Asking the experts: How do you design a Digital Media Room?

It’s hardly a revelation that digital media is such an important part of our everyday lives; smart phone’s, tablets, digital TV, games consoles, music systems and computers are the basis for most of our entertainment these days, and as such private clients expect Interior Designers to be able to integrate these elements together in a digital media room.

But how exactly do you bring all of these elements together in a way that is easy and fun to use? Gone are the days of hiding a cathode ray tube television set in a cupboard, now anything from a 40 up to a 103 inch flat screen TV is the main feature and portal for every home entertainment desire and more.

Designing a Digital Media Room is very technical and it is advisable to consult an expert, at least when it comes to integrating digital entertainment systems and making them simple and intuitive to use. But regardless of the actual technology side of things there are still a lot of elements that Interior Designers should be aware of to help them create the digital media room that their client wants.

To help determine what the important considerations are for designing a digital media room I spoke to Miguel Soto who is the Consulting and Design Director at Diamond Technology Limited, a firm that specialises in designing custom integration systems for Electronic System Contractors (ESC’s).


DH (Design Hub) – What considerations should be made when planning a digital media room for a client?

MS – The most important considerations are:

1. Budget – How much money does the client want to invest in the space at that particular time?

2. Dimensions of the space – This will determine what equipment will work best in the space.

3. Purpose of the space – Exactly how does the client see themselves using the space? Do they want a cinema like experience or something that the whole family can use?

4. Furniture – What furniture will be used the room?

5. Size of the flat panel display and/or projection screen.

6. Space for a projector if needed – Now projectors can be placed basically anywhere, in front or behind the screen or hidden out of sight in the ceiling or furniture. But there are some other considerations to have in mind, like the size of the projection screen, shape of the room, proper ventilation and appropriate space to fit the projector.

7. Size of the speakers – This will be determined by the budget, size of the room and the client’s preference. There are thousands of different choices based on design, colour, quality and performance.

8. Lighting design/control – I think this discipline is one of the most important and interesting areas of a digitally integrated system. Done correctly it gives the sensation of living in an intelligent home, without the need to even touch a button. The predetermined lighting scenes change effortlessly between a traditional lit interior to an extraordinary interactive experience that enhances digital entertainment and comfort. Different lighting plans work for different uses, so it is important to know how the client plans to use their digital media and how lighting will affect each experience.

9. Do they want it to be integrated with other sub-systems such as heating, ventilation and air conditioning, health care for assisted living, window treatment, CCTV and security?

DH – What are the first questions to ask a client?

MS – 1. What is the desired Functionality of the room?

2. What are the Expectations of the room?

3. What is the Budget?

In the world of system integration there are a lot of variations in design, price and performance. Everything is related to the lifestyle of the client, how they plan to use the room, and how much they want to spend.

For example a £10K media room will be completely different to a one with a budget of £100K. Even if the system consists of the same types of components. An analogy that I always use is comparing a Volkswagen Golf to a Ferrari. They are both functional cars that will get you where you want to go, however the Ferrari is made of extremely high performance components and as such costs ten times as much. It is the same with the components of the loudspeakers, audio/video processors, control and amplifiers, if it is super high performance that the client wants, then they will have to pay for that experience, and believe me it’s an amazing experience.


DH – What pitfalls should Interior Designers avoid when planning a digital media room?

MS – The most important problem to avoid is the wiring. Before anything else the correct wiring must be planned and set into the walls at a reasonable stage of the construction.

Wireless technology is improving all the time and eventually the digital media in the house will all be wireless, but as an expert I strongly suggest that hard wiring a house is still essential.

Everything in a digital media room is connected via wires embedded in the walls. This gives the best signal and performance possible for audio and visual equipment. Access points are installed at various points so that equipment can be plugged into each other.

The worse thing that could happen would be for the room to be decorated and furnished, then having to tear holes in the plaster to fit missing wires. Wiring is only a fraction of the cost of the budget, but if planned well, it can enable a client to upgrade any part of their digital media room as they wish because the infrastructure will already be in place.

DH – Are there any other things to be aware of such as optimum distance from speakers, angle of speakers etc?

MS – For the speakers there is no golden rule, but generally the minimum distance of the speakers to the viewer/listener should be no less than two meters. The optimal height for surround sound speakers is 1.4 meters, as the average height of seated person is 1 meter, so positioned at 1.4 meters the sound will project above and below. However, with the right know how speakers can be placed anywhere in the ceiling and calibrated to give the right performance for any room.

