stove. No one used this.” Selker says he was unsurprised by this decade’s return to rustic kitchens, because he saw it happen in the 1960s. “Sensors and automation in the kitchen kind of became annoying,” Selker continues. “So much so that the only thing that really survived from the era were these countertops that you could sit at with a bar stool and be eye-level with the people who were cooking.”

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PRACTICAL APPLICATIONS

Although Selker and his researchers regularly presented the Counter Intelligence concepts to the program’s sponsors—a litany of blue chip corporations that included Kraft, LG Electronics, McDonald’s Unilever, Mars and Pepsi—their work is only vaguely reflected in products that went to market. In 2001, for example, LG Electronics unveiled its Digital Internet Refrigerator, which came with a Web browser embedded on its door, possibly inspired by the Counter Intelligence “smart” refrigerator. A company called Hog Wild is currently marketing a showerhead that uses lights to turn the water blue when it’s cold or red when it’s hot. “I don’t think that’s exactly going to change the world,” says Bonanni, whose research inspired the lighted-faucet idea. Selker also points to sites like Cooks.com as the natural outgrowth of his program’s work around recipe search engines. In fact, Selker sees products like the LG refrigerator as honoring the letter of his program while violating the spirit. “As far as I’m concerned, it was a negative,” he says of the appliance. The problem was that a Web browser on a kitchen door doesn’t make the kitchen smarter; it just makes it flashier. “It kept people from going into their refrigerator,” he comments. Selker claims to be surprised by none of this. “People always go back to a simple maple cutting board and a nice big knife,” he observes, adding that his own taste for kitchen decor runs toward the simple and earthy. “In the last decade, the idea of a great kitchen is a granite countertop that will break every glass, or maybe

marble that will be stained by the wine,” he said. “Quality is a forever-changing term when it comes to the kitchen,” he notes. So why undertake the project in the first place? Because technology will always play a role in the kitchen, Selker says, and experimentation, even when it seems like something out of Willy Wonka, is required. For example, how else to know that people do not actually want a screen on their refrigerator door that shows them what’s inside? “We found that when [the screen on the door] said ‘ingredients’ and had a picture of them, people didn’t even notice it,” he says. Still, he seems to shrug it off. “What is fashionable kind of moves back and forth,” says Selker. “What is possible only moves forward.” i Douglas Quenqua is a freelance writer in New York City.

Earn 0.1 CEU at Home With This Article! Step 1: Purchase the course online at www.asiduni.org. Step 2: Follow the instructions in your confirmation e-mail to complete the course.

Step 3: Achieve a passing score on the quiz to download your certificate of completion. Finally. CEUs that fit my lifestyle. www.asiduni.org

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UP CLOSE/

Not-So-Heavy Seas OPEN SPACES MEET STRICT WEIGHT RESTRICTIONS ON THE SILVER CLOUD/ IT’S NOT YOUR typical houseboat, that’s for sure.

When longtime clients of Susan Schuyler Smith, ASID, purchased an unusually wide and traditionally industrial-use yacht for their next traveling “home,” the designer found herself in a true sinkor-swim situation. “Shipyards have been making this type of boat for strictly utilitarian purposes. They aren’t your standard residential boat,” says Smith of the 54-foot wide hull with a main salon area that is essentially one large space for everything from dining and cooking, to reading and relaxing. “The one great advantage is there’s nothing below the deckline,” continues Smith, as she notes the views on three sides from the central gathering place, four chairs anchored by an area rug. Divided into four distinct spaces, the yacht design’s end result is both practical and intimate. “Lighting in each ‘zone’ can go higher or lower to change the mood or provide a focal point,” describes Smith. Each piece of art—photographs taken by the client—has its own spotlighting as well. Custom cabinetry was designed and built to safely house an extensive collection of china, crystal and flatware without moving while at sea. Smith even created a binder with photographs of each cabinet so that items could be properly returned to their designated locations. Behind the homelike “feel” of Silver Cloud is a deep-reaching study in technical design. Fabrics had to meet strict maritime regulations, which means they must be flame-retardant and Scotchgarded, tough to pull off for residential

usage. Smith explains, “The selections of materials was more limited, as was the way in which we used them. It took a lot of logistical effort and ingenuity to get it all done.” Every piece of fabric had to be specified, cut, sent for treatment and returned for installation. The primary design challenge, however, presented itself in pounds. Everything on board the yacht—from a fork to a piece of furniture—had to fall within a specific overall weight allowance that was computerized and broken down into categories. This required constant give-and-take when specifying materials and product. A heavy piano in the main salon meant subtracting weight from another category. Smith became expert in material selection and weight, explaining details such as, “The wood on the sectional is a different type from the frame within to lighten the overall weight. Throughout the process, if we were somewhere purchasing, say a dinner service for 12, we would ask what it weighed. Sales people don’t get that kind of question very often.” Silver Cloud is now back home in Palm Beach, Fla., after 18 months spent traveling 40,000 miles around the world. The boat has since won awards for its design and engineering, including a Technology award from Boat International Media’s World Superyacht awards. i

PROJECT SPECS/ Project Name Silver Cloud Firm Spectrum Interior Design Design Team Susan Schuyler Smith, ASID Michele Craft Location Docked in Palm Beach, Fla. Site plan: Spectrum Interior Design Images: Silver Cloud

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UP CLOSE/

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The main living area features flexible seating and casual dining, and faces the ship’s rear deck.

