Tag: Architecture and Design Analysis

  • [Solved] journal

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    **Compare what is said about inflated self-esteem in middle and late childhood (ch. 10) to potential narcissism in adolescence? What is the role of spiritual formation in developing a self-confident, mature adolescent?** – 2 years ago

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    Assignment Prompt & Instructions

    **Compare what is said about inflated self-esteem in middle and late childhood (ch. 10) to potential narcissism in adolescence? What is the role of spiritual formation in developing a self-confident, mature adolescent?**

    – 2 years ago

  • [Solved] Architecture and Design COM 3417- Movie Clip Reflection Assignment 2

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    Submit a reflection on how directors and production designers create worlds film. James Ivory's [_A Room with a View_](https://www.criterionchannel.com/videos/a-room-with-a-view)(1986). The following question should help frame your response: 1. How would you describe the acting in the two scenes you…

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    Assignment Prompt & Instructions

    Submit a reflection on how directors and production designers create worlds film.

    James Ivory's [_A Room with a View_](https://www.criterionchannel.com/videos/a-room-with-a-view)(1986).

    The following question should help frame your response:

    1. How would you describe the acting in the two scenes you've chosen? What is the interplay between the characters? Does art direction/production design contribute to the effect?

    Do not use terms like "personally," "I think," "I feel." Treat reflections as if they were writing assignment. You're not writing a review of these films, therefore do not share how these films impressed you; don't refer to the "gorgeous cinematography" or "incredible acting." Avoid a casual, chatty, gossipy tone.

    See attached slides

    See sample writing

    REFERENCES:

    https://www.city-academy.com/news/what-is-method-acting/

    MOVIE LINK: https://www.criterionchannel.com/a-room-with-a-view?utm_source=criterion.com&utm_medium=referral&utm_campaign=watch-now&utm_content=film

    – [\
    \
    MovieClipReflectionAssignment2-Fall2024.docx](https://www.sweetstudy.com/files/movieclipreflectionassignment2-fall2024-docx "MovieClipReflectionAssignment2-Fall2024.docx")
    – [\
    \
    Chapter3.ppt](https://www.sweetstudy.com/files/chapter3-ppt-10181767 "Chapter3.ppt")

    – 2 years ago

  • [Solved] This is 2 part

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    – 2 years ago **files (4)** – ## Feedback.docx – ## MyThesisoutlineandbio.docx – ## 211GuidedTourResearchProjectPart21.docx – ## 211GuidedTourResearchProjectPart1.docx **## Feedback.docx** I've started but I didn't get a good feed back on my thesis. I need help with it plus more. PLEASE DO NOT US AI…

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    Assignment Prompt & Instructions

    – 2 years ago

    **files (4)**

    – ## Feedback.docx

    – ## MyThesisoutlineandbio.docx

    – ## 211GuidedTourResearchProjectPart21.docx

    – ## 211GuidedTourResearchProjectPart1.docx

    **## Feedback.docx**

    I've started but I didn't get a good feed back on my thesis. I need help with it plus more. PLEASE DO NOT US AI! NO PLAGIARISM

    I've included my The sis, Out line, and bibliography. I need to redo my the sis. This is her feedback:

    There is a lot to say about de Silva- and sometimes that is a double edged sword. Her biography is important, but should take a back seat to her architecture and designs. For your final tour script, focus on her unique contributions as an architect, and how the three different sites can illustrate her impact. I would be glad to discuss further with you- see me in office hours and let's make this a really strong project.

    **Thesis**

    Thesis present but lacks clarity or fails to fully capture the main arguments. Revise the thesis for clarity and relevance to better reflect the main arguments of the assignment

    Criterion Feedback

    This is all such interesting information, but it needs more focus. It's crucial that your thesis serves as a roadmap for your tour, clearly reflecting the key ideas you'll explore. I would like to see a more robust final thesis to guide your inquiry into de Silva. If you haven’t written a history paper in a while it can feel challenging. I recommend this website, which has great tips:

    **Outline**

    Basic outline present but lacks depth or clear organization of ideas. Topics are broadly defined or tangentially related to thesis. Details are general and barely support topic.

    Criterion Feedback

    Outline needs revision/Recommended Next Steps:

    -Focus on core task- a guided tour of the site

    -Conduct targeted research using sources listed in bibliography

    -Refine thesis to a more manageable scope

    -Ensure that you select 3 sites to focus the bulk of your writing on. And that they illuminate your thesis

    -Reorganize outline with clear main points and supporting sub-points.

    Visit my office hours to discuss outline refinement and strategy to make this a strong and well organized investigation of de Silva

    My sources

    Nunes, Ines Leonor. “Jane Drew and Minnette De Silva Pioneering Participatory Architecture in Mid-Century India and Sri Lanka.” Joelho Revista de Cultura Arquitectonica, no. 15 (May 9, 2024): 59–72.
    [https://doi.org/10.14195/1647-8681_15_4](https://doi.org/10.14195/1647-8681_15_4).

    Robson, David. “Andrew Boyd and Minnette de Silva: Two Pioneers of Modernism in Ceylon.” thinkMATTER (blog), March 4, 2015.
    [https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/](https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/).

    Siddiqi, Anooradha Iyer. “Crafting the Archive: Minnette De Silva, Architecture, and History.” The Journal of Architecture 22, no. 8 (November 17, 2017): 1299–1336.
    [https://doi.org/10.1080/13602365.2017.1376341](https://doi.org/10.1080/13602365.2017.1376341).

    Singha, Sumita. “Remembering Minnette de Silva: The Architect in a Sari.” RIBA Blog (blog), 2024.
    [https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva](https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva).

    **## MyThesisoutlineandbio.docx**

    **Minnette de Silva (1918–1998)**

    **Thesis Statement:** Minnette de Silva was an accomplished architect in her time. She was known for blending traditional Sri Lankan building styles with modern ideas and creating unique designs. She grew up in an environment that greatly cared about politics and culture, influencing her work. Her work uses local materials and crafts, and she uses design principles like simplicity and practicality. Her house in Kandy and The Karunaratne House were her two most famous projects, and she showed her creative ideas in each of them. De Silva’s work was tremendously important because it helped Sri Lanka develop their own architectural identity after gaining independence. She worked with local crafters to help incorporate traditional skills into her projects and ensured her work included Sri Lanka’s culture. As one of the first women architects in Asia, she faced a great deal of challenges, but she still overcame them and became well-known for her bold and creative ideas. She faced financial struggles as well as working in a field dominated by men; her contributions are still remembered today. She also worked with a famous artist named Le Corbusier and brought attention to tropical modernism. That’s an architect’s style that fits warm climates. Minnette de Silva’s works continue to inspire the world to this day by showing how buildings can be created using local traditional style and modern needs. She was also a part of the international discussions about architecture, where she shared her views on blending cultural identity with modern design. She is a true inspiration for the architecture world, making the impossible possible.

    **I. Introduction and Personal Background**

    **A.** Her early life in Kandy, Sri Lanka

    **B.** Her education and introduction to architecture

    **C.** Her family’s influence on her career

    **II. Architectural Philosophy and Methods**

    **A.** Her belief in working with local craftspeople

    **B.** Combining traditional Sri Lankan styles with modern architecture

    **C.** Using materials and techniques that suit Sri Lanka’s Environment

    **III. Signature Works**

    **A.** Kandy Residence

    **B.** Karunaratne House

    **C.** Other Projects

    **IV. Contributions to Postcolonial Identity**

    **A.** Being one of the first female architects in Asia

    **B.** Facing financial and social difficulties

    **C.** gaining international recognition despite challenges

    **V. Global Influence and Legacy**

    **A.** Collaborating with Le Corbusier

    **B.** Contributed ideas of tropical modernism

    **C.** Inspiring future architects with her work

    **VI. Conclusion**

    **A.** Why Minnette de Silva’s work matter

    **B.** How she connected tradition and modernity

    **Bibliography**

    Nunes, Ines Leonor. “Jane Drew and Minnette De Silva Pioneering Participatory Architecture in Mid-Century India and Sri Lanka.” Joelho Revista de Cultura Arquitectonica, no. 15 (May 9, 2024): 59–72.
    [https://doi.org/10.14195/1647-8681_15_4](https://doi.org/10.14195/1647-8681_15_4).

    Robson, David. “Andrew Boyd and Minnette de Silva: Two Pioneers of Modernism in Ceylon.” thinkMATTER (blog), March 4, 2015.
    [https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/](https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/).

    Siddiqi, Anooradha Iyer. “Crafting the Archive: Minnette De Silva, Architecture, and History.” The Journal of Architecture 22, no. 8 (November 17, 2017): 1299–1336.
    [https://doi.org/10.1080/13602365.2017.1376341](https://doi.org/10.1080/13602365.2017.1376341).

    Singha, Sumita. “Remembering Minnette de Silva: The Architect in a Sari.” RIBA Blog (blog), 2024.
    [https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva](https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva).

    **## 211GuidedTourResearchProjectPart21.docx**

    Survey of World Architecture and Urbanism / ARLH 211 / Ritter / Winter 2025

    Guided Tour Research Project Part 2

    Due February 28th @ 11:59 PM EST

    ### Assignment Description

    For this assignment, students will create a guided video tour of a historic architectural site that we have not covered in class. This project allows students to explore a new location, conducting rigorous and thorough research to uncover its architectural significance and historical context. Students will produce and narrate a video that showcases the site while narrating their findings through a well-crafted script. This is an opportunity to deepen their understanding of architectural history and enhance skills in research, storytelling, and digital presentation.

    In keeping with this course’s goals and outcomes, this assignment helps students achieve the following:

    · Synthesize research using appropriate tools and sources to effectively examine built environments

    · Strengthen awareness of architectural terminology, typology, technology, materials, and symbolism

    · Advance ability to discuss, analyze, and interpret works of architecture and urban design

    · Consider diverse contexts and voices that inform an understanding of built environments

    · Use appropriate terminology and concepts in oral, written, and visual communication conforming to Chicago/Turabian style

    ### Deliverables:

    1. Tour Script (between 1500-2000 words)

    2. Tour Video

    **Assignment phases:**

    The following phases for this assignment are:

    · Feb. 21st: Research Paper Drop-in Help Session 9:00-10:00 AM EST on Zoom

    · Feb. 28th: Final Tour Video and Script due at 11:59 PM EST

    **Parameters:**

    _Tour Script:_

    · Tour script and bibliography should be included in a single Word document

    · Header must include: [Your first and last name], ARLH 211-N01 Winter 2025, Guided Tour Part 2

    · Length should be between 1500-2000 words

    ·
    Thesis must be underlined

    · Use 12 point Times New Roman font. Double spaced. 1-inch margins.

    · Script should be free from grammatical and spelling errors

    · All sources must come from the pre-approved bibliography available at Blackboard / Assignment Materials.

    · You must cite a minimum of 4 sources.

    · Script must employ Chicago Style footnotes and bibliography

    _Tour Video:_

    · Title page must include: [Your first and last name], ARLH 211-N01 Winter 2025, Guided Tour Part 2

    · Tour video should be narrated by student using the tour script

    · Video must be submitted in one of the following formats:

    · .MP4

    · YouTube video (submit the URL)

    · Other formats (check with instructor)

    ### Additional Guidelines:

    #### Visuals:

    · Ensure images link well with your tour script

    · Use computer cursor (the simplest option) or other tools to highlight specific details

    · Grades will focus on effective communication rather than sophisticated video production

    #### Vocals:

    · Maintain a steady pace

    · Avoid speaking too quickly

    · Vary intonation to highlight important points

    · Record a short sample to check pace and intonation before full recording

    ### Tools and Resources

    · Use the Writer’s Studio to hone your Tour Script

    · Visit SCADamp as you design your tour video

    · Come to your professor’s office hours to ask questions and solicit feedback

    · Guides to Chicago Style Footnotes and Bibliography are available on Blackboard/Assignment Resources

    · Examples of student projects from previous years are available on Dropbox/Class Share

    **Submit in two places:**

    · Script
    _and_ Tour Video to Blackboard/Submit Assignments Here

    _File names must follow this convention:_

    **Script:** 202520_ARLH_211_N01_Ritter_studentsurname_GuidedTourPart2script

    **Video:** 202520_ARLH_211_N01_Ritter_studentsurname_GuidedTourPart2video

    · Tour Video
    _only_ to Blackboard/Discussions/Guided Tour Video

    ### Feedback Schedule and Process:

    Feedback from Part 2 will be returned within 1 week of submission.

    **Assessment criteria:**

    Grades, using a rubric and general comments, will be returned to students via Blackboard’s grade center no later than one week after submission.

    **Rubrics:**

    Rubrics for all assignments and exams can be found at Blackboard/Assignment Materials

    **## 211GuidedTourResearchProjectPart1.docx**

    Survey of World Architecture and Urbanism / ARLH 211 / Ritter / Winter 2025

    Guided Tour Research Project Part 1

    Due January 24th @ 11:59 PM

    ### Purpose/Objectives:

    This assignment provides students the opportunity to lay the groundwork for a research-based analysis of a significant global architectural or urban site. That groundwork includes selecting a site from the list of approved locations provided by the instructor, reading and taking notes on research sources, writing a thesis statement that presents the argument you will make about their chosen site's cultural and architectural significance, and an outline that establishes the order in which you will present evidence in support of the thesis argument.

    In keeping with this course’s goals and outcomes, this assignment helps students achieve the following:

    · synthesize research using appropriate tools and sources to effectively examine built environments

    · strengthen their awareness of architectural terminology, typology, technology, materials, and symbolism

    · advance their ability to discuss, analyze and interpret works of architecture, and urban design

    · proficiently and ethically employ scholarly digital tools including on-line databases and image resources.

    · consider diverse contexts and voices that inform an understanding of built environments.

    ### Deliverables:

    This assignment requires that you turn in:

    1.
    **Tour topic** selected from the list of topics provided on Blackboard

    2.
    **Thesis Statement**(250-300 words)

    Present an argument that addresses:

    · The site's historical and cultural significance

    · Its architectural or urban planning innovations

    · Its influence on subsequent developments

    · Its role in shaping local and global architectural discourse

    3.
    **Detailed Outline**

    · Introduction and historical context

    · Subtopic sections, each focusing on a key element of the design

    · Conclusion synthesizing the subtopics and how they support the site’s importance

    · Include brief notes about intended visual materials

    4.
    **Bibliography** of a minimum of four sources, selected from the overall bibliography provided by the instructor for each topic, formatted correctly using Chicago-Turabian style.

    ### Assignment phases:

    The following required and optional phases for this assignment are:

    · Class 2: In class overview for this assignment

    · Class 4: Topic selection. Instructor provides time for students to ask questions about assignment in class.

    · Optional: students are encouraged to meet with the Writers Studio or the instructor to solicit feedback on their rough draft

    · Jan. 24th @ 11:59 PM: Assignment submission

    ### Parameters:

    · All elements (thesis, outline, and sources) should be included in a single Word document

    · Header must include: [Your first and last name], ARLH 211-[section #] Winter Guided Tour Part 1

    ·
    Thesis statement must be underlined

    · Use 12 point Times New Roman font. Double spaced. 1-inch margins

    · Materials should be free from grammatical and spelling errors

    · Chicago-Turabian should be used for the bibliography

    ### Tools and resources:

    · The topic should be selected from the list provided as part of the assignment instructions on Blackboard.

    · All sources must come from the pre-approved bibliography available as part of the assignment instructions on Blackboard.

    · Students are encouraged to use the Writer’s Studio when crafting thesis statements and outlines.

    ### Submission requirements:

    This assignment will be submitted to Blackboard / Submit Assignments Here with the following file naming convention:

    202520_ARLH_211_[section#]_Ritter_StudentLastname_ GuidedResearchTourPart1

    e.g: 202520_ARLH_211_[section#]_Ritter_Wallace_ GuidedResearchTourPart1

    ### Assignment weight:

    This assignment counts for 10 points, or 10% of the overall course grade.

    ### Feedback schedule and process:

    1. Assignment introduced in week one

    2. Students review assignment instructions and take notes in class 2

    3. Submit assignment on Jan. 24th

    ### Assessment criteria:

    · Thesis statement: 35% of assignment grade

    · Outline: 40% of assignment grade

    · Source selection: 10% of assignment grade

    · Chicago formatting: 15% of assignment grade

    Grades, using a rubric and general comments, will be returned to students via Blackboard’s grade center no later than one week after submission.

    ### Rubrics:

    Rubrics for all assignments and exams can be found at Blackboard/Assignment Materials

    The use of Artificial Intelligence (AI) tools, including but not limited to AI-generated content, automated writing assistance, and machine-generated responses, is strictly prohibited for the completion of assignments in this course.

    The use of Artificial Intelligence (AI) tools, including but not limited to AI-generated content, automated writing assistance, and machine-generated responses, is strictly prohibited for the completion of assignments in this course.

    **## 211GuidedTourResearchProjectPart1.docx**

    Survey of World Architecture and Urbanism / ARLH 211 / Ritter / Winter 2025

    Guided Tour Research Project Part 1

    Due January 24th @ 11:59 PM

    ### Purpose/Objectives:

    This assignment provides students the opportunity to lay the groundwork for a research-based analysis of a significant global architectural or urban site. That groundwork includes selecting a site from the list of approved locations provided by the instructor, reading and taking notes on research sources, writing a thesis statement that presents the argument you will make about their chosen site's cultural and architectural significance, and an outline that establishes the order in which you will present evidence in support of the thesis argument.

    In keeping with this course’s goals and outcomes, this assignment helps students achieve the following:

    · synthesize research using appropriate tools and sources to effectively examine built environments

    · strengthen their awareness of architectural terminology, typology, technology, materials, and symbolism

    · advance their ability to discuss, analyze and interpret works of architecture, and urban design

    · proficiently and ethically employ scholarly digital tools including on-line databases and image resources.

    · consider diverse contexts and voices that inform an understanding of built environments.

    ### Deliverables:

    This assignment requires that you turn in:

    1.
    **Tour topic** selected from the list of topics provided on Blackboard

    2.
    **Thesis Statement**(250-300 words)

    Present an argument that addresses:

    · The site's historical and cultural significance

    · Its architectural or urban planning innovations

    · Its influence on subsequent developments

    · Its role in shaping local and global architectural discourse

    3.
    **Detailed Outline**

    · Introduction and historical context

    · Subtopic sections, each focusing on a key element of the design

    · Conclusion synthesizing the subtopics and how they support the site’s importance

    · Include brief notes about intended visual materials

    4.
    **Bibliography** of a minimum of four sources, selected from the overall bibliography provided by the instructor for each topic, formatted correctly using Chicago-Turabian style.

    ### Assignment phases:

    The following required and optional phases for this assignment are:

    · Class 2: In class overview for this assignment

    · Class 4: Topic selection. Instructor provides time for students to ask questions about assignment in class.

    · Optional: students are encouraged to meet with the Writers Studio or the instructor to solicit feedback on their rough draft

    · Jan. 24th @ 11:59 PM: Assignment submission

    ### Parameters:

    · All elements (thesis, outline, and sources) should be included in a single Word document

    · Header must include: [Your first and last name], ARLH 211-[section #] Winter Guided Tour Part 1

    ·
    Thesis statement must be underlined

    · Use 12 point Times New Roman font. Double spaced. 1-inch margins

    · Materials should be free from grammatical and spelling errors

    · Chicago-Turabian should be used for the bibliography

    ### Tools and resources:

    · The topic should be selected from the list provided as part of the assignment instructions on Blackboard.

    · All sources must come from the pre-approved bibliography available as part of the assignment instructions on Blackboard.

    · Students are encouraged to use the Writer’s Studio when crafting thesis statements and outlines.

    ### Submission requirements:

    This assignment will be submitted to Blackboard / Submit Assignments Here with the following file naming convention:

    202520_ARLH_211_[section#]_Ritter_StudentLastname_ GuidedResearchTourPart1

    e.g: 202520_ARLH_211_[section#]_Ritter_Wallace_ GuidedResearchTourPart1

    ### Assignment weight:

    This assignment counts for 10 points, or 10% of the overall course grade.

    ### Feedback schedule and process:

    1. Assignment introduced in week one

    2. Students review assignment instructions and take notes in class 2

    3. Submit assignment on Jan. 24th

    ### Assessment criteria:

    · Thesis statement: 35% of assignment grade

    · Outline: 40% of assignment grade

    · Source selection: 10% of assignment grade

    · Chicago formatting: 15% of assignment grade

    Grades, using a rubric and general comments, will be returned to students via Blackboard’s grade center no later than one week after submission.

    ### Rubrics:

    Rubrics for all assignments and exams can be found at Blackboard/Assignment Materials

    The use of Artificial Intelligence (AI) tools, including but not limited to AI-generated content, automated writing assistance, and machine-generated responses, is strictly prohibited for the completion of assignments in this course.

    The use of Artificial Intelligence (AI) tools, including but not limited to AI-generated content, automated writing assistance, and machine-generated responses, is strictly prohibited for the completion of assignments in this course.

    **## Feedback.docx**

    I've started but I didn't get a good feed back on my thesis. I need help with it plus more. PLEASE DO NOT US AI! NO PLAGIARISM

    I've included my The sis, Out line, and bibliography. I need to redo my the sis. This is her feedback:

    There is a lot to say about de Silva- and sometimes that is a double edged sword. Her biography is important, but should take a back seat to her architecture and designs. For your final tour script, focus on her unique contributions as an architect, and how the three different sites can illustrate her impact. I would be glad to discuss further with you- see me in office hours and let's make this a really strong project.

    **Thesis**

    Thesis present but lacks clarity or fails to fully capture the main arguments. Revise the thesis for clarity and relevance to better reflect the main arguments of the assignment

    Criterion Feedback

    This is all such interesting information, but it needs more focus. It's crucial that your thesis serves as a roadmap for your tour, clearly reflecting the key ideas you'll explore. I would like to see a more robust final thesis to guide your inquiry into de Silva. If you haven’t written a history paper in a while it can feel challenging. I recommend this website, which has great tips:

    **Outline**

    Basic outline present but lacks depth or clear organization of ideas. Topics are broadly defined or tangentially related to thesis. Details are general and barely support topic.

    Criterion Feedback

    Outline needs revision/Recommended Next Steps:

    -Focus on core task- a guided tour of the site

    -Conduct targeted research using sources listed in bibliography

    -Refine thesis to a more manageable scope

    -Ensure that you select 3 sites to focus the bulk of your writing on. And that they illuminate your thesis

    -Reorganize outline with clear main points and supporting sub-points.

    Visit my office hours to discuss outline refinement and strategy to make this a strong and well organized investigation of de Silva

    My sources

    Nunes, Ines Leonor. “Jane Drew and Minnette De Silva Pioneering Participatory Architecture in Mid-Century India and Sri Lanka.” Joelho Revista de Cultura Arquitectonica, no. 15 (May 9, 2024): 59–72.
    [https://doi.org/10.14195/1647-8681_15_4](https://doi.org/10.14195/1647-8681_15_4).

    Robson, David. “Andrew Boyd and Minnette de Silva: Two Pioneers of Modernism in Ceylon.” thinkMATTER (blog), March 4, 2015.
    [https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/](https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/).

