1

Kathryn Riley

ENC2135, Section 0058

8 December, 2024

Project 1

Investigative Field Essay

When people think of “interior design,” their minds often spring to an image of someone

who simply chooses wall colors and selects coffee tables. This perception reduces a multifaceted

profession to a series of aesthetic choices, leading many to believe that interior design is not a

demanding field, either mentally or practically. I, too, was once a victim of this narrow mindset,

unaware of the complexities and challenges inherent in the profession. It wasn’t until I began to

seriously consider interior design as a career that I recognized how misleading the general

public’s views can be.

In reality, interior design is an incredibly demanding discipline, requiring a blend of

creativity, technical knowledge, and problem-solving skills. Designers regularly face tight

deadlines, unrealistic client expectations, and the unrelenting precision required to ensure that

every detail of a project aligns perfectly with safety standards and aesthetic goals. Amidst these

pressures, one of the most pressing issues within the field is the lack of comprehensive

legislation governing interior design. Historically, there has been little formal legislation to

support or define the profession, leading to significant gaps in recognition and understanding.
 2

This raises an intriguing question: How might an increase in formal legislation influence the

misconceptions perpetuated by the public about the role of interior designers in today’s

workforce? The controversies surrounding this topic highlight a range of perspectives, both from

within the design community and outside of it. By exploring these claims, we can gain insight

into the purpose of formal legislation in interior design and its potential impact on the

profession’s public perception.

The first main point that can be touched on is how the public views interior design as a

profession. Interior design formed as a profession over a century ago, evolving from a rich

tradition of decorative arts. While it emerged from an inspiration for aesthetics, the interior

design profession itself is fundamentally grounded in the intricate relationship between form and

function within spaces. However, this vital aspect is not recognized by the general public, which

often sees interior design as synonymous with mere decoration. In fact, the terms "designer" and

"decorator" are frequently used interchangeably in the eyes of most people outside the field of

interior design, leading to a significant underappreciation of the profession's complexity.

As Angela Nguyen emphasizes in her peer-reviewed article, many people view interior

design primarily as a decorative art focused on aesthetics. This narrow perception overlooks the

extensive technical skills and specialized knowledge required in the field, including

understanding building codes, safety regulations, and ergonomic principles that ensure spaces are

not only beautiful but also safe and functional. Additionally, reducing design to a superficial

practice fails to acknowledge the depth of knowledge and expertise that designers must apply to

every project, encompassing everything from spatial dynamics to sustainable practices.

 3

Similarly, in an interview with Susanne Molina, the director of a well-known interior

design firm, it is emphasized that interior design involves a deeper understanding of space,

functionality, and the human experience—elements that extend far beyond mere aesthetics.

Molina stresses that effective interior design must address the diverse needs of users,

incorporating aspects like accessibility and environmental psychology into the planning process.

Unfortunately, this misunderstanding of the true comprehensiveness of interior design is not

limited to the general public. Molina reflects on how the profession has evolved over the years,

noting that misconceptions persist despite numerous advancements in design methodologies and

educational frameworks.

Molina argues that as the profession has grown more complex and become increasingly

interdisciplinary, public and legislative understanding has lagged significantly behind.

Lawmakers, in general, do not grasp the evolution of the profession and thus fail to comprehend

its breadth and depth. This misunderstanding can lead to the creation of laws and regulations that

do not accurately reflect the profession's complexities and responsibilities. Molina expresses

concern that the current lack of understanding will result in superficial regulations and

legislation, ultimately failing to consider the broader implications of what designers are capable

of and what is expected of them on a daily basis. This disconnect not only hampers the

profession’s credibility but also risks compromising the safety and well-being of the public,

which interior designers are trained to protect through their work.

As misconceptions have become more and more insurmountable, it has become much

harder to gain favorable legislation. Legislative barriers, as discussed in Sophie Lee’s article,

include licensing requirements, zoning laws, scope of practical recognition, professional

 4

recognition, insurance and liability issues, and continuing education mandates. Licensing

requirements and practical recognition often restrict who can become a professional, as well as

restrict a designer’s scope overall. Zoning laws and insurance issues limit where and when a

designer can actually work. Collectively, these issues hinder the effectiveness and growth of the

interior design industry as a whole. This is an incredibly big problem, mostly noted by the

interior design community, and less by the general public or legislators. As stated by Ashley

Chaney in her peer-reviewed thesis paper, “Interior design entails a distinctive ‘body of

knowledge’ that affects health, safety, and welfare, and the quality of life of the public that is

distinct from and supportive of other fields’ work” (Chaney 110). She especially emphasizes that

similar fields should be working to understand what interior design really is as a profession, in

order to support legislation that will effectively protect the safety of the general public. By

bridging knowledge gaps between fields, stakeholders can develop policies that accurately reflect

the complexities and responsibilities of interior design. It has been normalized for designers to be

overlooked. Building professionals and the public have not viewed interior designers as the

valuable resource they actually are. One powerful example in Chaney’s paper says that interior

designers have the knowledge to implement environmentally friendly products and sustainable

building practices in a society that is becoming increasingly demanding for sustainability.

