The Spirit of Design

by robin muto

[ Note: I was asked to write this article by glass artist Nancy Gong, with the intention of discussing the use of commissioned artwork in an interior environment. It was originally published in Nancy's newsletter, the "GGW Vignettes" in 2003. ]

For many years I was plagued with an internal dialogue that consisted of conflicting philosophies concerning my profession as an Interior Designer. On the one hand, I knew that creating beauty in a person's home or work environment was truly my calling in life, and yet on the other hand, it seemed so indulgent and frivolous considering all the "real" problems that exist in the world. I remember as I prepared for my day on the morning of September 11, 2001 how I became completely paralyzed upon hearing the news on the radio. My work seemed so pointless...who cared if I picked out the perfect shade of blue or designed the most amazing mosaic floor? Ironically, in the aftermath of the event, as life progressed onward, the internal dialogue ceased to exist. I realized that in order for a design to be successful, it has to engage the user on a practical, visual and visceral level. When an environment elicits a visceral response from within a person, it transcends into an experience which is known" as "emotional reality." [1]

It became clear to me that if one was to practice good design then the natural expectation would be to create good floor plans, specify the correct lighting, choose the right materials....this would be expected from a qualified designer..." But for a space to be successful, it must engage the user on an emotional level." [2] So, the question becomes then, how does a designer create an environment that meets all the functional requirements and also feels right? I believe that in order to achieve this goal then one must acknowledge that interior design contains an "irrational or intuitive component because there are properties of materials and forms that possess aesthetic and spiritual appeal for which no scientific explanation is possible." [3]

A designer has the ability to envision the end result which guides the development of a palette of colors, textures, forms and special relationships that support and work toward achieving that vision. Just as colors possess different vibrational frequencies, (red has a higher vibrational energy than beige), objects and materials also possess varying capacities to awaken our experience of emotional reality. The field of architectural and functional craftwork is a powerful and accessible resource for establishing a tangible connection between the realms of form and spirit. When I speak of craftwork, I am referring to people who fabricate clay into ceramic tiles and dinnerware, wood into tables and chairs, glass into etched or stained glass windows, metal into gates and balusters, fiber into fabric; just to name a few of the applications in this field. The potency of these materials comes from the intention of the craftsperson whose desire it is to create an object of beauty. That intention becomes impregnated into the energy of the object. The fact that objects become imprinted with the energy of the owner or maker is the reason why people like to own an autograph or memorabilia from a famous person or loved one, and so too, the craft object contains this vibrational quality.

Many people have the ability to recognize individual objects that speak to them on an emotional level, but do not have the training or skill to take these individual objects and integrate them into a total design. A designer's goal is to create a cohesive environment that is in harmony with the universal laws of proportion and composition. The tools are a selection of materials and forms that support the designer's and the client's vision. The manipulation of natural light in conjunction with the proper selection and placement of lighting fixtures will determine the way these forms and materials will be seen. If the designer's goal is also to create a space that feels right then underlying all the technical decisions must be the desire to awaken that elusive visceral state of "emotional reality."

George Bellows: "Leaving for the Country: George Bellows at Woodstock" Installation: Memorial Art Gallery, Spring 2003.
Glen Pushelberg: "Yabu Pushelberg": Contract Design, January 2002.
Richard Buchanan: "Darwinian Design" by Eva Maddox, FIIDA, Assoc. AIA, ISP: Perspective 2000.


	Home Robin Muto About Robin Muto The Design Studio Credentials Residential Residential Design Design Services Design Resources Commercial Commercial Design Design Services Design Resources Photo Gallery FAQs Contact Us News Design Award! News Archives	TIMELESS ● TASTEFUL ● COMFORTABLE ● REFINED The Spirit of Design by robin muto [ Note: I was asked to write this article by glass artist Nancy Gong, with the intention of discussing the use of commissioned artwork in an interior environment. It was originally published in Nancy's newsletter, the "GGW Vignettes" in 2003. ] For many years I was plagued with an internal dialogue that consisted of conflicting philosophies concerning my profession as an Interior Designer. On the one hand, I knew that creating beauty in a person's home or work environment was truly my calling in life, and yet on the other hand, it seemed so indulgent and frivolous considering all the "real" problems that exist in the world. I remember as I prepared for my day on the morning of September 11, 2001 how I became completely paralyzed upon hearing the news on the radio. My work seemed so pointless...who cared if I picked out the perfect shade of blue or designed the most amazing mosaic floor? Ironically, in the aftermath of the event, as life progressed onward, the internal dialogue ceased to exist. I realized that in order for a design to be successful, it has to engage the user on a practical, visual and visceral level. When an environment elicits a visceral response from within a person, it transcends into an experience which is known" as "emotional reality." [1] It became clear to me that if one was to practice good design then the natural expectation would be to create good floor plans, specify the correct lighting, choose the right materials....this would be expected from a qualified designer..." But for a space to be successful, it must engage the user on an emotional level." [2] So, the question becomes then, how does a designer create an environment that meets all the functional requirements and also feels right? I believe that in order to achieve this goal then one must acknowledge that interior design contains an "irrational or intuitive component because there are properties of materials and forms that possess aesthetic and spiritual appeal for which no scientific explanation is possible." [3] A designer has the ability to envision the end result which guides the development of a palette of colors, textures, forms and special relationships that support and work toward achieving that vision. Just as colors possess different vibrational frequencies, (red has a higher vibrational energy than beige), objects and materials also possess varying capacities to awaken our experience of emotional reality. The field of architectural and functional craftwork is a powerful and accessible resource for establishing a tangible connection between the realms of form and spirit. When I speak of craftwork, I am referring to people who fabricate clay into ceramic tiles and dinnerware, wood into tables and chairs, glass into etched or stained glass windows, metal into gates and balusters, fiber into fabric; just to name a few of the applications in this field. The potency of these materials comes from the intention of the craftsperson whose desire it is to create an object of beauty. That intention becomes impregnated into the energy of the object. The fact that objects become imprinted with the energy of the owner or maker is the reason why people like to own an autograph or memorabilia from a famous person or loved one, and so too, the craft object contains this vibrational quality. Many people have the ability to recognize individual objects that speak to them on an emotional level, but do not have the training or skill to take these individual objects and integrate them into a total design. A designer's goal is to create a cohesive environment that is in harmony with the universal laws of proportion and composition. The tools are a selection of materials and forms that support the designer's and the client's vision. The manipulation of natural light in conjunction with the proper selection and placement of lighting fixtures will determine the way these forms and materials will be seen. If the designer's goal is also to create a space that feels right then underlying all the technical decisions must be the desire to awaken that elusive visceral state of "emotional reality." George Bellows: "Leaving for the Country: George Bellows at Woodstock" Installation: Memorial Art Gallery, Spring 2003. Glen Pushelberg: "Yabu Pushelberg": Contract Design, January 2002. Richard Buchanan: "Darwinian Design" by Eva Maddox, FIIDA, Assoc. AIA, ISP: Perspective 2000.