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Silver Cloud is made buoyant by two submarine hulls instead of the conventional twin hulls, increasing stability and limiting pitching and rolling.

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Custom pieces for the yacht’s interior, such as the bedroom cabinetry, were built in Florida and shipped overseas to Germany, where Silver Cloud was built.

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A formal dining space with panoramic views consists of a multiuse sectional.

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SPOTLIGHT/

Home Away from Home ASID VOLUNTEERS MAKE LIFE A LITTLE EASIER FOR FAMILIES IN NEED/

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“ASID members took the design needs of our very special population and gave us back something truly amazing.” —Vincent Bryson, LARMH executive director

IN SEPTEMBER 2009, volunteer members of the

ASID California Los Angeles Chapter completed their redesign of the Los Angeles Ronald McDonald House (LARMH). Comprising the work of dozens of designer and industry volunteers—including more than 130 FF&E specifications and 20-plus pages of CAD documents—the redesign turned the LARMH into a space that truly helps families strengthen their support network with other families. The three areas under renovation in the service project were the family room, parents’ lounge and atrium areas of the building. The mission of LARMH is to support the health and well-being of children by providing a “home away from home” for families of seriously ill children who are receiving care in Southern California. Unfortunately, many of the common areas of the home were not welcoming, with their worn and mismatched furniture, stained flooring, and poor lighting and acoustics.

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The redesigned family room offers something for everyone—books, comfortable seating, a game table and even a new fish tank for adults and children “to relax and get lost in.” Floor tile “rugs” help define the room’s multiple seating areas.

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atrium’s original brick flooring—a poor acoustic choice—was replaced with sustainable (and noise-reducing) cork flooring in a bold pattern that balances the angles of the atrium ceiling above. The new seating can be easily reconfigured to serve a variety of uses.

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color palette for the parents lounge is more muted than elsewhere in the building. Multiple seating areas provide space for both relaxation and business-oriented tasks. Artificial plants introduce a sense of nature, without the allergens of live plants.

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floral pattern fabric selected for the atrium furnishings lends a sense of whimsy to the open atrium, while also incorporating a sense of natural elements, since plants are not permitted in the building.

The mission undertaken by ASID chapter volunteers—led by a team of eight professional members from throughout the Los Angeles-area—included the three primary project goals of designing spaces that would encourage communication and bonding within and between families; using warm, “happy” colors and incorporating elements of nature in the design; and specifying sustainable materials whenever possible. Residents and staff at the LARMH welcomed the new design with great enthusiasm, recognizing that the redesigned spaces truly reflected their unique needs. “ASID members took the design needs of our very special population and gave us back something truly amazing,” wrote LARMH executive director Vincent Bryson. “Every detail from layout to flow, décor to color schemes was designed to make our House the most healing place for our seriously ill children.” i

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ENVIRONOTES/ By Sharlyn Underwood, ASID, LEED AP

Bright Ideas ENGAGING DESIGNERS WITH GREEN/

SUSTAINABILITY, GREEN, ENERGY-EFFICIENT

and environmental design are increasingly prevalent buzzwords in the design and construction industry. In fact, many would argue that they are as integral to today’s interior designer as accessibility and life safety codes. Yet despite the numerous interior designers— many of them LEED Accredited Professionals—that are marketing their work as green, some designers remain disengaged from the conversation. As a Society, ASID has a role to play in engaging—and inspiring—our members in the ongoing and ever-changing sustainable conversation. As an organization, we ask ourselves questions such as • How can ASID engage interior designers with the tangible aspects of sustainable design? • How can sustainable design be taken beyond LEED? • How can we link designers and clients to the personal and passionate nature of sustainable design? • How can ASID help designers understand their relevance to these issues? • How can ASID broaden its efforts to have its members embrace sustainable design?

www.asid.org

To consider these questions, we spoke with sustainable experts with a diverse set of experiences and backgrounds—interior design, architecture and manufacturing—in order to gain their insight on how we can help make sustainability resonate with all ASID stakeholders. THE BOTTOM LINE

“We’ve learned that sustainability most resonates when it’s tied to economic issues such as making and proving the business case for green, and demonstrating to designers how green strategies will contribute to bottom line results for their clients—and also for their own practices,” shares Penny Bonda, FASID, LEED AP, a sustainability pioneer and founding chair of the ASID Sustainable Design Council and the USGBC Committee for LEED for Commercial Interiors. As an example, Bonda cites a colleague who tells his clients the following: “I can provide you with an interior that will deliver a healthier environment, use less energy, conserve water and respect the planet’s resources, all at a lower cost. Would you be interested in that?” Perhaps stating the obvious, Bonda affirms: “No one says no to that.” Continued on page 25

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SIMPLE TO


ENVIRONOTES/

Designers are integral to the sustainable design process. “If not the designers, who’s going to take care of these issues? The buck stops with us.”

