IDEC Exchange - Interior Design Educators Council

2011 WinterIDEC ExchangeA Forum for Interior Design EducatorsADVANCING EDUCATION,SCHOLARSHIP AND SERVICEStudent Spotlight:CompetitionsIDEC 2012 AnnualConference: Celebrating50 yearsDesign Intelligence2012 Top 10 InteriorDesign ProgramsImage: Cacoon Chair, designed by Felicia Dean, MS Student at University of North Carolina at Greensboro

CONTENTSIDEC NEWSLETTER | 2011 WINTER3EDITORIALMessage from the PresidentLisa Waxman,19STUDENT SPOTLIGHTCompetitions, Scholarship &Perspective35ACADEMIA | EMERGINGTALENTSpotlight on Emerging Talent inInterior Design5MESSAGE FROM THECOMMUNICATIONS CHAIRIrina Solovyova, Ph.DMeet Your New Volunteers!23MESSAGE FROM THEIDEC FOUNDATION39ACADEMIA |COLLABORATIONCollaboration in Interior Design7MESSAGE FROM THEEDITOR IN CHIEFJonathon R. Anderson27ACADEMIA | RESEARCHResearch Activities in Interior Design44LEADERSHIP DIRECTORYThank You to All Volunteers!8IDEC 2012CONFERENCE PREVIEW11IDEC UPDATES30ACADEMIA | SERVICEService Activities in Interior Design34ACADEMIA | TEACHINGTeaching Highlights inInterior Design4

MESSAGE FROM THEEDITOR IN CHIEFJonathon AndersonI hope that you are all enjoying your semester. In thisnewsletter you will find just how busy the IDECcommunity has been with their research, teaching, andservice.Have you noticed the change in the name of thenewsletter? The editorial staff and I felt that this wasan appropriate time to move past the IDEC record andadapt the IDECexchange. This change comes at a timewhen the layout and rebranding of IDEC is starting tobe revealed. Robert Reid, international editor, believesthe name IDECexchange suggests a living document thatis a forum for the IDEC community. This is exactly thenew direction of the newsletter, one that conveys newsand sparks conversation among the community.The second major change to the newsletter is theaddition of the theme. Each newsletter will have adifferent theme that addresses current issues in interiordesign education. Themed content is to be read asa forum where people are able to add their insight,opinion, or perspective views.I remind you of this issue’s theme—Digital Tendencies.This issue of the IDECexhange critically examines howthe field of interior design has evolved in terms of digitaltendencies and explores how the ever present role of theinterior designer is dynamically changing in this digitalage. In this issue you will read about digital directionsand how the digital realm influences the field of interiordesign.We hope this content raises your own questions of howthe digital field fits into interior design education and theprofession.• Do digital technologies facilitate or hinder thecreativity of students/professionals?• What digital tendencies link the academy and theprofession?• What is the role of the interior designer in the digitalage?• Will emerging digital technologies allow for moreinternational exchange?• How has the digital realm influenced or changedpedagogy?• What are students adapting and advancing to digitaltechnologies?• What emerging digital technologies advance our field’scommunication?• What software and hardware are we using in theIDEC community?• How has the digital realm influenced issues—such asmaterial studies, rendering, color, presentations, andthe physical act of making—in interior designeducation?• What is the future of digital technology and interiordesign education?• What hybrid processes ( from analogue to digital) arebeing explored? How do these types of processes developa dialogue that facilitates the design process?I hope that you enjoy this issue of the IDECexchange. Pleasesend your comments for future content to:newsletter@idec.org.A special thank you to Lauren Shaw, VT grad student, forher hard work and dedication to the newsletter layout.Cheers,Jonathon Anderson7

Baltimore, Maryland,design schools, leaders of interior designfirms, interior design practitioners,design firm representatives, industrypartners, and publishers.Online conference registration androom reservation is now online at:www.idec.org/events/2012.php.Registrations before February 2, 2012are discounted to $445 versus the regularregistration rate of $520 or the on-siteregistration fee of $595. The conferencealso has a non-member and studentregistration rates.The Interior Design Educators Council(IDEC) is an international organizationwith the mission of advancing interiordesign education, scholarship andservice. Founded in 1963, IDEC hasover 850 members.For more information, go online towww.idec.org.THE INTERIOR DESIGNEXPERIENCE PROGRAM:HIGHLIGHTING THE NEEDBuie Harwood, FIDEC, Honorary FASID, CID/VA, NCIDQ #013256Professor Emeritus, Interior Design, VCUArtsIDEC Historian & Chair, IDEC 50th Anniversary Task ForceThe Interior Design ExperienceProgram (IDEP) developed froman important need in the interiordesign profession. In 1990, therewere no universal or standardizedguidelines, no approved structure,and no evaluation process forprofessional interior design workexperience at the entry level.And, many design professionalsdid not understand or value therequirements needed for this typeof program. This missing experiencelink was a crucial component in thesequence of education, experience,and examination in the interiordesign career path. Requirements inthe interior design career path weresuppose “to provide a system forevaluating the quality, responsibility,and ability of a person to meetminimum standards and guidelinesfor professional competency anddevelopment” (Harwood, 1995,p.44).At the same time, all requirementsin the career path were underscrutiny in the legal registration(licensing) arena. FIDER (formedin 1971; now CIDA) addressededucational requirements in bothtwo-year and first professionaldegree level programs, but there wasno accepted minimal educationalstandard for legal registration.NCIDQ (formed in 1974;administers the interior designqualification examination) evaluatedwork experience requirementsfor examination candidates, butthere were no approved universalexperience guidelines to follow,and there was great diversity incandidate backgrounds. NCIDQalso coordinated legal registrationefforts for the interior designprofession, which throughout the1980s, highlighted concerns about“the responsibility and qualificationsof interior designers to makedecisions regarding the health,safety, and welfare of the generalpublic” (Harwood, 1995, p. 39).Additionally, “licensing boards eitheraccepted the NCIDQ experiencerequirements or developed their ownoften without research or universalagreement between the boards”(Harwood, 1995, p. 45).It was generally recognized by leadersin the interior design associationsand licensing coalitions in NorthAmerica that the public needed to beassured that anyone using a title orhaving a professional license had theappropriate qualifications. Becauseof these missing requirementsand qualifications, architects andothers in the licensing arena werechallenging the substance andquality of the interior design careerpath, causing great concern amongmembers of professional interiordesign associations.The concept of a monitored workexperience program in interiordesign was 1) recommended in1975 in the ASID Report of theInternship Task Force; 2) identifiedin 1984 by professional leaders inThe 1995 Hypothesis; 3) proposedin August 1988 by the FIDER Boardof Trustees for graduates with a firstprofessional degree level education;4) approved in September 1988 bythe Interior Design Issues Forum; 5)endorsed in December9

1988 by constituent associations of FIDER; and 6)unanimously endorsed in May 1989 by the majorinterior design associations in North America. Bythe end of 1989, it was clear that an entry-levelapprenticeship program was important to theprofessional practice community. Eventually turf warsfor professional recognition and project work resultedin a formal letter of agreement on title registrationbetween the architectural and interior designprofessions (Harwood, 1995, p. 47). In December1989, the Accord Agreement on interior design titleregistration was signed between ASID, IBD, ISID(IBD and ISID later merged to help form IIDA), andthe American Institute of Architects (AIA). One ofthe requirements for legal registration stipulated inthe agreement was the development of a monitoredinternship program.Consequently, interior design association leaders, onbehalf of their associations, initiated a research studyto define the need for an entry-level work experienceprogram and to develop it. By 1991, a few interiordesign organizations had appointed research teammembers that included Dianne Jackman representingFIDER as past Chair, Ron Veitch representing IDECas past President, and the author representing NCIDQas past President. These selections were supported bythe other association leaders. Because of our previousleadership roles, we had a good perspective on how toconnect education and examination together in thecareer path to arrive at the IDEP solution. We also werecommitted to what we were doing on behalf of theprofession, were excited about doing it, were tenaciousin our team discussions, and were stubborn enough tostand up to the pressure of dissension.The research program had three stages: 1) investigationthrough research, 2) development of the program andits content, and 3) development of the operationalstructure for implementation. We spent fouryears conducting the research, compiling theinformation, and submitting the final researchreport to NCIDQ. Then it took NCIDQ almostfive more years to implement the program. And, ittook even longer for the profession to finally fullyaccept and participate in IDEP. But, as the interiordesign profession has moved forward and its careerpath has been recognized, IDEP has proven to bea vital link in its "system for evaluating the quality,responsibility, and ability of a person to meetminimum standards and guidelines for professionalcompetency and development" (Harwood, 1995,p.44). So, our efforts were definitely worth thelegacy.For additional reference, please see:1. Harwood, B. (1995). An Interior Design ExperienceProgram, Part 1: Defining the Need. Journal of InteriorDesign, 21(2): 39-51.2. Harwood, B. (1996). An Interior Design ExperienceProgram, Part 2: Developing the Experiences. Journal ofInterior Design, 22 (1): 15-31.Video link for this article:www.youtu.be/TLHQ3Kv9HuoWe first prepared a proposal for the development of anentry-level apprenticeship program in interior design,which we named the Interior Design ExperienceProgram (IDEP). The objectives for the programwere: “1) to bridge the gap between formal educationand competent professional practice; 2) to link theprocess of educational accreditation by FIDER withthat of professional examination by NCIDQ; and 3)to address the need for quality experience requiredof NCIDQ candidates, by licensing boards, and byinterior design associations” (Harwood, 1995, p. 47).This concept was fully endorsed by all major interiordesign organizations. The stated purpose of IDEP “wasto provide a structured training program for entry-levelinterior designers through a monitored, salaried workexperience in preparation for professional qualification”(Harwood, 1995, p. 48). The program concept wouldparallel that of the Intern Development Program (IDP)offered by the architects, “so there could be immediaterecognition and acceptance of its value to the designprofessions” (Harwood, 1995, p. 48).10