    Siddiqi, Anooradha Iyer. “Crafting the Archive: Minnette De Silva, Architecture, and History.” The Journal of Architecture 22, no. 8 (November 17, 2017): 1299–1336.
    [https://doi.org/10.1080/13602365.2017.1376341](https://doi.org/10.1080/13602365.2017.1376341).

    Singha, Sumita. “Remembering Minnette de Silva: The Architect in a Sari.” RIBA Blog (blog), 2024.
    [https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva](https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva).

    **## MyThesisoutlineandbio.docx**

    **Minnette de Silva (1918–1998)**

    **Thesis Statement:** Minnette de Silva was an accomplished architect in her time. She was known for blending traditional Sri Lankan building styles with modern ideas and creating unique designs. She grew up in an environment that greatly cared about politics and culture, influencing her work. Her work uses local materials and crafts, and she uses design principles like simplicity and practicality. Her house in Kandy and The Karunaratne House were her two most famous projects, and she showed her creative ideas in each of them. De Silva’s work was tremendously important because it helped Sri Lanka develop their own architectural identity after gaining independence. She worked with local crafters to help incorporate traditional skills into her projects and ensured her work included Sri Lanka’s culture. As one of the first women architects in Asia, she faced a great deal of challenges, but she still overcame them and became well-known for her bold and creative ideas. She faced financial struggles as well as working in a field dominated by men; her contributions are still remembered today. She also worked with a famous artist named Le Corbusier and brought attention to tropical modernism. That’s an architect’s style that fits warm climates. Minnette de Silva’s works continue to inspire the world to this day by showing how buildings can be created using local traditional style and modern needs. She was also a part of the international discussions about architecture, where she shared her views on blending cultural identity with modern design. She is a true inspiration for the architecture world, making the impossible possible.

    **I. Introduction and Personal Background**

    **A.** Her early life in Kandy, Sri Lanka

    **B.** Her education and introduction to architecture

    **C.** Her family’s influence on her career

    **II. Architectural Philosophy and Methods**

    **A.** Her belief in working with local craftspeople

    **B.** Combining traditional Sri Lankan styles with modern architecture

    **C.** Using materials and techniques that suit Sri Lanka’s Environment

    **III. Signature Works**

    **A.** Kandy Residence

    **B.** Karunaratne House

    **C.** Other Projects

    **IV. Contributions to Postcolonial Identity**

    **A.** Being one of the first female architects in Asia

    **B.** Facing financial and social difficulties

    **C.** gaining international recognition despite challenges

    **V. Global Influence and Legacy**

    **A.** Collaborating with Le Corbusier

    **B.** Contributed ideas of tropical modernism

    **C.** Inspiring future architects with her work

    **VI. Conclusion**

    **A.** Why Minnette de Silva’s work matter

    **B.** How she connected tradition and modernity

    **Bibliography**

    Nunes, Ines Leonor. “Jane Drew and Minnette De Silva Pioneering Participatory Architecture in Mid-Century India and Sri Lanka.” Joelho Revista de Cultura Arquitectonica, no. 15 (May 9, 2024): 59–72.
    [https://doi.org/10.14195/1647-8681_15_4](https://doi.org/10.14195/1647-8681_15_4).

    Robson, David. “Andrew Boyd and Minnette de Silva: Two Pioneers of Modernism in Ceylon.” thinkMATTER (blog), March 4, 2015.
    [https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/](https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/).

    Siddiqi, Anooradha Iyer. “Crafting the Archive: Minnette De Silva, Architecture, and History.” The Journal of Architecture 22, no. 8 (November 17, 2017): 1299–1336.
    [https://doi.org/10.1080/13602365.2017.1376341](https://doi.org/10.1080/13602365.2017.1376341).

    Singha, Sumita. “Remembering Minnette de Silva: The Architect in a Sari.” RIBA Blog (blog), 2024.
    [https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva](https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva).

    **## 211GuidedTourResearchProjectPart21.docx**

    Survey of World Architecture and Urbanism / ARLH 211 / Ritter / Winter 2025

    Guided Tour Research Project Part 2

    Due February 28th @ 11:59 PM EST

    ### Assignment Description

    For this assignment, students will create a guided video tour of a historic architectural site that we have not covered in class. This project allows students to explore a new location, conducting rigorous and thorough research to uncover its architectural significance and historical context. Students will produce and narrate a video that showcases the site while narrating their findings through a well-crafted script. This is an opportunity to deepen their understanding of architectural history and enhance skills in research, storytelling, and digital presentation.

    In keeping with this course’s goals and outcomes, this assignment helps students achieve the following:

    · Synthesize research using appropriate tools and sources to effectively examine built environments

    · Strengthen awareness of architectural terminology, typology, technology, materials, and symbolism

    · Advance ability to discuss, analyze, and interpret works of architecture and urban design

    · Consider diverse contexts and voices that inform an understanding of built environments

    · Use appropriate terminology and concepts in oral, written, and visual communication conforming to Chicago/Turabian style

    ### Deliverables:

    1. Tour Script (between 1500-2000 words)

    2. Tour Video

    **Assignment phases:**

    The following phases for this assignment are:

    · Feb. 21st: Research Paper Drop-in Help Session 9:00-10:00 AM EST on Zoom

    · Feb. 28th: Final Tour Video and Script due at 11:59 PM EST

    **Parameters:**

    _Tour Script:_

    · Tour script and bibliography should be included in a single Word document

    · Header must include: [Your first and last name], ARLH 211-N01 Winter 2025, Guided Tour Part 2

    · Length should be between 1500-2000 words

    ·
    Thesis must be underlined

    · Use 12 point Times New Roman font. Double spaced. 1-inch margins.

    · Script should be free from grammatical and spelling errors

    · All sources must come from the pre-approved bibliography available at Blackboard / Assignment Materials.

    · You must cite a minimum of 4 sources.

    · Script must employ Chicago Style footnotes and bibliography

    _Tour Video:_

    · Title page must include: [Your first and last name], ARLH 211-N01 Winter 2025, Guided Tour Part 2

    · Tour video should be narrated by student using the tour script

    · Video must be submitted in one of the following formats:

    · .MP4

    · YouTube video (submit the URL)

    · Other formats (check with instructor)

    ### Additional Guidelines:

    #### Visuals:

    · Ensure images link well with your tour script

    · Use computer cursor (the simplest option) or other tools to highlight specific details

    · Grades will focus on effective communication rather than sophisticated video production

    #### Vocals:

    · Maintain a steady pace

    · Avoid speaking too quickly

    · Vary intonation to highlight important points

    · Record a short sample to check pace and intonation before full recording

    ### Tools and Resources

    · Use the Writer’s Studio to hone your Tour Script

    · Visit SCADamp as you design your tour video

    · Come to your professor’s office hours to ask questions and solicit feedback

    · Guides to Chicago Style Footnotes and Bibliography are available on Blackboard/Assignment Resources

    · Examples of student projects from previous years are available on Dropbox/Class Share

    **Submit in two places:**

    · Script
    _and_ Tour Video to Blackboard/Submit Assignments Here

    _File names must follow this convention:_

    **Script:** 202520_ARLH_211_N01_Ritter_studentsurname_GuidedTourPart2script

    **Video:** 202520_ARLH_211_N01_Ritter_studentsurname_GuidedTourPart2video

    · Tour Video
    _only_ to Blackboard/Discussions/Guided Tour Video

    ### Feedback Schedule and Process:

    Feedback from Part 2 will be returned within 1 week of submission.

    **Assessment criteria:**

    Grades, using a rubric and general comments, will be returned to students via Blackboard’s grade center no later than one week after submission.

    **Rubrics:**

    Rubrics for all assignments and exams can be found at Blackboard/Assignment Materials

    **## 211GuidedTourResearchProjectPart1.docx**

    Survey of World Architecture and Urbanism / ARLH 211 / Ritter / Winter 2025

    Guided Tour Research Project Part 1

    Due January 24th @ 11:59 PM

    ### Purpose/Objectives:

    This assignment provides students the opportunity to lay the groundwork for a research-based analysis of a significant global architectural or urban site. That groundwork includes selecting a site from the list of approved locations provided by the instructor, reading and taking notes on research sources, writing a thesis statement that presents the argument you will make about their chosen site's cultural and architectural significance, and an outline that establishes the order in which you will present evidence in support of the thesis argument.

    In keeping with this course’s goals and outcomes, this assignment helps students achieve the following:

    · synthesize research using appropriate tools and sources to effectively examine built environments

    · strengthen their awareness of architectural terminology, typology, technology, materials, and symbolism

    · advance their ability to discuss, analyze and interpret works of architecture, and urban design

    · proficiently and ethically employ scholarly digital tools including on-line databases and image resources.

    · consider diverse contexts and voices that inform an understanding of built environments.

    ### Deliverables:

    This assignment requires that you turn in:

    1.
    **Tour topic** selected from the list of topics provided on Blackboard

    2.
    **Thesis Statement**(250-300 words)

    Present an argument that addresses:

    · The site's historical and cultural significance

    · Its architectural or urban planning innovations

    · Its influence on subsequent developments

    · Its role in shaping local and global architectural discourse

    3.
    **Detailed Outline**

    · Introduction and historical context

    · Subtopic sections, each focusing on a key element of the design

    · Conclusion synthesizing the subtopics and how they support the site’s importance

    · Include brief notes about intended visual materials

    4.
    **Bibliography** of a minimum of four sources, selected from the overall bibliography provided by the instructor for each topic, formatted correctly using Chicago-Turabian style.

    ### Assignment phases:

    The following required and optional phases for this assignment are:

    · Class 2: In class overview for this assignment

    · Class 4: Topic selection. Instructor provides time for students to ask questions about assignment in class.

    · Optional: students are encouraged to meet with the Writers Studio or the instructor to solicit feedback on their rough draft

    · Jan. 24th @ 11:59 PM: Assignment submission

    ### Parameters:

    · All elements (thesis, outline, and sources) should be included in a single Word document

    · Header must include: [Your first and last name], ARLH 211-[section #] Winter Guided Tour Part 1

    ·
    Thesis statement must be underlined

    · Use 12 point Times New Roman font. Double spaced. 1-inch margins

    · Materials should be free from grammatical and spelling errors

    · Chicago-Turabian should be used for the bibliography

    ### Tools and resources:

    · The topic should be selected from the list provided as part of the assignment instructions on Blackboard.

    · All sources must come from the pre-approved bibliography available as part of the assignment instructions on Blackboard.

    · Students are encouraged to use the Writer’s Studio when crafting thesis statements and outlines.

    ### Submission requirements:

    This assignment will be submitted to Blackboard / Submit Assignments Here with the following file naming convention:

    202520_ARLH_211_[section#]_Ritter_StudentLastname_ GuidedResearchTourPart1

    e.g: 202520_ARLH_211_[section#]_Ritter_Wallace_ GuidedResearchTourPart1

    ### Assignment weight:

    This assignment counts for 10 points, or 10% of the overall course grade.

    ### Feedback schedule and process:

    1. Assignment introduced in week one

    2. Students review assignment instructions and take notes in class 2

    3. Submit assignment on Jan. 24th

    ### Assessment criteria:

    · Thesis statement: 35% of assignment grade

    · Outline: 40% of assignment grade

    · Source selection: 10% of assignment grade

    · Chicago formatting: 15% of assignment grade

    Grades, using a rubric and general comments, will be returned to students via Blackboard’s grade center no later than one week after submission.

    ### Rubrics:

    Rubrics for all assignments and exams can be found at Blackboard/Assignment Materials

    The use of Artificial Intelligence (AI) tools, including but not limited to AI-generated content, automated writing assistance, and machine-generated responses, is strictly prohibited for the completion of assignments in this course.

    The use of Artificial Intelligence (AI) tools, including but not limited to AI-generated content, automated writing assistance, and machine-generated responses, is strictly prohibited for the completion of assignments in this course.

    **## Feedback.docx**

    I've started but I didn't get a good feed back on my thesis. I need help with it plus more. PLEASE DO NOT US AI! NO PLAGIARISM

    I've included my The sis, Out line, and bibliography. I need to redo my the sis. This is her feedback:

    There is a lot to say about de Silva- and sometimes that is a double edged sword. Her biography is important, but should take a back seat to her architecture and designs. For your final tour script, focus on her unique contributions as an architect, and how the three different sites can illustrate her impact. I would be glad to discuss further with you- see me in office hours and let's make this a really strong project.

    **Thesis**

    Thesis present but lacks clarity or fails to fully capture the main arguments. Revise the thesis for clarity and relevance to better reflect the main arguments of the assignment

    Criterion Feedback

    This is all such interesting information, but it needs more focus. It's crucial that your thesis serves as a roadmap for your tour, clearly reflecting the key ideas you'll explore. I would like to see a more robust final thesis to guide your inquiry into de Silva. If you haven’t written a history paper in a while it can feel challenging. I recommend this website, which has great tips:

    **Outline**

    Basic outline present but lacks depth or clear organization of ideas. Topics are broadly defined or tangentially related to thesis. Details are general and barely support topic.

    Criterion Feedback

    Outline needs revision/Recommended Next Steps:

    -Focus on core task- a guided tour of the site

    -Conduct targeted research using sources listed in bibliography

    -Refine thesis to a more manageable scope

    -Ensure that you select 3 sites to focus the bulk of your writing on. And that they illuminate your thesis

    -Reorganize outline with clear main points and supporting sub-points.

    Visit my office hours to discuss outline refinement and strategy to make this a strong and well organized investigation of de Silva

    My sources

    Nunes, Ines Leonor. “Jane Drew and Minnette De Silva Pioneering Participatory Architecture in Mid-Century India and Sri Lanka.” Joelho Revista de Cultura Arquitectonica, no. 15 (May 9, 2024): 59–72.
    [https://doi.org/10.14195/1647-8681_15_4](https://doi.org/10.14195/1647-8681_15_4).

    Robson, David. “Andrew Boyd and Minnette de Silva: Two Pioneers of Modernism in Ceylon.” thinkMATTER (blog), March 4, 2015.
    [https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/](https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/).

    Siddiqi, Anooradha Iyer. “Crafting the Archive: Minnette De Silva, Architecture, and History.” The Journal of Architecture 22, no. 8 (November 17, 2017): 1299–1336.
    [https://doi.org/10.1080/13602365.2017.1376341](https://doi.org/10.1080/13602365.2017.1376341).

    Singha, Sumita. “Remembering Minnette de Silva: The Architect in a Sari.” RIBA Blog (blog), 2024.
    [https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva](https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva).

    **## MyThesisoutlineandbio.docx**

    **Minnette de Silva (1918–1998)**

    **Thesis Statement:** Minnette de Silva was an accomplished architect in her time. She was known for blending traditional Sri Lankan building styles with modern ideas and creating unique designs. She grew up in an environment that greatly cared about politics and culture, influencing her work. Her work uses local materials and crafts, and she uses design principles like simplicity and practicality. Her house in Kandy and The Karunaratne House were her two most famous projects, and she showed her creative ideas in each of them. De Silva’s work was tremendously important because it helped Sri Lanka develop their own architectural identity after gaining independence. She worked with local crafters to help incorporate traditional skills into her projects and ensured her work included Sri Lanka’s culture. As one of the first women architects in Asia, she faced a great deal of challenges, but she still overcame them and became well-known for her bold and creative ideas. She faced financial struggles as well as working in a field dominated by men; her contributions are still remembered today. She also worked with a famous artist named Le Corbusier and brought attention to tropical modernism. That’s an architect’s style that fits warm climates. Minnette de Silva’s works continue to inspire the world to this day by showing how buildings can be created using local traditional style and modern needs. She was also a part of the international discussions about architecture, where she shared her views on blending cultural identity with modern design. She is a true inspiration for the architecture world, making the impossible possible.

    **I. Introduction and Personal Background**

    **A.** Her early life in Kandy, Sri Lanka

    **B.** Her education and introduction to architecture

    **C.** Her family’s influence on her career

    **II. Architectural Philosophy and Methods**

    **A.** Her belief in working with local craftspeople

    **B.** Combining traditional Sri Lankan styles with modern architecture

    **C.** Using materials and techniques that suit Sri Lanka’s Environment

    **III. Signature Works**

    **A.** Kandy Residence

    **B.** Karunaratne House

    **C.** Other Projects

    **IV. Contributions to Postcolonial Identity**

    **A.** Being one of the first female architects in Asia

    **B.** Facing financial and social difficulties

    **C.** gaining international recognition despite challenges

    **V. Global Influence and Legacy**

    **A.** Collaborating with Le Corbusier

    **B.** Contributed ideas of tropical modernism

    **C.** Inspiring future architects with her work

    **VI. Conclusion**

    **A.** Why Minnette de Silva’s work matter

    **B.** How she connected tradition and modernity

    **Bibliography**

    Nunes, Ines Leonor. “Jane Drew and Minnette De Silva Pioneering Participatory Architecture in Mid-Century India and Sri Lanka.” Joelho Revista de Cultura Arquitectonica, no. 15 (May 9, 2024): 59–72.
    [https://doi.org/10.14195/1647-8681_15_4](https://doi.org/10.14195/1647-8681_15_4).

    Robson, David. “Andrew Boyd and Minnette de Silva: Two Pioneers of Modernism in Ceylon.” thinkMATTER (blog), March 4, 2015.
    [https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/](https://thinkmatter.in/2015/03/04/andrew-boyd-and-minnette-de-silva-two-pioneers-of-modernism-in-ceylon/).

    Siddiqi, Anooradha Iyer. “Crafting the Archive: Minnette De Silva, Architecture, and History.” The Journal of Architecture 22, no. 8 (November 17, 2017): 1299–1336.
    [https://doi.org/10.1080/13602365.2017.1376341](https://doi.org/10.1080/13602365.2017.1376341).

    Singha, Sumita. “Remembering Minnette de Silva: The Architect in a Sari.” RIBA Blog (blog), 2024.
    [https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva](https://www.architecture.com/about/equality-diversity-and-inclusion/remembering-minnette-de-silva).

    **## 211GuidedTourResearchProjectPart21.docx**

    Survey of World Architecture and Urbanism / ARLH 211 / Ritter / Winter 2025

    Guided Tour Research Project Part 2

    Due February 28th @ 11:59 PM EST

    ### Assignment Description

    For this assignment, students will create a guided video tour of a historic architectural site that we have not covered in class. This project allows students to explore a new location, conducting rigorous and thorough research to uncover its architectural significance and historical context. Students will produce and narrate a video that showcases the site while narrating their findings through a well-crafted script. This is an opportunity to deepen their understanding of architectural history and enhance skills in research, storytelling, and digital presentation.

    In keeping with this course’s goals and outcomes, this assignment helps students achieve the following:

    · Synthesize research using appropriate tools and sources to effectively examine built environments

    · Strengthen awareness of architectural terminology, typology, technology, materials, and symbolism

    · Advance ability to discuss, analyze, and interpret works of architecture and urban design

    · Consider diverse contexts and voices that inform an understanding of built environments

    · Use appropriate terminology and concepts in oral, written, and visual communication conforming to Chicago/Turabian style

    ### Deliverables:

    1. Tour Script (between 1500-2000 words)

    2. Tour Video

    **Assignment phases:**

    The following phases for this assignment are:

    · Feb. 21st: Research Paper Drop-in Help Session 9:00-10:00 AM EST on Zoom

    · Feb. 28th: Final Tour Video and Script due at 11:59 PM EST

    **Parameters:**

    _Tour Script:_

    · Tour script and bibliography should be included in a single Word document

    · Header must include: [Your first and last name], ARLH 211-N01 Winter 2025, Guided Tour Part 2

    · Length should be between 1500-2000 words

    ·
    Thesis must be underlined

    · Use 12 point Times New Roman font. Double spaced. 1-inch margins.

    · Script should be free from grammatical and spelling errors

    · All sources must come from the pre-approved bibliography available at Blackboard / Assignment Materials.

    · You must cite a minimum of 4 sources.

    · Script must employ Chicago Style footnotes and bibliography

    _Tour Video:_

    · Title page must include: [Your first and last name], ARLH 211-N01 Winter 2025, Guided Tour Part 2

    · Tour video should be narrated by student using the tour script

    · Video must be submitted in one of the following formats:

    · .MP4

    · YouTube video (submit the URL)

    · Other formats (check with instructor)

    ### Additional Guidelines:

    #### Visuals:

    · Ensure images link well with your tour script

    · Use computer cursor (the simplest option) or other tools to highlight specific details

    · Grades will focus on effective communication rather than sophisticated video production

    #### Vocals:

    · Maintain a steady pace

    · Avoid speaking too quickly

    · Vary intonation to highlight important points

    · Record a short sample to check pace and intonation before full recording

    ### Tools and Resources

    · Use the Writer’s Studio to hone your Tour Script

    · Visit SCADamp as you design your tour video

    · Come to your professor’s office hours to ask questions and solicit feedback

    · Guides to Chicago Style Footnotes and Bibliography are available on Blackboard/Assignment Resources

    · Examples of student projects from previous years are available on Dropbox/Class Share

    **Submit in two places:**

    · Script
    _and_ Tour Video to Blackboard/Submit Assignments Here

    _File names must follow this convention:_

    **Script:** 202520_ARLH_211_N01_Ritter_studentsurname_GuidedTourPart2script

    **Video:** 202520_ARLH_211_N01_Ritter_studentsurname_GuidedTourPart2video

    · Tour Video
    _only_ to Blackboard/Discussions/Guided Tour Video

    ### Feedback Schedule and Process:

    Feedback from Part 2 will be returned within 1 week of submission.

    **Assessment criteria:**

    Grades, using a rubric and general comments, will be returned to students via Blackboard’s grade center no later than one week after submission.

    **Rubrics:**

    Rubrics for all assignments and exams can be found at Blackboard/Assignment Materials

    **## 211GuidedTourResearchProjectPart1.docx**

    Survey of World Architecture and Urbanism / ARLH 211 / Ritter / Winter 2025

    Guided Tour Research Project Part 1

    Due January 24th @ 11:59 PM

    ### Purpose/Objectives:

    This assignment provides students the opportunity to lay the groundwork for a research-based analysis of a significant global architectural or urban site. That groundwork includes selecting a site from the list of approved locations provided by the instructor, reading and taking notes on research sources, writing a thesis statement that presents the argument you will make about their chosen site's cultural and architectural significance, and an outline that establishes the order in which you will present evidence in support of the thesis argument.

    In keeping with this course’s goals and outcomes, this assignment helps students achieve the following:

    · synthesize research using appropriate tools and sources to effectively examine built environments

    · strengthen their awareness of architectural terminology, typology, technology, materials, and symbolism

    · advance their ability to discuss, analyze and interpret works of architecture, and urban design

    · proficiently and ethically employ scholarly digital tools including on-line databases and image resources.

    · consider diverse contexts and voices that inform an understanding of built environments.

    ### Deliverables:

    This assignment requires that you turn in:

    1.
    **Tour topic** selected from the list of topics provided on Blackboard

    2.
    **Thesis Statement**(250-300 words)

    Present an argument that addresses:

    · The site's historical and cultural significance

    · Its architectural or urban planning innovations

    · Its influence on subsequent developments

    · Its role in shaping local and global architectural discourse

    3.
    **Detailed Outline**

    · Introduction and historical context

    · Subtopic sections, each focusing on a key element of the design

    · Conclusion synthesizing the subtopics and how they support the site’s importance

    · Include brief notes about intended visual materials

    4.
    **Bibliography** of a minimum of four sources, selected from the overall bibliography provided by the instructor for each topic, formatted correctly using Chicago-Turabian style.

