Designing A Possible Future Career Path

Interior Design is a misunderstood profession. Interior Design can be defined as the art or process of designing the interior decoration of a room or building (Oxford 2017). It is often undermined by a related profession known as Architecture. Architecture is the art or practice of designing and constructing buildings (Oxford 2017). From this misinterpretation and mistaken identity, Interior Design is assumed to be Architectures’ “other”. Much literature has been written on the subject of Architecture versus Interior Design. Three main points dominate the discussions: Masculine versus feminine stereotyping, superior versus inferior and Interior Design versus Interior Decorating.

Interior design and architecture are essential, and often overlooked, aspects of everyday life. In modern society people rely on function, durability, and visual appeal when selecting designs for their homes, businesses, and places of leisure. The way that a space is designed influences such things as mood, which, in the case of a business, can impact the productivity of employees and either draw or repel customers. In residential design, the design becomes very personal and, to be considered a successful design, must properly reflect the home owner while at the same time offering some practicality that makes the space livable. An effective design, for any space, must solve some problem, be it function, flexibility, or some other criteria. Simply solving a problem would not please the customer, however, unless it offered some visual appeal. Creating function with style is the real job of any interior designer, and is essential in a content society.

In this research paper I will be taking a look at two prestigious art and design schools. Each of these schools is world renowned and highly ranked, and has many famous alumni. I will also feature some of the famous artists and designers that have graduated from the schools over the years. The two schools are The Pratt Institute in New York, and The Royal College of Art or RCA in London, England.

My interest in interior design commenced in middle school during a project on various careers. Since then, it has become an ever-developing passion. Interior design has manifested itself into my daily thoughts. I constantly look at my surroundings, wondering what I could do to change the room into a more practical space. This fuels my thirst for further knowledge. The only way to gain this knowledge is to get a degree and learn through practical application. My educational and professional career objectives are to obtain a bachelor of fine arts in interior design and to succeed as a commercial interior designer.

After, observing the way sunlight glistens on the interconnected surfaces and shooted facades of metal and glass high into the sky, I wished someone else could be walking in my shoes, experiencing my elation. For the first time, my happiness turned into comfort. This feeling in the middle of the sidewalk in addition to the work I did with professionals made sense to me. In the short term, having a job is satisfactory, but having pride and joy for a job is a rare experience. The idea of making a difference ignited a passion for me to work assiduously from the beginning to the end. The opportunity to experience the real and raw elements that occur in a professional firm allowed me to finally highlight the skills I had all along, which taught me how to work with adult professionals without coming across as a kid. Having so much responsibility further motivated my ambition to double major in architecture and engineering. Once I saw the hands-on view of being an architect, I fell in love with the idea of designing buildings to be alluring and a progress for the world. From time to time I critique buildings in my mind, to the point of questioning myself, “Where is there room for improvement?” Architecture should portray the idea of stability, while creating a certain atmosphere of favor and character, when you walk into a space.

I’ve been immersed in design from a young age. My mother was a stylist and so our home was always beautifully accessorised. My father was a civil engineer and so I was always surrounded by architectural drawings. The combination of my mother’s aesthetics and father’s functionality laid the foundations for my interest in interior design.

Poldma dissects the Interior Design one element at a time. Her book will assist with the research

My career in the design industry has spanned more than twenty years from my early years as a junior designer, through to my current role as a Studio Manager for a multi-national, integrated design and marketing agency. I have had an interesting career, working in many sectors and even working abroad on a couple of occasions.

My grandfather was in the construction industry; therefore when I was a child, I had many chances to stay in a huge space surrounded by rough cement. Even I was such a little kid, I would look at the space and think about how to plan and arrange the layout of it. That is the beginning of my lifelong love of interior design. As I grew up, I gradually discovered that a space should not only be a place that provides a comfortable shelter, it also should be a mind relaxing and exploring place that makes people think, reflect, have dialogue with oneself, and thereby grow. After I enter the workplace, I still possess the passion for observing the space and obtaining the knowledge of interior design, and I realized that interior design is the ideal career for me. Ever since, I’ve regarded being an interior designer as the goal of my life. Enlightened by what René Descartes said, “I think, therefore I am,” I believe

On the basis of my self-analysis as delineated below, I have derived the following ethos statement: As a designer, I strive to create works that resist concealing the wicked problems faced in today’s society. The designs that I have produced question the viewer to reflect and engage upon the themes I have presented by virtue of generating a personal connection. Furthermore, my works investigate the fact that various stakeholders have unique objects that create value and meaning in their lives, in addition to how these can be transformed based on a variety of circumstances. Ultimately, through my design practice, I aim to empower others by providing them with a voice, focusing on the ideas of creativity and a sense of community.

This takes interior designers to another area of perception, their clients individual ‘taste’, their likes and dislikes regarding styles, colours, patterns, etc. This is the area where true ‘sight’ is shown, design solutions are made not only from expertise and knowledge of design but by understanding the client’s character, personality and situation. Through sample-boards and discussion the designer will guide their client through the process of choosing relevant features for the space being designed and

There are several attractive features in the career of interior design. “Most people feel a great sense of satisfaction when completing a project that they have personally planned.” Also, if you are a people-person, you will enjoy working with a variety of individuals. You will also have opportunities to work in many different settings and will

In conclusion, this essay has briefly addressed Eileen Gray’s position and unique character she carried through her career during the modernist design period. It focused in on one of her most exemplary works, the E-1027 house, while covering wider areas including her views on the distinct roles within modernism and her addition to the development of this movement through furniture design and architecture. Her prominence is solid due to her individual collection of work that still inspires the present day design

There is something special about art deco interior design. It just does not seem to want to be defined. The unpredictable collision of completely distinct elements is what encapsulates the marvels of eclecticism.

The act of design is acknowledged by both architects and designers. Within current debates on design, one recurring interest seems to be the lengthy debates regarding better understanding of the ‘Designers Viewpoint’, more significantly, the conventional question,’ What is design’. The single word of design embodies a recurring interest offering a wide range of perspective and not just limited to architectural practitioners. A significant comparison of writers dedicate themselves to the oppressing task of uncovering the fundamentals of design. When analysing architecture, whether we are aware of it or not, we need to fuse into our thinking range, not just words but a range of concepts and issues. By this it suggests that when we use the word design, we immediately make certain assumptions about it and we surround it with concepts that inform us or that we take to be part of. When we think of design as being of an actual physical building or graphic proposals for a future building, whether we think of it as a set of intellectual ideas about the nature and the meaning and the future of the discipline of architecture itself, we nevertheless subscribe to it certain characteristics or certain requirements or if you like, certain associations.