IDEC UpdatesMEMBER AWARDS ANDRECOGNITIONSThe Art Institute of California-Orange County full-time interiordesign instructor and IDEC memberMeegan Maile had a projectfeatured in the June issue of InteriorDesign Magazine. The article link isattached and if you scroll down tothe bottom you will see Meegan’sname listed first as design team. Thiswas in the print issue as well as theonline issue. www.interiordesign.net/article/540272-Pour_it_On.phpThe Art Institute of California-Orange County full-time interiordesign instructor and IDEC memberJennifer Liang won the grand prizein a national design competitionsponsored by Contract and DeltaPlumbing Fixtures. Jennifer won aprize of $2000 for her conceptualdesign for a public restroom. Jen’swork will be published in Contractmagazine!Ronni Whitman IDEC, AcademicDepartment Director, The ArtInstitute of California-OrangeCounty, Interior Design won twoASID Gold Awards at the OrangeCounty Annual Awards Gala onSeptember 11. Ronni won for“Excellence in Bath Design” andExcellence in Bedroom Design”for an accessible and sustainablydesigned residential project.Katherine Lambert’s essay“Twilight “ has been selected forinclusion in the forthcoming issue ofFORWARD, the architecture anddesign journal of the AIA. The Fall2011 issue, Adaptation addressesdesign (of architecture, art, science,writing or research) as a processthat forces discussion, questions thestatus quo and transforms society.Mark Hinchman, associate professorof design history at the Universityof Nebraska, has recently publishedfour articles related to two of hisareas of research. One looks at thehotel designs of the Edwardianarchitecture firm, Mewes and Davis,“The Ritz Paris: Looking to 18thcentury France through the lens of19th century historicism for a 20thcentury Hotel Lobby.” From ed.Anne Massey’s Hotel Lobbies andLounges. Routledge, 2012.The other three relate to his researchon domestic architecture and Frenchcolonialism in West Africa.“The Grid of Saint-Louis du Sénégal.”from African Urbanism, ed.Fassil Demissie. Ashgate, forthcoming2012.“Gone: Memory and Visuality inEarly Modern West Africa”, in eds.Leibsohn and Peterson’s SeeingAcross Cultures: Visuality in the EarlyModern Period. Ashgate, forthcoming,2012.“Anne Pépin: Entrepreneur, Landlady,and Mixed-Race Signare in Senegal”.in Mamigonian and Racine’sThe Human Tradition in the AtlanticWorld: 1500-1850, vol. 2.Susan Slotkis received the ASIDChapter Medalist Award and taughta .2 CEU IDCEC approved seminarin Chicago at the Merchandise Marton October 14th.Nichole Campbell graduated with aPh.D. in May 2011 from theUniversity of Wisconsin - Madison.Nichole was in the design studiesprogram with Dr. Michael Hunt.She is an assistant professor at theUniversity of Florida where sheteaches environment and behaviorcourses and ID studios.Dr. Pamela Evans, interim associatedean of Kent State University’sCollege of Architecture andEnvironmental Design and directorof the college’s interior designprogram, has been appointed toserve as a director representingaccredited programs for the Councilfor Interior Design Accreditation(CIDA) Board of Directors. Evansis a Fellow of the Interior DesignEducator’s Council (IDEC). Shealso has served on the IDEC Board,including one term as president.Jeff Beachum, CAE, executivedirector at the Interior DesignEducators Council, Inc., ledan annual meeting learning labtitled “Love our Mission: Movingfrom Board-Centric to ExtendedReach!” at the American Societyof Association Executives AnnualConference. Jeff shared hisperspective on managing thesignificant changes that IDEC hasseen over the past five years.Krisyn Ivey received thePresidential Citation for service inthe Washington Metro Chapter ofASID.Lisa Tucker also received thePresidential Citation for Service inthe Virginia Chapter of ASID.11

INTERIOR DESIGN LECTURE SERIES ATTHE CALIFORNIA COLLEGE OF THE ARTSTimken Hall on the San Francisco campus. All lectures start at 7p.m. and are open and free to the public.November 1—Cameron Sinclair from Architecture for HumanityNovember 8—Nikolas WeinsteinFebruary 1—Cass Smith from Cass Calder SmithFebruary 22—Suzanne TuckerMarch 14—Johanna GrawunderApril 11—Katherine Lambert from Metropolitan Architectural PracticeFor more information please e-mail Amy Campos at: acampos@cca.eduDESIGN INTELLIGENCE 2012TOP 10 INTERIOR DESIGN PROGRAMSUndergraduate1. Auburn University1. Savannah College of Art and Design3. Boston Architectural College3. New England School of Art & Design Suffolk University3. Pratt Institute3. University of Cincinnati3. University of Florida8. Arizona State University8. Virginia Polytechnic Institute and State University10. Cornell University10. Oklahoma State University10. Syracuse University10. Virginia Commonweath University10. Wentworth Insititute of TechnologyGraduate1. Savannah College of Art and Design2. Rhode Island School of Design3. New England School of Art & Design SuffolkUniversity3. Pratt Institute5. Boston Architectural College6. Parsons School of Design7. Cornell University7. Kansas State University7. University of Florida10. Florida State University10. Syracuse University10. School of the Art Institute of ChicagoMEMBERSHIP RENEWALPlease remember to renew your membership. The deadline for renewal is January 1, 2012.12

Wasemiller has served as member forthree terms as financial directorandis the president-elect of the TexasChapter of ASID. Abilene ChristianUniversity’s interior design programis nationally accredited by CIDAand is housed in the Departmentof Art and Design in Abilene, TX.She has served as a faculty memberat ACU for over 27 years whileleading the interior design program.Ms. Wasemiller performs interiordesign consulting for commercialand residential clients where shehas completed residential, retail,corporate, senior living, andinstitutional projects. She formerlyserved as interior designer with theTittle Luther Partnership in Abilene.Wasemiller earned BFA and MFAdegrees and completed post graduatework in healthcare interior design.She holds an NCIDQ certificate andis a registered interior designer inTexas.OKLAHOMAThe University of Oklahoma Collegeof Architecture’s new web page :www.ou.edu/architecture.htmlJune 2011 - Moved into newly renovatedbuilding – Sooner Magazinewww.oufoundation.org/sm/summer2011/story.asp?ID=421The Interior Design program acceptedits first Interior Design MastersGraduate student in the fall of 2011.Mia Kile—CollaborationDevelopment with Scotland:Toured Scotland Universities forcollaboration opportunities withthe University of Oklahoma InteriorDesign Students.Hans-Peter Wachter and DaveBoeck—Collaborative Studio withTexas A&M; Healthcare StudioElizabeth Pober—OU College ofArchitecture High School SummerCamps – Juniors and Seniors forweek long collaborative camps.Janet Biddick—OU Dream CourseFall 2011Dean Charles Graham—DunfieldEducational Service AwardHans-Peter Wachter—IIDAAward for LEED Educator (IIDAOklahoma/Texas Chapter)Mia Kile—Interim Director ofInterior Design, University ofOklahomaChristina Hoehn—CommunicationsLiaison IDEC South West Region;IDEC Alumni EditorHepi Watcher—Presentations:Learn Labs/ Germany; presentation/China: Guest Speaker for InteriorDesignHepi Watcher/Dave Boeck—EDRA42 – Presentation Photovoice Exhibit- Aging in PlaceSW IDEC Paper Presentation—Photovoice as a Participatory Methodin Understanding EnvironmentalDesign in Positive AgingDave Boeck—University ofOklahoma - Chairman of ResearchCouncilChristina Hoehn/Dean CharlesGraham—Articles reflect conceptsfor educational environments andadvancing student learning throughtechnology.Architect Magazine—Studio onSteroids Interactive Learning: www.architectmagazine.com/education/studio-on-steroids.aspxCampus Technology—Next-GenClassrooms: Aces of Space X Marksthe Spot: www.campustechnology.com/articles/2011/06/01/next-genclassrooms-aces-of-space.aspx14

NEW INTERIOR ARCHITECTURE PROGRAMLAUNCHES AT UNIVERSITY OF HOUSTONstudents with specific technical knowledge, suchas understanding structure and building envelopes.Familiarization of such topics, Marinic said, will makethem valuable assets to the architectural community.“There is a considerable need for this type of programin our region,” Marinic said. “Graduates will be in highdemand. Many firms are seeking professionals withspecific knowledge in interior architecture and will nodoubt be seeking out our students.”Image: 2011 Tex-Fab exhibit hosted by University ofHouston School of ArchitectureDuring the past ten years, interior architecture hasemerged as a dynamic specialization. From the adaptivereuse of existing buildings to conceptualizing interiorspaces for new buildings, a range of opportunities awaitprofessionals who are trained in this evolving discipline.This fall, the University of Houston’s Gerald D. HinesCollege of Architecture introduced its undergraduateprogram in interior architecture. Under the direction ofindustry veteran and noted educator Gregory Marinic,the four-year program explores the multidisciplinaryaspects of interior architecture while providing studentswith studio courses focused on design principles specificto interior space. Students who complete the requiredcurriculum will earn a Bachelor of Science in InteriorArchitecture.Interior architecture merges the disciplines ofarchitecture, interior design, and industrial design. Itfocuses on the process of designing buildings’ interiorswith respect to conceptual innovation, functional rigorand structural rationale as spaces for living and working.“This program provides an education that will allowstudents to pursue a variety of potential careers,” saidMarinic, director of interior architecture and assistantprofessor. “Many students will naturally migrate toopportunities within interior architecture, but they alsomay move toward architecture or interior design.”Marinic added that curriculum will explorecontemporary architectural topics such as historicalpreservation, repurposing of existing buildings, andsustainability practices. Coursework will provideMarinic arrived at UH this fall after teaching at therenowned Pratt Institute in New York City. He is aprincipal of Arquipelago, a New York-based architecturalpractice engaged in design, research, teaching andexperimentation. Recent projects produced byArquipelago are currently on exhibit at the TallinnBiennale, Estonian Architecture Museum, D SpaceBaltimore, and Philadelphia Center for Architecture.Arquipelago’s recent projects will also be featured in twoforthcoming books published by DAMDI ArchitecturalPublishing Ltd. of Seoul.Previously, Marinic worked in the London and NewYork offices of Rafael Viñoly Architects. He serves asassistant director of The American Institute of ArchitectsFORWARD Journal and nominated editor for theInternational Journal of the Arts in Society, DesignPrinciples and Practices; and IDEC News. He has recentlypublished articles in Design Issues, Design Principlesand Practices, and International Journal of ArchitecturalResearch among other publications. Earlier this fall, hispractice was awarded first prize in the Form & FaithAward for Religious Architecture, the Socio-DesignFoundation award, and an honorable mention in theSeoul 2011 Public Design competition.The Gerald D. Hines College of Architecture offersbachelor’s and master’s degrees in a variety of disciplinesincluding architecture, space architecture, interiorarchitecture and industrial design. Faculty membersinclude esteemed professionals in the architecturalcommunity, as well as award-winning academic veterans.Facilities include studio spaces, the new MaterialsResearch Collaborative, computer labs and the BurdetteKeeland Jr. Design Exploration Center. To learn moreabout the college, visit www.arch.uh.edu.15