However, these implementations are not as common as they could be because of the public’s

ignorance.

Another problem that may cause this lack of legislation, noted in Chaney’s paper, is the

fact that many current designers do not know the full scope or definition of their own field. This

causes more problems with gaining a voice to lobby for legislation, because designers are

limiting themselves unknowingly. This self-imposed limitation underscores the need for
 5

education and advocacy training within the interior design community, which would enable

professionals to better represent their interests and the value of their work. Designers not

knowing their own abilities is not the only problem. Part of this has been caused by a lack of

unity within the design profession itself. Chaney explains that many interior design organizations

exist, and present platforms with different beliefs and strategies. This does not help with the

public’s understanding of design, or desire to utilize the services offered by many designers.

Furthermore, Chaney argues that designers do not proactively search for exposure or

positive attention from the media. When something happens that brings negative attention to

designers, they do not work with a unified front to eradicate the misunderstanding or bring a

different perspective to what the media has to say about the situation. In this way, there is no

impactful positive attention to designers, because, “If the media [had] an understanding of the

scope of services of the interior design profession they [would] be less likely to publish publicity

which depicts interior designers in a negative way reinforced by common misperceptions”

(Chaney 65). One exceptionally common example is the use of “interior designers” in reality TV

shows. While these people may have degrees in interior design or practice interior design as a

career, their roles in these shows are always that of a decorator. They portray interior design as a

completely aesthetic profession instead of depicting the intensive work designers face, and the

comprehensive abilities they possess.

While there may be many possible solutions for a lack of favorable legislation, being able

to amend legislation or avoid it altogether may be the best course of action. As was stated in

Catherine Pliess’ peer-reviewed thesis, “For some organizations and individuals, regulation via

legislation is the next perceived step in the professionalization process which has been evolving
 6

for over 40 years” (Pliess i). Without thinking outside of the box, many groups decide that the

next logical step is regulation of the practice through legislation. However, as was discussed

earlier, legislation is not an immediate solution to changing the public’s perception of interior

design. Plies goes on to point out that if there were an existing alternative to legislation, more

interior design organizations and such would want to combine efforts to be able to complete

more projects surrounding health, safety, and wellness; as well as other important research

related to the profession. In part of a study Pliess conducted to find the public consensus on

certain interior design issues, it was discovered that while the subjects were very divided in terms

of opinions on legislation, they were majorly united in favor of certification. Pliess presents this

as a favorable alternative to legislation in general, because many designers do not understand

legislation and how it truly affects them. Certification would involve a nationally recognized

exam, such as the NCIDQ, as a requirement to achieve this certification; thus distinguishing

interior design from interior decoration, which requires no specific certifications.

Another resolution to the issues surrounding legislation in the field, without avoiding it

altogether, may be an amendment to how legislation is formatted. One idea presented by Michael

Blomé in his long-term study, is that of visualized regulations. These visualizations would

consist of using “...combinations of pictures, animated scenarios and models with text and

hyperlinks” (Blomé 2). In a study of how effective these visualizations would be, a very positive

response was seen from most of the users. They expressed that it was much easier to learn what

each regulation fully meant, as well as teaching others about the regulations (Blomé 3). This

could be a feasible way to fix unclear legislation or confusing technical jargon that many people

cannot understand. Images that may be clearly labeled and annotated will point out the exact

specification of each regulation.

 7

This will help designers in the long run, because a better understanding of regulations

will lead them to understanding the true scope of their job overall. A better understanding of

these regulations that must be followed will lead to a better understanding of what designers are

supposed to do, and as a result will allow designers to feel more empowered to work together to

advocate for unified legislation.

In light of the discussions presented, it is clear that an increase in formal legislation

surrounding interior design has the potential to significantly reshape public misconceptions about

the profession. By establishing clear legal frameworks, we can delineate the distinct roles and

responsibilities of interior designers, elevating the profession beyond just aesthetics. This formal

recognition would not only increase public awareness of the complex relationship between

functionality and design but also further define the technical expertise required in the field,

including adherence to safety regulations and building codes.