It is important to remember that if the space is large then small speakers and poor quality equipment will affect the sound quality, and the sound volume will not fill the space properly.

When I started my business more than ten years ago, one of my first clients had a low budget for a large space, we fit the system in his house and after we finished he was really disappointed by the performance of the speakers and of course the blame turned to us, as we had agreed to fit a poor performance system for that specific room. I’m not saying that the speakers or the equipment where bad, they just weren’t enough for the size of the room.

So, after this lesson I would rather walk away from a client than fit something that will compromise my reputation.


DH – So far we have only talked about the space itself, but behind the scenes of a digital media room there is a Rack System that holds and controls all the hardware. What considerations need to be made regarding this?

MS – Yes this is a critical part of the design and installation; lots of clients do not plan for the placement of the rack system in their house, and this can compromise the performance and the life expectancy of the equipment.

There must be adequate space for the rack and all the cables in a separate room like a cloakroom. Minimum space required is 1 meter x 1 meter, and the room must have ventilation and dedicated power circuit. The minimum length of the cables for all the systems going into the rack is 2 meters. This gives room to manoeuvre so things can be modified and moved if required.

Also it is important to have a separate electric circuit for the rack system; otherwise turning on a blender may interfere with the sound and image.

DH – What other things could an integrated digital system like this do?

MS – Because we are using devices like the iPads, iPhones, Androids and other sophisticated control panel’s, there really is no limit to the amount of systems that can be hooked in. A very common one is the house alarm and security cameras, but increasingly I am working with Institutions and clients who need special automated systems to help them cope with health concerns, meaning they can live independently in their homes for longer.


DH – Thanks for taking the time to talk to us, is there anything else you’d like to say about digital media rooms?

MS – Always team up with the specialists recognised by CEDIA “Custom Electronic Design and Installation Association”. Working with a professional team like ours means that together we can deliver a great experience to the end user.

Feel free to contact us for any future projects or even just for advice, we’ll be more than happy to help you with your project. Just to clarify we are a Design and Consulting Firm we do not do installations, we design the systems for Electronic Systems Contractors, however we count with an exclusive and selective group of Custom Integrators who can help you with your installation, we have coverage all over the UK and Europe in the residential, marine and commercial markets.

The video above shows a time-lapse of the installation of a digital media room at the Muralto london showroom by RSAV Solutions, who design and install bespoke automation and audio visual systems for home and business. The design was done by Migel Soto and Rob Sullivan.


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A to Z of Interior Design: J is for…

Jacobson (Arne)

Arne Jacobsen (1902-71) is the Danish architect who mastered the interpretation of international functionalism. His architecture includes a considerable number of epoch defining buildings in  Denmark, Germany and Great Britain. He is also perhaps more famous for his iconic furniture designs, such as the ‘Egg chair’.

In 1930 he established his own design office and worked independently as an architect, interior, furniture designer, textile and ceramics designer. A major source of inspiration stemmed from the bent plywood designs of Charles and Ray Eames. He was also influenced by the Italian design historian Ernesto Rogers, who had proclaimed that the design of every element was equally important “from the spoon to the city” which harmonised well with his own ideals.

The “Ant” from 1952 became the starting point of his world fame as a furniture designer and became the first of a number of lightweight chairs with seat and back made from one piece of moulded wood. Model “3107” from 1955 is often merely called “The Number Seven Chair”. “3107” has become the most important success in Danish furniture history, with over five million manufactured.

During the 1960´s Arne Jacobsen turned his focus to using classic forms such as the circle, cylinder, triangle, and cubus. Both the stainless steel tableware set “Cylinda-Line” and the “AJ” lamp series reflect this.

All Arne Jacobsen´s designs have become international design classics and are used in modern interiors throughout the world.

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Eco designer, Sarah Turner, creates large recycled chandeliers and sculptures for London 2012 Olympics

Sarah Turner (featured previously in this post) is a Nottingham based eco designer who has been gaining notoriety for her use of recycled materials to produce intricate lighting designs for interior design projects.

Her latest high profile customer is Coca Cola who commissioned Sarah to make lighting and a massive recycled sculpture for the London 2012 Olympic Games.

Coca Cola first noticed Sarah’s work over a year ago and have been in contact ever since. They decided that Sarah was the right person for the job to design and make the bespoke lighting and sculpture for their Hospitality Centre at the Olympic Park.