    ### Assignment phases:

    The following required and optional phases for this assignment are:

    · Class 2: In class overview for this assignment

    · Class 4: Topic selection. Instructor provides time for students to ask questions about assignment in class.

    · Optional: students are encouraged to meet with the Writers Studio or the instructor to solicit feedback on their rough draft

    · Jan. 24th @ 11:59 PM: Assignment submission

    ### Parameters:

    · All elements (thesis, outline, and sources) should be included in a single Word document

    · Header must include: [Your first and last name], ARLH 211-[section #] Winter Guided Tour Part 1

    ·
    Thesis statement must be underlined

    · Use 12 point Times New Roman font. Double spaced. 1-inch margins

    · Materials should be free from grammatical and spelling errors

    · Chicago-Turabian should be used for the bibliography

    ### Tools and resources:

    · The topic should be selected from the list provided as part of the assignment instructions on Blackboard.

    · All sources must come from the pre-approved bibliography available as part of the assignment instructions on Blackboard.

    · Students are encouraged to use the Writer’s Studio when crafting thesis statements and outlines.

    ### Submission requirements:

    This assignment will be submitted to Blackboard / Submit Assignments Here with the following file naming convention:

    202520_ARLH_211_[section#]_Ritter_StudentLastname_ GuidedResearchTourPart1

    e.g: 202520_ARLH_211_[section#]_Ritter_Wallace_ GuidedResearchTourPart1

    ### Assignment weight:

    This assignment counts for 10 points, or 10% of the overall course grade.

    ### Feedback schedule and process:

    1. Assignment introduced in week one

    2. Students review assignment instructions and take notes in class 2

    3. Submit assignment on Jan. 24th

    ### Assessment criteria:

    · Thesis statement: 35% of assignment grade

    · Outline: 40% of assignment grade

    · Source selection: 10% of assignment grade

    · Chicago formatting: 15% of assignment grade

    Grades, using a rubric and general comments, will be returned to students via Blackboard’s grade center no later than one week after submission.

    ### Rubrics:

    Rubrics for all assignments and exams can be found at Blackboard/Assignment Materials

    The use of Artificial Intelligence (AI) tools, including but not limited to AI-generated content, automated writing assistance, and machine-generated responses, is strictly prohibited for the completion of assignments in this course.

    The use of Artificial Intelligence (AI) tools, including but not limited to AI-generated content, automated writing assistance, and machine-generated responses, is strictly prohibited for the completion of assignments in this course.

  • [Solved] Prof Double R

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    Assignment Prompt & Instructions

    – 2 years ago

    **files (7)**

    – ## IDES312chapter22AmericanGeorgianterms.docx

    – ## IDES312ch-25-PPTaccessible.pptx

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    – IMG_8690.png
    – IMG_8687.png
    – IDES312ch-22-PPTaccessible.pptx

    **## IDES312chapter22AmericanGeorgianterms.docx**

    IDES 312-Chapter 22 – AMERICAN GEORGIAN – the 1700s-1780s

    Vocabulary terms

    CLASSICAL MOTIFS: see examples in the reading

    1. Pilasters

    2. Pediments

    3. Dentil moldings

    4. Balustrades

    5. Round arch with keystones

    6. Quoins

    COMMON INTERIOR MOTIFS: (Fig.22-1)

    7. Ear

    8. Shell

    9. Acanthus leaf

    10. Rosette

    11. Pineapple or Pinecone

    FURNITURE MOTIFS: (Fig. 22-1, 22-12, 22-16, 22-17)

    12. Classical – (columns and moldings)

    13. Rococo – shells and flowers

    14. Chinese – fretwork and bamboo

    ARCHITECTURE:

    15. Using the elevation on the bottom of page 252, define the terms listed. You may use one photo with arrows or create a list/define/picture for each component.

    INTERIORS:

    16. Show examples of
    _colors_ used in public and private spaces.

    17. Early flooring and floor cloths

    18. Using figure 22-11 identify with a photo and definition of the elements of the space as listed.

    19. Textiles: palamporees

    20. Lighting: candlesticks, wall sconce, chandelier

    FURNISHINGS AND DECORATIVE ARTS:

    21. Queen Anne

    22. Chippendale

    23. Thomas Chippendale

    24. Japanning

    25. Walnut wood

    26. Mahogany wood

    27. Maple wood

    28. Cherry wood

    29. Pine wood

    Seating:

    30. Queen Anne chairs-identify each part of the chair, top to bottom Use the photo below for terms and look up definitions.

    ![](https://www.sweetstudy.com/questions/american-georgian-chapter-22)

    31. Chippendale-style chairs – define all parts.

    32. Windsor chairs – define all parts

    33. Easy chairs – wingback chair type.

    34. QA &Chipp – Tea table

    35. QA & Chipp – Piecrust table

    36. QA & Chipp – sideboard

    37. QA & Chipp – drop-leaf desk

    38. Newport block-front chest of drawers

    39. Shell carving

    40. Bombé chests

    41. QA & CHipp – highboy – use each term from the photo on page 259, fig. 22-17 to define.

    42. QA -& Chipp – lowboy

    43. QA Philadelphia dressing table

    44. Poster beds – QA and Chippendale

    45. QA & Chipp – Canopy

    46. QA & Chipp – Tester cornice

    47. Pewter

    ## image1.jpeg

    **## IDES312ch-25-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 25

    American Federal

    1776 – 1820

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    American Federal

    First phase of Neoclassical in United States

    Based primarily on English modes, but some French influences

    Inception coincides with establishment of U.S. government, hence its name

    Classical details & ornament, slender proportions, contrasting circular & rectangular shape

    Simpler & smaller scale than Neoclassical in England or France

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Concepts

    New nation needs an official architecture to legitimize emancipation & personify cultural identity

    Leaders acquainted with European trends

    Advocate Neoclassicism

    Models from Greece & Rome, ancient republics

    Propose Neoclassical-style national architecture

    Visual metaphor linking old republics with the new one

    Follow English models because of continuing cultural ties with England

    Robert Adam—interiors; Hepplewhite & Sheraton—furniture

    Some Louis

    influences

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.1

    Motifs and Architectural Details: Top from left: Eagle inlay from card table, c. 1790-1820; Rhode Island; pair of vases, c. 1810-1830; France, possibly Paris; and bottom: doorway, Wickham-Valentine House, 1811; Richmond, Virginia. American Federal.

    Table and vases courtesy of the Diplomatic Reception Rooms, U.S. Department of State

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture

    Domestic, not monumental, scale for all buildings

    Wood-frame construction & mostly brick exteriors

    Designers: gentleman amateurs or master craftsmen, not architects

    Lacks strong theoretical base of European Neoclassical

    Imitative, not necessarily innovative

    Georgian forms, but taller, more slender

    Circular or elliptical forms—windows, doors, projecting porches, fan lights

    Classical moldings & ornament—low relief, delicate in scale

    Found on all building types, mostly in urban settings

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    5

    25.2

    Massachusetts State House, 1795-1798; Boston Massachusetts; Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.3

    Meetinghouse, 1816; Lancaster, Massachusetts; Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The rectangular building has a projecting front section supporting a two-stage tower, with an arcaded and pedimented corridor at the front. It consists of three high openings with round-arch tops, which frame three entry doors (the central one taller) behind. The arches have pilasters that rise to an entablature and a fully enclosed gable pediment. The pediment is lined by modillioned cornices, with plain brickwork in the tympanum. The sides of the corridor are also arched and pilastered. The tower section, whose interior houses the vestibule area, rises the width of the building corridor to the height of the gable peak, where there is a cornice line above which rises the tower, flanked by carved wooden fan designs. The first stage of the building is square, with clock faces adorning otherwise plain brick walls.

    7

    25.4a

    First Harrison Gray Otis House and floor plan, 1795-1796; Boston, Massachusetts; architecture by Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The house is a three story brick structure, rectangular in shape, with a three-story ell extending the rear. The brick has a Flemish bond, and the trim is white marble. The roof has a set of posts above a modillioned cornice, pierced by two interior brick chimneys. It has a marble trim band that separating the floors, and the third-floor windows are short. All windows have black shutters has lintels with a keystone.

    8

    25.4b

    First Harrison Gray Otis House, dining room, 1795-1796; Boston, Massachusetts; architecture by Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    A dining room has wooden chairs and tables. The rug spread on the floor integrates the ceiling design. The chairs have rectangular backs. The ceiling has honeysuckle motifs and a rosette in the circle, and it is compartmented with classical motifs to Roman stuccowork.

    9

    25.5a

    Gardner-Pingree House and porch ,1804-1805; Salem, Massachusetts; Samuel McIntire. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has an emphasis on symmetrical balance. The balustrade on the top hides low pitched roof. The top has cornice. It has brick construction, a string course layer on every floor, and windows have lintel with keystone. The windows are six over six double hung windows. The entrance has a semicircular projecting porch supported by slender columns. The house sites on street.

    10

    25.5

    Gardner-Pingree House, parlor, 1804-1805; Salem, Massachusetts; Samuel McIntire. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    11

    25.6

    Monticello and floor plan, begun 1777, remodeled 1793-1809; Charlottesville, Virginia; Thomas Jefferson. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description 1:

    The building has a three-story brick basement that has each room in a different shape. There are two main entrances, and the windows on the second story start at floor level and with the first-story windows in a single frame, which gives the impression that there is only a single story. A central octagonal dome dominates the structure.

    Long Description 2:

    It shows the hall in the center. On its top is a saloon. On the right of the salon is the dining room followed by the tea room. On the right of the hall is two chambers. To the left of the saloon is The Jefferson's room and to the left of the hall is the library. To the left of the library is an underground passage.

    12

    25.7

    Nathaniel Russell House, before 1809;Charleston, South Carolina; Russell Warren. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has a balustrade that hides low pitched roof and a cornice on the top. The building has brick construction, stringcourse, and relieving arches. It has a lintel with keystone and a tall double hung window with thin mullions. The entrance has a fanlight window over the entry door and double doors with panels. The house sites on street.

    13

    Interiors

    Modeled on those of Robert Adam

    Smaller, more simply decorated, fewer colors

    Elegant, refined, formal, classical elements & motifs

    Bright, clear colors

    More textiles than before because of industrialization

    Wall-to-wall carpet, window treatments, bed hangings

    Style spreads—pattern books; fashion periodicals; immigrant craftsmen, cabinetmakers & upholsterers; imported furnishings & finishes; travel

    Room use remains as before

    One exception—more dining rooms

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.8

    Stair hall, Wickham-Valentine House, 1811; Richmond, Virginia; Alexander Parris. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    15

    25.9

    Textiles: Toile de Jouy print with symbols of the new American Republic.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.10

    Lighting: Argand lamp, late 18th century; United States.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Furnishings And Decorative Arts

    Same scale, contrasts, classical ornament of European Neoclassical

    Adam, Hepplewhite, Sheraton, Louis

    Simpler with national symbols to establish & maintain cultural identity

    Light scale, slender proportions, straight & usually tapering legs, reeding, fluting, spade or thimble feet, contrasts of circles & rectangles

    Veneers, marquet

    **IMG_8688.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8688-png-10184133)

    **IMG_8689.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8689-png-10184135)

    **IMG_8690.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8690-png-10184137)

    **IMG_8687.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8687-png-10184139)

    **IDES312ch-22-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ides312ch-22-pptaccessible-pptx-10184145)

    **IDES312ch-22-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ides312ch-22-pptaccessible-pptx-10184145)

    **## IDES312chapter22AmericanGeorgianterms.docx**

    IDES 312-Chapter 22 – AMERICAN GEORGIAN – the 1700s-1780s

    Vocabulary terms

    CLASSICAL MOTIFS: see examples in the reading

    1. Pilasters

    2. Pediments

    3. Dentil moldings

    4. Balustrades

    5. Round arch with keystones

    6. Quoins

    COMMON INTERIOR MOTIFS: (Fig.22-1)

    7. Ear

    8. Shell

    9. Acanthus leaf

    10. Rosette

    11. Pineapple or Pinecone

    FURNITURE MOTIFS: (Fig. 22-1, 22-12, 22-16, 22-17)

    12. Classical – (columns and moldings)

    13. Rococo – shells and flowers

    14. Chinese – fretwork and bamboo

    ARCHITECTURE:

    15. Using the elevation on the bottom of page 252, define the terms listed. You may use one photo with arrows or create a list/define/picture for each component.

    INTERIORS:

    16. Show examples of
    _colors_ used in public and private spaces.

    17. Early flooring and floor cloths

    18. Using figure 22-11 identify with a photo and definition of the elements of the space as listed.

    19. Textiles: palamporees

    20. Lighting: candlesticks, wall sconce, chandelier

    FURNISHINGS AND DECORATIVE ARTS:

    21. Queen Anne

    22. Chippendale

    23. Thomas Chippendale

    24. Japanning

    25. Walnut wood

    26. Mahogany wood

    27. Maple wood

    28. Cherry wood

    29. Pine wood

    Seating:

    30. Queen Anne chairs-identify each part of the chair, top to bottom Use the photo below for terms and look up definitions.

    ![](https://www.sweetstudy.com/questions/american-georgian-chapter-22)

    31. Chippendale-style chairs – define all parts.

    32. Windsor chairs – define all parts

    33. Easy chairs – wingback chair type.

    34. QA &Chipp – Tea table

    35. QA & Chipp – Piecrust table

    36. QA & Chipp – sideboard

    37. QA & Chipp – drop-leaf desk

    38. Newport block-front chest of drawers

    39. Shell carving

    40. Bombé chests

    41. QA & CHipp – highboy – use each term from the photo on page 259, fig. 22-17 to define.

    42. QA -& Chipp – lowboy

    43. QA Philadelphia dressing table

    44. Poster beds – QA and Chippendale

    45. QA & Chipp – Canopy

    46. QA & Chipp – Tester cornice

    47. Pewter

    ## image1.jpeg

    **## IDES312ch-25-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 25

    American Federal

    1776 – 1820

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    American Federal

    First phase of Neoclassical in United States

    Based primarily on English modes, but some French influences

    Inception coincides with establishment of U.S. government, hence its name

    Classical details & ornament, slender proportions, contrasting circular & rectangular shape

    Simpler & smaller scale than Neoclassical in England or France

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Concepts

    New nation needs an official architecture to legitimize emancipation & personify cultural identity

    Leaders acquainted with European trends

    Advocate Neoclassicism

    Models from Greece & Rome, ancient republics

    Propose Neoclassical-style national architecture

    Visual metaphor linking old republics with the new one

    Follow English models because of continuing cultural ties with England

    Robert Adam—interiors; Hepplewhite & Sheraton—furniture

    Some Louis

    influences

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.1

    Motifs and Architectural Details: Top from left: Eagle inlay from card table, c. 1790-1820; Rhode Island; pair of vases, c. 1810-1830; France, possibly Paris; and bottom: doorway, Wickham-Valentine House, 1811; Richmond, Virginia. American Federal.

    Table and vases courtesy of the Diplomatic Reception Rooms, U.S. Department of State

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture

    Domestic, not monumental, scale for all buildings

    Wood-frame construction & mostly brick exteriors

    Designers: gentleman amateurs or master craftsmen, not architects

    Lacks strong theoretical base of European Neoclassical

    Imitative, not necessarily innovative

    Georgian forms, but taller, more slender

    Circular or elliptical forms—windows, doors, projecting porches, fan lights

    Classical moldings & ornament—low relief, delicate in scale

    Found on all building types, mostly in urban settings

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    5

    25.2

    Massachusetts State House, 1795-1798; Boston Massachusetts; Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.3

    Meetinghouse, 1816; Lancaster, Massachusetts; Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The rectangular building has a projecting front section supporting a two-stage tower, with an arcaded and pedimented corridor at the front. It consists of three high openings with round-arch tops, which frame three entry doors (the central one taller) behind. The arches have pilasters that rise to an entablature and a fully enclosed gable pediment. The pediment is lined by modillioned cornices, with plain brickwork in the tympanum. The sides of the corridor are also arched and pilastered. The tower section, whose interior houses the vestibule area, rises the width of the building corridor to the height of the gable peak, where there is a cornice line above which rises the tower, flanked by carved wooden fan designs. The first stage of the building is square, with clock faces adorning otherwise plain brick walls.

    7

    25.4a

    First Harrison Gray Otis House and floor plan, 1795-1796; Boston, Massachusetts; architecture by Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The house is a three story brick structure, rectangular in shape, with a three-story ell extending the rear. The brick has a Flemish bond, and the trim is white marble. The roof has a set of posts above a modillioned cornice, pierced by two interior brick chimneys. It has a marble trim band that separating the floors, and the third-floor windows are short. All windows have black shutters has lintels with a keystone.

    8

    25.4b

    First Harrison Gray Otis House, dining room, 1795-1796; Boston, Massachusetts; architecture by Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    A dining room has wooden chairs and tables. The rug spread on the floor integrates the ceiling design. The chairs have rectangular backs. The ceiling has honeysuckle motifs and a rosette in the circle, and it is compartmented with classical motifs to Roman stuccowork.

    9

    25.5a

    Gardner-Pingree House and porch ,1804-1805; Salem, Massachusetts; Samuel McIntire. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has an emphasis on symmetrical balance. The balustrade on the top hides low pitched roof. The top has cornice. It has brick construction, a string course layer on every floor, and windows have lintel with keystone. The windows are six over six double hung windows. The entrance has a semicircular projecting porch supported by slender columns. The house sites on street.

    10

    25.5

    Gardner-Pingree House, parlor, 1804-1805; Salem, Massachusetts; Samuel McIntire. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    11

    25.6

    Monticello and floor plan, begun 1777, remodeled 1793-1809; Charlottesville, Virginia; Thomas Jefferson. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description 1:

    The building has a three-story brick basement that has each room in a different shape. There are two main entrances, and the windows on the second story start at floor level and with the first-story windows in a single frame, which gives the impression that there is only a single story. A central octagonal dome dominates the structure.

    Long Description 2:

    It shows the hall in the center. On its top is a saloon. On the right of the salon is the dining room followed by the tea room. On the right of the hall is two chambers. To the left of the saloon is The Jefferson's room and to the left of the hall is the library. To the left of the library is an underground passage.

    12

    25.7

    Nathaniel Russell House, before 1809;Charleston, South Carolina; Russell Warren. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has a balustrade that hides low pitched roof and a cornice on the top. The building has brick construction, stringcourse, and relieving arches. It has a lintel with keystone and a tall double hung window with thin mullions. The entrance has a fanlight window over the entry door and double doors with panels. The house sites on street.

    13

    Interiors

    Modeled on those of Robert Adam

    Smaller, more simply decorated, fewer colors

    Elegant, refined, formal, classical elements & motifs

    Bright, clear colors

    More textiles than before because of industrialization

    Wall-to-wall carpet, window treatments, bed hangings

    Style spreads—pattern books; fashion periodicals; immigrant craftsmen, cabinetmakers & upholsterers; imported furnishings & finishes; travel

    Room use remains as before

    One exception—more dining rooms

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.8

    Stair hall, Wickham-Valentine House, 1811; Richmond, Virginia; Alexander Parris. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    15

    25.9

    Textiles: Toile de Jouy print with symbols of the new American Republic.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.10

    Lighting: Argand lamp, late 18th century; United States.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Furnishings And Decorative Arts

    Same scale, contrasts, classical ornament of European Neoclassical

    Adam, Hepplewhite, Sheraton, Louis

    Simpler with national symbols to establish & maintain cultural identity

    Light scale, slender proportions, straight & usually tapering legs, reeding, fluting, spade or thimble feet, contrasts of circles & rectangles

    Veneers, marquet

    **IMG_8688.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8688-png-10184133)

    **IMG_8689.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8689-png-10184135)

    **IMG_8690.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8690-png-10184137)

    **IMG_8687.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8687-png-10184139)

    **IDES312ch-22-PPTaccessible.pptx**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/ides312ch-22-pptaccessible-pptx-10184145)

    **## IDES312chapter22AmericanGeorgianterms.docx**

    IDES 312-Chapter 22 – AMERICAN GEORGIAN – the 1700s-1780s

    Vocabulary terms

    CLASSICAL MOTIFS: see examples in the reading

    1. Pilasters

    2. Pediments

    3. Dentil moldings

    4. Balustrades

    5. Round arch with keystones

    6. Quoins

    COMMON INTERIOR MOTIFS: (Fig.22-1)

    7. Ear

    8. Shell

    9. Acanthus leaf

    10. Rosette

    11. Pineapple or Pinecone

    FURNITURE MOTIFS: (Fig. 22-1, 22-12, 22-16, 22-17)

    12. Classical – (columns and moldings)

    13. Rococo – shells and flowers

    14. Chinese – fretwork and bamboo

    ARCHITECTURE:

    15. Using the elevation on the bottom of page 252, define the terms listed. You may use one photo with arrows or create a list/define/picture for each component.

    INTERIORS:

    16. Show examples of
    _colors_ used in public and private spaces.

    17. Early flooring and floor cloths

    18. Using figure 22-11 identify with a photo and definition of the elements of the space as listed.

    19. Textiles: palamporees

    20. Lighting: candlesticks, wall sconce, chandelier

    FURNISHINGS AND DECORATIVE ARTS:

    21. Queen Anne

    22. Chippendale

    23. Thomas Chippendale

    24. Japanning

    25. Walnut wood

    26. Mahogany wood

    27. Maple wood

    28. Cherry wood

    29. Pine wood

    Seating:

    30. Queen Anne chairs-identify each part of the chair, top to bottom Use the photo below for terms and look up definitions.

    ![](https://www.sweetstudy.com/questions/american-georgian-chapter-22)

    31. Chippendale-style chairs – define all parts.

    32. Windsor chairs – define all parts

    33. Easy chairs – wingback chair type.

    34. QA &Chipp – Tea table

    35. QA & Chipp – Piecrust table

    36. QA & Chipp – sideboard

    37. QA & Chipp – drop-leaf desk

    38. Newport block-front chest of drawers

    39. Shell carving

    40. Bombé chests

    41. QA & CHipp – highboy – use each term from the photo on page 259, fig. 22-17 to define.

    42. QA -& Chipp – lowboy

    43. QA Philadelphia dressing table

    44. Poster beds – QA and Chippendale

    45. QA & Chipp – Canopy

    46. QA & Chipp – Tester cornice

    47. Pewter

    ## image1.jpeg

    **## IDES312ch-25-PPTaccessible.pptx**

    Architecture and Interior Design: An Integrated History to the Present

    First Edition

    Chapter 25

    American Federal

    1776 – 1820

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    If this PowerPoint presentation contains mathematical equations, you may need to check that your computer has the following installed:

    1) Math Type Plugin

    2) Math Player (free versions available)

    3) NVDA Reader (free versions available)

    1

    American Federal

    First phase of Neoclassical in United States

    Based primarily on English modes, but some French influences

    Inception coincides with establishment of U.S. government, hence its name

    Classical details & ornament, slender proportions, contrasting circular & rectangular shape

    Simpler & smaller scale than Neoclassical in England or France

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    2

    Concepts

    New nation needs an official architecture to legitimize emancipation & personify cultural identity

    Leaders acquainted with European trends

    Advocate Neoclassicism

    Models from Greece & Rome, ancient republics

    Propose Neoclassical-style national architecture

    Visual metaphor linking old republics with the new one

    Follow English models because of continuing cultural ties with England

    Robert Adam—interiors; Hepplewhite & Sheraton—furniture

    Some Louis

    influences

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.1

    Motifs and Architectural Details: Top from left: Eagle inlay from card table, c. 1790-1820; Rhode Island; pair of vases, c. 1810-1830; France, possibly Paris; and bottom: doorway, Wickham-Valentine House, 1811; Richmond, Virginia. American Federal.