Image: Mike Dudek became an educator at Kansas State University after 20 years of practice.HELPING PRACTITIONERS MAKE THESWITCH TO DESIGN EDUCATIONEric Wiedegreen, FIDECFlorida State UniversityThis was a problem that felt close to home. I realizedthat within five years my faculty would lose five seniorpositions to retirement (including myself !) This is thetip of the incoming Baby Boomer retirement “iceberg”that will be felt across design education. While newlygraduated students with advanced degrees can help fillthis coming void, a still sluggish economy does not allowfor an extended period of professional practice to roundout their credentials. A viable solution is to have currentpractitioners (with critical practice experience) enter theteaching profession.Most practitioners, however, do not hold master’sdegrees (the minimum for employment at mostinstitutions) due to the fact that the bachelor’s degreeis the standard degree for interior design. Encouragedby discussion from the membership, IDEC first ran aversion of the current “Becoming an Interior DesignEducator” in 2008. I have now given the seminarseven times (NEOCON, IIDEX NEOCON-Canada,NEOCON East). The target market in these venues isclearly the design practitioner who has always thoughtteaching might have possibilities.I have found enormous misconceptions about academiain the general practitioner population. The requirementfor a master’s degree can be a shock, particularly withthe high commitment needed to pursue such a degreein an unstable economy. As with most problems, thekey to solutions is information. Talking about academiclife (tenure and promotion, research and creativescholarship, teaching loads, etc.) can demystify theprocess of moving into education and help jump start theprocess. In a typical audience of 15-20, there were alwaysabout 10-12 unique situations from participants eagerfor more information. Most were extremely gratefulIDEC provided this opportunity to help them pursue a“next phase” of their life and career.I know several participants who made the commitmentto enroll in graduate school to earn a higher degree withthe intention of entering the teaching profession. A CEUon the IDEC web site allows practitioners anywhereto experience most of the seminar (without questionsand answers). As current educators and hiring agentswe need to be open to non-traditional candidates andthe acceptance of MS and MA degrees that may notcurrently be “terminal degrees” within your institutionbut come with candidates who have that critical extensiveexperience in design practice.16

ACTION NEEDED BY INTERIOR DESIGNEDUCATORS RELATED TO ERGONOMICSAND LEED!LEED and Ergonomics – Fundamental to Occupant HealthLinda Miller, OT, MEDes, OTD (Candidate BostonUniversity), CPE, CCPEAre you aware that you can earn a point for an ergonomicsstrategy in the Leadership in Energy and EnvironmentalDesign (LEED) certification process under innovation indesign? Ergonomics is concerned with interactions amonghumans and other elements of a system such as tools,equipment, products, tasks, organization, technology, andenvironment (ACE, 2010). Understanding human performanceand task demands can better support the interiordesigner to ensure that occupant’s needs are met in greenbuildings.In LEED 2012 guidelines, still under review, ergonomicshas become a line item under indoor environmental quality(IEQ) for existing buildings: operation & maintenance(EB: O& M), but not for commercial interiors (CI). If youwould like to learn more about the proposed credit andto provide comments, please explore the pages below.Please add your voice to others who would like to seeergonomics as a line item for CI.Ergo Pilot Credit :• www.usgbc.org/DisplayPage.aspx?CMSPageID=2104 ]Public Comment Link:EDUCATOR RECEIVES ASIDCHAPTER MEDALIST AWARDMichelle Belt, Industry and Professional Practice Editor• www.usgbc.org/LEED/LEEDDrafts/RatingSystemVersions.aspx?CMSPageID=1458If you have any questions please contact: Linda Millerat lmiller@ewiworks.com or 1-780-436-0024.Linda Miller is president of EWI Works based inEdmonton, Alberta Canada. As an occupationaltherapist and certified ergonomist, Linda assistsdesigners and facilities managers to enhance occupationhealth and performance. She is currently working onher doctoral degree at Boston University examiningergonomics and how it can be effectively applied in theLEED certification process.The ASID Chapter Medalist Award is the highest award bestowed by ASID on Societymembers at the chapter level in recognition of outstanding service and significantcontributions to their chapter and to the body of knowledge that supports theprofession of interior design. The medal is granted on the basis of fulfilling all of thethree following criteria:• Outstanding and significant service to interior design education and/or an ASIDchapter.• Significant local, regional or national contributions to interior design education.• Outstanding, significant and continued contributions that have enriched thehuman experience.Ms. Slotkis is an Allied Member of ASID, an adjunct assistant professor at fashioninstitute of technology (SUNY), and a professional member and board director ofIFDA on local and international levels. Her text Foundations of Interior Design waspublished in 2005 by Fairchild Books; a second edition is due out in 2012.The award was given by Maggie Smith, ASID NY Chapter President at the AnnualMeeting held at Gracie Mansion, NYC Mayoral Residence.17

2010 SPECIAL GRANT REPORTStephanie Clemons, Ph.D., Colorado State UniversityPeggy Harrison, ret., Cherry Creek High School, Denver, CO.Images: [Top] Peggy Harrison[Bottom] Stephanie Clemons.Phase I: Development of Teaching Materials for K-12 Teachers/StudentsThis IDEC Special Project Grant was funded through a joint partnershipbetween IDEC and Colorado Technical Education + Family and ConsumerScience (CTE + FCS).The objectives of the grant were to:1. More accurately educate high school students about the interior designprofession2. Encourage Family and Consumer Science (FCS) national standardsto be more reflective of the interior design profession by developing ofappropriate teaching materials that support the new national assessmentand certification.3. Develop a template and a sample of supporting interior design materialsfor classroom use.Due to procuring matching funds, a student and teacher template + three(3) teaching modules containing three (3) lesson plans each (n= total of 9lesson plans) were developed and will be submitted to both IDEC and theState of Colorado in November. Based on feedback from FCS interior designteachers, the three module topics are global/cultural design, universal design,and sustainable design. Each module begins with an introductory lesson onthe topic, which is then followed up with a lesson plan related to residentialdesign and commercial design. Reccomendations for future lesson plans weredeveloped and will be submitted to IDEC.Some of the grant monies were used to present all three lessons in Module1: Global/Cultural Design at a refereed two-hour workshop to high schoolFCS teachers at the annual American Association of Family and ConsumerScience (AAFCS) conference in June 2011. Two of the three lesson planswere also offered in a workshop to 24 interior design FCS teachers in July2011. Assessments from these workshops helped refine the lesson plancontent and guide the development of the final two modules.All nine lesson plans offer step-by-step instructions for teachers and students,unit objectives, identification of domains from the AAFCS Pre-Pac InteriorDesign Fundamental Exam, national standards, life skills, instructionalstrategies, time needed to complete the unit, glossary words and requiredmaterials. As student skills and knowledge may be at different levelsdepending on when the course is taught, some optional assignments areoffered. In addition, terms that may be new to both the teacher and studentare briefly explained (e.g. programming or evidence-based design).By offering high school interior design lesson plans that reflect the full scopeof the profession, and linking them to the AAFCS exam, the national FCSstandards will be continue to be modified. Once reviewed and approved byIDEC, we hope the nine lesson plans will become a part of the TeachingResources web site allowing them national exposure for all FCS interiordesign teachers to access.18

Student SpotlightVIRGINIA TECH STUDENTSWIN TWO NATIONAL AWARDSFirst Place: Jamie IveyNEWH 2011 Hospitality Design AwardFaculty Sponsor: Lisa Tucker, PhD.Mélange Resort & SpaMolly Berman: First PlaceEMA (Environmentally Minded Awards) Hospitality Design AwardFaculty Sponsor: Lisa Tucker, Ph.D.Paysage Resort19

PLAN NOW TO ENTER INTERIOR DESIGNVIDEO COMPETITIONYou are invited to take part in avideo event that celebrates yourpreparation as an interior designprofessional and informs othersabout the value of your skills.Thousands of students, faculty andpracticing interior designers acrossNorth America and other countriesare pursuing or have completededucation and examinationrequirements that fully preparethem to practice and to protect thepublic’s health, safety and welfareand quality of life. However, thepublic, design professionals andprospective interior design studentsdo not always understand this.This is your opportunity to createand share a short video with thepublic from your point of viewthat celebrates and explains theimportance of established interiordesign education and examinationstandards you are participatingin—and that well prepare you toassist the public as an interior designprofessional. Participation by manywill ensure dozens, or possiblyhundreds of searchable videos onYouTube available to the public thatpromote and explain the interiordesign preparation path.For more information please go towww.idec.org/videocompetitionYou can also view last year’s winningvideos online: www.youtube.com/user/IDECorg?blend=2&ob=5#p/c/D6324DA31AE72145DESIGN STUDENTS TIE FOR FIRST PLACEIN FURNITURE DESIGN COMPETITIONAnne Arundel Community CollegeThe winning entries of AnneArundel Community College(AACC) students Susan Wasilewski,Nadia D. Vemuri Cataldi andBrandon P. King were showcasedJuly 4 at the “Take Pride inAmerica Celebration and AwardsCeremony” at the U.S. Capitol.AACC also was invited to displayfurniture design entries fromanother five AACC interior designstudents as part of the event, whichfocused primarily on the furnituremanufacturers receiving awardsfrom MADE: in America based inWashington, D.C., the not-for-profiteducational organization and sponsorFor more information visit:www.naylornetwork.com/sid-nwl/articles/?aid=150698&issueID=23745www.articles.baltimoresun.com/2011-09-09/news/bs-md-araacc-winning-chair-20110908_1_design-contest-design-entries-furnituredesign-competitionASID STUDENT SCHOLARSHIPSChelsea Lawrence,Student MemberASID won the LegacyScholarship forUndergraduates. This isawarded to a creativelyoutstanding student asdemonstrated throughtheir portfolio.Kendra Locklear won theLegacy Scholarship forGraduate Students. Thisaward provides financialassistance to individualson the basis of academic/creative accomplishmentand their professionalgoals.20