Enhanced legislation could promote greater respect for interior designers as skilled

professionals, fostering an understanding that their work directly impacts health, safety, and

well-being. When the public recognizes how multifaceted interior design truly is in nature, it

could lead to an increased demand for certified professionals, thus bridging the gap between

design and decoration—a common misunderstanding that often reduces the perceived value of

trained designers. Furthermore, clearer regulations would empower interior designers to advocate

for themselves and their profession much more effectively, promoting unity and collaboration

throughout the entire field.

As the profession seeks to combat stereotypes that have been perpetuated by media

portrayals and public perceptions, formal legislation can become a big spur for change in the
 8

interior design profession. By supporting initiatives that articulate the comprehensive skill set

and responsibilities of interior designers, we can foster a much more informed public that better

values the depth of knowledge and expertise every design professional brings to their work.

Ultimately, a legislative framework that acknowledges the complexities of interior design not

only enhances professional credibility but also protects the interests of the public, paving the way

for a future where interior design is recognized as the vital and respected discipline that it truly

is.

Works Cited

Nguyen, Angela. "Regulatory Challenges in Interior Design: Misconceptions and Policy

Implications." Professional Practice in Design, vol. 11, no. 2, 2021, pp. 65-80.

Molina, Susanne. “Interior Dialogue: Susanne Molina, Director Of Klawiter And Associates,

Discusses Misconceptions, Legislation And How Interior Design Has Changed Over The Years

[Interview].” Form: Pioneering Design (2010): 14–14. Print.

Lee, Sophie. “Legislative barriers for Interior Designers: A Review of Misconceptions and

Policy Gaps.” Design Studies Journal, vol. 15, no. 4, 2023, pp. 100-115.

Chaney, Sarah Ashley. “Interior Design Identity a Proposal to Shift Public Perception with

Public Relations Strategies.” Thesis (M.F.A.)--Florida State University, 2007., 2007. Print.

Pliess, Catherine. “Interior Design: Credentials And Certification As An Alternative To

Legislation.” ProQuest Dissertations & Theses, 2011. Print.

 9

Blomé, Mikael. “Visualization Of Regulations To Support Design And Quality Control--A

Long-Term Study.” Work (Reading, Mass.) 41 Suppl 1 (2012): 2683–2685. Web.

Artifact 1: Activity # 3

Formulating a research question

1. I am interested in researching interior design.

2. My chosen major as a student at FSU is interior design. Ever since I was a child I was

interested in the concept of how spaces, furniture, and colors can interact with each other

to create specific feelings. One specific memory I have is using our family computer to

create floor plans of different rooms in my so-called “dream house”. As someone who is

still relatively new in experiencing what design really is, I wonder if there are many

common misconceptions about design that I still believe.

3. Surprising facts include:

a. A link from Portaire.com, a renowned company dedicated to solving issues within

interior design, debunks the myth that interior design is all about aesthetics. While

it plays a part, it is much more multifaceted, and includes reflecting cultural,

technological, and social values as well as integrating sustainability and

accessibility.
 10

b. One article from the American Society of Interior Designers describes the

necessity of interior design legislation to protect both designers and clients in fair

compensation and quality designs.

4. Of course, people who have not taken the time to research or understand the interior

design industry may disagree with these points. Especially the older generations such as

baby boomers, who often think of an interior decorator being the same as an interior

designer.

5. There are many articles about the topic of interior design and its misconceptions, so I am

confident that there will be enough time to research this topic.

6. One subtopics that have emerged include the controversy of hiring unlicensed designers.

7. In future research, it may be interesting to research the pros and cons of getting an

interior designer’s license, and to see how the public feels on the topic.

8. Key terms that keep coming up in this research include technological adaptation,

accessibility, and licenses.

Artifact 2: Activity #5

1. In this situation, the exigence is the unsafe outdoor conditions created by cold weather.

The primary audience of the artifact is the students who attend the University of Iowa.

Potential secondary audiences include alumni or parents of students. Potential constraints

 11

that affect the wording of the artifact include the need for professionalism, due to the

sender being in an authoritative position within the institution.

2. The purpose of this artifact is to inform students to stay safe in light of the dangerous

conditions created by the weather. This is achieved through the decision to cancel classes,

and the specific word choice of “extreme weather” to emphasize the danger.

3. The composer tries to appeal more to its audience through logos, expressing the logical

need to cancel classes due to unsafe weather. Additionally, it appeals to the audience

through ethos, because the sender is in a position of power within the university, making

their statements more credible than most others.

4. The mode of this artifact is written, while the medium is an email. The advantages of this

are that they convey a message clearly and specifically. The disadvantages may be a lack

of urgency because of the medium, as students may not check their emails frequently or

even at all.