    Table and vases courtesy of the Diplomatic Reception Rooms, U.S. Department of State

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Architecture

    Domestic, not monumental, scale for all buildings

    Wood-frame construction & mostly brick exteriors

    Designers: gentleman amateurs or master craftsmen, not architects

    Lacks strong theoretical base of European Neoclassical

    Imitative, not necessarily innovative

    Georgian forms, but taller, more slender

    Circular or elliptical forms—windows, doors, projecting porches, fan lights

    Classical moldings & ornament—low relief, delicate in scale

    Found on all building types, mostly in urban settings

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    5

    25.2

    Massachusetts State House, 1795-1798; Boston Massachusetts; Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.3

    Meetinghouse, 1816; Lancaster, Massachusetts; Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The rectangular building has a projecting front section supporting a two-stage tower, with an arcaded and pedimented corridor at the front. It consists of three high openings with round-arch tops, which frame three entry doors (the central one taller) behind. The arches have pilasters that rise to an entablature and a fully enclosed gable pediment. The pediment is lined by modillioned cornices, with plain brickwork in the tympanum. The sides of the corridor are also arched and pilastered. The tower section, whose interior houses the vestibule area, rises the width of the building corridor to the height of the gable peak, where there is a cornice line above which rises the tower, flanked by carved wooden fan designs. The first stage of the building is square, with clock faces adorning otherwise plain brick walls.

    7

    25.4a

    First Harrison Gray Otis House and floor plan, 1795-1796; Boston, Massachusetts; architecture by Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The house is a three story brick structure, rectangular in shape, with a three-story ell extending the rear. The brick has a Flemish bond, and the trim is white marble. The roof has a set of posts above a modillioned cornice, pierced by two interior brick chimneys. It has a marble trim band that separating the floors, and the third-floor windows are short. All windows have black shutters has lintels with a keystone.

    8

    25.4b

    First Harrison Gray Otis House, dining room, 1795-1796; Boston, Massachusetts; architecture by Charles Bulfinch. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    A dining room has wooden chairs and tables. The rug spread on the floor integrates the ceiling design. The chairs have rectangular backs. The ceiling has honeysuckle motifs and a rosette in the circle, and it is compartmented with classical motifs to Roman stuccowork.

    9

    25.5a

    Gardner-Pingree House and porch ,1804-1805; Salem, Massachusetts; Samuel McIntire. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has an emphasis on symmetrical balance. The balustrade on the top hides low pitched roof. The top has cornice. It has brick construction, a string course layer on every floor, and windows have lintel with keystone. The windows are six over six double hung windows. The entrance has a semicircular projecting porch supported by slender columns. The house sites on street.

    10

    25.5

    Gardner-Pingree House, parlor, 1804-1805; Salem, Massachusetts; Samuel McIntire. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    11

    25.6

    Monticello and floor plan, begun 1777, remodeled 1793-1809; Charlottesville, Virginia; Thomas Jefferson. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description 1:

    The building has a three-story brick basement that has each room in a different shape. There are two main entrances, and the windows on the second story start at floor level and with the first-story windows in a single frame, which gives the impression that there is only a single story. A central octagonal dome dominates the structure.

    Long Description 2:

    It shows the hall in the center. On its top is a saloon. On the right of the salon is the dining room followed by the tea room. On the right of the hall is two chambers. To the left of the saloon is The Jefferson's room and to the left of the hall is the library. To the left of the library is an underground passage.

    12

    25.7

    Nathaniel Russell House, before 1809;Charleston, South Carolina; Russell Warren. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Long Description:

    The building has a balustrade that hides low pitched roof and a cornice on the top. The building has brick construction, stringcourse, and relieving arches. It has a lintel with keystone and a tall double hung window with thin mullions. The entrance has a fanlight window over the entry door and double doors with panels. The house sites on street.

    13

    Interiors

    Modeled on those of Robert Adam

    Smaller, more simply decorated, fewer colors

    Elegant, refined, formal, classical elements & motifs

    Bright, clear colors

    More textiles than before because of industrialization

    Wall-to-wall carpet, window treatments, bed hangings

    Style spreads—pattern books; fashion periodicals; immigrant craftsmen, cabinetmakers & upholsterers; imported furnishings & finishes; travel

    Room use remains as before

    One exception—more dining rooms

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.8

    Stair hall, Wickham-Valentine House, 1811; Richmond, Virginia; Alexander Parris. American Federal.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    15

    25.9

    Textiles: Toile de Jouy print with symbols of the new American Republic.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    25.10

    Lighting: Argand lamp, late 18th century; United States.

    Copyright © 2012 Pearson Education, Inc. All Rights Reserved

    Furnishings And Decorative Arts

    Same scale, contrasts, classical ornament of European Neoclassical

    Adam, Hepplewhite, Sheraton, Louis

    Simpler with national symbols to establish & maintain cultural identity

    Light scale, slender proportions, straight & usually tapering legs, reeding, fluting, spade or thimble feet, contrasts of circles & rectangles

    Veneers, marquet

    **IMG_8688.png**

    This file is too large to display. [View in new window](https://www.sweetstudy.com/files/img-8688-png-10184133)

    **IMG_8689.png**

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    **IMG_8690.png**

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    **IMG_8687.png**

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    **IDES312ch-22-PPTaccessible.pptx**

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  • [Solved] discussion

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    – 2 years ago **files (10)** – ## WEEK3PROFESSIONALDESIGNIMAGE26BUSINESSETIQUETTE.pdf – IMG_8796.png – IMG_8797.png – IMG_8800.png – IMG_8802.png – IMG_8803.png – IMG_8801.png – IMG_8799.png – IMG_8798.png – IMG_8807.jpeg **## WEEK3PROFESSIONALDESIGNIMAGE26BUSINESSETIQUETTE.pdf** BUILDING A…

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    – ## WEEK3PROFESSIONALDESIGNIMAGE26BUSINESSETIQUETTE.pdf

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    **## WEEK3PROFESSIONALDESIGNIMAGE26BUSINESSETIQUETTE.pdf**

    BUILDING A
    PROFESSIONAL

    IMAGE
    FUNDAMENTALS OF INTERIOR DESIGN

    SPRING 2025

    FUNDAMENTALS OF INTERIOR DESIGN

    AGENDA
    SECTION ONE: BUILDING A PROFESSIONAL IMAGE

    IMPRESSIONS

    DRESSING FOR SUCCESS

    COMMUNICATION

    SECTION TWO: BUSINESS ETIQUETTE &
    PROFESSIONALISM

    DIGITAL COMMUNICATION

    NETWORKING

    CHALLENGES

    ASSIGNMENTS

    DISCUSSIONS

    INTRODUCTION
    THIS IS STARTS THE BEGINNING OF YOUR SEMESTER PROJECT, WHICH ESSENTIALLY WILL BE YOUR FINAL PROJECT. YOU WILL BE CREATING A BINDER OR A PORTFOLIO OF SORTS, STARTING WITH YOUR
    ASSIGNMENTS FOR THIS WEEK. YOU HAVE THREE TOTAL AND NO DISCUSSION. HERE, WE WILL BEGIN BUILDING YOUR BRAND, HOW YOU WANT PEOPLE TO VIEW YOU AND SEE YOU AS A DESIGNER. I HOPE
    BY NOW WITH ALL THE INTRODUCTIONS AND A DISCUSSIONS, YOU HAVE SORT OF FIGURED OUT WHAT YOUR AESTHETIC IS… IF YOU DON’T THAT’S FINE TOO, THE PURPOSE OF THIS WEEK IS TO START
    FIGURING OUT WHAT THAT LOOKS LIKE FOR YOU. WITH YOUR AESTHETIC; OR WHEN YOU FIND IT, YOU CAN THEN INTRODUCE OR INJECT THAT STYLE INTO SIMPLE THINGS LIKE YOUR BUSINESS CARDS,
    YOUR LINKED IN PAGE, YOUR PROFESSIONAL WEBSITE AND EVEN INTO YOUR OWN SHOWROOM/STUDIO, ETC.

    UNDERSTAND THE IMPORTANCE OF
    PERSONAL BRANDING AS AN INTERIOR

    DESIGNER.

    DEVELOP STRATEGIES FOR
    MAINTAINING A POLISHED AND

    PROFESSIONAL IMAGE.

    EXPLORE THE ROLE OF ATTIRE,
    COMMUNICATION, AND ONLINE

    PRESENCE IN ESTABLISHING CREDIBILITY.

    BUILDING A
    PROFESSIONAL
    DESIGN IMAGE

    SPRING 2025

    SECTION ONE

    IMPORTANCE OF
    FIRST IMPRESSIONS

    • HOW APPEARANCE INFLUENCES CLIENT PERCEPTION
    • THIS IS VERY MUCH PSYCHOLOGICAL. IT IS SAID THAT IT TAKES ABOUT 5 SECONDS FOR A PERSON TO DECIDE IF; SOMEONE THEY MEET, THE MEETING IS “GOOD” OR “BAD.” THE FIRST TWO SECONDS IS

    ALL BAS ON IMAGE THEN THE LAST THREE SECONDS DETERMINES WHETHER OR NOT TO CONTINUE THE TRANSACTION. WITH THAT SAID, IN MY EXPERIENCE, IT IS ALWAYS GOOD TO PRACTICE
    NICETIES WITHIN THE SHOWROOM, SUCH AS GREETING YOUR CLIENTS AS THEY WALK IN, ALWAYS TRYING TO PUT ON A SMILE, COMMON GESTURES LIKE OFFERING WATER OR BEVERAGES BEFORE
    PRESENTING, ETC. SO, ALWAYS PRESENT YOURSELF HOW YOU WOULD LIKE TO BE VIEWED, FOR NOW, WE CAN STICK WITH “STANDARD” LOOKS OR MOST COMMONLY KNOWN AS YOUR PROFESSIONAL
    LOOK.

    • PROFESSIONAL VS. CASUAL ATTIRE: WHAT WORKS IN DIFFERENT CLIENT INTERACTIONS.
    • THERE IS ALWAYS A “STANDARD” WAY OF DRESSING IN EVERY COMPANY YOU GO. HERE ARE SOME RESTRICTIONS WITH HOW YOU DRESS/PRESENT YOURSELF TO CLIENTS FROM WORKABLE.COM

    (HTTPS://RESOURCES.WORKABLE.COM/DRESS-CODE-COMPANY-POLICY):
    • ALL EMPLOYEES MUST BE CLEAN AND WELL-GROOMED. GROOMING STYLES DICTATED BY RELIGION AND ETHNICITY AREN’T RESTRICTED.
    • ALL CLOTHES MUST BE WORK-APPROPRIATE. CLOTHES THAT ARE TYPICAL IN WORKOUTS AND OUTDOOR ACTIVITIES AREN’T ALLOWED.
    • ALL CLOTHES MUST PROJECT PROFESSIONALISM. CLOTHES THAT ARE TOO REVEALING OR INAPPROPRIATE AREN’T ALLOWED.
    • ALL CLOTHES MUST BE CLEAN AND IN GOOD SHAPE. DISCERNIBLE RIPS, TEARS OR HOLES AREN’T ALLOWED.
    • EMPLOYEES MUST AVOID CLOTHES WITH STAMPS THAT ARE OFFENSIVE OR INAPPROPRIATE.??

    • ALTHOUGH THESE STANDARDS MAY BE DIFFERENT FROM COMPANY TO COMPANY, YOU WILL HAVE TO FIGURE OUT WHAT STYLE OF DRESS WORKS FOR YOU AND YOUR CLIENT. FOR EXAMPLE, IS
    WEARING SOME TRAINERS, JOGGERS, AND A HOODIE TO A PRESENTATION BE A GOOD REPRESENTATION OF THE COMPANY OR YOUR SELF? OR DO YOU GO ABOVE AND BEYOND AND WEAR A THREE
    PIECE SUIT EVERY MEETING, EVEN SITE VISITS. SO, DEPENDING ON WHAT THE SHOWROOM OR STUDIO IS LOOKING FOR, YOU WILL EVENTUALLY HAVE AN IDEA HOW ONE SHOULD DRESS AFTER THE
    FIRS MONTH. HERE ARE SOME FULL RULES I HAVE GATHERED OVER THE YEAR IN ORDER TO BE PRESENTABLE NO MATTER THE OCCASION:

    • IN MOST SHOWROOMS I HAVE WORKED AT SEMI-CASUAL IS PRETTY MUCH A STANDARD.
    • THE DEFAULT WOULD BE UNIFORMS AND UNIFORMS COULD ALSO MEAN ONLY WEARING SPECIFIC COLORS ASIDE FROM A BRANDED POLO, SHIRT, OR JACKET.
    • WHEN DRESSING UP WITHIN THE INTERIOR DESIGN WORLD YOU STILL WANT TO EXPRESS YOURSELF BECAUSE THAT’S WHAT SETS YOU APART FROM THE OTHER DESIGNERS. HERE ARE SOME

    IDEAS I THINK OF WHEN I DRESS FOR A BRIEFING WITH A CLIENT, A SITE VISIT, OR A PRESENTATION:
    • START OFF FORMAL AND THEN SLOWLY WORK YOUR OUTFIT INTO SEMI-FORMAL BY REMOVING AND/OR REPLACING MORE FORMAL ITEMS WITH CAUSAL ITEMS IN YOUR WARDROBE.
    • START OF SEMI-FORMAL AND REPEAT THE PROCESS ABOVE.
    • YOU CAN ALSO DO THE REVERSE, WHICH I HAVE BEEN DOING FOR A WHILE, I START OFF WITH CASUAL CLOTHES AND ADD MORE FORMAL PIECES TO MY OUTFIT.
    • DO NOT EVERY WHERE PANTS WITH HOLES… EVER.
    • WEAR CLOSED TOED SHOES… AND PLEASE DO NOT EVER EVER WEAR CROCS OR UGGS INTO A SHOWROOM, SITE VISITS, OR PROJECTS.
    • TATTOOS, FACIAL AND EXCESS PIERCINGS HAVEN’T BEEN SO MUCH OF AN ISSUE IN MY EXPERIENCE BUT I DO BELIEVE THAT I CONTINUALLY THINK ABOUT APPROACHABILITY SO KEEP

    THAT IN MIND WHEN ACCESSORIZING.
    • AT THE END OF THE DAY IT IS UP TO YOU TO DECIDE ON HOW YOU WANT TO PRESENT YOUR SELF OR THE COMPANY YOU WILL BE WORKING FOR. THESE EXPERIENCES ARE CURRENT BUT KEEP IN MIND

    THAT EVERY COMPANY IS DIFFERENT AND EVERY COMPANY HAS THEIR STANDARDS OF HOW YOU SHOULD APPEAR. WHEN YOU OWN YOUR OWN SHOWROOM/STUDIO THESE RULES CAN BE
    CHANGED TO FIT YOUR BRAND.

    [http://workable.com](http://workable.com/)

    [https://resources.workable.com/dress-code-company-policy](https://resources.workable.com/dress-code-company-policy)

    DRESSING FOR SUCCESS
    ASSIGNMENT ONE: BUSINESS CASUAL VS. FORMAL ATTIRE FOR DIFFERENT SETTINGS.

    HERE IS THE FIRST OUT OF 3 ASSIGNMENTS NEEDED TO COMPLETE THIS WEEK.

    PICTURE THIS, YOU ARE AN INTERIOR DESIGNER GETTING READY FOR THE MOST IMPORTANT PRESENTATION OF YOUR CAREER. YOU WERE PROVIDED A GENERIC LEAD AND LANDED THE JOB MONTHS
    AGO. YOU AND YOUR TEAM HAVE ALREADY COMPLETED YOUR DESIGNS, DRAWINGS, SOURCED ALL YOUR MATERIALS, CRUNCHED SOME NUMBERS, AND NOW ITS TIME TO PRESENT. TODAY, IS A BUSY DAY

    FOR YOU AND YOU NEED TO BE PREPARED TO CHANGE FOR EACH VISIT. SO LETS PLAN WHAT TO WEAR?

    THIS WEEK YOU WILL BE CURATING 3 DIFFERENT OUTFITS, SELECTING APPROPRIATE ATTIRE FOR A JOB SITE, A CLIENT MEETING, AND THAT VERY IMPORTANT PRESENTATION!
    HERE ARE SOME SAMPLES OF WHAT I WOULD WEAR. (MORE INFORMATION ON ASSIGNMENT ON SLIDE 13)

    SEMI-FORMAL
    BUSINESS – CASUAL

    VERBAL & NON-VERBAL
    COMMUNICATION

    • THE ROLE OF TONE, BODY LANGUAGE, AND ACTIVE LISTENING.
    • I BELIEVE TONE, BODY LANGUAGE, AND ACTIVE LISTENING IS THE FOUNDATION OF A GOOD BRIEFING WITH YOUR CLIENTS. REALLY, YOU SET THE TONE FOR YOUR INTERACTIONS WITH YOUR CLIENTS

    WHETHER THAT’S AT THE START OF YOUR DESIGN JOURNEY WITH YOUR CLIENT OR GOING OUT TO SOURCE MATERIALS FOR YOUR CLIENTS. CLIENTS, PARTNERS, VENDORS, WHO EVER IT IS YOU COME
    ACROSS IN THIS FIELD CAN PICK UP ON THESE THREE ROLES.

    • UNDERSTAND THAT PEOPLE CAN PICK UP ON TONE SO WHEN INTERACTING TRY YOUR NEST TO BE NEUTRAL. SHARING YOUR OPINION IS KEY IN OUR FIELD BECAUSE OUR CLIENTS LOOKS TO US OF
    KNOWLEDGE. CONSIDER BEING OPEN TO CONSTRUCTIVE CRITICISM BECAUSE WE ALL DON'T SHARE THE SAME IDEAS AND THATS OK.

    • UNDERSTAND BODY LANGUAGE, IF YOU SEE THAT YOUR CLIENT IS CLOSED OFF OR LACKING OF WORDS, PICK UP ON THAT AND SUGGEST A DIFFERENT APPROACH OR SOLUTION. YOU ALWAYS WANT
    TO BE OBSERVANT. I ALWAYS KEEP A NOTEPAD NEXT TO I ME OR IN MOST CASES MY IPAD TO TAKE NOTES IF I KNOW A LOT OF DETAILS ARE NEEDED FOR A PARTICULAR PROJECT. IT’S GOOD PRACTICE
    TO ALWAYS TAKE NOTES EVEN IF YOU MIGHT NOT TAKE DOWN MUCH.

    • UNDERSTAND HOW TO BE ACTIVELY LISTENING TO YOUR CLIENTS. THIS IS KEY BECAUSE WE; AS DESIGNERS, WILL COME ACROSS CLIENTS WHO LACK THE ABILITY TO SEE WHAT WE SEE; OR APHANTASIC,
    AND OUR JOB IS TO COLLECT AS MUCH INFORMATION AS POSSIBLE SO ACTIVELY LISTENING WILL HELP IN THIS AREA. EXAMPLES WOULD BE, LISTENING TO THEM DESCRIBE A PAINT COLOR MAKES THEM
    FEEL OR WHEN SOURCING MATERIALS WITH YOUR CLIENTS AND THEY COME ACROSS SOMETHING THEY LIKE AND SAY “OOOOOOO THIS IS CUTE,” THAT COULD BE AN OPPORTUNITY TO TAKE A NOTE
    OF IT. THESE SMALL GESTURES ARE REALLY APPRECIATED AND DEFINITELY GO A LONG WAY IN ESTABLISHING WHAT CLIENTS LOOK FOR AND THAT IS GOOD CUSTOMER SERVICE.

    • HANDLING DIFFICULT CONVERSATIONS WITH CLIENTS AND COLLEAGUES.
    • YOU WILL ALWAYS COME ACROSS DIFFICULT CONVERSATIONS WITH CLIENTS AND COLLEAGUES THE ONLY TRUE WAY TO GO ABOUT SO LIVING HIS ISSUES IS HONEST AND OPEN COMMUNICATION.
    • IF YOU FEEL INDIFFERENT FROM YOUR CLIENTS OR COLLEAGUE ASK TO HAVE A PRIVATE CONVERSATION ABOUT IT AND IF THE ISSUES IS STILL NOT RESOLVED AFTER THE TALK THEN BRING IN

    MANAGEMENT OR HUMAN RESOURCES; IF THE COMPANY OFFERS SUCH A RESOURCE.
    • TO AVOID AND COMPLETELY IGNORE THIS IS INEVITABLE BUT YOU CAN TRY YOUR BEST TO MINIMIZE SUCH AN EVENT BY:

    • OPENLY COMMUNICATION CONCERNS, DELAYS, OR ANY INFORMATION THAT WILL PROVIDE YOU TIME TO RESOLVE THE ISSUE
    • ALLOWING YOUR CLIENTS ACCESS TO YOUR TIME SO, BEING AVAILABLE TO THEM AT SPECIFIC HOURS OF THE DAYS
    • SETTING BOUNDARIES WITH YOUR CLIENTS AND COLLEAGUES SO, KNOWING YOUR LIMITS AT WORK, KNOWING WHAT YOU SHOULD AND SHOULD TALK ABOUT AT WORK, ETC.
    • TREAT OTHERS HOW YOU WOULD LIKE TO BE TREATED
    • IF ALL ELSE FAILS BRING ALL YOUR CONCERNS TO UPPER MANAGEMENT

    • THE ART OF SPEAKING WITH CONFIDENCE AND CLARITY.
    • CONFIDENCE IS SOMETHING YOU CAN BE BORN WITH AND IT’S NOT, CONFIDENCE IS SOMETHING YOU CAN LEARN BUT YOU CAN CHOOSE NOT TO. CONFIDENCE IS FOR SURE NEEDED IN OUR

    INDUSTRY TO EXPRESS TO YOUR CLIENT SO IT’S SOMETHING TO GAIN.
    • …….????? MORE?????

    ONLINE PRESENCE &
    SOCIAL MEDIA ETIQUETTE

    WE ARE IN THE AGE OF TECH AND WITH THAT COMES A SOCIAL MEDIA PRESENCE. WE ARE CONSTANTLY ON THE WEB SEARCHING FOR SOMETHING; WHETHER THAT BE FOR OBJECTS, SERVICES, AND
    MISCELLANEOUS ITEMS. SO CREATING A SOCIAL MEDIA IS NECESSARY IN ORDER TO CREATE A HUGE FOLLOWING OR CLIENTELE. SOME DESIGNERS YOU MIGHT KNOW THAT HAVE BENEFITED FROM
    SOCIAL MEDIA WOULD BE DESIGNERS FROM MAGNOLIA, DREAM HOME MAKE OVER, OR JEREMIAH BRENT. YOUR SOCIAL MEDIA PRESENCE IS KEY TO BE VISIBLE IN THIS INDUSTRY THIS TIES INTO YOUR
    “BRAND” SO KEEP THAT IN MIND. I WONT GO INTO DETAIL BECAUSE YOU WILL TOUCH ON THIS MORE IN YOUR MARKETING CLASS. IN THIS INSTANCE I WANT YOU TO KEEP IN MIND YOUR AESTHETIC

    WHEN THINKING ABOUT HOW YOU WANT YOUR BRAND TO LOOK, FEEL, SAY, EXPRESS, ETC.