Image: Laura Kimmel’s design of agarment based on systems of branchingpatterns within her body.STUDENT PERSPECTIVE:LAURA KIMMELLaura Kimmel, second-year design student, University of NorthCarolina GreensboroDo digital technologies facilitate or hinder the creativity ofstudents/professionals?As a student in an interior architecture program, my experience withtechnology seems rather primitive when I observe the current workof influential designers. The challenge of becoming diverse and aptin a variety of digital technologies is intimidating but intriguing at atime when digital software is increasingly available and required bymany design schools and practices across the country.Learning the capabilities of these programs has become mymotivation to explore them. My experience with digital technologyhas greatly advanced this semester. I have been introduced to digitalfabrication (laser cutting and CNC milling), Rhino as a way ofproducing digital models, and expressing designs visually in AdobeIllustrator and Photoshop. The availability of this technology hasnot only expanded my physical capabilities of production, quantity,and accuracy, but has visually aided how I convey ideas and processesto my peers, ultimately creating a digital dialogue.In my experience, technology is crucial for communicating ideasin collaborative projects. Yet on an individual level, I find digitalfabrication best supports my creativity when it came to theproduction stage. I was able to design a garment, for example, basedon systems of branching patterns within my body. The design, aninterpretation of a biological system, required hundreds of units thatvaried in height. This quantity of material could only be constructedin the given timeframe with the use of laser cut units and digitalmodeling. While this concept derived from research and handrenders/sketch models, it wasn’t until I created several versions inRhino for the laser cutter that I was able to predict and determinehow the garment would function as an interconnected whole.Although I’ve only scraped the surface of the digital realm, I cansee the impact it’s made in my work over the past two months.Digital technologies have facilitated my creative endeavors. Thetechnological complexity and physical quality of my designs haveonly been strengthened by these technologies, a realization whichdrives me to further explore digital tendencies.21

CONFERENCE RECAP:THE COLOR MARKETING GROUP’S2011 NORTH AMERICAN CONFERENCEImage: palette of thecollaborative efforts ofthe student workshopled by Kiki Titterud andTommy Campanella atColor Marketing Group’sconference.Angelica Medina & Karla Fernandez,University of Texas at San AntonioAs twenty-somethings in the thickof our college careers, we are ageneration that has been frownedupon for the technologically overstimulated childhoods that haveled us to a supposed desensitizationtoward societal issues. But, likeevery other generation before ours,nothing has succeeded in erasing asense of authenticity in everythingwe identify with and consume.It is this consumerism that hassparked trends and transformed thedirection in which creative mindsare evolving. Despite being novicedesigners, as soon as we begandesign school, family and friendsautomatically assumed we were DoIt Yourself-ers and experts in thefield. Being everything but experts,we jumped at the opportunity toattend the North American ColorMarketing Group Conference.As students, we hesitated to sharewhat we did (or did not) know aboutcolor. Our black and white mentalitywas soon taken to a new, expandedspectrum as we learned that color issubjective to personal experience andcultural context.Proper composition of colorand space evokes a symphony ofemotions and meaning; this is as truefor interior design as it is for everyother consumer related profession.Color creates an experience and thatexperience is what is successfullytranslated into our subconsciousminds. It is the duty of a designerto carefully listen to the needs ofa client as this is what carries aproject from a simple transformationthat meets those needs to a spatialexperience that exceeds the client’sdesires.Technology has enabled us to gobeyond traditional methods ofpresenting and interacting withcolor. In order for interior designersto provide memorable sensoryexperiences, not only associated withtouch but also, just as importantly,sight. A lesson we took away wasto be honest and passionate aboutour profession. It is important toexperiment with new trends andtechnologies and, most importantly,have fun in the process of discoveryand learning. Innovation is the keyto success and there are many rightanswers.If your students are interested inparticipating in CMG conference,contact Kiki Titterud at kiki@kikiscolourcouture.com.22

MESSAGE FROM THEIDEC FOUNDATIONImage: Theodore Drab, IDECFoundation President, OklahomaState UniversityAs the 50th anniversary of IDEC’s founding approaches, the IDECFoundation board is implementing a strategic plan that includes a newlong-term development role. In order for IDEC to begin its second halfcenturywith an enhanced ability to forge new initiatives and developnew programs, the Foundation is committed to growing the endowment.To that end, the Foundation board will soon engage a developmentprofessional to assist in identifying and approaching individuals andorganizations to contribute to the advancement of interior design educationand scholarship. Leaders outside the academy, in architecture and interiordesign firms and product manufacturing, will be asked to support IDECand its mission.Potential donors invariably inquire about the level of participation anorganization’s members have demonstrated relative to fundraising goals.They base their evaluation of the health of the organization seekingfinancial support on the level of support its members have provided.In order for us to succeed in attracting donors, the IDEC Foundationasks for your contribution today. Please help us reach our goal of 100%member participation in this fundraising drive. Your contribution will beinstrumental in making our appeal to those outside our organization moreeffective and our overall development plan more successful.The process starts with you! Please make your donation payable to IDECFoundation Treasurer Chris Johnson, 551 Pleasant Point Road, StatesboroGA 30458, or make a contribution online via DONATE.NET, found onwww.idec.org under the IDEC FOUNDATION tab. You may donateto any of the named funds administered by the Foundation, or to theunrestricted fund. All donations are tax deductible.I look forward to the opportunity of announcing the success of thisfundraising drive at the 50th Anniversary celebration in Baltimore. I hopeto see you then, hear from you soon!Very truly yours,Ted Drab23

MESSAGE FROM THEIDEC BLOG EDITORMike DudekTasked with a charge to re-energize the IDEC blogI began a quest for knowledge to provide me withsome perspective and insight from those who havestudied, analyzed, and thoughtfully considered thisrelatively recent mode of communication.Like any college student on a research mission, I gavemuch thought to my options for seeking scholarly,tested and vetted research on the topic. So with thatI Googled “What makes a blog successful?”Soon, I had 30,900,000 (no…really) possiblesuggestions. “Eureka” I proclaimed, “the answer isnigh.” I immediately immersed myself in this bountyof evidence. After clicking and scanning the first tworesults, I felt confident that I was totally enlightenedand intellectually prepared to present my case forhow we might improve the IDEC blog to make itmore useful and appealing. No need to click on theother 30,899,998 hits. My epiphany is complete.Please pardon my profundity here…are you sittingdown?The IDEC blog will only be as good as WE make it.There, I said it!As the new IDEC Blogmaster I will work closelywith the IDEC Communications Committee(ComCom) to improve access to the blog. Oneless click and ease of navigation can make ahuge difference. It is funny how one additionalnanosecond and the effort required to depress amouse button can prove insurmountable. I willalso endeavor to post topics that are informative,pertinent, entertaining, inspiring and relevant tointerior design education.We hope the blog, the J.I.D. and the new IDEC newsletterwill all form a synergistic communication forum. Lookingahead there are numerous issues and topics that will makeideal discussion fodder: technology, teaching millennials,increasing curricular content with diminishing resources,the changing professional landscape, as well as the future of“interior design” and how we as educators fit into, or eveninfluence its maturation.Of course there are many other topics that you may wantto discuss and I encourage you to do so. We will have topace the postings so that we are neither overwhelmed withT.M.I. or bored by lifeless threads- a fine line indeed.I will monitor guest posts and comments so that threads arekept on track and content is not offensive. Yes, we’ll have tokeep it clean and respectful but that does not mean we needto fear censorship. You should feel comfortable to offeropinions or counter-points that may not support my orany other posters, position. Trust me I am not here to limitfree speech or promote a particular platform and IDECleadership will not blackball you from further participation.We hope you can think of the IDEC blog as a 24/7 “townhall meeting” without speaking into a microphone.We are still trying to determine the real role, or value,of the blog within the burgeoning palette of digitalcommunication tools. Some will prove to be more useful,even invaluable, and some will become bytes in the wind.This will be an evolving process since this is the nature ofthe world we live and teach in. Please bear with us—yourcomments are welcome!Mike Dudek24

SUSTAINING INTERIOR DESIGNEDUCATION (SIDE):FINAL REPORT ON RECOMMENDATIONSJoy H. Dohr, PhD, FIDEC, SIDECoordinatorDenise A. Guerin, PhD, FIDEC,SIDE memberThe Sustaining Interior DesignEducation (SIDE) project beganin 2008 with a $10,000 grant fromKimball. A team of educatorsand practitioners developedrecommendations to address theshortage of qualified interior designeducators in North America.Initially called the Kimball OfficeWork Group (KOWG), the groupconsisted of:• Joy Dohr, Coordinator,Professor Emeritus, Universityof Wisconsin• Denise Guerin, Professor,University of Minnesota• Andrew Furman, AssistantProfessor, Ryerson University,Toronto• Nila Leiserowitz, Gensler• Eileen Jones, Perkins + Will• Georgy Olivieri• Jeff Beachum, IDEC ExecutiveDirector, ExOfficioThe team met for two days inChicago in August 2008 anddeveloped several recommendationsthat included both short-termand long-term strategies. Therecommendations were presented tothe Issues Forum, an informal groupof six interior design organizations:the American Society of InteriorDesigners, the Council of InteriorDesign Accreditation, the InteriorDesigners of Canada, the InteriorDesign Educators Council, theInternational Interior DesignAssociation, and the NationalCouncil of Interior DesignQualification.Additional funding has beensecured from the Issues Forum andTeknion ($xxx) to carry out therecommendations.At this point, SIDE has completedits work, and four recommendationshave been completed. The resultis an increase in the number ofqualified interior design educatorsdocumented by the number of openfaculty positions filled by qualifiedpersonnel. While the immediatecrisis has passed, however, muchwork remains to identify interiordesing practitioners who will serveeducation well.Recommendation 1: Completestate the recommendationCrystal Weaver, Ph.D., IDECmember and dean at SavannahCollege of Art and Design, chaired ateam of educators and practitionerswho wrote an IDEC white paperon positions in interior designeducation and the qualifications orcredentials required. The report andexecutive summary are posted on theIDEC web site the team included.• Sandy Gordon, FASID, LEEDAP, NCIDQ Certificate Holder• Helena Moussatche, PhD,IDEC, LEED AP and Professor• Monica Letourneau, AISD,IIDA, IDEC, LEED AP andChair of Program• Jessica Cushing, MFARecommendation 2: Completestate recommendationBarbara Anderson and IDECTeaching Academy membersdeveloped three new CEU courseson teaching for practitioners, whichare available on the IDEC web site.A flyer and web page have beendeveloped to promote the courses.Jill Pable obtained funds fromASID to support the offering ofthese courses at conferences. Furtherdevelopment of a course that teachespractitioner-educators ways tocontribute to scholarship is underdevelopment. IDEC will then have4-5 courses available.Recommendation 3: Completestate recommendationAn annotated list of graduateeducation programs has beendeveloped and is housed on theIDEC Web site. It was completedand launched in January 2010and was updated in January 2011.This was completed by volunteerKara Freihoefer, a University ofMinnesota graduate student.Recommendation 4: Completeand continuing (advancingrelationships between educators,students and practitioners) staterecommendationTwo strategies have proven verysuccessful in providing informationabout interior design education andgraduate programs to interior designpractitioners.a. Believe brochure was completedand disseminated throughout NorthAmerica. It highlights the shortageof qualified interior design educatorsand directs readers to the IDEA line.25