5. The exigence of this situation is to make a profit for the nightclub. The primary audience

is students at the University of Iowa. Secondary audiences may include residents of the

area, or family members of the students at the University. There may be constraints on

how the club’s promoters are able to advertise to get people into their club, without lying.

6. The purpose of this artifact is to attract students to come to the nightclub. This is

achieved through advertising drink specials like $1 drinks.

7. The advertisement tries to appeal to the audience through logos. They know that the

audience, college students, well known for not having very much money, will see a

discounted price and want to take advantage of it. They also appeal to pathos via the

image of the capitol building, because they know that the audience feels strongly about
 12

the capitol building as it is a symbol of school spirit, and will then want to support the

business. It also appeals to pathos because it uses sarcastic humor to make the audience

want to engage with the nightclub.

8. The mode of this artifact is visual, while the medium is a facebook advertisement. The

advantages of sharing this advertisement this way is that it uses an eye-catching medium

that people will want to pay attention to. The disadvantage is that it is posted on

facebook, which is not a widely used website by many younger people, so it will not

reach as many people in the intended audience as it could have if the advertisement was

posted on a different social media site.

Reflection statement

This semester has been transformative in learning about my own writing style as well as

the various ways that it can be improved. Throughout this class, I learned how to engage

critically with texts and ideas through the lens of genre, composing processes, and rhetorical

strategies. The three major projects—rhetorical rationale, rhetorical analysis, and investigative

field essay—provided opportunities to apply these concepts, each reinforcing different aspects of

effective communication. Throughout the process, my understanding of how genres shape

writing, how it is a repetitive and strategic process, and how rhetorical strategies can be adapted

to fit various contexts became more nuanced and sophisticated. These lessons were especially

evident as I worked through the ideas of legislation and misconceptions surrounding interior

design.
 13

The rhetorical rationale was one opportunity to engage with a genre that required a

reflective and self-aware approach. In this project, I was tasked with explaining the rhetorical

choices I made in relation to my investigation of interior design and its relationship to legislation.

This assignment pushed me to think beyond the content of my argument and to focus on the how

and why of my communication styles. The process of crafting this rationale made me articulate

my decisions regarding audience, purpose, and tone. I learned how crucial it is to make sure my

choices were justified and aligned with my larger goals. It taught me the importance of reflection

in composing: by analyzing my own choices, I was able to see how my rhetorical decisions

shaped the effectiveness of my argument.

The rhetorical analysis was the second project, and it provided a more critical and

evaluative approach to communication. For this assignment, I analyzed a blog post and a TEDx

talk, both related to the misconceptions in interior design and how it affects legislation around it.

This project required me to not only identify the rhetorical strategies employed by the presenters

but also assess their effectiveness in relation to the intended audiences and purposes. I learned to

dissect rhetoric more critically, identifying the use of ethos, pathos, logos to understand how

writers shift their communication strategies to persuade or inform. In this analysis, I became

more familiar with the importance of context, namely understanding the broader environment in

which a text is created is essential for interpreting its rhetorical choices.

The investigative field essay was another important project, and it required me to begin to

find information about my chosen research topic. This essay involved conducting research on the

public's perceptions of interior design and the legislative challenges surrounding the profession.

In this assignment, I was challenged to blend research from peer-reviewed sources with critical

analysis. The process in creating this project required me to be adaptable, while organizing and
 14

presenting data in a way that was both informative and persuasive. The investigative field essay

pushed me to consider how different genres and research methods would interact, and how to

present findings in a way that respects both the complexity of the topic and the audience's

expectations. This project reinforced the importance of rhetorical strategies, as I had to make

careful choices about what evidence to include, how to frame my analysis, and how to draw

conclusions that would resonate with readers who may not be familiar with interior design or its

legal context, which is very common.

Through all three projects, I also developed a deeper understanding of how genres can be

adapted and transformed to serve particular rhetorical goals. I learned that while genres have

established conventions, they are not rigid; they can be shaped by context, purpose, and

audience. The process of composing in these different ways, by investigating, analyzing, and

creating my own sources for a particular goal, has made me more adaptable and aware of how to

communicate effectively across different formats.

In the end, this course has taught me that writing is not a simple, straightforward skill but

a dynamic process shaped by strategic decisions. Whether I was analyzing a peer-reviewed essay

or a blog post, reflecting on my own rhetorical choices, or conducting original research, I was

constantly thinking about how my writing would engage with the audience and clearly explain

the purpose at hand. I now feel more confident in my ability to engage critically with different

types of texts, compose purposefully, and use rhetorical strategies to communicate effectively.

The experience has deepened my understanding of how genre conventions, the composing

process, and rhetorical strategies intersect to create meaningful communication that is used in

almost every aspect of people’s lives today.