Thrilled to be chosen, Sarah said: “When I first started making lights from waste plastic bottles I always hoped that Coca Cola would notice me and my work and get in touch. So being commissioned by them for the Olympics really is a dream come true for me. It feels like a great honour to be working with Coca Cola for this once in a life time event. ”

The lights make quite a statement being two metres wide and are made using 190 plastic Coca Cola bottles each. There are five of the large lights in total, each is made up of rings of the plastic bottles and a globe in the middle. The globe is Sarah’s Cola 30 design which is made from, you guessed it,  30 Coca Cola bottles; each one hand cut and sculpted into decorative forms.

The Cola 30 was the first light Sarah made from waste plastic bottles when she first started her work over four years ago. This was the design Coca Cola first noticed and expressed interest in, after all it is made using their bottles and is named after them!

“I wanted the lights to have an Olympic look to them which is why I chose to make them as circular disks with rings of the plastic bottles, reminiscent of the Olympic rings. I also liked the idea of having the classic looking light bulbs visible, it reminded me of the infamous Coca Cola Christmas truck. I really wanted to include my Cola 30 light, I thought the contrast between the whole plastic bottles and the transformation they go through with the Cola 30 was a fantastic thing to show.” said Sarah

They also commissioned her to make an enormous sculpture nine metres tall made from waste Coca Cola bottles and cans. Thousands of pieces were hand cut then tied onto invisible wires in the form of a diver freeze framed in three different stages of a high dive. When the breeze catches the wires the pieces spin and move adding life and energy to the sculpture.

Sarah said: “I thought that as sport and the Olympics is all about energy, activity and movement, I wanted to somehow portray this in the sculpture. This is when I thought about showing a high diver in different stages of the dive. Diving fascinates me, it’s so precise and graceful yet quick and over in a moment. I thought by capturing and almost freeze framing the dive in its different stages we can look at them in more detail and celebrate them.”

This idea works very well in the space. The diver jumps off the high board on the first floor, turns into a pike through the stairwell and the final stage is the diver entering the water. The final stage is a personal favourite of Sarah’s, just the legs are shown entering the water and a big splash is created. She says: “I think this adds a little humour to the piece as well as intrigue to the guests as they first enter the centre. They will just see the two legs sticking out of the water and will make them want to see the rest of the story”.

The ‘splash’ is made using waste plastic bottles which are then melted to give the bubbly texture and look of water.

Coca Cola  have already commissioned Sarah for more work, she has just finished creating table centre pieces for the Langham Hotel in central London. Coca Cola have taken over this prestigious hotel for their guests to stay in for the duration of the Olympics so hopefully this is just the start of fruitful collaboration!

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A to Z of Interior Design: I is for…

Interi Magazine

Founded in 1954 in Italy, INTERI is a monthly magazine that specialises in architecture and design. It has become an indispensable tool for orientation in the world of interiors and product design and an indispensable work-tool for designers, architects, students, professionals in the world of interiors and product design.

INTERNI selects and presents the most important and influential aspects of Italian and international design, analysing trends and new projects. Each issue showcases important interior architecture projects (homes, offices, showrooms), interviews with leading personalities of the design world and thematic articles. The magazine also has exclusive access to Milan Design Week.

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New Designers 2012 – Part Two

Welcome to Part Two of my report on this year’s New Designers event. In my last post I highlighted the fresh-faced graduates whose work had grabbed my attention, so now it’s time to look at the not-so-fresh-faced graduates who have been promoting their designs and new business ventures for at least a year.

One Year On

This area is dedicated to graduates who have been plugging away at getting their designs, talent and new businesses noticed by the industry at large. As you can imagine, these designs and products are very well developed and for most of them, it is only a matter of time before they “hit the big time”.

Familiar face James Uren, winner of the Furniture Design prize at Interiors UK 2012, was here with his modular Chaise Longue, the Luso Lounger. Alongside his prototype was a new purple upholstered version, demonstrating the variety of colours and timber types that it can be made with. James is now approaching retailers and The Design Hub predicts we’ll be seeing more of the Luso very soon.

Another award winning designer previously mentioned here at the Hub is Louise Tiler. Her intricate hand-drawn and hand-painted designs are inspired by vintage patterns and historical textile design. Her product range has expanded to include greeting cards, art prints, lampshades, cushions and, exclusively launched at the show, her new wallpaper range.