Image: Joy Dohr, Coordinator, ProfessorEmeritus, University of Wisconsinb. IDEA-Line is an online andtelephone resource for interiordesign practitioners to learn moreabout teaching. A group of about 10seasoned interior design educatorshave volunteered to field phone callsfrom practitioners who have read theBelieve Brochure or seen the IDEA-Line advertised in other venues.Approximately 35 practitioners havecontacted the volunteer faculty whothen field questions on degree types,institutions, funding….all in thepursuit of a resource for practitionersto get to the next step of talking withspecific schools about teaching orgraduate education. At this time,several practitioners have completeda graduate degree and are teachinginterior design in higher educationinstitutions.CIDA ACCREDITATIONSInitial Accreditation:Villa Maria CollegeBachelor of Fine ArtsReaccreditation:Columbia College ChicagoBachelor of Fine Arts in InteriorArchitectureIndiana UniversityBachelor of Science in Interior DesignInterior Designers InstituteBachelor of Arts in Interior DesignMarymount UniversityBachelor of ArtsMarymount UniversityMaster of Arts in Interior DesignMichigan State UniversityBachelor of ArtsStephen F. Austin State UniversityBachelor of Science in Interior DesignUniversity of FloridaBachelor of DesignUniversity of Louisiana at LafayetteBachelor of Interior DesignUniversity of Tennessee, KnoxvilleBachelor of Science in Interior DesignWentworth Institute of TechnologyBachelor of Science in Interior DesignWoodbury UniversityBachelor of Fine Arts in InteriorArchitecture26

ResearchRESEARCH ACTIVITIESIN INTERIOR DESIGNGregory Marinic, ResearchActivities EditorHealthy Building NetworkLaunches Online MaterialResearch InitiativeThe Materials Research Collaborative, a two-year projectof the Healthy Building Network (HBN), endeavorsfor the interior design community to more proactivelyparticipate in sustainable practices. MRC advocates forreducing use of building products that are hazardous tohuman health, while simultaneously enhancing marketdemand for ecological building products. Supportedby the ASID with a $100,000 grant, MRC willprovide interior designers with independently verifiedinformation that identifies hazardous materials andbetter alternatives. MRC plans to offer information forpublic access via the Pharos online database and analysissystem, an HBN-sponsored project and industry leaderin transparent access to chemical and material propertiesof building products. MRC is funded by the ASID’sInterior Design Research Grant Program and focuses onapplied research in interior design and human behavior.The program annually awards up to three grants of up to$35,000 each. “The Foundation’s grant program enablesthe profession to build a base of knowledge about howinterior design impacts human behavior and well-being,”said Judy Pickett, FASID, ASID Foundation Chair.“With this new and updated evidence-based research,designers are given relevant information that they areable to use with all clients in all areas of design. Nothinggets more powerful than that.” Research proposals mustdemonstrate practical applications for both interiordesigners and their clients. ASID grants may be used asstart-up funds for projects. Design professionals, clients,scientists, educators, and interdisciplinary collaborationsare eligible to apply.Historical, Formal, andStructural Implicationsof Computer-ControlledFabricationRecent research by Kevin Klinger, Director of theInstitute for Digital Fabrication at Ball State Universityasserts that digital output from computer modelingrepresents a significant new method for visualizationand fabrication in architectural design. Klinger suggeststhat an ability to move directly from three-dimensionalmodeling to three-dimensional output challenges theneed for traditional means of representation, such asplans and sections. Through an integration of designstudio and digital fabrication, his students investigatethe need to convert architectural intentions into acode translated by the contractor and tested withnew fabrication tools. Klinger’s recently publishedessays scrutinize underlying issues of design processby developing architectural solutions that use thecomputer as a tool for three-dimensional visualizationas well as for three-dimensional fabrication. Precedentresearch in historic architectural form, seen throughthe lens of fabrication, provides a foundation forexamining structural and fabrication techniques usingcomputer-generated expressive forms. Klinger’s digitalseminars study a series of rapid prototypes that employvisualization-fabrication as an integrated process ofideas-to-research-to-methods for making digital design.Supporting his initiatives, the interdisciplinary Institutefor Digital Fabrication at Ball State University appliescreative research and development to develop knowledge,products, tools, software, and brands that can beabsorbed by various industries.27

Image: Software-generated Daylight Factor contour plotEnhanced Daylightingthrough Digital FabricationRecent research on interior daylighting at Ball StateUniversity’s Department of Architecture reveals thepotential for testing natural light sources through digitalfabrication. Glenn Sweitzer, visiting associate professor,and Joshua Vermillion, assistant director of the Institutefor Digital Fabrication, assert that user health, taskperformance, and satisfaction may be enhanced throughdaylighting and achieved through the use of digitalfabrication technologies.Their research employs rapid prototyping of precise scalemodels that facilitate daylighting assessment and fabricationof full-scale daylighting components. By teaching throughdigital fabrication, Sweitzer and Vermillion focus on anintroductory environmental control systems course forstudents of architectural design. Program, daylighting,model material, and digital fabrication criteria are examinedin studio as a “school classroom” project. Projects requireside-lighting and top-lighting classroom schematic modelsusing an adjustable-table heliodon (sun only) and a mirrorbox (overcast sky) for light tests. Video documentation for“sunlighted” conditions is provided for summer solstice andwinter equinox.A software-generated Daylight Factor contour plot isemployed to produce the atmospheric affect of an overcastsky. Students utilize digital fabrication to produce modelsfor rapid testing of physical alternatives.Sweitzer and Vermillion assert that a vastly undertappedpotential for daylighting exists that may reduce use ofelectric lighting and lower cooling loads. Proven means toexploit such potential may be emphasized and developedin architecture, interior design, and engineering curricula.Their research suggests that scale-models will remain vitalto the interior architectural design process. Sweitzer andVermillion believe that digital fabrication techniques helpstudents and practitioners to improve daylighting models.Their research supports the notion that accurate and rapidlydeveloped scale models can encourage consideration ofmore varied alternatives.Image Credit: Gramazio & KohlerFabricate 2011Conference at BartlettFabricate, an international peer-reviewedconference, publication, and exhibition washeld at The Bartlett School of Architecture atUniversity College in London in April. Discussingthe progressive integration of digital design withmanufacturing processes, Fabricate broughttogether designers engaged in architecture, interiordesign, construction, engineering, manufacturing,materials technology, and computation. Discussionon key themes included the impact of digitalfabrication technologies on creative opportunities,material performance, interdisciplinary education,and sustainability.Fabricate emerged as the first in a series offocused events organized by The Bartlett Schoolof Architecture. The 2011 conference frameddiscussion and presentation of built or partiallybuiltwork by collaborators in research, practice,and industry engaged in the building of exteriorand interior environments. Distilled from morethan 240 submissions, an international panelindependently blind-reviewed and selectedan innovative range of projects featured inFABRICATE. Full details about the conference,publication, and exhibition are available at:www.fabricate2011.org.28

Image: HYPERLAXITY: parabolic ligaments, by AdamBuente, Kyle Perry (PROJECTIONE) + Elizabeth Boone(SOM)Technology and theHuman Dimension:Hallo Berlin!Studio Aisslinger of Berlin is a multimedia designhouse engaged in generating innovative architecture,interiors, and products for brands such as Vitra,Mercedes Benz, and Adidas. The studio’s philosophyfocuses on employing the human dimension in aresearch-based dialogue with materials, technologies,and modular assemblies. Aisslinger is committed totransforming the paradigm of contemporary designof interiors and objects beyond simple functionalcapacity. Rather, the practice seeks to integrateemotional response, affordability, and complexitywith technology. Aisslinger’s interest in repetitive,modular design is demonstrated through several spatialdisplays housed in their Berlin office, including “Mesh”,a conceptual lightweight semi-opaque screeningsystem, as well as a bookcase made from repurposedbooks. Allowing for both separation and visual appeal,‘Mesh’ offers a lightweight textile structure that ishighly adaptable and fully portable. Its honeycombstructure of repetitive units connects into a flexibleinterior panel system with the potential to bend intothree-dimensional forms. “Mesh” is comprised of threedifferent types of modules, derived from biomorphicstructure and sheathed in a multi-color woven texturedfabric. Complementing their spatial investigations,Aisslinger’s seating concept, “Coral”, provides amodular, light-weight, and durable approach tosystems furniture. Both “Coral” and a coordinatedlight fixture range are composed of flexible hexagonmodules made from felt-polycarbonate hybridmaterials.Image: Student work from Gregory Marinic’s studioResearching the HumanDimension: In StudioAs a springboard into the collaborative second yearfoundation studio at the University of HoustonCollege of Architecture, students of architecture andinterior architecture engaged directly with the humandimension toward making interior space. The project,developed by foundation-level coordinator Cord Bowen,simultaneously considered notions of flexible performanceand alternative enclosure. Seeking to define humanproportion, scale, and interaction with a built object,seven studios investigated this dialogue in diverse andcreative ways. Professor Meg Jackson’s studio researchedtime- and movement-based narratives responding tohighly adaptable environmental conditions. Studentsexplored anthropomorphic processes to produce richlydiagrammedproposals for deployable interior furniture/partition systems. By responding to given constraints, aswell as the inherent flexibility of modular design, studentsdeveloped component-based environments offeringvariable reconfigurations accommodating diverse needs,abilities, and accessibilities. Professor Gregory Marinic’sstudio employed vocabulary as a foundation for theirdesign investigation, assuming an iterative approachto making in the development of original modularstrategies. Students conceived connective constructionsthat interpreted, explored, and expanded upon thecompositional relationship between a complex ‘assembly’and an interior ‘site’. Students approached this processiteratively from units-to-modules-to-assemblies, derivingcomplexity through repetition, adaptability, and rule sets.29