This quantifiable, bottom-line approach is reflected in programs such as LEED, a pointcumulative standard by which to measure the “greenness” of a building. While LEED has been broadly accepted and changed the face of green building, many in the industry see it as merely a jumping-off point. “Those that truly have a ‘passion’ do not need the encouragement to take it [beyond LEED] to their personal life,” explains Paul Murray, a member of the ASID Sustainable Design Council and director of environmental affairs and safety at Herman Miller, Industry Partner of ASID. Bonda concurs, noting, “Building green is not about the points. It is the point.” HOLISTIC APPROACHES

Adopting a more holistic mindset about green design tunes practitioners into the myriad choices each of us make every day that collectively have a significant impact on the environment. “The reason we’re doing [design/building] is to sustain life,” says Bill Reed, AIA, LEED AP, Hon. FIGP. A founding member of the USGBC and past co-chair of the LEED Technical Committee, Reed focuses on managing and creating frameworks for integrative, whole-systems design processes. “To truly sustain life through sustainability, we need to understand how life works,” continues Reed. “Unless we understand a building’s impact on life around it, we’re missing the point.” In order to help designers think this way, Reed firmly believes that experience with, and knowledge of, the natural environment is critical. He advises colleagues to “get outside” and walk the client site, taking note of its unique environment. Designers should feel a building’s connection to the natural environment “in their gut” says Reed. Then use that feeling as a filter to set a project’s green parameters. Bonda and Murray also suggest a more pragmatic approach to engaging with sustainability. Bonda has found case studies and examples to be one of the most effective ways to engage designers in the mission of sustainability. “Education, education, and then add a little more education,” touts Murray. He encourages a dynamic media forum that can be useful to all ASID members—a forum that includes a bulletin board for ideas and exchange of information; a medium for leaders to showcase their ideas and concepts; a home for Web-based learning. Regardless of any particular approach, what is clear is that designers are integral to the sustainable design process. “If not the designers, who’s going to take care of these issues? The buck stops with us,” says Reed. He also issues this challenge: “Do you ask for permission to do beautiful interior design? Don’t ask permission to do sustainable design either.” i

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A former member of the ASID Sustainable Design Council, Sharlyn Underwood, ASID, LEED AP, is a sustainable design consultant in Roanoke, Va.

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DESIGN FOR LIFE/ By Samantha McAskill, FASID and Ingrid Fraley

Designing in the Care HOLY CROSS HOSPITAL SETS A NEW STANDARD FOR SENIOR EMERGENCY CARE/

NESTLED IN THE residential neighborhood of

Silver Spring, Md., Holy Cross Hospital has been serving this suburban Washington, D.C., community since 1963. Recognized for its innovation and leadership, Holy Cross incorporates the latest healthcare technologies and surgery techniques, and continues to promote the concept of person-centered care. This imperative, placing patient comfort at a high priority, is apparent from the moment one first steps into the hospital. The arrival sequence to the main entry of the hospital is skillfully designed, eliminating the cold and sterile interiors of the past. Common spaces now embrace hospitality concepts and create inviting spaces for patients, families and visitors. Retail spaces, options in dining venues and intimate seating areas with strong connections to the outdoors are part of the new vernacular throughout the hospital. From this welcoming environment, one then passes to the emergency waiting room, which is clean and orderly, but predictable in its design, with rows of chairs and a triage station controlling the admitting process. Older adults (those 65 and older) join the line and are assigned an acuity level number of one to five, depending upon their complaint and medical condition. A number one designation quickly moves the patient to emergency care. MEETING UNIQUE NEEDS

This is where the magic begins, upon the patient’s entry into the “seniors emergency care unit.” Gone are the typical cubicle curtains, shiny VCT flooring and glaring overhead lighting. In their place, full-height walls define each bed space and ensure acoustical privacy. Wood-look sheet vinyl flooring in a matte finish is partnered with soft paint colors. All of the spaces are illuminated by direct/indirect lighting fixtures with dimming capabilities, while natural light is introduced via three transom windows. The special needs of seniors have been taken into consideration throughout the patient areas. Each of the six bays features extra thick TempurPedic® bed mattresses to cushion the body and prevent bed sores. Telephone dials feature bold numbers on large buttons for the visually impaired, while a large and clearly-marked red “push for help” button is located at arm’s reach on the wall. A large calendar provides a sense of orientation for the patient, while a chalkboard announces the name of the caregiver. Bedside registration is possible via a

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mobile computer station, reducing the need to move patients around. Restrooms are conveniently located for patient access, and corridors are kept free of clutter and carts. The expansion of a central supply room near the nurses’ station helps to decentralize the delivery of supplies. One of the best features is the dimming control of the overhead light fixtures, which aids in inducing rest and relaxation at a time of stress and anxiety—even the television can be tuned to the “relaxation channel.” The concept for this seniors emergency care unit can be attributed to hospital CEO Kevin Sexton. After a negative personal experience with his mother’s admittance to a crowded and chaotic emergency department in a New Jersey health system, Sexton championed the idea at Holy Cross to change the level of service as well as the environment in order to provide a more positive experience for all elderly patients. The population over age 65 in Montgomery County, which Holy Cross serves, is projected to increase by 70 percent over the next decade.