Louise’s unique  style is fantastic and considering how certain trends are developing this year, I expect demand for her products will go through the roof at some point soon; so get in there before everyone else does! She is also looking for stockists.

Another impressive wallpaper collection launched at New Designers is from designer Rachel Powel. Inspired by mid century design and the Great British countryside, her designs create a perfect balance between the style and personality of retro print and the simplistic nature of rural living. Rachel also produces sustainable etched veneer retro lamps and tea towels that are well worth a look.

Kristel Erga of Erga design produces three dimensional wall treatments reuseing waste material from the fashion and textile industry. The Zero-Waste Land collection is a magnetic modular wall decoration which brings the exterior into the interior by using nature as inspiration. The hand-made, hand-painted products can be customised to any colour, size and overall design.

Marisa Sanvito is a textile and knit designer who hand knits beautiful cushions, vases, art and  anything else a commission may ask of her. One such request was to make sound proof knitted panels for a client’s private cinema. She believes in her craft and is not interested in mass manufacturing her items, so each one is incredibly labour intensive, but the finished items are worth the effort and the price tag.

Felicity Dessewffy exhibited her Taper furniture collection. Comfortable to use, they have an elegant sculptural quality, which at first made me wonder just what they were.

Felicity’s Sliding collection introduced a modular drawer and shelving system that can adapt to suit changing storage requirements. The units are designed to be free standing or wall hung. The Sliding collection also includes desks, bedside tables and credenzas.

For fresh ideas New Designers really is the show to go to. I’ve only had time to cover a small fraction of the amazing talent at the show, but there are only so many hours in a day!

Were you at New Designers 2012? What stood out for you? Leave a comment!

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New Designers 2012 – Part One

I’ve just had the most incredible time at New Designers 2012 at the impressive Business Design Centre in London. This year New Designers celebrates 27 years of promoting design graduates work to the industry at large.

My head is swimming with inspired designs, new products and expertly crafted furniture. It’s going to take me a while to reset  my eyes back into their sockets. To help me re-adjust to normal functioning I’ll share with you the highlights from the event as I saw them.

I didn’t have time to take in the entirety of the show, I would have needed a few more days and possibly a few clones of myself. So to preserve my time I focused on two main areas: Furniture and One Year On.


The first thing I noticed upon entering the furniture arena was the sheer quality of craftsmanship on display. The use of discarded and reclaimed materials was also a big focus for a lot of student’s work.

Vicky Gilbert from Plymouth University impressed me with her ‘Eternal’ Chair, made using discarded cow hide from the abattoir and 16 meters of steel tube. I also thought Vicky’s ‘Dizzy’ side table was well designed and wouldn’t look out of place in many retail outlets.

Here’s a little video of Vicky talking about them:

Hugh Leader-Williams from Loughborough University won the 100% Design award for hisSpun furniture’. Describing his furniture as clean and unfussy, they consist of powder coated discs of spun steel connected by magnets to an ash frame, making it easy to remove the tops and store away. The Judges commented: “Cool looking product, well presented with lots of commercial and development potential.”

Ella Hopps, also from Loughborough University, had created this rather lovely and aptly named modular ‘Storage unit’.

Whilst on the Loughborough University stand I also noticed Harris Chapman’s ‘Wayfarer’ shelf system which uses construction grade material, (Chipboard, as I like to call it) which is enjoying some popularity within Interior Design schemes currently.

Close to Loughborough, both geographically and stand-wise is Nottingham Trent University. Two pieces leapt out at me here; both chairs. The first chair is by Daniel Edwards. It would compliment any room it was placed in (especially my living room).

The other chair is by Oliver Hrubiak and actually won the John Lewis Award. I really liked this chair too, albeit for different reasons. Think functional, comfy waiting or reception room chair.

Jordan Cottee on the bucks new university (sic) stand received a lot of interest in his nesting tables featuring a reclaimed log in the centre of each. His table also used reclaimed wood that was regarded as unusable due to a large crack in it. Jordan simply ‘stapled’ the gap with steel rods to nice effect.

Ian Revely’s minimally constructed but very strong 636 stools are designed to fit together like a honeycomb.  Ian explains how he stumbled onto the design in the video below.