ServiceSERVICE ACTIVITIESIN INTERIOR DESIGNScott Williams, ServiceActivities EditorInterior DesignCollaborativeClockwise from top:image 1, image 2, image3. Image credit: DamonLacapra.Damon LaCapra, Robert Busch School of Design, KeanUniversityThe Interior Design Collaborative (IDC), is a programaffiliated with The Design Center at Kean Universityin Union, NJ in which students commit one academicyear to serve as design problem solvers. Addressingunderachieving spaces, the student volunteers create“wish list” programs, set goals, develop designs, and thenpresent their refurbishment concepts to their non-profitorganization “clients.”Created by Assistant Professor of Interior Design DamonLaCapra, (lacaprad@kean.edu), the IDC program “hasbeen a useful tool for the students to gain insight into themany facets of the interior design profession,” as well asperform a valuable service for the community. “This IDCexperience has been a great way for me to put to the testwhat I have learned throughout school”, exclaimed interiordesign student Megan DiBartolo.In 2007 – 08, the Clara Maass Continuing Care Facility inBelleville, New Jersey was the focus of an interdisciplinaryeffort of interior design and visual communicationstudents in the design of a new lobby with directionalsignage. The students’ concept introduced visual emphasis,color, and an accessible seating area for patients,friends, and family. (Image 1)In 2010 – 11, the Main Lobby Redesign Projectof the Plainfield WMCA in Plainfield, New Jerseywas a continuation of the IDC’s design work theprevious year. The YMCA lobby was a “hodge-podgeof pipes, signs, various materials, and security issues.”The IDC’s design students collected users’ requestsand developed a concept to accommodate theirneeds. Ravenell Williams, YMCA administrator, wasenthusiastic about the student work. “They producedgreat design boards and presented to our congregationwho got excited about the possibilities of the spacewe had stopped seeing because it was so familiar andworn.” (Images 2 and 3).30

Image credits: Anubhuti ThakurInterdisciplinaryProjects forCalifornia nonprofithospiceAnubhuti Thakur, Robert Busch School ofDesign, Kean UniversityInterior design graduate studentscollaborated with theater students atCalifornia State University Northridge(CSUN) in April 2011 to organize thereading of the play “One Day” by DorisBaizley. The work is based on one day inthe life of terminally ill hospice residents.Under the direction of CSUN’s InteriorDesign Assistant Professor Dr. AnuThakur, (athakur@csun.edu), thestudents also designed the play’s flyer andarranged an artwork exhibit and sale atthe performance.Held in the Little Theater of NordoffHall on CSUN’s campus in April, thefundraiser benefitted Our CommunityHouse of Hope (OCHH) in NorthernLos Angeles County. OCHH serves as afree-of-charge, end-of-life home for thelocal community’s homeless and lowincomecitizens.Dr. Thakur worked with OCHH inher previous undergraduate designstudios. In 2008, her studentsdesigned prototypical hospice facilitiesand the designs were featured at afundraising banquet organized byOCHH. In 2009, the junior studiocollaborated with engineering studentsto coordinate facility appropriatefinish materials. The 2009 and 2011projects were sponsored by grants fromCSUN’s Center for Innovative andEngaged Learning Opportunities.For more information, visitwww.ourhouseofhope.org.For more information on Anu’s servicelearning work, please reference hermanuscript:Thakur, A. & Conner, D. (2010).Interdisciplinary Service Learning ina Design Studio: A Hospice DesignProject. Design Principles and Practices: AnInternational Journal, 4(5), 199-207.31

32Design Change = Exchange:The Obje[c]t de CuisineStudioLorella Di Cintio, School of Interior Design,Ryerson UniversityRyerson University’s School of Interior Design is pleasedto present an exciting collection of student work thatexplores experiential learning, civic engagement, anddesign activism.THE OBJE[C]T DE CUISINE STUDIOIn January 2011, over 100 first-year interior designstudents visited The Stop Community Food Centre[Canada’s first LEED-certified heritage facility] tointerview employees, clients, artists, and activists. Aspart of the students’ contextual research, the Hungryfor Change: What Toronto Eats exhibit and the Dothe Math Campaign was showcased at the School ofInterior Design. Students designed and fabricated a widerange of kitchen objects drawing inspiration from theirinvestigations.In late spring, The Stop judged and selected ten studentworks to be part of the What’s on the Table fundraisingevent. The selected student designers spoke about theirwork at the event, raising over $2,000 for critical antihungerprograms and services.The Stop, one of Canada’s first food banks, increasesaccess to healthy food in a manner that builds health andcommunity, maintains dignity, and challenges inequality;their view is that food should be a basic human right. Thestudio is running again this year: please seewww.ryerson.ca/news/media/General_Public/20111027_mr_sid.htmlThe studio was developed by Lorella Di Cintio,(ldicintio@ryerson.ca), from the Ryerson School ofInterior Design.PUTTING THEORY INTO WORKThe Design Change = Exchange research project isa theory-to-practice initiative. Since 2001, LorellaDi Cintio, has introduced a series of culturally basedstudios and projects to undergraduate studentsstudying interior design.Design Change = Exchange expands design learning byrecognizing embedded dilemmas while contributing toa new body of knowledge. The project’s philosophy is toinfluence social change through the practice of designby:• Expanding the global perspective through designactivism, design ethics, and global-justice issues.• Forging creative partnerships with localcommunity members and scholars that build uponand expand traditional knowledge and experience.• Forging creative partnerships with technologyscholars and practitioners to build upon andexpand existing systems while ensuring that thedevelopment of technology is just and equal.• Improving disciplinary diversity and culturalequity through inter-cultural learning.

Image: Texas Tech University students at Habitat for Humanity.Image credit: Dr. Rosemary PeggramTexas Tech students designfor Habitat for HumanityDr. Rosemary Peggram,Texas Tech UniversityThis year, students in Dr. RosemaryPeggram’s sophomore residentialdesign and construction course,Interiors II, worked with the localHabitat for Humanity to produce newfloor plan alternatives for their housedesign collection.The students could select one of severalhouse size categories for which todesign: 1,200 sqft., three bedrooms,one and a half baths; 1,330 sqft. fourbedrooms, two baths; or 1,500 sqft.,five bedrooms, two baths. The classmet with a HfH representative andtoured several Habitat homes underconstruction to physically experiencecurrent floor plan layouts and typicalspace sizes. The students learnedabout the organization’s mission,philosophy, and services.Dr. Peggram and HfF collaboratedto create a residential design projectthat fit HfH’s programmaticrequirements and that was alsoachievable within the timeframe ofthe academic semester. Several planswere selected by the HfH reviewersfor Habitat families from which tochoose. A plan created by a paststudent was recently constructed in aLubbock Habitat neighborhood.The Interiors II students oftencontribute one Saturday to workon Habitat house to gain handsonexperience with stud walls,rafters, joists, sheetrock, insulation,framing windows/doors, andother construction tasks to helpquickly grasp concepts and engrainlong term memory; all of thesecomponents are covered in thecourse through lectures and drawingassignments.33

Parametric Design Experiment:Kinetic Sculpture MuseumLindy Balls, Virginia Polytechnic University, EmergingTalent EditorStudents at Virginia Tech are pushing the limits ofinterior design by exploring Revit’s parametric designcapabilities. Their goal was to create a surface, separation,or cover for a space inspired by kinetic sculpture anddeveloped through the parametric design process. Theseprojects demonstrate the potential digital tools afford tocommunicate complex concepts.Image credit: Katie JohnsonThe movement of a spider when spinning its webspecifically inspired the overall form of the separation Icreated. All webs start out with a single string and thenthe spider works its way towards the center in a spiralmotion. A spider uses its own body for measurementwhen building the web. That is why the opening at theend of the form is 5’ 9”, the average height of a human.This would allow the visitor to feel as if he or she builtthe web and is sitting at the center of the web. Thehexagon shape determined the position of the spirals.Through research, I found that the hexagon shape wasimportant when building the web. Not only do theindividual “pieces” in the web sometime appear to havethis shape, but also when placed together they forma Y-shape. A Y-shape is the base for all spider webs.Image credit: Hannah ChessmanI created an installation for a Kinetic Sculpture Museum,which addressed the idea that parts make up a whole aswell as the relationship between humans and the builtenvironment. My design is based off of the VoronoiDiagram, an algorithm representing the decompositionof metric space. Using conceptual masses and adaptivecomponents in Revit, I created a large-scale, interactiveexperience for visitors of the museum. Beginning withfour vertical planes, I experimented with balancingsolid and void areas, lateral extrusions, and horizontalconnections to create pathways and intimate spaceswithin the form.The entire design can only be realized once thevisitor makes his way through the space and up to themezzanine level. Because the Voronoi diagram is basedon a mathematical algorithm, a variety of differentcomputer programs were required to make my originaldesign concept a reality. Programs like Quantum GISand Revit afforded me the structure and intelligence thatI would need to accurately portray the Voronoi diagramand then manipulate it quickly.36

My concept came from the idea of something that changes, but eventuallyreturns to its original form. This, then, led to the idea of expansion andcontraction and ultimately inspired my design. I chose to work with theceiling plane and created an undulating mass that is divided into panels,which have openings that expand and contract to allow for more or less lightbased on the heights of the undulating areas of the mass.Revit allowed me to set parameters and instantly see how changing aparameter affected the individual panel and the mass as a whole. Theadvancing digital tools allowed a rapid iterative process, which quicklyprovided many options allowing me to determine how to best take my projectfurther.Image credit: Laura Weirick37

INTERNATIONAL PERSPECTIVEIN INTERIOR DESIGNThe NomadsRobert Reid, International ActivitiesEditorThe nomads. The thrill-seekers.The wanderers. There are many sinterior design educators toilingaway in the far reaches of the planet,unbeknownst to the membership.And, yes, we have adventures and totell. Although we might be somewhatof a rag-tag bunch, we shall soon startto regale the readers with highlightsof our escapades, our researchmilestones, and the achievements ofour students.While many of us come fromNorth American soil and maintainconnections with our alma maters,colleagues, and professionalrelationships back home, we nowhave complex lives in Australia, theFar East, the Middle East, NorthernEurope and elsewhere. Regardlessof our nationality, we have a uniqueperspective to offer our felloweducators and their students. Ourstudents are truly international,coming from many neighboringcountries or a country far away. In asingle studio class of 16, we may havestudents from 12 different countries,all speaking a different language.At an American school, a largemajority of our students are requiredto learn English on their arrival atthe university, prior to starting theirprimary course work.Although we are trained educators,what we teach does not justencompass the essential skills tobecome a great designer. Imaginehaving to rephrase words and conceptswe would consider commonplace,into simpler terms that are more easilyunderstood. Cultural differencesaffect the approach a student maytake with a design studio project. Wequickly learn what familiar items weshould incorporate into a project,to help student relate to the designbrief. A student’s family values canaffect their ability to engage incertain activities. We also realize theconcept of “time” can be open tointerpretation.Most importantly, the teachingprocess is not a one way street.We learn a great deal from ourstudents being abroad. For me, Icould not speak a word of Arabicbefore working where I am. I didnot understand the relationship ofthe Middle Eastern family unit, butnow look forward to the family ofstudents attending mid-term andfinal reviews. Although projects areall presented in English and familymembers often do not understandwhat is being said, they show supportfor their daughters, sons, sisters orbrothers.It’s these experiences andperspectives we look forward tosharing. Members of the interiordesign profession develop anincredible network that very fewindustries have. We invite theinternational members of IDEC toshare their case studies, research,news and announcements. A greaterunderstanding of what is happeningelsewhere in the world may openpossibilities for collaboration,outreach and awareness.38