Emergency call buttons are large and within easy reach

BUILDING A NEW SYSTEM

Holy Cross was lucky to have the space and the financial support of their foundation, and a reputation for innovation. What they didn’t have was a plan or benchmark to refer to, and they also needed to build consensus among the physicians and staff. Focus groups of local seniors were held in order to gain valuable information from the end-user’s perspective. In addition, Dr. Bill Thomas, Professor of Aging Studies and Distinguished Fellow at the University of Maryland Baltimore County’s Erickson School—known for his innovations in the Eden Alternative and Greenhouse models of care—assisted with the programming and planning phases. The hospital’s new care team added a geriatric nurse practitioner, registered nurses trained in geriatric care and a social worker skilled in elderly issues. Key supporters of the project included the director of emergency care, emergency care physicians and the hospital’s office of strategic planning. Sensitivity training was introduced to all levels of staff involved in patient care. Remarkably, Holy Cross was able to complete this project in one year, using in-house staff for most of the construction. Only the flooring and lighting were installed by outside contractors.

Extra-thick Tempur-Pedic® mattress cushions the body

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DESIGN FOR LIFE/

A SUCCESSFUL MODEL

Since its grand opening in November of 2008, the seniors emergency room at Holy Cross has received consistently positive feedback from both patients and caregivers. Most comment on how quiet the unit is and feel that their care is better than in a typical hospital environment. Holy Cross also receives frequent inquiries from other hospitals that want to replicate what has been accomplished in their seniors emergency room. But, there are changes that Bonnie Mann, director of senior services, feels would further improve the interior environment and services for seniors. One change is to eliminate the hospital-wide intercom and convert to a wireless paging system. Other wish list items include doubling the unit to 12 beds, adding more staff (especially in the evening hours) and creating more storage areas. Mann would also like to focus more of the unit’s resources on the patients with dementia and their particular socialization needs. As a result of the success of the seniors emergency center, Holy Cross has opened a seniors ambulatory surgery center that incorporates the same concepts developed for the interior environment and staffing that is part of the emergency center. And, in the near future, Mann would also like to apply theses concepts to some of the hsopital’s acute care patient rooms. As we have all learned when it comes to designing supportive interior environments for older adults, what’s good for seniors can teach us how to take good care of everybody. i

Combination of direct/indirect lighting with natural light reduces glare and improves visibility

Full-height walls provide visual and acoustical privacy

Wood-look vinyl flooring and soft paint colors create homey feel

Holy Cross Hospital

Calendar helps patient orient spatially

Samantha McAskill, FASID and Ingrid Fraley are members of the ASID Design for Aging Council.

The Holy Cross seniors emergency care unit has received consistently positive feedback from patients and caregivers. Most comment on how quiet the unit is and feel their care is better than in a typical hospital environment.

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Showroom Prowess

Sensible Cooktops

WORLDLY RESOURCES IN THE SOUTH/

SMART TECHNOLOGY FOR TODAY’S COOK/

THE INTERNATIONAL DESIGN Center (IDC), the premier resource for designers and consumers in southwest and central Florida, is the newest of 19 major design centers in the nation. The 250,000-square-foot IDC features 45 distinctive showrooms on three floors, presenting a world-class collection of the finest products, from lighting to floors. IDC offers CEUs and seminars and includes services such as a Seminar Room and Designers’ Lounge, a design referral program and an on-site museum-quality warehouse.

THERMADOR’S ELECTRIC COOKTOPS feature exclusive infrared sensor technology called

Sensor Dome. This unique retractable sensor dial utilizes an infrared beam that continuously measures the heat from the cookware. It then automatically shuts the burner off, as well as cycles it on and off, to maintain the precise temperature needed while preventing boil-over. The result is time-savings combined with superior cooking performance—without the guesswork or the need to constantly adjust the temperature. i For more information, visit www.thermador.com.

For more information, visit www.idcfl.com.

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INSIDE ASID/

See. Listen. Learn.

Grow Your Business

ASID WEBINARS LEAD TO CEU SUCCESS/

NEW DECORATI PARTNERSHIP LINKS MEMBERS WITH CLIENTS/

STAY CURRENT ON the latest issues and trends—

and earn CEU credit—through the ASID webinar series. Geared to practitioner and Industry Partner members, the series is comprised of 35 hour-long interactive webinars on interior design industry issues and trends. Each program is selected by ASID and presented by leading experts. Sessions include Environmental Psychology, The Art of Networking, Workplace Trends, Sustainable Design and Ergonomics in the Office, among others. Visit the ASID website for a full schedule of webinars. Upcoming programs in August include • Transitioning from a University to Workplace Environment • BIFMA e3 Sustainability Furniture Standard and Level Certification • Financial Management for Design Firms: Accounting and Taxes • Making the Most out of your ASID Membership • Improve Sales Performance. ASID WEBINARS ARE

FAST NO WASTED TIME. Get right to the heart of the matter with a one-hour block of lecture followed by an additional 30-minutes for questions. The presentations are designed to easily fit into your busy schedule.