The Makahiya Chair / Footstool made by Assa Gonzalez from London Metropolitan University’s Sir John Cass Faculty of Art, Architecture and Design is inspired by the closing leaves of the mimosa plant. The folding leaves of the chair allow it to be used in a variety of configurations.

Minnie Birchall from Leeds Met University had designed something quite different for her final year project. Noticing that more of her friends had taken to sitting on the floor or lying on a bed whilst studying, she developed a colourful, modular floor seating arrangement that targets schools as well as the home.

Stay tuned for part two when I’ll be reporting on One Year On.

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A – Z of Interior Design: H is for…


n. heritij

Valued objects and qualities such as cultural traditions, unspoiled countryside, and historic buildings that have been passed down from previous generations.

Heritage Interior Design is about helping historically significant buildings evolve with time while keeping the endearing characteristics that give everyone such pleasure.

It is important to define the qualities that give a building its ‘special architectural or historic interest’, then, when assessing the impact any proposals will have on this ‘special interest’ a Heritage Interior Designer must take account of three guiding principles:

a) Conserve and enhance – conserve what is significant but also enhance what is there.

b) Consider the long-term impact of changing opinion – It is important that changes are made reversible.  What we now believe to be
positive and not detrimental may change in the future according to opinion.

c) Don’t confuse the picture for future generations – Whatever changes are made it should be possible to understand how it was in the past before the changes were made.  E.g. If removing a partition wall, leave a nib of that wall as evidence of its existence.


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A to Z of Interior Design: G is for…


adj – ge·o·met·ric

Using simple geometric forms such as circles, rectangles, triangles and squares in design and decoration.

Derived from geometry, the a branch of mathematics concerned with questions of shape, size, position and space.  Geometry is used throughout architecture and also comes into play when designing the layout for a room.

Furniture, fabric and wall coverings can all use geometric principles to create forms and patterns that are visually interesting and complex, yet are made entirely of simple shapes.

For some good examples of how geometric shapes can be used to create a variety of images and patterns visit:

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A to Z of Interior Design: F is for…


n. Cloth, typically produced by weaving or knitting textile fibers.

Fabric means much more than cloth, in practical terms it refers to anything made of or covered with cloth, such as curtains, blinds, table cloths,napkins, towels, upholstered furniture, carpets,  rugs, runners, bed spreads, cushions and throw overs (phew… did I miss anything?).

For an Interior Designer it is essential to get the use of fabric right as it influences so much in a space, through its colour, pattern and texture. A room can be completely transformed just by changing the fabrics and nothing else.  Fabric also plays both a functional role in an interior environment as well as an aesthetic role. In order to ensure that a fabric performs to expectations, both aesthetics and functionality should be considered; does it need to be hard wearing? Will it stain easily? Will it block out enough light? Will it improve the acoustics of a space?

As an interior designer it is essential to be aware of the many different types of textiles available today and where they originated. It is also vital that the properties of each type of fabric are understood as this knowledge of suitability and application within an interior informs design decisions.

These are the main types and properties of textiles used within interior design:

Cotton is the most common type of fabric used throughout home furnishings.  It is used for bedding, window treatments, upholstery and accessories. It is hard wearing, can be ironed at a high temperature and is easy to wash. Some cotton fabrics crease heavily but mixing with a small percentage of synthetic fibres such as polyester helps to avoid this problem. Cotton is measured by using the thread count system. In general, the higher the thread count, the softer the fabric feels, but that doesn’t necessarily mean the sheets will last longer. Around 400 thread count is usual for hotel linens.

Silk is obtained most commonly from the cocoons of the larvae of the silk worm. Silk is a highly attractive fabric as it holds the most saturation of dye to produce vivid colours. Silk is easy to iron and drapes very well. Silk can fade in the sunlight but looks best used with interlining (for added fullness) which helps to avoid this. It is suitable for window treatments, lampshades, accessories, and can also be applied to walls as fabric panels. It can be used for occasional upholstery which will hardly be used, lampshades and cushions but is not hard wearing enough for general upholstery. Silk is a very luxurious fabric and looks particularly stunning when used for interlined curtains which are pooled on the floor (overlong) with silk tassel tiebacks or holdbacks to scoop the fabric back and complete the look. Their slightly creased look combined with their light reflecting properties sets them apart from all other fabrics.

