Interior design is the art and science of enhancing the interior of a building JJasa Desain Interior Medan asa Desain Interior to achieve a healthier and more aesthetically pleasing environment for the people using the space. An interior designer is someone who plans, researches, coordinates, and manages such enhancement projects. Interior design is a multifaceted profession that includes conceptual development, space planning, site inspections, programming, research, communicating with the stakeholders of a project, construction management, and execution of the design.History and current terms
Typical interior of one of the houses in the Folk Architecture Reservation in Vlkolínec (Slovakia)
In the past, interiors were put together instinctively as a part of the process of building.[1]
The profession of interior design has been a consequence of the development of society and the complex architecture that has resulted from the development of industrial processes.
The pursuit of effective use of space, user well-being and functional design has contributed to the development of the contemporary interior design profession. The profession of interior design is separate and distinct from the role of interior decorator, a term commonly used in the US; the term is less common in the UK, where the profession of interior design is still unregulated and therefore, strictly speaking, not yet officially a profession.
In ancient India, architects would also function as interior designers. This can be seen from the references of Vishwakarma the architect—one of the gods in Indian mythology. In these architects’ design of 17th-century Indian homes, sculptures depicting ancient texts and events are seen inside the palaces, while during the medieval times wall art paintings were a common feature of palace-like mansions in India commonly known as havelis. While most traditional homes have been demolished to make way to terbaru buildings, there are still around 2000 havelis[2] in the Shekhawati region of Rajashtan that display wall art paintings.
In ancient Egypt, “soul houses” (or models of houses) were placed in tombs as receptacles for food offerings. From these, it is possible to discern details about the interior design of different residences throughout the different Egyptian dynasties, such as changes in ventilation, porticoes, columns, loggias, windows, and doors.[tiga]
Painting interior walls has existed for at least lima,000 years, with examples found as far north as the Ness of Brodgar,[4] as have templated interiors, as seen in the associated Skara Brae settlement.[lima] It was the Greeks, and later Romans who added co-ordinated, decorative mosaics floors,[6] and templated bath houses, shops, civil offices, Castra (forts) and temple, interiors, in the first millennia BC. With specialised guilds dedicated to producing interior decoration, and formulaic furniture, in buildings constructed to forms defined by Roman architects, such as Vitruvius: De architectura, libri decem (The Ten Books on Architecture).[7][8]
Throughout the 17th and 18th century and into the early 19th century, interior decoration was the concern of the homemaker, or an employed upholsterer or craftsman who would advise on the artistic style for an interior space. Architects would also employ craftsmen or artisans to complete interior design for their buildings.Commercial interior design and management
In the mid-to-late 19th century, interior design services expanded greatly, as the middle group in industrial countries grew in size and prosperity and began to desire the domestic trappings of wealth to cement their new status. Large furniture firms began to branch out into general interior design and management, offering full house furnishings in a variety of styles. This business model flourished from the mid-century to 1914, when this role was increasingly usurped by independent, often amateur, designers. This paved the way for the emergence of the professional interior design in the mid-20th century.[9]
In the 1950s and 1960s, upholsterers began to expand their business remits. They framed their business more broadly and in artistic terms and began to advertise their furnishings to the public. To meet the growing demand for contract interior work on projects such as offices, hotels, and public buildings, these businesses became much larger and more complex, employing builders, joiners, plasterers, textile designers, artists, and furniture designers, as well as engineers and technicians to fulfil the job. Firms began to publish and circulate catalogs with prints for different lavish styles to attract the attention of expanding middle classes.[9]
As department stores increased in number and size, retail spaces within shops were furnished in different styles as examples for customers. One particularly effective advertising tool was to set up model rooms at national and international exhibitions in showrooms for the public to see. Some of the pioneering firms in this regard were Waring & Gillow, James Shoolbred, Mintons, and Holland & Sons. These traditional high-quality furniture making firms began to play an important role as advisers to unsure middle class customers on taste and style, and began taking out contracts to design and furnish the interiors of many important buildings in Britain.[10]
This type of firm emerged in America after the Civil War. The Herter Brothers, founded by two German émigré brothers, began as an upholstery warehouse and became one of the first firms of furniture makers and interior decorators. With their own design office and cabinet-making and upholstery workshops, Herter Brothers were prepared to accomplish every aspect of interior furnishing including decorative paneling and mantels, wall and ceiling decoration, patterned floors, and carpets and draperies.[11]
Illustration from The Grammar of Ornament (1856), by interior designer Owen Jones.
A pivotal figure in popularizing theories of interior design to the middle group was the architect Owen Jones, one of the most influential design theorists of the nineteenth century.[12] Jones’ first project was his most important—in 1851, he was responsible for not only the decoration of Joseph Paxton’s gigantic Crystal Palace for the Great Exhibition but also the arrangement of the exhibits within. He chose a controversial palette of red, yellow, and blue for the interior ironwork and, despite initial negative publicity in the newspapers, was eventually unveiled by Queen Victoria to much critical acclaim. His most significant publication was The Grammar of Ornament (1856),[13] in which Jones formulated 37 key principles of interior design and decoration.
Jones was employed by some of the leading interior design firms of the day; in the 1860s, he worked in collaboration with the London firm Jackson & Graham to produce furniture and other fittings for high-profile clients including art collector Alfred Morrison as well as Ismail Pasha, Khedive of Egypt.
In 1882, the London Directory of the Post Office listed 80 interior decorators. Some of the most distinguished companies of the period were Crace, Waring & Gillowm and Holland & Sons; famous decorators employed by these firms included Thomas Edward Collcutt, Edward William Godwin, Charles Barry, Gottfried Semper, and George Edmund Street.[14]Transition to professional interior design
This interior was designed by John Dibblee Crace, President of the Institute of British Decorators, established in 1899.
By the turn of the 20th century, amateur advisors and publications were increasingly challenging the monopoly that the large retail companies had on interior design. English feminist author Mary Haweis wrote a series of widely read essays in the 1880s in which she derided the eagerness with which aspiring middle-class people furnished their houses according to the rigid models offered to them by the retailers.[15] She advocated the individual adoption of a particular style, tailor-made to the individual needs and preferences of the customer:”One of my strongest convictions, and one of the first canons of good taste, is that our houses, like the fish’s shell and the bird’s nest, ought to represent our individual taste and habits.