CONVENIENT NO TRAVEL. No time out of the office. Participate

from the comfort and convenience of your desk.

EASY THE ONLY EQUIPMENT YOU NEED is a telephone and computer. Just log in, punch in your access code, and you’re in. That’s it.

MULTIPLE LISTENERS USE A SPEAKER PHONE—as many people as

you want can listen in. These sessions are a cost effective, time-efficient way to inform yourself and key personnel.

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ASID RECOGNIZES THAT, more than ever, our

members need assistance in finding projects. For years ASID has offered members our complimentary online referral service which allows ASID designers to post portfolio pictures and provide details on their specialties, awards and professional fees. In addition to this continued service, ASID is pleased to introduce a partnership with Decorati that will bring additional business opportunities to ASID members. ASID practitioner members will receive project leads through Decorati in two new ways. In March, ASID launched the ASID Designer Matching Service powered by Decorati. This service is accessed through the Society’s website and is available to prospective residential and commercial clients. All leads will be passed exclusively to ASID members. Clients will include information on the project scope, location and budget. This service will supplement the existing ASID Designer Referral Service. Secondly, ASID members will also be included in the Decorati.com Design Advisor leads list when a potential client requests assistance on www.decorati.com. As a member of ASID, you will be given a complimentary Decorati account, and be eligible to receive consumer project leads for at least the next six months. Decorati receives a significant volume of prospective projects each week and the service has been profiled in The New York Times and other national media outlets. So, how does the ASID partnership with Decorati work? When a lead comes in from a potential client, via either asid.org or decorati.com, a sophisticated algorithm identifies the appropriate group of members who will receive an email with basic information on

the project. Up to four members may then respond via email that they are interested in the proposed project and will pay a fee of $18 to $48 (depending on the size of the project) to receive the full client contact details. This nominal fee is charged so members may self-identify their interest and the prospective client is contacted in an orderly manner. An explanatory FAQ section is featured in both portals for the use of prospective clients and our members. We believe this partnership will further reinforce the importance of hiring a qualified interior designer and that ASID is the place to grow your business and increase your bottom line. For more information, visit www.decorati.com/designadvisors/asid.

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INSIDE ASID/

Honoring Design Scholarship ASID FOUNDATION PRESENTS ANNUAL AWARDS/

EACH YEAR, THE ASID Foundation honors mem-

bers of the design community through the ASID Foundation Scholarships and Awards program. Open to both ASID members and non-members, the awards and scholarships range from monetary awards for contributions to the profession to scholarships for all levels of students and professionals. The program has been a part of the ASID Foundation since its founding in 1975. This year we recognized the following 2010 award recipients. The Joel Polsky Academic Achievement Award, recognizing an outstanding undergraduate or graduate student’s interior design research or thesis project, was given to Liliana Custy. Her project, “Transdisciplinary Teams and Aging in Place Design: The Interior Designer’s Role,” examined factors influencing participatory research team effectiveness in aging in place design. The Joel Polsky Prize, recognizing outstanding academic contributions to the discipline of interior

design through literature or visual communication, was given to Susan Winchip, LEED AP. Winchip’s project, “Visual Culture in the Built Environment: A Global Perspective” was written for those seeking to understand the recent history of the global built environment by engaging in a contextual analysis from a visual culture perspective. The Yale R. Burge Competition is open to all students in their final year of undergraduate study and is designed to encourage students to plan their portfolios. Honoree Stephanie Isaacs’ portfolio draws inspiration from subcultures associated with art, music, and history and explores the juxtaposition of graphic form, color and texture within a space. The Irene Winifred Eno Grant provides financial assistance to individuals or groups engaged in the creation of an educational program or interior design research project dedicated to health, safety and welfare. This year’s winner, Michelle Kiese, Student Member ASID, is involved with the Delridge

Neighborhood Development Association (DNDA), in partnership with the King County Food and Fitness initiative, to bring healthier lifestyle options to residents living in low-income areas. With Kiese’s help, DNDA is working with existing corner markets in the Delridge area to redesign the interior spaces of the stores to reflect a healthy environment. The Dora Brahms Award recognizes those who encourage and support the advancement of professional activities in historic preservation and/or restoration. For her winning project, Clarissa Carr, Student Member ASID, at the University of Florida, documented the interiors of the Seneca BostonFlorence Higginbotham House, which is operated by the Museum of African American History in Boston. For more information about the ASID Foundation scholarships and awards, visit www.asidfoundation.org or email foundation@asid.org.