    DEVELOP PROFESSIONAL
    COMMUNICATION SKILLS FOR EMAILS,
    PHONE CALLS, AND CLIENT MEETINGS.

    LEARN THE ETIQUETTE OF
    NETWORKING, BUSINESS MEETINGS,
    AND INDUSTRY EVENTS.

    PRACTICE HANDLING PROFESSIONAL
    CHALLENGES, SUCH AS DIFFICULT
    CLIENTS OR MISCOMMUNICATIONS.

    BUILDING A
    PROFESSIONAL
    DESIGN IMAGE

    SPRING 2025

    SECTION TWO

    EMAIL & PHONE
    COMMUNICATION

    • PROFESSIONAL COMMUNICATION: EMAIL & PHONE ETIQUETTE
    • HAVE A PROFESSIONAL EMAIL. WHEN STARTING OUT YOU CAN USE GENERIC EMAIL COMPANIES LIKE GMAIL, OUTLOOK, YAHOO, AND WHAT NOT BUT IDEALLY YOU WANT A DEDICATED EMAIL FOR

    EXAMPLE: V.TUFONO@VALDESIGNS.COM
    • THIS SOLIDIFIES YOUR PLACE WITHIN BUSINESSES, IT SHOWS PROFESSIONALISM, AND AN ESTABLISHMENT OF YOUR NAME/DESIGNS.
    • ALWAYS CREATIVE A VOICE MESSAGE AT THE END OF YOUR VOICEMAILS WITH WARM GREETINGS, YOUR APOLOGIES FOR MISSING THE CALL, NICETIES, AND A REQUEST FOR INFORMATION.
    • ALWAYS CLAIM YOU WILL GET TO YOUR CLIENTS AS SOON AS YOUR AVAILABLE

    • WRITING EFFECTIVE, PROFESSIONAL EMAILS.
    • HERE IS WHERE WRITING IS A BIT TRICKY AND WHERE YOU HAVE TO KEEP IN MIND YOUR PROFESSIONALISM. HERE SOME THINGS TO KEEP IN MIND WHEN EMAILING CLIENTS, VENDORS, COLLEAGUES:

    • START OFF WITH NICETIES FOR EXAMPLE: GOOD MORNING/AFTERNOON/EVENING, I HOPE YOU’RE DOING WELL, WARM REGARDS, WISHING YOU A WONDERFUL REST OF YOUR DAY, ETC.
    • WHEN YOU THINK YOUR EMAIL IS GOING TO BE LONG AND WINDED DEFAULT TO A MEETING OR A CALL TO GET YOUR POINT ACROSS MORE CLEARLY AND ALLOW ROOM FOR LIVE QUESTIONS
    • IN GENERAL, EMAILING WITH A CLEAR AND CONCISE MESSAGE. IT IS PROVEN, THROUGH TESTING AND SURVEYING, THAT THE READER IS LIKELY TO SKIM A LONG AND DETAILED EMAIL VERSUS A

    SHORT AND CONCISE EMAIL.
    • WHEN SPEAKING WITH CLIENTS, ALWAYS IMAGING THAT THE CLIENT DOES NOT KNOW YOUR DESIGN LINGO AND BE PREPARED TO RELAY OR REITERATE AN IDEA SEVERAL TIMES BEFORE YOU

    CLIENT UNDERSTANDS.
    • BEFORE SENDING AN EMAIL OUT I TYPICALLY LIKE SOMEONE TO SCREEN MY EMAIL BEFORE I SEND IT, THAT IS IF IT IS AN IMPORTANT EMAIL.
    • OTHERWISE, FOLLOW THE COMPANIES POLICIES ON SENDING AND RECEIVING EMAILS

    • HANDLING CLIENT PHONE CALLS WITH CONFIDENCE.
    • GOING BACK TO LEARNING CONFIDENCE, THIS IS ONE WAY TO OVERCOME THAT FEAR.
    • ANSWERING PHONES ALLOW FOR CONSTANT PRACTICE OF YOUR SALES PITCH, DIRECTIONS, PRODUCT KNOWLEDGE AND MORE.
    • REMEMBER COMMUNICATING IS KEY IN OUR INDUSTRY; AND WE COMMUNICATE ALL DAY IN MANY DIFFERENT WAYS, AND KNOWING HOW TO COMMUNICATE YOUR VIEWS AND OPINIONS WILL

    HELP YOUR DESIGN PROCESS.
    • AGAIN, CONFIDENCE IS SOMETHING TO GAIN AND PUTTING YOUR SELF OUT THERE IN SITUATIONS THAT MIGHT MAKE YOU FEEL UNCOMFORTABLE WILL HELP WITH GAINING MORE IT.
    • ALL IN ALL, PHONE CALLS IN THE WORKPLACE ARE A GENERAL REQUIREMENT SO PRACTICING IT’S ALL IN PRACTICE AND THAT WILL COME IN TIME.

    [mailto:v.tufono@valdesigns.com](mailto:v.tufono@valdesigns.com)

    NETWORKING &
    INDUSTRY EVENTS

    • HOW TO INTRODUCE YOURSELF PROFESSIONALLY.
    • SIMILAR TO INTRODUCING YOURSELF IN GENERAL, BY ADDING WHAT YOU DO AND WITH WHAT COMPANY YOUR WITH WILL SUFFICE.
    • EXAMPLE EMAIL: “HELLO MY NAME IS VAL, I AM AN INTERIOR DESIGNER HERE IN SACRAMENTO, CA. I’M CALLING REGARDING A PURCHASE WE MADE FOR A CLIENT…”

    • MAKING MEANINGFUL CONNECTIONS AT TRADE SHOWS AND INDUSTRY EVENTS.
    • NETWORKING IS VERY IMPORTANT IT IS HOW YOU GAIN YOUR NETWORK OF RESOURCES.
    • IN THE 10 YEARS I HAVE BEEN IN DESIGN I HAVE GATHERED NEARLY 2,000 PLUS NETWORKS FROM ALL DISCIPLINES. FOR EXAMPLE I HAVE CONTACTS IN PROJECT MANAGEMENT, ESTIMATORS,

    DESIGNERS, PRODUCT DESIGNERS, BIG COMPANIES LIKE MIELE, BERNHARDT, CENTURY FURNITURE, SALTINE, COSENTINO, AND PRODUCT YOU CAN THINK OF, I PROBABLY HAVE A CONTACT
    FOR.

    • BUT THESE ARE NOT ROLODEX CONTACTS, THESE ARE COMPANIES AND PARTNERS I SAT WITH AT A TABLE AND GOT TO KNOW. I TRY TO MAINTAIN THESE RELATIONSHIPS AS BEST AS I CAN
    BECAUSE WHO KNOW IF YOU WILL NEED AN EXTRA PROJECT MANAGER OR ESTIMATOR, ETC.

    • NURTURING THESE RELATIONSHIPS ARE NOT ONLY HELPFUL WITH SOURCING MATERIALS BUT THIS ESTABLISHES YOUR BRAND AS WELL. WHO YOUR PARTNER WITH OR WORK WITH ON
    PROJECTS; BIG OR SMALL, SHOWS HOW YOU WORK, WHAT YOUR WORK ETHIC LOOKS LIKE, AND INCREASES YOUR CHANGES OF VISIBILITY.

    • KEY TIP, ALWAYS INTRODUCE YOUR SELVES AND MAKE YOUR PRESENCE AWARE, THE MORE YOU NETWORK THE MORE YOU WILL BE SURROUNDED BY POSITIVE PEOPLE WHO WILL; IN MOST
    CASES, SHARE THE WEALTH OF KNOWLEDGE THEY’VE GAIN IN THEIR SUCCESS.

    CLIENT MEETINGS &
    HANDLING PROFESSIONAL

    CHALLENGES
    • SETTING CLIENT EXPECTATIONS AND MAINTAINING PROFESSIONAL BOUNDARIES.

    • KNOW THIS, NO ONE CLIENT IS EVER HAS THE SAME IDEAS AS YOUR PREVIOUS CLIENTS; OR IF THEY DO IT IS VERY RARE.
    • ALWAYS TREAT YOUR CLIENTS AS A UNIQUE CLIENT, A BRAND NEW CLIENT, A BLANK PAGE… AND YOU ARE THERE TO GUIDE THEM IN FIGURING OUT WHAT THEY NEED AND WANT.
    • JUST LIKE OUR TOPIC ON NETWORKING, YOU SHOULD TREAT YOUR CLIENTS THE SAME WAY, PROFESSIONALLY.

    • THE PLAYFUL BANTER AND THE JOKING COMES WITH NURTURING THAT RELATIONSHIP THROUGH OUT THE LIFE OF A CLIENT PROJECT.
    • SLOWLY YOU WILL GAIN TRUST, LOYALTY, AND RESPECT FOR EACH OTHER AND THATS WHAT YOU WILL SEE BOTH OF YOURSELVES MOVE THROUGH THE PROJECT WITH EASE.
    • NOW, NOT ALL CLIENT/DESIGNER RELATIONSHIP WORK WELL AND THAT’S OK, A GOOD TIP IS TO BE HONEST AND SHARE THAT THIS PARTNERSHIP IS NOT WORKING, AND YOU CAN

    DO THIS BY SAYING SOMETHING LIKE:
    • “HELLO MR. & MRS. SMITH, UNFORTUNATELY DUE TO NATURE OF OUR RELATIONSHIP (WHATEVER THAT MAYBE) I BELIEVE IT WOULD BE IN THE BEST INTEREST OF EVERYONE

    AND THE PROJECT TO PLACE IT IN A MORE QUALIFIED DESIGNER WITHIN THE COMPANY. I FEEL THAT BY SUGGESTING AN ALTERNATIVE DESIGNER THEY WILL BE BETTER SUITED
    TO FEET YOUR YOUR SPECIFIC DESIGN AESTHETIC AND UNIQUE NEEDS”

    • AND YOU CAN CONTINUE WITH SOMETHING LIKE “I APPRECIATE OUR TIME WITH EACH OTHER AND IF YOU NEED ANY DESIGNS IN THE REALM OF (YOUR MORE QUALIFIED
    DESIGN STYLE HERE) PLEASE DO NOT HESITATE TO REACH OUT! MUCH APPRECIATED, (YOUR NAME HERE).”

    • ALL IN ALL, USING COMMON PRACTICES WHEN APOLOGIZING CAN BE UTILIZED HERE.
    • REGARDING BOUNDARIES, KNOW THAT WE ARE ALL HUMANS AND WITH THAT, WE KNOW WHAT WE LIKE, WHAT WE DONT, HOW WE WANTED TO BE TREATED AND HOW WE DON’T, SO

    MAKING THAT VERY APPARENT AT THE VERY BEGINNING WILL HELP BUILD THAT CLIENT/DESIGN RELATIONSHIP.
    • IN RETURN, THE CLIENT WILL DO THE SAME AND YOU CAN SEE THIS IN THINGS LIKE WHAT IS AN APPROPRIATE TIME TO BE CONTACTED.

    • HOW TO NAVIGATE DIFFICULT CONVERSATIONS.
    • DIFFICULT CONVERSATIONS WILL HAPPEN… HERE IS MY ADVICE BASED ON MY EXPERIENCE WITHIN RETAIL AND THE INTERIOR DESIGN INDUSTRY, OPEN COMMUNICATION IS KEY. THE MORE

    YOU COMMUNICATE TO YOUR CLIENTS DELAYS, MISHAPS, DESIGN IDEAS, PROS AND CONS, BELIEVE ME YOU WILL NOT HAVE TO HAVE THESE DIFFICULT CONVERSATIONS.
    • ADDITIONALLY, BEING TRANSPARENT HELPS A LOT! SO KEEPING TABS AND NOTES OF CONVERSATIONS, SOMETIMES IF I KNOW I AM GOING TO HAVE A LENGTHY OR DIFFICULT

    CONVERSATION I REQUEST THE OTHER PARTIES PERMISSION TO RECORD THE INTERACTION. THIS IS NOT NECESSARILY A TRUSTING ISSUE, THIS IS JUST A SAGE-GUARD OR A PRECAUTION.
    MOST CLIENTS WONT CARE AS MUCH TO BE RECORDED AND THOSE WHO DO WILL POLITELY DENY THE REQUEST, WHICH IS OK, IN THAT CASE YOU CAN WRITE DOWN MEETING NOTES.

    ASSIGNMENT ONE:
    FOR THE WEEK

    HERE WE START YOUR FINAL PROJECT.

    ESSENTIALLY, IT IS A BINDER OF YOUR WORK THROUGH OUT THE
    SEMESTER. WE WILL BEGIN WITH ADDING THESE THREE ITEMS INTO THE

    DIGITAL “BINDER” (MORE TO COME ON THE DIGITAL BINDER
    LATER):

    ASSIGNMENT ONE: START A ROUGH DRAFT OF YOUR RESUME
    (SAMPLE VERSION PROVIDED FOR YOU TO COPY IF YOU HAVE

    NEVER CREATED ONE BEFORE)

    WE ARE GETTING A HEAD START ON YOUR RESUME, AS YOU CAN SEE ON
    THE SYLLABUS YOU WILL BE LEARNING ABOUT RESUME AND COVER

    LETTERS NEXT CLASS, SO IT WOULD MAKE SENSE TO START DRAFTING
    YOUR RESUME. DONT WORRY IF YOU DON’T HAVE ANYTHING TO FILL IN

    EXPERIENCE, JUST COMPLETE THE FORMAT AND WE WILL GO FROM
    THERE.

    WHAT I WANT YOU TO DO IS COPY THE RESUMER SAMPLE AS IT IS; YOU

    CAN USE WORD, GOOGLE DOCS, IOS PAGES, OR WHICH EVER BEST
    WORKS FOR YOU YOU CAN;

    IF YOU HAVE THE KNOWLEDGE, USE THE TEMPLATES ON EITHER
    APPLICATION TO HELP YOU WITH THIS

    THE MOST IMPORTANT INFORMATION IS AT THE VERY TOP/BOTTOM:
    YOUR NAME

    EMAIL ADDRESS
    LINK TO YOUR PROFESSIONAL SITE: LINKED IN, NEED, GLASSDOOR, ETC.

    ASSIGNMENT TWO:
    FOR THE WEEK

    ASSIGNMENT TWO: CREATE 3 OUTFITS: 1) SITE VISIT LOOK: CASUAL-
    PROFESSIONAL / 2) SHOWROOM LOOK: SEMI – PROFESSIONAL / 3) PRESENTATION

    LOOK: PROFESSIONAL

    • SHOWROOM LOOK: SEMI – PROFESSIONAL / THIS OUTFIT IS THE ONE YOU WEAR
    TO AN ANNIVERSARY OR BIRTHDAY DINNER WITH FAMILY MEMBERS. I ALSO WANT

    TO ADD, THIS OUTFIT SHOULD LEAN MORE TOWARDS THE CASUAL SIDE OF THE
    THREE OUTFITS. (JUST A SUGGESTION, AND THIS CAN CHANGE FROM COMPANY

    TO COMPANY, BUT GENERALLY I LIKE TO PULL BACK FROM DRESSING TOO
    PROFESSIONAL. IN MY EXPERIENCE, THE MORE “DRESSED-UP” I WAS THE MORE

    CLIENTS STRAYED AWAY FROM MY SERVICES. I DONT KNOW WHAT THE
    PSYCHOLOGICAL FACTOR IS IN THAT IDEA IS BUT I HAVE EXPERIENCED NEGATIVE

    FEEDBACK FROM DRESSING WAY TO FORMAL. I ALWAYS AIM TO BE APPROACHABLE,
    AND THAT ALL START WITH HOW YOU PRESENT YOUR SELF VISUALLY, SO LEANING

    MORE CASUAL THAN PROFESSIONAL IS KEY FOR THIS OUTFIT, I THINK.)
    • PRESENTATION LOOK: PROFESSIONAL / THIS OUTFIT IS THE ONE YOU WEAR TO

    A WEDDING AS GUEST OR TO A SPECIAL/LAVISH EVENT. HERE YOU WANT TO LOOK
    YOUR BEST AND, HERE, DRESSING TO IMPRESS MATTERS… YOU WANT TO LOOK

    YOUR BEST ON THE DAY YOU MIGHT LAND THE BIGGEST PROJECT OF YOUR LIFE,
    RIGHT?!

    • SITE VISIT LOOK: CASULA-PROFESSIONAL / THINK OF THIS LOOK AS IF YOU
    WERE GOING ONTO A LIVE SITE. IMAGINE THIS, THE HOUSE ONLY HAS ITS’

    FOUNDATION, FRAMING FOR THE HOUSE, AND A ROOF, NOTHING ELSE. IT’S DUSTY,
    ROCKY, AND THERE’S DIRT EVERYWHERE. YOU CAN HAVE FUN WITH THIS LOOK, I
    WANT YOU TO SHOW ME WHAT YOU WOULD WEAR KNOWING THAT YOU ARE

    STILL ON THE CLOCK BUT NEED TO BE ABLE TO MOVE THROUGH A
    CONSTRUCTION SITE. AGAIN, KEEP IN MIND, THIS IS STILL WORK AND YOU HAVE TO

    MAINTAIN YOUR BRAND SO WHAT DOES THIS LOOK LIKE FOR YOU?

    HOW TO TURN IN YOUR WORK:
    THE IMAGE BELOW IS ONE WAY TO PRESENT YOUR LOOKS. ANOTHER WAY IS, LAYING OUT

    YOUR CLOTHES ON THE FLOOR TO SHOW ALL THE PIECES. YOU CAN STYLE IT ON A
    MANNEQUIN, HANGERS, JUST BE CREATIVE AND SHOW ALL THE PIECES. I SHOULD HAVE A

    TOTAL OF THREE IMAGES OF THERE DIFFERENT OUTFITS. PLEASE DO NOT WEAR YOUR
    OUTFITS AND TAKE A PICTURE OF YOURSELF.

    DISCUSSION FOR THE WEEK
    DISCUSSION THREE: YOUR BRAND!

    START THINKING ABOUT YOUR “BRAND” WHAT DOES YOUR BRAND LOOK LIKE? HOW ABOUT ON A BUSINESS CARD? WHAT DOES YOUR LETTER HEAD FOR YOUR DOCUMENTS LOOK LIKE? START
    THINKING ABOUT COLORS FOR YOUR BAND, WHAT DO THOSE LOOK LIKE? PRETEND YOU ARE AT THE BEGINNING STAGES OF CREATING YOUR BUSINESS AND YOU ARE MEETING WITH A

    MARKETING TEAM, TELL US OR SHOW US SOME REFERENCES OF WHAT YOU WANT YOUR BUSINESS TO LOOK LIKE, FEEL LIKE, REPRESENT, ETC. REMEMBER, WE ARE STARTING TO BUILD YOUR BRAND, IF
    YOU DONT HAVE AN IDEA YET OF WHAT THAT LOOKS LIKE THAT’S FINE BECAUSE YOU CAN GO BACK A REFINE OR REVAMP ANY OF THESE BEFORE YOUR TURN IN YOUR FINAL BINDER.

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    **## WEEK3PROFESSIONALDESIGNIMAGE26BUSINESSETIQUETTE.pdf**

    BUILDING A
    PROFESSIONAL

    IMAGE
    FUNDAMENTALS OF INTERIOR DESIGN

    SPRING 2025

    FUNDAMENTALS OF INTERIOR DESIGN

    AGENDA
    SECTION ONE: BUILDING A PROFESSIONAL IMAGE

    IMPRESSIONS

    DRESSING FOR SUCCESS

    COMMUNICATION

    SECTION TWO: BUSINESS ETIQUETTE &
    PROFESSIONALISM

    DIGITAL COMMUNICATION

    NETWORKING

    CHALLENGES

    ASSIGNMENTS

    DISCUSSIONS

    INTRODUCTION
    THIS IS STARTS THE BEGINNING OF YOUR SEMESTER PROJECT, WHICH ESSENTIALLY WILL BE YOUR FINAL PROJECT. YOU WILL BE CREATING A BINDER OR A PORTFOLIO OF SORTS, STARTING WITH YOUR
    ASSIGNMENTS FOR THIS WEEK. YOU HAVE THREE TOTAL AND NO DISCUSSION. HERE, WE WILL BEGIN BUILDING YOUR BRAND, HOW YOU WANT PEOPLE TO VIEW YOU AND SEE YOU AS A DESIGNER. I HOPE
    BY NOW WITH ALL THE INTRODUCTIONS AND A DISCUSSIONS, YOU HAVE SORT OF FIGURED OUT WHAT YOUR AESTHETIC IS… IF YOU DON’T THAT’S FINE TOO, THE PURPOSE OF THIS WEEK IS TO START
    FIGURING OUT WHAT THAT LOOKS LIKE FOR YOU. WITH YOUR AESTHETIC; OR WHEN YOU FIND IT, YOU CAN THEN INTRODUCE OR INJECT THAT STYLE INTO SIMPLE THINGS LIKE YOUR BUSINESS CARDS,
    YOUR LINKED IN PAGE, YOUR PROFESSIONAL WEBSITE AND EVEN INTO YOUR OWN SHOWROOM/STUDIO, ETC.

    UNDERSTAND THE IMPORTANCE OF
    PERSONAL BRANDING AS AN INTERIOR

    DESIGNER.

    DEVELOP STRATEGIES FOR
    MAINTAINING A POLISHED AND

    PROFESSIONAL IMAGE.

    EXPLORE THE ROLE OF ATTIRE,
    COMMUNICATION, AND ONLINE

    PRESENCE IN ESTABLISHING CREDIBILITY.

    BUILDING A
    PROFESSIONAL
    DESIGN IMAGE

    SPRING 2025

    SECTION ONE

    IMPORTANCE OF
    FIRST IMPRESSIONS

    • HOW APPEARANCE INFLUENCES CLIENT PERCEPTION
    • THIS IS VERY MUCH PSYCHOLOGICAL. IT IS SAID THAT IT TAKES ABOUT 5 SECONDS FOR A PERSON TO DECIDE IF; SOMEONE THEY MEET, THE MEETING IS “GOOD” OR “BAD.” THE FIRST TWO SECONDS IS

    ALL BAS ON IMAGE THEN THE LAST THREE SECONDS DETERMINES WHETHER OR NOT TO CONTINUE THE TRANSACTION. WITH THAT SAID, IN MY EXPERIENCE, IT IS ALWAYS GOOD TO PRACTICE
    NICETIES WITHIN THE SHOWROOM, SUCH AS GREETING YOUR CLIENTS AS THEY WALK IN, ALWAYS TRYING TO PUT ON A SMILE, COMMON GESTURES LIKE OFFERING WATER OR BEVERAGES BEFORE
    PRESENTING, ETC. SO, ALWAYS PRESENT YOURSELF HOW YOU WOULD LIKE TO BE VIEWED, FOR NOW, WE CAN STICK WITH “STANDARD” LOOKS OR MOST COMMONLY KNOWN AS YOUR PROFESSIONAL
    LOOK.