COLLABORATIONIN INTERIOR DESIGNCollaboration between interior andindustrial design students at SJSUVirginia San Fratello, CollaborationEditorRecently students in Interior Designand Industrial Design at San JoseState University participated in a sixhourdesign charette to discover a newlogic for bringing together differentcategories of design.Traditionally, very distinct boundariesexist between design disciplines,however, the reality of design inthe 21st century suggests that thesedisciplines have begun to crosspollinateeach other in fertile ways.The students examined the hybridas a generator of tactics and form.Through cross-profile referencing oftraditional interior constructs suchas the wall, ceiling and floor anddomestic industrial designed productssuch as chair and lamp, the studentsbegan to create new hybrids thathave the potential to fuel alternativeprogrammatic and functionalconditions that allow us to reevaluateexisting relationships and activities.To begin the charette a briefpresentation illustrated examples ofhybrid design. Some examples we’reall familiar with, such as the Swissarmy knife, the iPhone, a pluot, anda spork. These are hybrid designs thathave become a part of our daily lifeand are so commonly used or eaten(or used to eat) that we don’t questionthe nature of their origins.Other hybrids, such Droog’s “cosychair” clearly retains attributesof both “parents.” The chair issimultaneously a radiator and achaise lounge and takes the idea ofheating only the space you occupyto an extreme. Another hybrid, aVolkswagen van retrofitted to bea living space, a hybrid of car andhouse, evokes in us the spirit of DIYand reminds us that taking designinto our own hands can liberate us.Students began by working ininterdisciplinary teams. Eachteam selected a domestic productand an architectural condition tohybridize. One group chose a lightand hybridized it with a floor. Otherprovocative combinations includedan awning and a bed, a telescope anda window, and a wall and a dresser.Students brainstormed, sketched,built models and ultimately eachteam came up with a rudimentarydesign.At the final presentation, studentswere able to recognize each other’sstrengths. The interior designer’swere impressed with the industrialdesigners ability to draw by hand,to use a stroke of color to catchthe viewer’s eye, and their keenattention to intricate detail. Theindustrial designers were taken withthe interior designer’s digital skills,their ability to see the big picture,and understand what the context forsuch a new invention might be.All agreed that they were much moreeffective working in these new teamsand appreciated the questions thatstudents from the “other” disciplineraised during the process, because itmade them examine their own workthrough a new lens.39

ALUMNI RELATIONS“Digital tendencies” in well-designedlearning spaces; alumni thoughtsChristina Hoehn,Alumni Relations EditorLearning is changing as highereducation continues to push into the21st century. As we observe “digitaltendencies” in the education ofinterior design students it becomesapparent that purposely designededucational environments arebecoming a prerequisite to theadvancement of students and theirneed for more sustainable, technologyrich and collaborative environments.With the growing demand for highereducation and the increasing expenseof educating students; colliagatedecision-makers are aware of thenecessity for designing, planning andthe management of effective learningspaces.Image: Students using finalinstallation of Studio TechnologyLearn Lab – Presenting projects byconnecting to a smart phone.Nowhere is this demand for welldesignedlearning environments morerelevant that at the interior designschool. The question becomeshow do we harness technology todesign sustainable, interactive, andcollaborative learning environmentsin which interior design studentsand educators can flourish. As anIDEC editor, I took to the web andthe ever so valuable collection ofbusiness cards to see what is going on“digitally” out there.It seems that interior designeducators and design professionalshave examined the question ofwell-designed learning and training/conference spaces as a challengeand the pursuit for best practicesfor enhancing and forwarding thesespaces both at the university and incorporate environments.The methodology behind designingeducational facilities that areshaping the future for strongerdesign pedagogies starts in thebuilt environment. Interior designstudents at the design academyexpect to learn about the interiordesign profession, sustainability, andtechnology. Faculty need to haveteaching tools available to them thatnot only enhance their ability topush the envelope of education butto enhance the student’s ability tolearn.How can educational environmentsbe redesiged to promote enhancedlearning and collaborationappropriately?Anita Howard, Steelcase IndustryMarket Leader, Education Solutionsand alumni says “Designers areimplementing and installed spacesthat the interior design studentsare enthusiastic to participate in.”“We as design professionals need todesign environments that are excitingfor students so they are engaging inlearning from their professors andeach other.” Anita also promotesenhancing classroom spaces withflexible mobile furniture systems,interactive smart/whiteboards,and integration of power and data.Patricia Tetreault and Scott Ricefeel that studios, labs, classrooms,touchdown areas and social spaceswithin the design school. “Today’sstudents are digital natives, sowe need to speak their languageby allowing them to utilize thetechnology they are accustomed toand comfortable with.”Image: Technology Learn Lab - FinalDesign Student Studio Space withStudio. Image Credit: Scott Rice40

Image: Student Competition RoomImage Credit: Scott RiceThe standard walk and talk in theclassroom is a dynamic of the past.Students have the ability to easily gainthe material via the web, so professorsneed to help students funnel thatinformation into usable formats.Allowing students to becomeparticipants in learning allows themto achieve a higher understandinginstead of being passive learnersgiven information to recycle forexaminations.Anna Ruddick, ASIDimplementation manager, storelayout proto team for the WalmartCooperation in Bentonville, AK usestechnology every day and felt thatstudents need to be comfortable usingit. One of the best ways to achievethis is to use technology to design aswell as for basic business practices. Asa design graduate Anna explains thatWalmart expects their design teamsto understand not only AutoCad butRevit. “Design students need to becomfortable moving around with theprograms and computer equipment tofurther their goals,” she said.So, challenging students to becomfortable in well-designed learningenvironments is becoming anecessity at the design academy.Helping them to flourish with whatcomes natural to them will allowthem to prosper in school as well asafter they graduate.ReferencesCasrow, K. (2010). Culture of thewest driven by america. RetrievedNovember 17, 2008 from: www.cnn.com/SHOWBIZ/Design Dictionary.com.(2008). Design education,learning environments. RetrievedSeptember 19, 2011 from www.thedesignencyclopedia.org/education_envornmentsJISC e spaces. (2009).DesigningSpaces for Effective Learning: AGuide to 21st Century Learning SpaceDesign. University of BirminghamMcGlynn, A. (2007). Teaching today’scollege students: widening the circleof success. Madison, WI: AtwoodPublishing, p. 23-29.Nasar, J., Preiser, W., and T. Fisher.(2007). Designing for designers;lessons learned from schools ofarchitecture. (2007). New York, NY:Fairchild Publishing, Inc.41

SUTTON INITIATIVE FOR DESIGNEDUCATION [SIDE]A TEACHING CHAIR COLLECTION ATSALEM COLLEGERosa Otero, Salem CollegeThe Sutton Initiative for DesignEducation is named in honor ofMartha Allene Stevens Sutton.The initiative involves threecomponents:1. Collaboration2. Scholarship3. ResearchSalem College’s interior designprogram teaches through vibrantengagement with design. A 21stcentury thinking designer is atthe intersection of art, design andarchitecture.Collaboration: One of the keysto a successful new venture indesign education is collaborativepartnerships, networking theabundance of informed, experiencedprofessionals who are or have beenpart of the furniture and designindustry in North Carolina. Suchindividuals are ready to becomeadvisors, mentors, consultants, guestspeakers, and potential adjuncts.Scholarship: While respectingpast traditions, we produce a newbreed of design professionals withfresh relevance and training to face21st century design challenges andopportunities. To attract the mosttalented and gifted students, SalemCollege needs to be able to offer morefinancial aid and assistance.Research: In order to improve ourdesign research library, Charles andMartha Sutton have donated theirpersonal library of over 900 books onfurniture, architecture, design, history,and interiors. The Sutton collectionis called the most comprehensive thatwe have seen outside the Bienenstockcollection in High Point, NC. Thiscollection is already available at theGramley library. Labels identifyingthe collection name are placed oneach volume.Why 20th century design?Salem College is uniquely locatedto take advantage of several arearesources, including:• Museum of Early SouthernDecorative Arts, MESDA• Southern Center forContemporary Art, SECCA• Reynolda House• International Home FurnishingCenter, IHFCOne area of design study that is notreadily accessible to our studentsis 20th century furniture icons,however.Why chairs?A major component of SIDE is theestablishment of The Teaching ChairCollection. One of the most variedof all furniture types; the chair hasalways fascinated designers andarchitects, and accordingly has beena focus of incessant experimentation,most especially in the 20th century.During the past century, designershave drawn on the possibilitiesoffered both by new materials andnew technological processes totransform the chair into a functionalitem that is also an object ofsculptural beauty.Around 40 chairs that are considered“icons” by furniture historians willconmprise the core of the collection.Each chair is unique because ofits design, use of materials andtechnology, innovation, or creativity.The chairs chosen for the SIDETeaching Chair Collection havestood the test of time or seem poisedto do so. A few of these chairs havesold millions, some have remainedin continuous production since theywere first designed and marketedand, today, all are in currentproduction. These chairs reflect theenergy and creativity of one of themost inventive and exciting periodsin furniture history.This Teaching Chair Collectionis unique in that no other collegeor university in the country hasassembled a comparable collection ofchairs so that students can use, studyand be able to be inspired by them.References:Colombo, S. (1997). The Chair: anAppreciation. San Diego, CA: LaurelGlen.Design Museum. (2010). Fifty Chairsthat Changed the World. London,UK: Conran.Emery, M. (1983). Furnitureby Architects: 500 InternationalMasterpieces of Twentieth-CenturyDesign and Where to buy them. NewYork, NY: Harry N. Abrams, Inc.Gandy, C. D., and S. Zimmeriman-Stidham. (1982)ContemporaryClassics: Furniture of the Masters.New York, NY: McGraw-Hill.Von Vegesack, A., Dunas, P., andM. Schwartz-Clauss. (1996).100Masterpieces from the Vitra DesignMuseum Collection. Vital LearningCorp.42