Funding the Future YOUR SUPPORT WILL BUILD THE PROFESSION/ WHETHER IT IS interior design research, scholarships or educational ini-

tiatives, those committed to the ASID Foundation and its many worthy endeavors share a vision for the continued strength and influence of the interior design profession, believing that it can enhance our world and improve our environment. Your tax-deductible gift to the ASID Foundation is a thoughtful way to support the work of the Foundation and the future strength of the interior design community. Please make a donation today and show your support for the profession. You can make an online donation by visiting www.asidfoundation.org. i

www.asid.org

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Taxing News SALES TAX EXEMPTIONS FOR SERVICES AT RISK/ INTERIOR DESIGNERS MAY find themselves in an unfa-

miliar position soon: tax collector. For decades, most states have had broad exemptions for professional services from the state’s sales tax. Those tax systems were set up to tax tangible goods, while fees for services were considered income for the service providers, not a sale. However, interior designers may see that change in the coming years as states amend their tax systems to be more in line with today’s service-based economy, shoring up their budgets in the process. While increasing taxes is never popular, it is often easier for states to pass than budget cuts. With a more service-focused economy than in times past, and with many retailers crying foul over increased sales tax on their products while services remain tax exempt, some states are considering lifting that exemption. Already this year, the Nebraska legislature introduced a bill that would lift the sales tax exemption from interior design services, among others. In March, the Texas House

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Ways & Means Committee held a hearing on the topic of lifting the sales tax exemption for interior design (among other) services, the outcome of which is still unknown. It is almost certain that other cash-strapped states will start exploring this avenue of raising funds. Obviously, no business owner wants to see their services taxed. It places an increased administrative burden, lowers the buying power of their customers and cuts into their profit margins. It is also possible that some direct competitors might remain tax exempt. In this scenario, it is possible that interior designers and architects might be taxed differently, one exempt and one not, for providing essentially the same services. Although not all interior designers are interested in ASID’s marquee legislative issue of licensure, every interior designer will be negatively impacted if sales tax exemptions are lifted. The only way to thwart legislation when it arises in your state is to become an advocate for your profession.

the magazine of the american society of interior designers


GRASSROOTS/

Mark Your Calendars 2010 ASID INTERIOR DESIGN LEGISLATIVE SYMPOSIUM/

OCTOBER OCTOBER 22 – 24, 2010 OMNI INTERLOCKEN RESORT BROOMFIELD, COLORADO

TAKING PLACE EVERY other year, the ASID Interior Design

Legislative Symposium is your best opportunity to connect with interior design legislative leaders from across the country. Attendees will discover how to • address challenges facing the interior design profession • strategically plan your legislative efforts • get your message to elected officials and other key audiences • spur grassroots awareness and involvement. Look for more program details and registration information by email and at www.asid.org soon!

Ethics Updates RECENT DISCIPLINARY HEARING RULINGS/

NOVEMBER 7-13, 2010

AT A HEARING held in Washington, D.C., on Thursday, April 22,

2010, before the disciplinary committee of the board, it was unanimously determined that Joanna Tuttle, ASID, violated sections 2.4, 3.4, 4.5, 5.1, 6.1 and 6.3 of the ASID Code of Ethics and Professional Conduct. Joanna Tuttle, ASID was censured due to violating the above code sections. i

Contact the ASID Government & Public Affairs Team ASID has a full-time staff of three experienced professionals working to protect interior designers’ rights in the government and public affairs arena. If you have any questions or would like to become involved in interior design legislative efforts, please contact the ASID Government and Public Affairs team at (202) 546-3480 or gpa@asid.org. Don Davis, director – ddavis@asid.org Ryan Day, associate director – rday@asid.org Caitlin Lewis, government affairs assistant – clewis@asid.org

Visit us at www.asid.org/legislation.

www.asid.org

For additional information on how to participate, visit www.asid.org/rwdw.


SHOWROOM/

AMERICAN CLAY ENTERPRISES

GLASSFILM ENTERPRISES

Home, office or showroom – American Clay’s incomparable natural interior surfaces bring an ancient tradition to the foreground of contemporary Interior Finishes. Focusing on the inherent qualities of clay – longevity, mold resisting, temperature moderating, dirt repelling, humidity controlling, sound attenuating, NO VOCs, flexible and repairable – the plasters are suitable for all climates. The clay also naturally interacts with temperature and humidity within a space-producing higher levels of soothing negative ionic energy. Friendly to the environment and to good interior design, American Clay is committed to healthy solutions for beautiful, calm, and healthy environments. (866) 404-1634, www.americanclay.com.,

“We have designs on your glass” Supplier of a variety of film-to-glass applications that enhance the appearance of glass. One of the newer, most exciting products is LUMISTY™, which makes glass change from transparent to translucent, depending on the angle from which it is viewed. Also available is DECOLITE™, pictured here, a series of translucent decorative films, with or without patterns, that simulate the appearance of etched or sand-blasted glass. All films can be purchased in rolls or professionally installed. Tel: (978) 263-9333 Web site: www.glassfilmenterprises.com.