    • PROFESSIONAL VS. CASUAL ATTIRE: WHAT WORKS IN DIFFERENT CLIENT INTERACTIONS.
    • THERE IS ALWAYS A “STANDARD” WAY OF DRESSING IN EVERY COMPANY YOU GO. HERE ARE SOME RESTRICTIONS WITH HOW YOU DRESS/PRESENT YOURSELF TO CLIENTS FROM WORKABLE.COM

    (HTTPS://RESOURCES.WORKABLE.COM/DRESS-CODE-COMPANY-POLICY):
    • ALL EMPLOYEES MUST BE CLEAN AND WELL-GROOMED. GROOMING STYLES DICTATED BY RELIGION AND ETHNICITY AREN’T RESTRICTED.
    • ALL CLOTHES MUST BE WORK-APPROPRIATE. CLOTHES THAT ARE TYPICAL IN WORKOUTS AND OUTDOOR ACTIVITIES AREN’T ALLOWED.
    • ALL CLOTHES MUST PROJECT PROFESSIONALISM. CLOTHES THAT ARE TOO REVEALING OR INAPPROPRIATE AREN’T ALLOWED.
    • ALL CLOTHES MUST BE CLEAN AND IN GOOD SHAPE. DISCERNIBLE RIPS, TEARS OR HOLES AREN’T ALLOWED.
    • EMPLOYEES MUST AVOID CLOTHES WITH STAMPS THAT ARE OFFENSIVE OR INAPPROPRIATE.??

    • ALTHOUGH THESE STANDARDS MAY BE DIFFERENT FROM COMPANY TO COMPANY, YOU WILL HAVE TO FIGURE OUT WHAT STYLE OF DRESS WORKS FOR YOU AND YOUR CLIENT. FOR EXAMPLE, IS
    WEARING SOME TRAINERS, JOGGERS, AND A HOODIE TO A PRESENTATION BE A GOOD REPRESENTATION OF THE COMPANY OR YOUR SELF? OR DO YOU GO ABOVE AND BEYOND AND WEAR A THREE
    PIECE SUIT EVERY MEETING, EVEN SITE VISITS. SO, DEPENDING ON WHAT THE SHOWROOM OR STUDIO IS LOOKING FOR, YOU WILL EVENTUALLY HAVE AN IDEA HOW ONE SHOULD DRESS AFTER THE
    FIRS MONTH. HERE ARE SOME FULL RULES I HAVE GATHERED OVER THE YEAR IN ORDER TO BE PRESENTABLE NO MATTER THE OCCASION:

    • IN MOST SHOWROOMS I HAVE WORKED AT SEMI-CASUAL IS PRETTY MUCH A STANDARD.
    • THE DEFAULT WOULD BE UNIFORMS AND UNIFORMS COULD ALSO MEAN ONLY WEARING SPECIFIC COLORS ASIDE FROM A BRANDED POLO, SHIRT, OR JACKET.
    • WHEN DRESSING UP WITHIN THE INTERIOR DESIGN WORLD YOU STILL WANT TO EXPRESS YOURSELF BECAUSE THAT’S WHAT SETS YOU APART FROM THE OTHER DESIGNERS. HERE ARE SOME

    IDEAS I THINK OF WHEN I DRESS FOR A BRIEFING WITH A CLIENT, A SITE VISIT, OR A PRESENTATION:
    • START OFF FORMAL AND THEN SLOWLY WORK YOUR OUTFIT INTO SEMI-FORMAL BY REMOVING AND/OR REPLACING MORE FORMAL ITEMS WITH CAUSAL ITEMS IN YOUR WARDROBE.
    • START OF SEMI-FORMAL AND REPEAT THE PROCESS ABOVE.
    • YOU CAN ALSO DO THE REVERSE, WHICH I HAVE BEEN DOING FOR A WHILE, I START OFF WITH CASUAL CLOTHES AND ADD MORE FORMAL PIECES TO MY OUTFIT.
    • DO NOT EVERY WHERE PANTS WITH HOLES… EVER.
    • WEAR CLOSED TOED SHOES… AND PLEASE DO NOT EVER EVER WEAR CROCS OR UGGS INTO A SHOWROOM, SITE VISITS, OR PROJECTS.
    • TATTOOS, FACIAL AND EXCESS PIERCINGS HAVEN’T BEEN SO MUCH OF AN ISSUE IN MY EXPERIENCE BUT I DO BELIEVE THAT I CONTINUALLY THINK ABOUT APPROACHABILITY SO KEEP

    THAT IN MIND WHEN ACCESSORIZING.
    • AT THE END OF THE DAY IT IS UP TO YOU TO DECIDE ON HOW YOU WANT TO PRESENT YOUR SELF OR THE COMPANY YOU WILL BE WORKING FOR. THESE EXPERIENCES ARE CURRENT BUT KEEP IN MIND

    THAT EVERY COMPANY IS DIFFERENT AND EVERY COMPANY HAS THEIR STANDARDS OF HOW YOU SHOULD APPEAR. WHEN YOU OWN YOUR OWN SHOWROOM/STUDIO THESE RULES CAN BE
    CHANGED TO FIT YOUR BRAND.

    [http://workable.com](http://workable.com/)

    [https://resources.workable.com/dress-code-company-policy](https://resources.workable.com/dress-code-company-policy)

    DRESSING FOR SUCCESS
    ASSIGNMENT ONE: BUSINESS CASUAL VS. FORMAL ATTIRE FOR DIFFERENT SETTINGS.

    HERE IS THE FIRST OUT OF 3 ASSIGNMENTS NEEDED TO COMPLETE THIS WEEK.

    PICTURE THIS, YOU ARE AN INTERIOR DESIGNER GETTING READY FOR THE MOST IMPORTANT PRESENTATION OF YOUR CAREER. YOU WERE PROVIDED A GENERIC LEAD AND LANDED THE JOB MONTHS
    AGO. YOU AND YOUR TEAM HAVE ALREADY COMPLETED YOUR DESIGNS, DRAWINGS, SOURCED ALL YOUR MATERIALS, CRUNCHED SOME NUMBERS, AND NOW ITS TIME TO PRESENT. TODAY, IS A BUSY DAY

    FOR YOU AND YOU NEED TO BE PREPARED TO CHANGE FOR EACH VISIT. SO LETS PLAN WHAT TO WEAR?

    THIS WEEK YOU WILL BE CURATING 3 DIFFERENT OUTFITS, SELECTING APPROPRIATE ATTIRE FOR A JOB SITE, A CLIENT MEETING, AND THAT VERY IMPORTANT PRESENTATION!
    HERE ARE SOME SAMPLES OF WHAT I WOULD WEAR. (MORE INFORMATION ON ASSIGNMENT ON SLIDE 13)

    SEMI-FORMAL
    BUSINESS – CASUAL

    VERBAL & NON-VERBAL
    COMMUNICATION

    • THE ROLE OF TONE, BODY LANGUAGE, AND ACTIVE LISTENING.
    • I BELIEVE TONE, BODY LANGUAGE, AND ACTIVE LISTENING IS THE FOUNDATION OF A GOOD BRIEFING WITH YOUR CLIENTS. REALLY, YOU SET THE TONE FOR YOUR INTERACTIONS WITH YOUR CLIENTS

    WHETHER THAT’S AT THE START OF YOUR DESIGN JOURNEY WITH YOUR CLIENT OR GOING OUT TO SOURCE MATERIALS FOR YOUR CLIENTS. CLIENTS, PARTNERS, VENDORS, WHO EVER IT IS YOU COME
    ACROSS IN THIS FIELD CAN PICK UP ON THESE THREE ROLES.

    • UNDERSTAND THAT PEOPLE CAN PICK UP ON TONE SO WHEN INTERACTING TRY YOUR NEST TO BE NEUTRAL. SHARING YOUR OPINION IS KEY IN OUR FIELD BECAUSE OUR CLIENTS LOOKS TO US OF
    KNOWLEDGE. CONSIDER BEING OPEN TO CONSTRUCTIVE CRITICISM BECAUSE WE ALL DON'T SHARE THE SAME IDEAS AND THATS OK.

    • UNDERSTAND BODY LANGUAGE, IF YOU SEE THAT YOUR CLIENT IS CLOSED OFF OR LACKING OF WORDS, PICK UP ON THAT AND SUGGEST A DIFFERENT APPROACH OR SOLUTION. YOU ALWAYS WANT
    TO BE OBSERVANT. I ALWAYS KEEP A NOTEPAD NEXT TO I ME OR IN MOST CASES MY IPAD TO TAKE NOTES IF I KNOW A LOT OF DETAILS ARE NEEDED FOR A PARTICULAR PROJECT. IT’S GOOD PRACTICE
    TO ALWAYS TAKE NOTES EVEN IF YOU MIGHT NOT TAKE DOWN MUCH.

    • UNDERSTAND HOW TO BE ACTIVELY LISTENING TO YOUR CLIENTS. THIS IS KEY BECAUSE WE; AS DESIGNERS, WILL COME ACROSS CLIENTS WHO LACK THE ABILITY TO SEE WHAT WE SEE; OR APHANTASIC,
    AND OUR JOB IS TO COLLECT AS MUCH INFORMATION AS POSSIBLE SO ACTIVELY LISTENING WILL HELP IN THIS AREA. EXAMPLES WOULD BE, LISTENING TO THEM DESCRIBE A PAINT COLOR MAKES THEM
    FEEL OR WHEN SOURCING MATERIALS WITH YOUR CLIENTS AND THEY COME ACROSS SOMETHING THEY LIKE AND SAY “OOOOOOO THIS IS CUTE,” THAT COULD BE AN OPPORTUNITY TO TAKE A NOTE
    OF IT. THESE SMALL GESTURES ARE REALLY APPRECIATED AND DEFINITELY GO A LONG WAY IN ESTABLISHING WHAT CLIENTS LOOK FOR AND THAT IS GOOD CUSTOMER SERVICE.

    • HANDLING DIFFICULT CONVERSATIONS WITH CLIENTS AND COLLEAGUES.
    • YOU WILL ALWAYS COME ACROSS DIFFICULT CONVERSATIONS WITH CLIENTS AND COLLEAGUES THE ONLY TRUE WAY TO GO ABOUT SO LIVING HIS ISSUES IS HONEST AND OPEN COMMUNICATION.
    • IF YOU FEEL INDIFFERENT FROM YOUR CLIENTS OR COLLEAGUE ASK TO HAVE A PRIVATE CONVERSATION ABOUT IT AND IF THE ISSUES IS STILL NOT RESOLVED AFTER THE TALK THEN BRING IN

    MANAGEMENT OR HUMAN RESOURCES; IF THE COMPANY OFFERS SUCH A RESOURCE.
    • TO AVOID AND COMPLETELY IGNORE THIS IS INEVITABLE BUT YOU CAN TRY YOUR BEST TO MINIMIZE SUCH AN EVENT BY:

    • OPENLY COMMUNICATION CONCERNS, DELAYS, OR ANY INFORMATION THAT WILL PROVIDE YOU TIME TO RESOLVE THE ISSUE
    • ALLOWING YOUR CLIENTS ACCESS TO YOUR TIME SO, BEING AVAILABLE TO THEM AT SPECIFIC HOURS OF THE DAYS
    • SETTING BOUNDARIES WITH YOUR CLIENTS AND COLLEAGUES SO, KNOWING YOUR LIMITS AT WORK, KNOWING WHAT YOU SHOULD AND SHOULD TALK ABOUT AT WORK, ETC.
    • TREAT OTHERS HOW YOU WOULD LIKE TO BE TREATED
    • IF ALL ELSE FAILS BRING ALL YOUR CONCERNS TO UPPER MANAGEMENT

    • THE ART OF SPEAKING WITH CONFIDENCE AND CLARITY.
    • CONFIDENCE IS SOMETHING YOU CAN BE BORN WITH AND IT’S NOT, CONFIDENCE IS SOMETHING YOU CAN LEARN BUT YOU CAN CHOOSE NOT TO. CONFIDENCE IS FOR SURE NEEDED IN OUR

    INDUSTRY TO EXPRESS TO YOUR CLIENT SO IT’S SOMETHING TO GAIN.
    • …….????? MORE?????

    ONLINE PRESENCE &
    SOCIAL MEDIA ETIQUETTE

    WE ARE IN THE AGE OF TECH AND WITH THAT COMES A SOCIAL MEDIA PRESENCE. WE ARE CONSTANTLY ON THE WEB SEARCHING FOR SOMETHING; WHETHER THAT BE FOR OBJECTS, SERVICES, AND
    MISCELLANEOUS ITEMS. SO CREATING A SOCIAL MEDIA IS NECESSARY IN ORDER TO CREATE A HUGE FOLLOWING OR CLIENTELE. SOME DESIGNERS YOU MIGHT KNOW THAT HAVE BENEFITED FROM
    SOCIAL MEDIA WOULD BE DESIGNERS FROM MAGNOLIA, DREAM HOME MAKE OVER, OR JEREMIAH BRENT. YOUR SOCIAL MEDIA PRESENCE IS KEY TO BE VISIBLE IN THIS INDUSTRY THIS TIES INTO YOUR
    “BRAND” SO KEEP THAT IN MIND. I WONT GO INTO DETAIL BECAUSE YOU WILL TOUCH ON THIS MORE IN YOUR MARKETING CLASS. IN THIS INSTANCE I WANT YOU TO KEEP IN MIND YOUR AESTHETIC

    WHEN THINKING ABOUT HOW YOU WANT YOUR BRAND TO LOOK, FEEL, SAY, EXPRESS, ETC.

    DEVELOP PROFESSIONAL
    COMMUNICATION SKILLS FOR EMAILS,
    PHONE CALLS, AND CLIENT MEETINGS.

    LEARN THE ETIQUETTE OF
    NETWORKING, BUSINESS MEETINGS,
    AND INDUSTRY EVENTS.

    PRACTICE HANDLING PROFESSIONAL
    CHALLENGES, SUCH AS DIFFICULT
    CLIENTS OR MISCOMMUNICATIONS.

    BUILDING A
    PROFESSIONAL
    DESIGN IMAGE

    SPRING 2025

    SECTION TWO

    EMAIL & PHONE
    COMMUNICATION

    • PROFESSIONAL COMMUNICATION: EMAIL & PHONE ETIQUETTE
    • HAVE A PROFESSIONAL EMAIL. WHEN STARTING OUT YOU CAN USE GENERIC EMAIL COMPANIES LIKE GMAIL, OUTLOOK, YAHOO, AND WHAT NOT BUT IDEALLY YOU WANT A DEDICATED EMAIL FOR

    EXAMPLE: V.TUFONO@VALDESIGNS.COM
    • THIS SOLIDIFIES YOUR PLACE WITHIN BUSINESSES, IT SHOWS PROFESSIONALISM, AND AN ESTABLISHMENT OF YOUR NAME/DESIGNS.
    • ALWAYS CREATIVE A VOICE MESSAGE AT THE END OF YOUR VOICEMAILS WITH WARM GREETINGS, YOUR APOLOGIES FOR MISSING THE CALL, NICETIES, AND A REQUEST FOR INFORMATION.
    • ALWAYS CLAIM YOU WILL GET TO YOUR CLIENTS AS SOON AS YOUR AVAILABLE

    • WRITING EFFECTIVE, PROFESSIONAL EMAILS.
    • HERE IS WHERE WRITING IS A BIT TRICKY AND WHERE YOU HAVE TO KEEP IN MIND YOUR PROFESSIONALISM. HERE SOME THINGS TO KEEP IN MIND WHEN EMAILING CLIENTS, VENDORS, COLLEAGUES:

    • START OFF WITH NICETIES FOR EXAMPLE: GOOD MORNING/AFTERNOON/EVENING, I HOPE YOU’RE DOING WELL, WARM REGARDS, WISHING YOU A WONDERFUL REST OF YOUR DAY, ETC.
    • WHEN YOU THINK YOUR EMAIL IS GOING TO BE LONG AND WINDED DEFAULT TO A MEETING OR A CALL TO GET YOUR POINT ACROSS MORE CLEARLY AND ALLOW ROOM FOR LIVE QUESTIONS
    • IN GENERAL, EMAILING WITH A CLEAR AND CONCISE MESSAGE. IT IS PROVEN, THROUGH TESTING AND SURVEYING, THAT THE READER IS LIKELY TO SKIM A LONG AND DETAILED EMAIL VERSUS A

    SHORT AND CONCISE EMAIL.
    • WHEN SPEAKING WITH CLIENTS, ALWAYS IMAGING THAT THE CLIENT DOES NOT KNOW YOUR DESIGN LINGO AND BE PREPARED TO RELAY OR REITERATE AN IDEA SEVERAL TIMES BEFORE YOU

    CLIENT UNDERSTANDS.
    • BEFORE SENDING AN EMAIL OUT I TYPICALLY LIKE SOMEONE TO SCREEN MY EMAIL BEFORE I SEND IT, THAT IS IF IT IS AN IMPORTANT EMAIL.
    • OTHERWISE, FOLLOW THE COMPANIES POLICIES ON SENDING AND RECEIVING EMAILS

    • HANDLING CLIENT PHONE CALLS WITH CONFIDENCE.
    • GOING BACK TO LEARNING CONFIDENCE, THIS IS ONE WAY TO OVERCOME THAT FEAR.
    • ANSWERING PHONES ALLOW FOR CONSTANT PRACTICE OF YOUR SALES PITCH, DIRECTIONS, PRODUCT KNOWLEDGE AND MORE.
    • REMEMBER COMMUNICATING IS KEY IN OUR INDUSTRY; AND WE COMMUNICATE ALL DAY IN MANY DIFFERENT WAYS, AND KNOWING HOW TO COMMUNICATE YOUR VIEWS AND OPINIONS WILL

    HELP YOUR DESIGN PROCESS.
    • AGAIN, CONFIDENCE IS SOMETHING TO GAIN AND PUTTING YOUR SELF OUT THERE IN SITUATIONS THAT MIGHT MAKE YOU FEEL UNCOMFORTABLE WILL HELP WITH GAINING MORE IT.
    • ALL IN ALL, PHONE CALLS IN THE WORKPLACE ARE A GENERAL REQUIREMENT SO PRACTICING IT’S ALL IN PRACTICE AND THAT WILL COME IN TIME.

    [mailto:v.tufono@valdesigns.com](mailto:v.tufono@valdesigns.com)

    NETWORKING &
    INDUSTRY EVENTS

    • HOW TO INTRODUCE YOURSELF PROFESSIONALLY.
    • SIMILAR TO INTRODUCING YOURSELF IN GENERAL, BY ADDING WHAT YOU DO AND WITH WHAT COMPANY YOUR WITH WILL SUFFICE.
    • EXAMPLE EMAIL: “HELLO MY NAME IS VAL, I AM AN INTERIOR DESIGNER HERE IN SACRAMENTO, CA. I’M CALLING REGARDING A PURCHASE WE MADE FOR A CLIENT…”

    • MAKING MEANINGFUL CONNECTIONS AT TRADE SHOWS AND INDUSTRY EVENTS.
    • NETWORKING IS VERY IMPORTANT IT IS HOW YOU GAIN YOUR NETWORK OF RESOURCES.
    • IN THE 10 YEARS I HAVE BEEN IN DESIGN I HAVE GATHERED NEARLY 2,000 PLUS NETWORKS FROM ALL DISCIPLINES. FOR EXAMPLE I HAVE CONTACTS IN PROJECT MANAGEMENT, ESTIMATORS,

    DESIGNERS, PRODUCT DESIGNERS, BIG COMPANIES LIKE MIELE, BERNHARDT, CENTURY FURNITURE, SALTINE, COSENTINO, AND PRODUCT YOU CAN THINK OF, I PROBABLY HAVE A CONTACT
    FOR.

    • BUT THESE ARE NOT ROLODEX CONTACTS, THESE ARE COMPANIES AND PARTNERS I SAT WITH AT A TABLE AND GOT TO KNOW. I TRY TO MAINTAIN THESE RELATIONSHIPS AS BEST AS I CAN
    BECAUSE WHO KNOW IF YOU WILL NEED AN EXTRA PROJECT MANAGER OR ESTIMATOR, ETC.

    • NURTURING THESE RELATIONSHIPS ARE NOT ONLY HELPFUL WITH SOURCING MATERIALS BUT THIS ESTABLISHES YOUR BRAND AS WELL. WHO YOUR PARTNER WITH OR WORK WITH ON
    PROJECTS; BIG OR SMALL, SHOWS HOW YOU WORK, WHAT YOUR WORK ETHIC LOOKS LIKE, AND INCREASES YOUR CHANGES OF VISIBILITY.

    • KEY TIP, ALWAYS INTRODUCE YOUR SELVES AND MAKE YOUR PRESENCE AWARE, THE MORE YOU NETWORK THE MORE YOU WILL BE SURROUNDED BY POSITIVE PEOPLE WHO WILL; IN MOST
    CASES, SHARE THE WEALTH OF KNOWLEDGE THEY’VE GAIN IN THEIR SUCCESS.

    CLIENT MEETINGS &
    HANDLING PROFESSIONAL

    CHALLENGES
    • SETTING CLIENT EXPECTATIONS AND MAINTAINING PROFESSIONAL BOUNDARIES.

    • KNOW THIS, NO ONE CLIENT IS EVER HAS THE SAME IDEAS AS YOUR PREVIOUS CLIENTS; OR IF THEY DO IT IS VERY RARE.
    • ALWAYS TREAT YOUR CLIENTS AS A UNIQUE CLIENT, A BRAND NEW CLIENT, A BLANK PAGE… AND YOU ARE THERE TO GUIDE THEM IN FIGURING OUT WHAT THEY NEED AND WANT.
    • JUST LIKE OUR TOPIC ON NETWORKING, YOU SHOULD TREAT YOUR CLIENTS THE SAME WAY, PROFESSIONALLY.

    • THE PLAYFUL BANTER AND THE JOKING COMES WITH NURTURING THAT RELATIONSHIP THROUGH OUT THE LIFE OF A CLIENT PROJECT.
    • SLOWLY YOU WILL GAIN TRUST, LOYALTY, AND RESPECT FOR EACH OTHER AND THATS WHAT YOU WILL SEE BOTH OF YOURSELVES MOVE THROUGH THE PROJECT WITH EASE.
    • NOW, NOT ALL CLIENT/DESIGNER RELATIONSHIP WORK WELL AND THAT’S OK, A GOOD TIP IS TO BE HONEST AND SHARE THAT THIS PARTNERSHIP IS NOT WORKING, AND YOU CAN

    DO THIS BY SAYING SOMETHING LIKE:
    • “HELLO MR. & MRS. SMITH, UNFORTUNATELY DUE TO NATURE OF OUR RELATIONSHIP (WHATEVER THAT MAYBE) I BELIEVE IT WOULD BE IN THE BEST INTEREST OF EVERYONE

    AND THE PROJECT TO PLACE IT IN A MORE QUALIFIED DESIGNER WITHIN THE COMPANY. I FEEL THAT BY SUGGESTING AN ALTERNATIVE DESIGNER THEY WILL BE BETTER SUITED
    TO FEET YOUR YOUR SPECIFIC DESIGN AESTHETIC AND UNIQUE NEEDS”

    • AND YOU CAN CONTINUE WITH SOMETHING LIKE “I APPRECIATE OUR TIME WITH EACH OTHER AND IF YOU NEED ANY DESIGNS IN THE REALM OF (YOUR MORE QUALIFIED
    DESIGN STYLE HERE) PLEASE DO NOT HESITATE TO REACH OUT! MUCH APPRECIATED, (YOUR NAME HERE).”