Maximizing Existing TechnologyKathleen Sullivan, Chatham UniversityAs a professor who teaches studio and lecture coursesin the field of interior design the advancements intechnology, at least from my perspective, have beenfocused primarily on CAD (computer aided drafting),3-D modeling, and presentation drawings. No doubt,we are in an exciting era. Yet, where does that leave thevast majority of educators who do not teach technologycourses? There seems to be a great divide within thefaculty, either you are tech savvy and have a tremendousamount of software at your disposal or you teach lecturecourses with limited software available to support it. Thedivide becomes larger as new and innovative softwarestreams into the production and presentation side of thecurriculum.Recently, I was privileged to take part in a TechnologyFellows Program offered by my university where facultymembers from various disciplines were represented.The goal of this program was to empower faculty in theeffective use of technology to enhance teaching, increasestudent engagement, and advance scholarship. Initially,most of us were hoping to see new software programsthat spoke just to our respective area of interest. Thisdid not happen. Instead, the implementation of the newprograms and tools that we were shown fell on each andevery one of us to creatively figure it out. Unlike awaitingthe newest version of CAD, we had to invent andunleash the possibilities of the software as it appliedto our lecture courses. Our group concluded that thefirst question should be—how will this tool improveengagement, understanding, application, and criticalthinking regardless of what discipline uses it? Thelearning curve for the instructor and students must bejustified by measureable and meaningful outcomes.That said, we shifted the primary focus from chasingwhat is new to how can we maximize what is in place.The entire group used Moodle (our university’s learningmanagement system), some used SMARTboard (aninteractive white board), and a few used Panopto(lecture capture software). Underutilization of thesepowerful tools was the common denominator, and thuscommenced a sharing and flow of ideas wherein we allleft with an immediate and doable action plan for ourlecture courses.New technology, while there is much to be hadthat is free, otherwise is not inexpensive. It mustbe scrutinized to see if it will bring the student intolecture. I recommend having cross-disciplinarydiscussions with colleagues regarding how they usetechnology in that you can find applications that spanprograms and a person who already knows how touse it! I am more confident about the quality andcontent of my courses by finding creative applicationsof technology, technology that was there all the time.Journal of Interior Design Call for Papers:Special Issue on Interior Design HistoryTime: People + Products + ProcessesIn recognition of the importance of continuing contributions to Interior Design’s history as well as IDEC’s 50thand JID’s 35th anniversaries, the Journal of Interior Design anticipates a special issue to be published in 2013. Thisissue intends to bring together new and important research on the history of interior design, its practitioners,and development as a profession. JID invites scholarly research papers for consideration in the special issue. Fullpapers are due on February 15, 2012. For questions, contact Dr. May at bridget.may@marymount.edu or send toJID@dcp.ufl.eduJID Writers Workshop: Impact and InterpretationsJoy Dohr, Moderator JID Editorial Team: Margaret Portillo, Editor-in-Chief and Associate Editors: Bridget May,Janetta McCoyThe intent of this year’s workshop is to share some new directions for the journal, reinforce fundamental tenets ofacademic publishing, and then focus on effective ways of interpreting findings and forming conclusions. The panelwill present examples from JID that represent diverse worldviews and research approaches. Last year’s workshop drewa full house. This year we hope to reengage both past attendees and welcome new faces to the Writers Workshop.Sponsored by the JID Board of Directors, Cost: $6543

LEADERSHIP DIRECTORYTHANK YOU TO ALL VOLUNTEERS!STAFFJeff Beachum, Executive Director,jbeachum@idec.orgPatty Warren, Event Planner,pwarren@idec.orgRachel Daeger, Marketing andMembership Communications,rdaeger@idec.orgBethany Hensley, Membership &Meetings Assistant,bhensley@idec.orgVOLUNTEER LEADERSHIPBoard of DirectorsLisa Waxman, President,lwaxman@fsu.eduDenise Guerin, Past President,dguerin@umn.eduLisa Tucker, President-Elect,ltucker@vt.eduMigette Kaup, Secretary/Treasurer,kaup@ksu.eduScott Ageloff, Director (Teaching),scott@ageloff.comJacqui McFarland, Director,(Service),Jacqui.mcfarland@gmail.comEllen Fisher, Director (Scholarship),efisher@nysid.eduSusan Ray-Degges, Director(Regions),susan.ray-degges@ndsu.eduRegional CollaborativeSusan Ray-Degges, Board Liaison,susan.ray-degges@ndsu.eduAnnick Mitchell (East Chair),Mitchell@ryerson.caSuining Ding (Midwest Chair),dings@ipfw.eduDarrin Brooks (Pacific West Chair),Darrin.brooks@usu.eduJane Nichols (South Chair),jnichols@wcu.eduRon Reed (Southwest Chair),Ron.reed@txstate.eduScholarship CollaborativeJoy Dohr, Collaborative Co-Coordinator, jhdohr@wisc.eduWei Dong, Collaborative Co-Coordinator, weidong@wisc.eduJennifer Web, JID Chair,jwebb@uark.eduMeg Portillo, JID Editor-in-Chief,mportillo@ufl.eduDoug Seidler, ConferenceProceedings Coordinator,douglas.seidler@marymount.eduMeg Konkel, Abstract ReviewCoordinator,Margaret.konkel@marymount.eduJohn Humphries, CreativeScholarship Co-Coordinator,humphrjm@muohio.eduMaura Schaffer, CreativeScholarship Co-Coordinator,msschaff@purdue.eduEllen Fisher, IDEC Board Liaison,efisher@nysid.eduTeaching CollaborativeCindy Mohr, CollaborativeCo-Coordinator,Cynthia.mohr@unt.eduRachel Pike, Collaborative Co-Coordinator, piker@admin.wit.eduBarbara Anderson, IDEC AcademyChair, Barbara@ksu.eduJoy Dohr, SIDE Committee Chair,jhdohr@wisc.eduCatherine Anderson, InnovativeTeaching Resources,catand@gwu.eduStephanie Clemons, K-12,sclemons@cahs.colostate.eduScott Ageloff, IDEC Board Liaison,scott@ageloff.comService CollaborativeMarty Hylton, Grants and Awards,mhylton@ufl.eduJacqui McFarland, IDEC BoardLiaison, Jacqui.mcfarland@gmail.comIDEC AcademyBarbara Anderson, Chair,Barbara@ksu.eduConnie Dyar, Administrator,cgarberd@ilstu.eduRon Reed, Member-at-Large, Ron.reed@txstate.eduLinda Nussbaumer, IDCECLiaison,Linda.Nussbaumer@sdstate.eduCatherine Anderson, Member-at-Large, catand@gwu.eduCarolyn Gibbs, Member-at-Large,carolyng@csus.eduStephanie Zollinger, Member-at-Large, szolling@umn.eduJournal of Interior Design BoardJennifer Webb, Chair,jwebb@uark.edu44

Meg Portillo, Editor-in-Chief,mportill@ufl.eduBridget May, Associate Editor,Bridget.may@marymount.eduJanetta McCoy, Associate Editor,janettamccoy@wsu.eduJane Kucko, Member,j.kucko@tcu.eduJoan Dickinson, Member,jidickins@radford.eduCommunication CommitteeIrina Solovyova, Chair,Irina.solovyoa@utsa.eduSeunghae Lee, ConferenceCommunications Chair,Lee30@purdue.eduLindsay Tan, Social NetworkingChair, tan@auburn.eduMichael Dudek, Blog Master,mdudek@ksu.eduPatrick Lucas, Archivist,pllucas@uncg.eduJonathon Anderson, NewsletterEditor-in-Chief, jrander6@uncg.eduLisa Tucker, Board Liaison,ltucker@vt.eduRachel Daeger, Marketing andMembership Communications,rdaeger@idec.orgNewsletter Editorial TeamJonathon Anderson, Editor-in-Chief,jrander6@uncg.eduGregory Marinic, Research ActivitiesEditor,arquipelagostudio@gmail.comMichelle Belt, Industry &Professional Editor, mbelt@ltu.eduLindy Balls Huling, Emerging TalentEditor, lballs@vt.eduRobert Reid, International Editor,rreid@aus.eduScott Williams, Service Editor,sbw@ou.eduPeggy Honey, Teaching Editor,peghoney@ksu.eduVirginia San Fratello, CollaborationEditor, vasfsf@gmail.comChristina Hoehn, Alumni RelationsEditor, choehn@ou.eduLiaisons to External OrganizationsLinda Nussbaumer, IDCEC Liaison,Linda.Nussbaumer@sdstate.eduCaren Martin, Legislative Advisor tothe Board, cmartin@umn.eduCarl Matthews, Liaison to CIDA,carlmatthews1@mail.utexas.eduRick Navarro, Rep. to ASID EITCCouncil, rnavarro@aii.eduCaren Martin, National Academy ofEnvironmental Design,cmartin@umn.edu2012 Conference HostsBridget May,bmat@marymount.eduJean Freeman,Jean.Freeman@marymount.eduBob Meden,Robert.meden@marymount.eduRobin Wagner,Robin.wagner@marymount.eduMoira Gannon Denson,mgannondenson@ccbcmd.edu50th Anniversary CommitteeBuie Harwood, Chair,bharwood2@gmail.comDorothy Fowles,dfowles@iastate.eduMarty Hylton,mhylton@ufl.eduJohn Turpin,john_turpin@hotmail.comYoung Lee,youngslee35@gmail.comBridget May,bmat@marymount.eduAmy Dahm,a.dahm@tcu.eduFoundation BoardTed Drab, President,Theo.drab@okstate.eduTim Cozzens, Vice President,tcozzens@colum.eduChris Johnson, Treasurer, Professor.cj@gmail.comJanine King, Secretary,jking@fiu.eduOlga Kontzia, Member,olga_kontzias@condenast.comDenise Guerin, IDEC BoardLiaison, dguerin@umn.eduFellows ChairJane Kucko, j.kucko@tcu.edu45

Network ChairsProgram Chairs:Ronnie Whitman,rwhitman@aii.edu2 & 3 Year Programs:Diana Ingram,dingham@jccc.eduEmerging Technologies:Matt Dunn, Mdunn1@lsu.eduEmerging Technologies:Chris Johnson,professor.cj@gmail.comLighting: Ruth Beals,ruth.beals@converse.eduK-12: Stephanie Clemons,sclemons@cahs.colostate.eduRight to Practice:Marilyn Whitney,mwhitney@scad.eduInternational Member Assistance:Ryadi Adityavarman,radityav@scad.eduSocial Responsibility:Jeanne Mercer-Ballard,mercerja@appstate.eduDistance Learning:Susan Ray-Degges,susan.ray-degges@ndsu.eduEmerging Faculty:Lindsay Tan, tan@auburn.eduDiversity:Abi Asojo, aasojo@umn.eduMultidisciplinary Collaboration:Hepi Wachter, hepw@ou.eduResearch & Scholarly Activity:Jane Nichols, jnichols@wcu.eduResearch & Scholarly Activity:Tiiu Poldman,Tiiu.poldma@umontreal.ca46