FIRE FARM LIGHTING

PALETTE CONTEMPORARY ART & CRAFT

Visit www.FireFarm.com to see Fire Farm’s newest custom projects, view the entire stock product line, and read the latest blog post from the shop floor. www.FireFarm.com | Info@FireFarm.com | (563) 245-3515

Palette Contemporary Art and Craft has artwork that will meet your commercial and residential design needs. Please consider our international collection of fine art glass, original paintings and limited edition prints. We also inventory Modernist sculpture. Pictured, with over 30 available colors, Laura de Santillana’s glass Bambu Vases make a stunning statement when grouped together or displayed individually. Please visit us at www.palettecontemporary.com or call (505) 855-7777. Check our Upcoming Events web page. We may be displaying our artwork at a fair near you!

It takes thousands of knots to make a beautiful rug. And another one to make sure a child didn’t weave it. Some 250,000 South Asian children are forced to weave rugs destined for our homes. Look for the human knot on the GoodWeave label and you can help stop this practice. Every GoodWeave certified rug is made on a loom that is independently monitored, ensuring that only adult artisans crafted it.Your GoodWeave purchase helps get children off looms and into schools. So when you are looking for a beautiful rug, look for the GoodWeave label. Learn more at www.GoodWeave.org.

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the magazine of the american society of interior designers


RESOURCE GUIDE/

PAGE

ADVERTISER ADVERTISER

Of Note...................................................................... 6

................................................................20 Up Close ..................................................................20

Building Type Basics for Housing, 2nd Edition, Joan Goody, Robert Chandler John Clancy, David Geoffrey Wooding Dixon & Geoffrey www.asid.org/bookcenter

Spectrum Interior Design www.spectrumvero.com

Color + Design: Transforming Interior Space, Ronald L. Reed, ASID www.asid.org/bookcenter Journal of Interior Design www.interscience.wiley.com/joid10 The ADA Companion Guide, Marcella A. Rhoads www.asid.org/bookcenter The State of the Interior Design Profession, Caren Martin, FASID & Denise Guerin, FASID www.asid.org/bookcenter Goodweave by Rugmark USA www.goodweave.org NCIDQ www.ncidq.org

Los Angeles Ronald McDonald House www.larmh.org ...........................................................23 Environotes ............................................................23 Penny Bonda, FASID, LEED AP Ecoimpact Consulting pbonda@gmail.com Paul Murray Herman Miller, Industry Partner of ASID www.hermanmiller.com paul_murray@hermanmiller.com Bill Reed, AIA, LEED AP, Hon. FIGP Integrative Design Collaborative www.integrativedesign.net reed@integrativedesign.net

Euroflues Euroflues www.euroflues.com www.euroflues.com

Sharlyn Underwood, ASID, LEED AP sharlynu@yahoo.com

Sanna Lindstrom and Sigrid Stromgren www.sannasigrid.com

Life .......................................................26 Design for Life........................................................26

Studio Jo Meesters www.jomeesters.nl ....................................12 The Art of Understanding .....................................12 Pat Algiers, ASID Patricia S. Algiers & Associates Inc. www.chemistryinplace.com algiers@sbcglobal.net Suzan Globus, FASID, LEED AP Globus Design Associates www.globusdesign.com suzan@globusdesign.com Goff, FASID Bruce Goff, Domus Design Group www.domusdesign.com bruce@domusdesign.com Nila R. Leiserowitz, FASID, IIDA, Assoc. AIA Gensler www.gensler.com nila_leiserowitz@gensler.com Terri Maurer, FASID Maurer Consulting Group www.maurerconsultinggroup.com tlmaurer@maurerconsultinggroup.com Polly Zeleny, CAPS Concept360, Industry Partner ASID www.concept360.com polly@concept360.com Interior Design Management: A handbook for Owners and Managers, Christine M. Piotrowski, FASID Specifications for Commercial Interiors, S.C. Specifications Reznikoff The Interior Design Business Handbook: Profitability, Mary V. A Complete Guide to Profitability, Knackstedt, FASID

Dacor ............................................................................... 1 Dacor 1 www.dacor.com/love

Spotlight .................................................................22 Spotlight..................................................................22

Ekokook www.ekokook.com

........................................................... 10 Innovations .............................................................

DesignWeek .................................. 33 ASID RealWorld DesignWeek................................... www.asid.org/rwdw

Susan Schuyler Smith, ASID sss@spectrumvero.com

ASID California Los Angeles Chapter www.asidla.org

Ingrid Fraley ifraley@aol.com Samantha McAskill, FASID DSM Design Concepts www.dsmdesign.com mcaskill@dsmdesign.com Holy Cross Hospital www.holycrosshealth.org www.holycrosshealth.org/svc_emergency_ seniorcenter.htm

POSITION

LLC................................34 American Clay Enterprises, LLC. ..............................34 www.americanclay.com