    • ALL IN ALL, USING COMMON PRACTICES WHEN APOLOGIZING CAN BE UTILIZED HERE.
    • REGARDING BOUNDARIES, KNOW THAT WE ARE ALL HUMANS AND WITH THAT, WE KNOW WHAT WE LIKE, WHAT WE DONT, HOW WE WANTED TO BE TREATED AND HOW WE DON’T, SO

    MAKING THAT VERY APPARENT AT THE VERY BEGINNING WILL HELP BUILD THAT CLIENT/DESIGN RELATIONSHIP.
    • IN RETURN, THE CLIENT WILL DO THE SAME AND YOU CAN SEE THIS IN THINGS LIKE WHAT IS AN APPROPRIATE TIME TO BE CONTACTED.

    • HOW TO NAVIGATE DIFFICULT CONVERSATIONS.
    • DIFFICULT CONVERSATIONS WILL HAPPEN… HERE IS MY ADVICE BASED ON MY EXPERIENCE WITHIN RETAIL AND THE INTERIOR DESIGN INDUSTRY, OPEN COMMUNICATION IS KEY. THE MORE

    YOU COMMUNICATE TO YOUR CLIENTS DELAYS, MISHAPS, DESIGN IDEAS, PROS AND CONS, BELIEVE ME YOU WILL NOT HAVE TO HAVE THESE DIFFICULT CONVERSATIONS.
    • ADDITIONALLY, BEING TRANSPARENT HELPS A LOT! SO KEEPING TABS AND NOTES OF CONVERSATIONS, SOMETIMES IF I KNOW I AM GOING TO HAVE A LENGTHY OR DIFFICULT

    CONVERSATION I REQUEST THE OTHER PARTIES PERMISSION TO RECORD THE INTERACTION. THIS IS NOT NECESSARILY A TRUSTING ISSUE, THIS IS JUST A SAGE-GUARD OR A PRECAUTION.
    MOST CLIENTS WONT CARE AS MUCH TO BE RECORDED AND THOSE WHO DO WILL POLITELY DENY THE REQUEST, WHICH IS OK, IN THAT CASE YOU CAN WRITE DOWN MEETING NOTES.

    ASSIGNMENT ONE:
    FOR THE WEEK

    HERE WE START YOUR FINAL PROJECT.

    ESSENTIALLY, IT IS A BINDER OF YOUR WORK THROUGH OUT THE
    SEMESTER. WE WILL BEGIN WITH ADDING THESE THREE ITEMS INTO THE

    DIGITAL “BINDER” (MORE TO COME ON THE DIGITAL BINDER
    LATER):

    ASSIGNMENT ONE: START A ROUGH DRAFT OF YOUR RESUME
    (SAMPLE VERSION PROVIDED FOR YOU TO COPY IF YOU HAVE

    NEVER CREATED ONE BEFORE)

    WE ARE GETTING A HEAD START ON YOUR RESUME, AS YOU CAN SEE ON
    THE SYLLABUS YOU WILL BE LEARNING ABOUT RESUME AND COVER

    LETTERS NEXT CLASS, SO IT WOULD MAKE SENSE TO START DRAFTING
    YOUR RESUME. DONT WORRY IF YOU DON’T HAVE ANYTHING TO FILL IN

    EXPERIENCE, JUST COMPLETE THE FORMAT AND WE WILL GO FROM
    THERE.

    WHAT I WANT YOU TO DO IS COPY THE RESUMER SAMPLE AS IT IS; YOU

    CAN USE WORD, GOOGLE DOCS, IOS PAGES, OR WHICH EVER BEST
    WORKS FOR YOU YOU CAN;

    IF YOU HAVE THE KNOWLEDGE, USE THE TEMPLATES ON EITHER
    APPLICATION TO HELP YOU WITH THIS

    THE MOST IMPORTANT INFORMATION IS AT THE VERY TOP/BOTTOM:
    YOUR NAME

    EMAIL ADDRESS
    LINK TO YOUR PROFESSIONAL SITE: LINKED IN, NEED, GLASSDOOR, ETC.

    ASSIGNMENT TWO:
    FOR THE WEEK

    ASSIGNMENT TWO: CREATE 3 OUTFITS: 1) SITE VISIT LOOK: CASUAL-
    PROFESSIONAL / 2) SHOWROOM LOOK: SEMI – PROFESSIONAL / 3) PRESENTATION

    LOOK: PROFESSIONAL

    • SHOWROOM LOOK: SEMI – PROFESSIONAL / THIS OUTFIT IS THE ONE YOU WEAR
    TO AN ANNIVERSARY OR BIRTHDAY DINNER WITH FAMILY MEMBERS. I ALSO WANT

    TO ADD, THIS OUTFIT SHOULD LEAN MORE TOWARDS THE CASUAL SIDE OF THE
    THREE OUTFITS. (JUST A SUGGESTION, AND THIS CAN CHANGE FROM COMPANY

    TO COMPANY, BUT GENERALLY I LIKE TO PULL BACK FROM DRESSING TOO
    PROFESSIONAL. IN MY EXPERIENCE, THE MORE “DRESSED-UP” I WAS THE MORE

    CLIENTS STRAYED AWAY FROM MY SERVICES. I DONT KNOW WHAT THE
    PSYCHOLOGICAL FACTOR IS IN THAT IDEA IS BUT I HAVE EXPERIENCED NEGATIVE

    FEEDBACK FROM DRESSING WAY TO FORMAL. I ALWAYS AIM TO BE APPROACHABLE,
    AND THAT ALL START WITH HOW YOU PRESENT YOUR SELF VISUALLY, SO LEANING

    MORE CASUAL THAN PROFESSIONAL IS KEY FOR THIS OUTFIT, I THINK.)
    • PRESENTATION LOOK: PROFESSIONAL / THIS OUTFIT IS THE ONE YOU WEAR TO

    A WEDDING AS GUEST OR TO A SPECIAL/LAVISH EVENT. HERE YOU WANT TO LOOK
    YOUR BEST AND, HERE, DRESSING TO IMPRESS MATTERS… YOU WANT TO LOOK

    YOUR BEST ON THE DAY YOU MIGHT LAND THE BIGGEST PROJECT OF YOUR LIFE,
    RIGHT?!

    • SITE VISIT LOOK: CASULA-PROFESSIONAL / THINK OF THIS LOOK AS IF YOU
    WERE GOING ONTO A LIVE SITE. IMAGINE THIS, THE HOUSE ONLY HAS ITS’

    FOUNDATION, FRAMING FOR THE HOUSE, AND A ROOF, NOTHING ELSE. IT’S DUSTY,
    ROCKY, AND THERE’S DIRT EVERYWHERE. YOU CAN HAVE FUN WITH THIS LOOK, I
    WANT YOU TO SHOW ME WHAT YOU WOULD WEAR KNOWING THAT YOU ARE

    STILL ON THE CLOCK BUT NEED TO BE ABLE TO MOVE THROUGH A
    CONSTRUCTION SITE. AGAIN, KEEP IN MIND, THIS IS STILL WORK AND YOU HAVE TO

    MAINTAIN YOUR BRAND SO WHAT DOES THIS LOOK LIKE FOR YOU?

    HOW TO TURN IN YOUR WORK:
    THE IMAGE BELOW IS ONE WAY TO PRESENT YOUR LOOKS. ANOTHER WAY IS, LAYING OUT

    YOUR CLOTHES ON THE FLOOR TO SHOW ALL THE PIECES. YOU CAN STYLE IT ON A
    MANNEQUIN, HANGERS, JUST BE CREATIVE AND SHOW ALL THE PIECES. I SHOULD HAVE A

    TOTAL OF THREE IMAGES OF THERE DIFFERENT OUTFITS. PLEASE DO NOT WEAR YOUR
    OUTFITS AND TAKE A PICTURE OF YOURSELF.

    DISCUSSION FOR THE WEEK
    DISCUSSION THREE: YOUR BRAND!

    START THINKING ABOUT YOUR “BRAND” WHAT DOES YOUR BRAND LOOK LIKE? HOW ABOUT ON A BUSINESS CARD? WHAT DOES YOUR LETTER HEAD FOR YOUR DOCUMENTS LOOK LIKE? START
    THINKING ABOUT COLORS FOR YOUR BAND, WHAT DO THOSE LOOK LIKE? PRETEND YOU ARE AT THE BEGINNING STAGES OF CREATING YOUR BUSINESS AND YOU ARE MEETING WITH A

    MARKETING TEAM, TELL US OR SHOW US SOME REFERENCES OF WHAT YOU WANT YOUR BUSINESS TO LOOK LIKE, FEEL LIKE, REPRESENT, ETC. REMEMBER, WE ARE STARTING TO BUILD YOUR BRAND, IF
    YOU DONT HAVE AN IDEA YET OF WHAT THAT LOOKS LIKE THAT’S FINE BECAUSE YOU CAN GO BACK A REFINE OR REVAMP ANY OF THESE BEFORE YOUR TURN IN YOUR FINAL BINDER.

    **IMG_8796.png**

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    **## WEEK3PROFESSIONALDESIGNIMAGE26BUSINESSETIQUETTE.pdf**

    BUILDING A
    PROFESSIONAL

    IMAGE
    FUNDAMENTALS OF INTERIOR DESIGN

    SPRING 2025

    FUNDAMENTALS OF INTERIOR DESIGN

    AGENDA
    SECTION ONE: BUILDING A PROFESSIONAL IMAGE

    IMPRESSIONS

    DRESSING FOR SUCCESS

    COMMUNICATION

    SECTION TWO: BUSINESS ETIQUETTE &
    PROFESSIONALISM

    DIGITAL COMMUNICATION

    NETWORKING

    CHALLENGES

    ASSIGNMENTS

    DISCUSSIONS

    INTRODUCTION
    THIS IS STARTS THE BEGINNING OF YOUR SEMESTER PROJECT, WHICH ESSENTIALLY WILL BE YOUR FINAL PROJECT. YOU WILL BE CREATING A BINDER OR A PORTFOLIO OF SORTS, STARTING WITH YOUR
    ASSIGNMENTS FOR THIS WEEK. YOU HAVE THREE TOTAL AND NO DISCUSSION. HERE, WE WILL BEGIN BUILDING YOUR BRAND, HOW YOU WANT PEOPLE TO VIEW YOU AND SEE YOU AS A DESIGNER. I HOPE
    BY NOW WITH ALL THE INTRODUCTIONS AND A DISCUSSIONS, YOU HAVE SORT OF FIGURED OUT WHAT YOUR AESTHETIC IS… IF YOU DON’T THAT’S FINE TOO, THE PURPOSE OF THIS WEEK IS TO START
    FIGURING OUT WHAT THAT LOOKS LIKE FOR YOU. WITH YOUR AESTHETIC; OR WHEN YOU FIND IT, YOU CAN THEN INTRODUCE OR INJECT THAT STYLE INTO SIMPLE THINGS LIKE YOUR BUSINESS CARDS,
    YOUR LINKED IN PAGE, YOUR PROFESSIONAL WEBSITE AND EVEN INTO YOUR OWN SHOWROOM/STUDIO, ETC.

    UNDERSTAND THE IMPORTANCE OF
    PERSONAL BRANDING AS AN INTERIOR

    DESIGNER.

    DEVELOP STRATEGIES FOR
    MAINTAINING A POLISHED AND

    PROFESSIONAL IMAGE.

    EXPLORE THE ROLE OF ATTIRE,
    COMMUNICATION, AND ONLINE

    PRESENCE IN ESTABLISHING CREDIBILITY.

    BUILDING A
    PROFESSIONAL
    DESIGN IMAGE

    SPRING 2025

    SECTION ONE

    IMPORTANCE OF
    FIRST IMPRESSIONS

    • HOW APPEARANCE INFLUENCES CLIENT PERCEPTION
    • THIS IS VERY MUCH PSYCHOLOGICAL. IT IS SAID THAT IT TAKES ABOUT 5 SECONDS FOR A PERSON TO DECIDE IF; SOMEONE THEY MEET, THE MEETING IS “GOOD” OR “BAD.” THE FIRST TWO SECONDS IS

    ALL BAS ON IMAGE THEN THE LAST THREE SECONDS DETERMINES WHETHER OR NOT TO CONTINUE THE TRANSACTION. WITH THAT SAID, IN MY EXPERIENCE, IT IS ALWAYS GOOD TO PRACTICE
    NICETIES WITHIN THE SHOWROOM, SUCH AS GREETING YOUR CLIENTS AS THEY WALK IN, ALWAYS TRYING TO PUT ON A SMILE, COMMON GESTURES LIKE OFFERING WATER OR BEVERAGES BEFORE
    PRESENTING, ETC. SO, ALWAYS PRESENT YOURSELF HOW YOU WOULD LIKE TO BE VIEWED, FOR NOW, WE CAN STICK WITH “STANDARD” LOOKS OR MOST COMMONLY KNOWN AS YOUR PROFESSIONAL
    LOOK.

    • PROFESSIONAL VS. CASUAL ATTIRE: WHAT WORKS IN DIFFERENT CLIENT INTERACTIONS.
    • THERE IS ALWAYS A “STANDARD” WAY OF DRESSING IN EVERY COMPANY YOU GO. HERE ARE SOME RESTRICTIONS WITH HOW YOU DRESS/PRESENT YOURSELF TO CLIENTS FROM WORKABLE.COM

    (HTTPS://RESOURCES.WORKABLE.COM/DRESS-CODE-COMPANY-POLICY):
    • ALL EMPLOYEES MUST BE CLEAN AND WELL-GROOMED. GROOMING STYLES DICTATED BY RELIGION AND ETHNICITY AREN’T RESTRICTED.
    • ALL CLOTHES MUST BE WORK-APPROPRIATE. CLOTHES THAT ARE TYPICAL IN WORKOUTS AND OUTDOOR ACTIVITIES AREN’T ALLOWED.
    • ALL CLOTHES MUST PROJECT PROFESSIONALISM. CLOTHES THAT ARE TOO REVEALING OR INAPPROPRIATE AREN’T ALLOWED.
    • ALL CLOTHES MUST BE CLEAN AND IN GOOD SHAPE. DISCERNIBLE RIPS, TEARS OR HOLES AREN’T ALLOWED.
    • EMPLOYEES MUST AVOID CLOTHES WITH STAMPS THAT ARE OFFENSIVE OR INAPPROPRIATE.??

    • ALTHOUGH THESE STANDARDS MAY BE DIFFERENT FROM COMPANY TO COMPANY, YOU WILL HAVE TO FIGURE OUT WHAT STYLE OF DRESS WORKS FOR YOU AND YOUR CLIENT. FOR EXAMPLE, IS
    WEARING SOME TRAINERS, JOGGERS, AND A HOODIE TO A PRESENTATION BE A GOOD REPRESENTATION OF THE COMPANY OR YOUR SELF? OR DO YOU GO ABOVE AND BEYOND AND WEAR A THREE
    PIECE SUIT EVERY MEETING, EVEN SITE VISITS. SO, DEPENDING ON WHAT THE SHOWROOM OR STUDIO IS LOOKING FOR, YOU WILL EVENTUALLY HAVE AN IDEA HOW ONE SHOULD DRESS AFTER THE
    FIRS MONTH. HERE ARE SOME FULL RULES I HAVE GATHERED OVER THE YEAR IN ORDER TO BE PRESENTABLE NO MATTER THE OCCASION:

    • IN MOST SHOWROOMS I HAVE WORKED AT SEMI-CASUAL IS PRETTY MUCH A STANDARD.
    • THE DEFAULT WOULD BE UNIFORMS AND UNIFORMS COULD ALSO MEAN ONLY WEARING SPECIFIC COLORS ASIDE FROM A BRANDED POLO, SHIRT, OR JACKET.
    • WHEN DRESSING UP WITHIN THE INTERIOR DESIGN WORLD YOU STILL WANT TO EXPRESS YOURSELF BECAUSE THAT’S WHAT SETS YOU APART FROM THE OTHER DESIGNERS. HERE ARE SOME

    IDEAS I THINK OF WHEN I DRESS FOR A BRIEFING WITH A CLIENT, A SITE VISIT, OR A PRESENTATION:
    • START OFF FORMAL AND THEN SLOWLY WORK YOUR OUTFIT INTO SEMI-FORMAL BY REMOVING AND/OR REPLACING MORE FORMAL ITEMS WITH CAUSAL ITEMS IN YOUR WARDROBE.
    • START OF SEMI-FORMAL AND REPEAT THE PROCESS ABOVE.
    • YOU CAN ALSO DO THE REVERSE, WHICH I HAVE BEEN DOING FOR A WHILE, I START OFF WITH CASUAL CLOTHES AND ADD MORE FORMAL PIECES TO MY OUTFIT.
    • DO NOT EVERY WHERE PANTS WITH HOLES… EVER.
    • WEAR CLOSED TOED SHOES… AND PLEASE DO NOT EVER EVER WEAR CROCS OR UGGS INTO A SHOWROOM, SITE VISITS, OR PROJECTS.
    • TATTOOS, FACIAL AND EXCESS PIERCINGS HAVEN’T BEEN SO MUCH OF AN ISSUE IN MY EXPERIENCE BUT I DO BELIEVE THAT I CONTINUALLY THINK ABOUT APPROACHABILITY SO KEEP

    THAT IN MIND WHEN ACCESSORIZING.
    • AT THE END OF THE DAY IT IS UP TO YOU TO DECIDE ON HOW YOU WANT TO PRESENT YOUR SELF OR THE COMPANY YOU WILL BE WORKING FOR. THESE EXPERIENCES ARE CURRENT BUT KEEP IN MIND

    THAT EVERY COMPANY IS DIFFERENT AND EVERY COMPANY HAS THEIR STANDARDS OF HOW YOU SHOULD APPEAR. WHEN YOU OWN YOUR OWN SHOWROOM/STUDIO THESE RULES CAN BE
    CHANGED TO FIT YOUR BRAND.

    [http://workable.com](http://workable.com/)

    [https://resources.workable.com/dress-code-company-policy](https://resources.workable.com/dress-code-company-policy)

    DRESSING FOR SUCCESS
    ASSIGNMENT ONE: BUSINESS CASUAL VS. FORMAL ATTIRE FOR DIFFERENT SETTINGS.

    HERE IS THE FIRST OUT OF 3 ASSIGNMENTS NEEDED TO COMPLETE THIS WEEK.

    PICTURE THIS, YOU ARE AN INTERIOR DESIGNER GETTING READY FOR THE MOST IMPORTANT PRESENTATION OF YOUR CAREER. YOU WERE PROVIDED A GENERIC LEAD AND LANDED THE JOB MONTHS
    AGO. YOU AND YOUR TEAM HAVE ALREADY COMPLETED YOUR DESIGNS, DRAWINGS, SOURCED ALL YOUR MATERIALS, CRUNCHED SOME NUMBERS, AND NOW ITS TIME TO PRESENT. TODAY, IS A BUSY DAY

    FOR YOU AND YOU NEED TO BE PREPARED TO CHANGE FOR EACH VISIT. SO LETS PLAN WHAT TO WEAR?

    THIS WEEK YOU WILL BE CURATING 3 DIFFERENT OUTFITS, SELECTING APPROPRIATE ATTIRE FOR A JOB SITE, A CLIENT MEETING, AND THAT VERY IMPORTANT PRESENTATION!
    HERE ARE SOME SAMPLES OF WHAT I WOULD WEAR. (MORE INFORMATION ON ASSIGNMENT ON SLIDE 13)

    SEMI-FORMAL
    BUSINESS – CASUAL

    VERBAL & NON-VERBAL
    COMMUNICATION

    • THE ROLE OF TONE, BODY LANGUAGE, AND ACTIVE LISTENING.
    • I BELIEVE TONE, BODY LANGUAGE, AND ACTIVE LISTENING IS THE FOUNDATION OF A GOOD BRIEFING WITH YOUR CLIENTS. REALLY, YOU SET THE TONE FOR YOUR INTERACTIONS WITH YOUR CLIENTS

    WHETHER THAT’S AT THE START OF YOUR DESIGN JOURNEY WITH YOUR CLIENT OR GOING OUT TO SOURCE MATERIALS FOR YOUR CLIENTS. CLIENTS, PARTNERS, VENDORS, WHO EVER IT IS YOU COME
    ACROSS IN THIS FIELD CAN PICK UP ON THESE THREE ROLES.

    • UNDERSTAND THAT PEOPLE CAN PICK UP ON TONE SO WHEN INTERACTING TRY YOUR NEST TO BE NEUTRAL. SHARING YOUR OPINION IS KEY IN OUR FIELD BECAUSE OUR CLIENTS LOOKS TO US OF
    KNOWLEDGE. CONSIDER BEING OPEN TO CONSTRUCTIVE CRITICISM BECAUSE WE ALL DON'T SHARE THE SAME IDEAS AND THATS OK.

    • UNDERSTAND BODY LANGUAGE, IF YOU SEE THAT YOUR CLIENT IS CLOSED OFF OR LACKING OF WORDS, PICK UP ON THAT AND SUGGEST A DIFFERENT APPROACH OR SOLUTION. YOU ALWAYS WANT
    TO BE OBSERVANT. I ALWAYS KEEP A NOTEPAD NEXT TO I ME OR IN MOST CASES MY IPAD TO TAKE NOTES IF I KNOW A LOT OF DETAILS ARE NEEDED FOR A PARTICULAR PROJECT. IT’S GOOD PRACTICE
    TO ALWAYS TAKE NOTES EVEN IF YOU MIGHT NOT TAKE DOWN MUCH.

    • UNDERSTAND HOW TO BE ACTIVELY LISTENING TO YOUR CLIENTS. THIS IS KEY BECAUSE WE; AS DESIGNERS, WILL COME ACROSS CLIENTS WHO LACK THE ABILITY TO SEE WHAT WE SEE; OR APHANTASIC,
    AND OUR JOB IS TO COLLECT AS MUCH INFORMATION AS POSSIBLE SO ACTIVELY LISTENING WILL HELP IN THIS AREA. EXAMPLES WOULD BE, LISTENING TO THEM DESCRIBE A PAINT COLOR MAKES THEM
    FEEL OR WHEN SOURCING MATERIALS WITH YOUR CLIENTS AND THEY COME ACROSS SOMETHING THEY LIKE AND SAY “OOOOOOO THIS IS CUTE,” THAT COULD BE AN OPPORTUNITY TO TAKE A NOTE
    OF IT. THESE SMALL GESTURES ARE REALLY APPRECIATED AND DEFINITELY GO A LONG WAY IN ESTABLISHING WHAT CLIENTS LOOK FOR AND THAT IS GOOD CUSTOMER SERVICE.