Linen is made from flax fibres and can be woven into either very fine fabric or robust, heavyweight cloth; both of which are suitable for home furnishings. Linen has a crisp and textured feel which is attractive, but it can crease heavily. It can be washed and ironed at a high temperature. It is often used for curtains, blinds and upholstery. It is best mixed with a synthetic fibre such as viscose which gives the desired appearance of linen with added durability and less creasing.

Wool comes from the fleece of a sheep. It is then spun in to yarn to be knitted in to fabric. Wool is soft and comfortable and can be spun in to fine or very chunky yarns. It used widely for upholstery but can also be used for throws, curtains, blinds, and cushions. It is quite hard to wash but is very hard wearing and very crease resistant. It is most useful in creating a rustic or ‗chic country‘ look or, when using a fine wool such as Merino, as beautifully draping curtains in a contemporary interior scheme.

Felt is fabric which is made from wool by boiling pressing and bonding wool fibres. Felt is soft, takes dye very well and is available in many different colours. It is a particularly popular choice for interior accessories such as cushions.

Leather is the tanned hides or skins of various different animals, mainly cattle. Leather is a popular choice for upholstery as it is extremely durable and may last up to four or five times longer than fabric upholstery. However, unless it is very high quality, leather is not as soft as some fabric and requires a certain level of maintenance. Aniline, Nubuck and suede have little or no protective coating therefore require care and attention whereas protected leather is more durable. The protective coating can in some cases make the leather feel cold and a little artificial.  Before specifying leather within a design scheme, it is important to consider lifestyle as leather can be damaged through cat scratches, scuffs, rips and ink stains. Protection creams and repair kits can help to combat this although serious stains such as ink are impossible to remove. Suede is especially difficult to clean and every scuff mark is virtually indelible.

Polyester is a blend of naturally occurring chemicals such as Cutin mixed with synthetics. It is primarily used for bed sheets, curtains and blinds polyester fibres are used as cushion and pillow fillers. On its own Polyester has a less natural look than fabrics such as cotton and linen but compensates by creasing much less. It is therefore often used mixed with a natural fibre such as cotton which creates a fabric with a natural appearance yet with added crease resistance.

Rayon was the first man-made fabric ever produced. It is made from a mixture of natural and synthetic components and is also referred to as Viscose Rayon. It can be produced to imitate silk, wool, cotton or linen. Rayon has a high lustre and sheen and again is often mixed with natural fabrics.

Acetate is made from cellulose acetate and the production method is similar to that of viscose although different chemicals are added. It looks a lot like silk but has the advantage that it will not fade in sunlight. As it is a lightweight fabric it is best interlined when used for window treatments. Acetate is often added to cotton, silk and wool to create lustre, sheen and drape-ability.

Nylon is made from petroleum. It is durable, drapes well and is easy to wash. It is often blended with other fibres to add these qualities to the fabric. It is used within carpeting, upholstery, rugs, window treatments and bedspreads.

Velvet is a luxurious fabric which is soft and often has a high sheen. It is ideally made from silk, but recently synthetic fabrics are available in the form of polyester, nylon or viscose. It can also be made from cotton with a heavier pile but this does not have the lustre of silk or synthetic velvet. Velvet is particularly commonly used on upholstery (particularly successful on headboards) but can also be used for heavy curtains, throws and cushions. When ironing velvet it is important to iron in the direction of the pile. When used for upholstery the fabric should be used with its pile running in one direction only. Velvet is difficult to clean but can be dry cleaned if necessary.

Information kindly provided by The National Design Academy taken from the Professional Diploma in Interior Design.

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A to Z of Interior Design: E is for…


a.  ec·lec·tic

An eclectic interior is one that derives its generating ideas, style and taste from a diverse range of sources and creates a harmonious  dialogue between all the parts.

Having experienced the freedom presented to them by post modernity, designers are finding it increasingly difficult to return to a ‘single style‘ solution for interiors.

The mixing of styles, periods, materials and finishes is being acknowledged as the way forward. The key to achieving this look  successfully is to use pieces of equivalent integrity.

There are so many styles, materials and finishes that now influence modern interiors, it is often the case that they are mixed together to create an eclectic blend. What makes an eclectic interior work well, however, is not simply mixing anything with anything , but mixing things are different but that complement each other in some way.

Eclectic style is rather harmony-like style, where different pieces of furniture, for example, have their unique places. Also, all the elements are in a thoughtful connection with the other parts of the style in the room. It takes effort, thought, and creativity in order to make a project in an eclectic style look great and at the same time logically interconnected.


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