ADVERTISERS

SECTION

Enterprises.................................................... .................................................. 2 Ferguson Enterprises. www.ferguson.com Lighting.......................................................34 .....................................................34 Fire Farm Lighting. www.firefarm.com www.firefarm.com Enterprises ................................................34 GlassFilm Enterprises.................................................34 www.glassfilmenterprises.com www.glassfilmenterprises.com Glen Raven............................................................ 24, 25 www.glenraven.com GoodWeave..................................................................34 ................................................................34 GoodWeave. www.goodweave.org Guardian Industries Corporation ...................................... inside back cover Corporation....................................... www.guardian.com Juxtaform ..................................................................... 11 Juxtaform...................................................................... www.juxtaform.com Craft ...........................34 Palette Contemporary Art & Craft............................34 www.palettecontemporary.com Inc. .......................outside back cover PPG Industries, Inc.........................outside www.voiceofcolor.com Lambert ............................................................ 5 Pratt & Lambert............................................................. www.prattandlambert.com The Sherwin-Williams Company............................................ .......................................... inside front cover Company. www.sherwin-williams.com LLC ........................................................... 7 Tri Vantage, LLC............................................................ www.trivantage.com Inc. ................................................... ................................................. 9 Williams-Sonoma Inc.. www.wsgc.com

Industry ....................................................................28 ..................................................................28 Industry. Garrett Leather, Industry Partner of ASID www.garrettleather.com International Design Center, Industry Partner of ASID www.idcfl.com www.idcfl.com Miele, Industry Partner of ASID www.mieleusa.com Thermador, Industry Partner of ASID www.thermador.com Trendway, Industry Partner of ASID www.trendway.com Things........................................................36 ......................................................36 Needful Things. Stephanie Samara, Allied Member ASID Karlovec & Company www.karlovec.com stephanie_samara@karlovec.com

ADVERTISERS BY CATEGORY APPLIANCES Dacor ................................ 1 Dacor................................. ARTS & CRAFTS CONTEMPORARY Palette Contemporary Craft .................34 Art & Craft..................34 DECORATIVE GLASS GlassFilm Enterprises ................34 Enterprises.................34 FABRICS Raven.............24, ...........24, 25 Glen Raven. LLC .......... 7 Tri Vantage, LLC........... KITCHEN ACCESSORIES Inc ...9 Williams-Sonoma, Inc....9 KITCHEN APPLIANCES Ferguson Enterprises .................. 2 Enterprises................... LIGHTING Ferguson Enterprises .................. 2 Enterprises................... Lighting ....34 Fire Farm Lighting.....34

PAINT PPG Industries, Inc. ......................outside Inc........................outside back cover Lambert ........... 5 Pratt & Lambert............ The Sherwin-Williams Company.............. Company. ............ inside front cover PLUMBING FIXTURES Ferguson Enterprises .................. 2 Enterprises................... SHOWER ENCLOSURES Guardian Industries Corporation......... Corporation. ....... inside back cover SPACE ARTICULATORS Juxtaform........................11 ......................11 Juxtaform. WALL COATING/ DECORATIVE FINISH American Clay LLC ......34 Enterprises, LLC.......34 WINDOW FILM GlassFilm Enterprises ................34 Enterprises.................34

Jenny Rebholz, Allied Member ASID jsrebs@yahoo.com Cognition ................................................. 16 Kitchen Cognition.................................................. Leonardo Bonanni MIT www.mit.edu leonardo.bonanni@gmail.com Ted Selker MIT www.mit.edu ted.selker@gmail.com Counter Intelligence Project media.mit.edu/ci

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NEEDFUL THINGS/ Photo courtesy of V&A Images, Victoria and Albert Museum

Stephanie Samara, Allied Member ASID DESIGNER, KARLOVEC & COMPANY/

I AM OFTEN inspired by the Art Nouveau period.

Designers and artists had such reverence for organic forms whether they were curvilinear like Guimard’s Metro entrances or straight like Mackintosh’s chairs. And the forms are still current today.

Designs from the Art Nouveau period, such as this elaborate paneled bench by Carl Spindler, influenced jewelry, art, furniture, architecture, nearly everything!

Do you have a “Needful Thing” to share? Email it to icon@asid.org.

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the magazine of the american society of interior designers


THE BOOK OF NOW 2010 / 2011 COLOR TRENDS

6\Y;PTLHZT\JOHZV\Y;HZ[LZKLÄULV\Y:WHJLZ Look at this year’s color stories with a mind open to the now. :LLOV^ILH\[`OHZILLUYLKLÄULKPUV\YMV\YUL^JVSVY[YLUKZ Among them we are introducing Pink City, a color scheme inspired by [OLJP[`VM1HPW\Y0UKPH[OH[WYVTPZLZZLSMKPZJV]LY`HUKHK]LU[\YL^P[O H]PIYHU[WYVMV\UK0UKPHUWPURZWPJ`VYHUNLJOVJVSH[LIYV^U stone gray and linen white. Representing an urban ZVWOPZ[PJH[PVU[OH[]PIYH[LZ^P[O[OL]LY`W\SZLVMSPML :LLV\YM\SSJVSSLJ[PVUVM[YLUKZH[^^^]VPJLVMJVSVYJVT



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