    • HANDLING DIFFICULT CONVERSATIONS WITH CLIENTS AND COLLEAGUES.
    • YOU WILL ALWAYS COME ACROSS DIFFICULT CONVERSATIONS WITH CLIENTS AND COLLEAGUES THE ONLY TRUE WAY TO GO ABOUT SO LIVING HIS ISSUES IS HONEST AND OPEN COMMUNICATION.
    • IF YOU FEEL INDIFFERENT FROM YOUR CLIENTS OR COLLEAGUE ASK TO HAVE A PRIVATE CONVERSATION ABOUT IT AND IF THE ISSUES IS STILL NOT RESOLVED AFTER THE TALK THEN BRING IN

    MANAGEMENT OR HUMAN RESOURCES; IF THE COMPANY OFFERS SUCH A RESOURCE.
    • TO AVOID AND COMPLETELY IGNORE THIS IS INEVITABLE BUT YOU CAN TRY YOUR BEST TO MINIMIZE SUCH AN EVENT BY:

    • OPENLY COMMUNICATION CONCERNS, DELAYS, OR ANY INFORMATION THAT WILL PROVIDE YOU TIME TO RESOLVE THE ISSUE
    • ALLOWING YOUR CLIENTS ACCESS TO YOUR TIME SO, BEING AVAILABLE TO THEM AT SPECIFIC HOURS OF THE DAYS
    • SETTING BOUNDARIES WITH YOUR CLIENTS AND COLLEAGUES SO, KNOWING YOUR LIMITS AT WORK, KNOWING WHAT YOU SHOULD AND SHOULD TALK ABOUT AT WORK, ETC.
    • TREAT OTHERS HOW YOU WOULD LIKE TO BE TREATED
    • IF ALL ELSE FAILS BRING ALL YOUR CONCERNS TO UPPER MANAGEMENT

    • THE ART OF SPEAKING WITH CONFIDENCE AND CLARITY.
    • CONFIDENCE IS SOMETHING YOU CAN BE BORN WITH AND IT’S NOT, CONFIDENCE IS SOMETHING YOU CAN LEARN BUT YOU CAN CHOOSE NOT TO. CONFIDENCE IS FOR SURE NEEDED IN OUR

    INDUSTRY TO EXPRESS TO YOUR CLIENT SO IT’S SOMETHING TO GAIN.
    • …….????? MORE?????

    ONLINE PRESENCE &
    SOCIAL MEDIA ETIQUETTE

    WE ARE IN THE AGE OF TECH AND WITH THAT COMES A SOCIAL MEDIA PRESENCE. WE ARE CONSTANTLY ON THE WEB SEARCHING FOR SOMETHING; WHETHER THAT BE FOR OBJECTS, SERVICES, AND
    MISCELLANEOUS ITEMS. SO CREATING A SOCIAL MEDIA IS NECESSARY IN ORDER TO CREATE A HUGE FOLLOWING OR CLIENTELE. SOME DESIGNERS YOU MIGHT KNOW THAT HAVE BENEFITED FROM
    SOCIAL MEDIA WOULD BE DESIGNERS FROM MAGNOLIA, DREAM HOME MAKE OVER, OR JEREMIAH BRENT. YOUR SOCIAL MEDIA PRESENCE IS KEY TO BE VISIBLE IN THIS INDUSTRY THIS TIES INTO YOUR
    “BRAND” SO KEEP THAT IN MIND. I WONT GO INTO DETAIL BECAUSE YOU WILL TOUCH ON THIS MORE IN YOUR MARKETING CLASS. IN THIS INSTANCE I WANT YOU TO KEEP IN MIND YOUR AESTHETIC

    WHEN THINKING ABOUT HOW YOU WANT YOUR BRAND TO LOOK, FEEL, SAY, EXPRESS, ETC.

    DEVELOP PROFESSIONAL
    COMMUNICATION SKILLS FOR EMAILS,
    PHONE CALLS, AND CLIENT MEETINGS.

    LEARN THE ETIQUETTE OF
    NETWORKING, BUSINESS MEETINGS,
    AND INDUSTRY EVENTS.

    PRACTICE HANDLING PROFESSIONAL
    CHALLENGES, SUCH AS DIFFICULT
    CLIENTS OR MISCOMMUNICATIONS.

    BUILDING A
    PROFESSIONAL
    DESIGN IMAGE

    SPRING 2025

    SECTION TWO

    EMAIL & PHONE
    COMMUNICATION

    • PROFESSIONAL COMMUNICATION: EMAIL & PHONE ETIQUETTE
    • HAVE A PROFESSIONAL EMAIL. WHEN STARTING OUT YOU CAN USE GENERIC EMAIL COMPANIES LIKE GMAIL, OUTLOOK, YAHOO, AND WHAT NOT BUT IDEALLY YOU WANT A DEDICATED EMAIL FOR

    EXAMPLE: V.TUFONO@VALDESIGNS.COM
    • THIS SOLIDIFIES YOUR PLACE WITHIN BUSINESSES, IT SHOWS PROFESSIONALISM, AND AN ESTABLISHMENT OF YOUR NAME/DESIGNS.
    • ALWAYS CREATIVE A VOICE MESSAGE AT THE END OF YOUR VOICEMAILS WITH WARM GREETINGS, YOUR APOLOGIES FOR MISSING THE CALL, NICETIES, AND A REQUEST FOR INFORMATION.
    • ALWAYS CLAIM YOU WILL GET TO YOUR CLIENTS AS SOON AS YOUR AVAILABLE

    • WRITING EFFECTIVE, PROFESSIONAL EMAILS.
    • HERE IS WHERE WRITING IS A BIT TRICKY AND WHERE YOU HAVE TO KEEP IN MIND YOUR PROFESSIONALISM. HERE SOME THINGS TO KEEP IN MIND WHEN EMAILING CLIENTS, VENDORS, COLLEAGUES:

    • START OFF WITH NICETIES FOR EXAMPLE: GOOD MORNING/AFTERNOON/EVENING, I HOPE YOU’RE DOING WELL, WARM REGARDS, WISHING YOU A WONDERFUL REST OF YOUR DAY, ETC.
    • WHEN YOU THINK YOUR EMAIL IS GOING TO BE LONG AND WINDED DEFAULT TO A MEETING OR A CALL TO GET YOUR POINT ACROSS MORE CLEARLY AND ALLOW ROOM FOR LIVE QUESTIONS
    • IN GENERAL, EMAILING WITH A CLEAR AND CONCISE MESSAGE. IT IS PROVEN, THROUGH TESTING AND SURVEYING, THAT THE READER IS LIKELY TO SKIM A LONG AND DETAILED EMAIL VERSUS A

    SHORT AND CONCISE EMAIL.
    • WHEN SPEAKING WITH CLIENTS, ALWAYS IMAGING THAT THE CLIENT DOES NOT KNOW YOUR DESIGN LINGO AND BE PREPARED TO RELAY OR REITERATE AN IDEA SEVERAL TIMES BEFORE YOU

    CLIENT UNDERSTANDS.
    • BEFORE SENDING AN EMAIL OUT I TYPICALLY LIKE SOMEONE TO SCREEN MY EMAIL BEFORE I SEND IT, THAT IS IF IT IS AN IMPORTANT EMAIL.
    • OTHERWISE, FOLLOW THE COMPANIES POLICIES ON SENDING AND RECEIVING EMAILS

    • HANDLING CLIENT PHONE CALLS WITH CONFIDENCE.
    • GOING BACK TO LEARNING CONFIDENCE, THIS IS ONE WAY TO OVERCOME THAT FEAR.
    • ANSWERING PHONES ALLOW FOR CONSTANT PRACTICE OF YOUR SALES PITCH, DIRECTIONS, PRODUCT KNOWLEDGE AND MORE.
    • REMEMBER COMMUNICATING IS KEY IN OUR INDUSTRY; AND WE COMMUNICATE ALL DAY IN MANY DIFFERENT WAYS, AND KNOWING HOW TO COMMUNICATE YOUR VIEWS AND OPINIONS WILL

    HELP YOUR DESIGN PROCESS.
    • AGAIN, CONFIDENCE IS SOMETHING TO GAIN AND PUTTING YOUR SELF OUT THERE IN SITUATIONS THAT MIGHT MAKE YOU FEEL UNCOMFORTABLE WILL HELP WITH GAINING MORE IT.
    • ALL IN ALL, PHONE CALLS IN THE WORKPLACE ARE A GENERAL REQUIREMENT SO PRACTICING IT’S ALL IN PRACTICE AND THAT WILL COME IN TIME.

    [mailto:v.tufono@valdesigns.com](mailto:v.tufono@valdesigns.com)

    NETWORKING &
    INDUSTRY EVENTS

    • HOW TO INTRODUCE YOURSELF PROFESSIONALLY.
    • SIMILAR TO INTRODUCING YOURSELF IN GENERAL, BY ADDING WHAT YOU DO AND WITH WHAT COMPANY YOUR WITH WILL SUFFICE.
    • EXAMPLE EMAIL: “HELLO MY NAME IS VAL, I AM AN INTERIOR DESIGNER HERE IN SACRAMENTO, CA. I’M CALLING REGARDING A PURCHASE WE MADE FOR A CLIENT…”

    • MAKING MEANINGFUL CONNECTIONS AT TRADE SHOWS AND INDUSTRY EVENTS.
    • NETWORKING IS VERY IMPORTANT IT IS HOW YOU GAIN YOUR NETWORK OF RESOURCES.
    • IN THE 10 YEARS I HAVE BEEN IN DESIGN I HAVE GATHERED NEARLY 2,000 PLUS NETWORKS FROM ALL DISCIPLINES. FOR EXAMPLE I HAVE CONTACTS IN PROJECT MANAGEMENT, ESTIMATORS,

    DESIGNERS, PRODUCT DESIGNERS, BIG COMPANIES LIKE MIELE, BERNHARDT, CENTURY FURNITURE, SALTINE, COSENTINO, AND PRODUCT YOU CAN THINK OF, I PROBABLY HAVE A CONTACT
    FOR.

    • BUT THESE ARE NOT ROLODEX CONTACTS, THESE ARE COMPANIES AND PARTNERS I SAT WITH AT A TABLE AND GOT TO KNOW. I TRY TO MAINTAIN THESE RELATIONSHIPS AS BEST AS I CAN
    BECAUSE WHO KNOW IF YOU WILL NEED AN EXTRA PROJECT MANAGER OR ESTIMATOR, ETC.

    • NURTURING THESE RELATIONSHIPS ARE NOT ONLY HELPFUL WITH SOURCING MATERIALS BUT THIS ESTABLISHES YOUR BRAND AS WELL. WHO YOUR PARTNER WITH OR WORK WITH ON
    PROJECTS; BIG OR SMALL, SHOWS HOW YOU WORK, WHAT YOUR WORK ETHIC LOOKS LIKE, AND INCREASES YOUR CHANGES OF VISIBILITY.

    • KEY TIP, ALWAYS INTRODUCE YOUR SELVES AND MAKE YOUR PRESENCE AWARE, THE MORE YOU NETWORK THE MORE YOU WILL BE SURROUNDED BY POSITIVE PEOPLE WHO WILL; IN MOST
    CASES, SHARE THE WEALTH OF KNOWLEDGE THEY’VE GAIN IN THEIR SUCCESS.

    CLIENT MEETINGS &
    HANDLING PROFESSIONAL

    CHALLENGES
    • SETTING CLIENT EXPECTATIONS AND MAINTAINING PROFESSIONAL BOUNDARIES.

    • KNOW THIS, NO ONE CLIENT IS EVER HAS THE SAME IDEAS AS YOUR PREVIOUS CLIENTS; OR IF THEY DO IT IS VERY RARE.
    • ALWAYS TREAT YOUR CLIENTS AS A UNIQUE CLIENT, A BRAND NEW CLIENT, A BLANK PAGE… AND YOU ARE THERE TO GUIDE THEM IN FIGURING OUT WHAT THEY NEED AND WANT.
    • JUST LIKE OUR TOPIC ON NETWORKING, YOU SHOULD TREAT YOUR CLIENTS THE SAME WAY, PROFESSIONALLY.

    • THE PLAYFUL BANTER AND THE JOKING COMES WITH NURTURING THAT RELATIONSHIP THROUGH OUT THE LIFE OF A CLIENT PROJECT.
    • SLOWLY YOU WILL GAIN TRUST, LOYALTY, AND RESPECT FOR EACH OTHER AND THATS WHAT YOU WILL SEE BOTH OF YOURSELVES MOVE THROUGH THE PROJECT WITH EASE.
    • NOW, NOT ALL CLIENT/DESIGNER RELATIONSHIP WORK WELL AND THAT’S OK, A GOOD TIP IS TO BE HONEST AND SHARE THAT THIS PARTNERSHIP IS NOT WORKING, AND YOU CAN

    DO THIS BY SAYING SOMETHING LIKE:
    • “HELLO MR. & MRS. SMITH, UNFORTUNATELY DUE TO NATURE OF OUR RELATIONSHIP (WHATEVER THAT MAYBE) I BELIEVE IT WOULD BE IN THE BEST INTEREST OF EVERYONE

    AND THE PROJECT TO PLACE IT IN A MORE QUALIFIED DESIGNER WITHIN THE COMPANY. I FEEL THAT BY SUGGESTING AN ALTERNATIVE DESIGNER THEY WILL BE BETTER SUITED
    TO FEET YOUR YOUR SPECIFIC DESIGN AESTHETIC AND UNIQUE NEEDS”

    • AND YOU CAN CONTINUE WITH SOMETHING LIKE “I APPRECIATE OUR TIME WITH EACH OTHER AND IF YOU NEED ANY DESIGNS IN THE REALM OF (YOUR MORE QUALIFIED
    DESIGN STYLE HERE) PLEASE DO NOT HESITATE TO REACH OUT! MUCH APPRECIATED, (YOUR NAME HERE).”

    • ALL IN ALL, USING COMMON PRACTICES WHEN APOLOGIZING CAN BE UTILIZED HERE.
    • REGARDING BOUNDARIES, KNOW THAT WE ARE ALL HUMANS AND WITH THAT, WE KNOW WHAT WE LIKE, WHAT WE DONT, HOW WE WANTED TO BE TREATED AND HOW WE DON’T, SO

    MAKING THAT VERY APPARENT AT THE VERY BEGINNING WILL HELP BUILD THAT CLIENT/DESIGN RELATIONSHIP.
    • IN RETURN, THE CLIENT WILL DO THE SAME AND YOU CAN SEE THIS IN THINGS LIKE WHAT IS AN APPROPRIATE TIME TO BE CONTACTED.

    • HOW TO NAVIGATE DIFFICULT CONVERSATIONS.
    • DIFFICULT CONVERSATIONS WILL HAPPEN… HERE IS MY ADVICE BASED ON MY EXPERIENCE WITHIN RETAIL AND THE INTERIOR DESIGN INDUSTRY, OPEN COMMUNICATION IS KEY. THE MORE

    YOU COMMUNICATE TO YOUR CLIENTS DELAYS, MISHAPS, DESIGN IDEAS, PROS AND CONS, BELIEVE ME YOU WILL NOT HAVE TO HAVE THESE DIFFICULT CONVERSATIONS.
    • ADDITIONALLY, BEING TRANSPARENT HELPS A LOT! SO KEEPING TABS AND NOTES OF CONVERSATIONS, SOMETIMES IF I KNOW I AM GOING TO HAVE A LENGTHY OR DIFFICULT

    CONVERSATION I REQUEST THE OTHER PARTIES PERMISSION TO RECORD THE INTERACTION. THIS IS NOT NECESSARILY A TRUSTING ISSUE, THIS IS JUST A SAGE-GUARD OR A PRECAUTION.
    MOST CLIENTS WONT CARE AS MUCH TO BE RECORDED AND THOSE WHO DO WILL POLITELY DENY THE REQUEST, WHICH IS OK, IN THAT CASE YOU CAN WRITE DOWN MEETING NOTES.

    ASSIGNMENT ONE:
    FOR THE WEEK

    HERE WE START YOUR FINAL PROJECT.

    ESSENTIALLY, IT IS A BINDER OF YOUR WORK THROUGH OUT THE
    SEMESTER. WE WILL BEGIN WITH ADDING THESE THREE ITEMS INTO THE

    DIGITAL “BINDER” (MORE TO COME ON THE DIGITAL BINDER
    LATER):

    ASSIGNMENT ONE: START A ROUGH DRAFT OF YOUR RESUME
    (SAMPLE VERSION PROVIDED FOR YOU TO COPY IF YOU HAVE

    NEVER CREATED ONE BEFORE)

    WE ARE GETTING A HEAD START ON YOUR RESUME, AS YOU CAN SEE ON
    THE SYLLABUS YOU WILL BE LEARNING ABOUT RESUME AND COVER

    LETTERS NEXT CLASS, SO IT WOULD MAKE SENSE TO START DRAFTING
    YOUR RESUME. DONT WORRY IF YOU DON’T HAVE ANYTHING TO FILL IN

    EXPERIENCE, JUST COMPLETE THE FORMAT AND WE WILL GO FROM
    THERE.

    WHAT I WANT YOU TO DO IS COPY THE RESUMER SAMPLE AS IT IS; YOU

    CAN USE WORD, GOOGLE DOCS, IOS PAGES, OR WHICH EVER BEST
    WORKS FOR YOU YOU CAN;

    IF YOU HAVE THE KNOWLEDGE, USE THE TEMPLATES ON EITHER
    APPLICATION TO HELP YOU WITH THIS

    THE MOST IMPORTANT INFORMATION IS AT THE VERY TOP/BOTTOM:
    YOUR NAME

    EMAIL ADDRESS
    LINK TO YOUR PROFESSIONAL SITE: LINKED IN, NEED, GLASSDOOR, ETC.

    ASSIGNMENT TWO:
    FOR THE WEEK

    ASSIGNMENT TWO: CREATE 3 OUTFITS: 1) SITE VISIT LOOK: CASUAL-
    PROFESSIONAL / 2) SHOWROOM LOOK: SEMI – PROFESSIONAL / 3) PRESENTATION

    LOOK: PROFESSIONAL

    • SHOWROOM LOOK: SEMI – PROFESSIONAL / THIS OUTFIT IS THE ONE YOU WEAR
    TO AN ANNIVERSARY OR BIRTHDAY DINNER WITH FAMILY MEMBERS. I ALSO WANT

    TO ADD, THIS OUTFIT SHOULD LEAN MORE TOWARDS THE CASUAL SIDE OF THE
    THREE OUTFITS. (JUST A SUGGESTION, AND THIS CAN CHANGE FROM COMPANY

    TO COMPANY, BUT GENERALLY I LIKE TO PULL BACK FROM DRESSING TOO
    PROFESSIONAL. IN MY EXPERIENCE, THE MORE “DRESSED-UP” I WAS THE MORE

    CLIENTS STRAYED AWAY FROM MY SERVICES. I DONT KNOW WHAT THE
    PSYCHOLOGICAL FACTOR IS IN THAT IDEA IS BUT I HAVE EXPERIENCED NEGATIVE

    FEEDBACK FROM DRESSING WAY TO FORMAL. I ALWAYS AIM TO BE APPROACHABLE,
    AND THAT ALL START WITH HOW YOU PRESENT YOUR SELF VISUALLY, SO LEANING

    MORE CASUAL THAN PROFESSIONAL IS KEY FOR THIS OUTFIT, I THINK.)
    • PRESENTATION LOOK: PROFESSIONAL / THIS OUTFIT IS THE ONE YOU WEAR TO

    A WEDDING AS GUEST OR TO A SPECIAL/LAVISH EVENT. HERE YOU WANT TO LOOK
    YOUR BEST AND, HERE, DRESSING TO IMPRESS MATTERS… YOU WANT TO LOOK

    YOUR BEST ON THE DAY YOU MIGHT LAND THE BIGGEST PROJECT OF YOUR LIFE,
    RIGHT?!

    • SITE VISIT LOOK: CASULA-PROFESSIONAL / THINK OF THIS LOOK AS IF YOU
    WERE GOING ONTO A LIVE SITE. IMAGINE THIS, THE HOUSE ONLY HAS ITS’

    FOUNDATION, FRAMING FOR THE HOUSE, AND A ROOF, NOTHING ELSE. IT’S DUSTY,
    ROCKY, AND THERE’S DIRT EVERYWHERE. YOU CAN HAVE FUN WITH THIS LOOK, I
    WANT YOU TO SHOW ME WHAT YOU WOULD WEAR KNOWING THAT YOU ARE

    STILL ON THE CLOCK BUT NEED TO BE ABLE TO MOVE THROUGH A
    CONSTRUCTION SITE. AGAIN, KEEP IN MIND, THIS IS STILL WORK AND YOU HAVE TO

    MAINTAIN YOUR BRAND SO WHAT DOES THIS LOOK LIKE FOR YOU?

    HOW TO TURN IN YOUR WORK:
    THE IMAGE BELOW IS ONE WAY TO PRESENT YOUR LOOKS. ANOTHER WAY IS, LAYING OUT

    YOUR CLOTHES ON THE FLOOR TO SHOW ALL THE PIECES. YOU CAN STYLE IT ON A
    MANNEQUIN, HANGERS, JUST BE CREATIVE AND SHOW ALL THE PIECES. I SHOULD HAVE A

    TOTAL OF THREE IMAGES OF THERE DIFFERENT OUTFITS. PLEASE DO NOT WEAR YOUR
    OUTFITS AND TAKE A PICTURE OF YOURSELF.

    DISCUSSION FOR THE WEEK
    DISCUSSION THREE: YOUR BRAND!

    START THINKING ABOUT YOUR “BRAND” WHAT DOES YOUR BRAND LOOK LIKE? HOW ABOUT ON A BUSINESS CARD? WHAT DOES YOUR LETTER HEAD FOR YOUR DOCUMENTS LOOK LIKE? START
    THINKING ABOUT COLORS FOR YOUR BAND, WHAT DO THOSE LOOK LIKE? PRETEND YOU ARE AT THE BEGINNING STAGES OF CREATING YOUR BUSINESS AND YOU ARE MEETING WITH A

    MARKETING TEAM, TELL US OR SHOW US SOME REFERENCES OF WHAT YOU WANT YOUR BUSINESS TO LOOK LIKE, FEEL LIKE, REPRESENT, ETC. REMEMBER, WE ARE STARTING TO BUILD YOUR BRAND, IF
    YOU DONT HAVE AN IDEA YET OF WHAT THAT LOOKS LIKE THAT’S FINE BECAUSE YOU CAN GO BACK A REFINE OR REVAMP ANY OF THESE BEFORE YOUR TURN IN YOUR FINAL BINDER.

    **IMG_8796.png**

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  • [Solved] rofl

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    film – 2 years ago **files (1)** – ## 3-1discussion1.docx **## 3-1discussion1.docx** ![A woodcut of a person Description automatically generated](https://www.sweetstudy.com/questions/rofl) ## image1.jpeg **## 3-1discussion1.docx** ![A woodcut of a person Description automatically generated](https://…

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    film

    – 2 years ago

    **files (1)**

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    **## 3-1discussion1.docx**

    ![A woodcut of a person Description automatically generated](https://www.sweetstudy.com/questions/rofl)

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  • [Solved] POWERPOINT

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    **Present the ethical dilemma of your Research PaperR topic and how you will handle the issue personally and professionally, expressing clearly the factors that influence your decisions in both. Presentations will be graded for content, clarity, and audience engagement. You may do either either a Po…

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    **Present the ethical dilemma of your Research PaperR topic and how you will handle the issue personally and professionally, expressing clearly the factors that influence your decisions in both. Presentations will be graded for content, clarity, and audience engagement.  You may do either either a Poster or PowerPoint presentation.  Poster Presentation templates are available on the Internet.**

    – 2 years ago