If you ask me, interior design and architecture are both 70% function and 30% aesthetics. Well, that’s just a rough estimate, but you get my point—that designs are based on problems and spatial issues that need to be solved. This means that ideally, the aesthetic part (the choice of color, design theme, decorations) is also meant to address a particular problem. Simply put, aesthetics in design is not the end, but the means.

The students of UP Interior Design (UPID) proved this point through Project Tanglaw. Continuing UPID’s advocacy of helping build a better and stronger Filipino society by improving the interior environments of underserved communities and institutions here in Manila, this year’s graduating students have chosen to take on the challenge of rehabilitating the interior spaces of Ephpheta Foundation for the Blind, an institution that serves the visually-impaired. (Read more about Ephpheta here.)

There are five areas in the institution that were rehabilitated: the reception area and main hallway, the computer room/lecture room, the dining area and kitchen, the massage/treatment area (for the livelihood program of the institution), and the women’s dormitory.

The facilities of the institution were in bad shape, to say the least. The interiors were dark, and the layout of the spaces and furnishings were not helpful in making wayfinding for the visually-impaired more manageable. Most of them need to have a guide at all times in order to find their way around.

THE HALLWAY

THE COMPUTER ROOM

THE DINING ROOM

Aside from cleaning, improving the physical conditions of the structure itself, and maximizing the existing spaces, the students incorporated design features that can empower the visually impaired. It is important to know that not all who are visually impaired are ‘blind’. Some of them can still recognize light and shadow. Therefore, brightening the interiors through additional window openings and light-colored walls are already significant improvements that help orient them in a space.

Color contrasts, such as a dark floor vs. light walls and contrasting colored patterns on the floor, help those who can still ‘see’ assess their surroundings and find their way around on their own. Simplifying the layout of the spaces, with a more linear orientation, assisted the visually impaired in creating a mental map of their surroundings. Guide rails along the corridor and room labels in Braille (made of pushpins!) were also added.

THE MASSAGE/TREATMENT AREA

Aside from color contrasts, texture is another important feature that aids those who are 100% blind. The section of the walls and guide rails that are near door openings were finished in textured paint to signal that one is approaching an opening or a room. In the foot spa area, the part with the row of seats has a pebble washed flooring to delineate the space from the rest of the room.

THE DORMITORY

By empowering the visually-impaired through improvements in their interior spaces, the students hope that their design will be an instrument in helping them gain confidence and trust in themselves, and inspire them to become better and productive individuals in the society.  df

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Finally, here are the complete before-and-after photos of the 7 rehabilitated homes of UPID’s project with Gawad Kalinga-Laura!

What I particularly like about the students’ designs is that they were able to integrate the average Filipino family’s aesthetic sense—a limitless appetite for color, texture and pattern; a need to personalize their space through a display of objects with sentimental value; and a preference for a happy and festive atmosphere.

Below, the students tell us more about the design brief and the inspirations that guided them throughout the design process. {Thanks Jeliz and congratulations to your batch!} -ardel

[Our batch, which we collectively call UPGRADE, took part in Gawad Kalinga‘s mission of restoring human dignity by renovating the interiors of selected houses in GK-Laura.

Our designs were based on the concept of "Pamana at Kayamanan", which was translated through the integration of the family's tradition, cultural roots, and values. The ultimate goal of the batch was to uplift the standards of living with respect to the family’s identity by creating functional interior spaces that are also physically and visually comfortable.

Taking off from the umbrella concept of “Pamana at Kayamanan”, each of the seven houses was designed with the following inspirations:]

Nicolas Residence: “Harana” (above)

by Iris Henson, Jeliz Mercado, Angelie Valdez and Abigail Villaflor

Gelilio Residence: “Duyan” (above)

by Anica Magpili, Samantha Reyes and Katrina Tolod

Baruelo Residence: “Vinta” (above)

by Celeste Cance, Louie Herrera, Dana Mauricio and Shayne Roque

J. Escober Residence: “Likhang-Kamay” (above)

by Ashley Agustin, Marian Ching, Claire Guerra and Erlynne Pascual

Avila Residence: “Dampa at Dalampasigan” (above)

by Rosaleen Blanco, Rowena Dela Cruz, Edric Pillos and Karmel Ticman

R. Escober Residence: “Payâg” (above)

by Audrey Balberona, Christine Gallor, Carlo Miranda and Mira Sison

Concepcion Residence: “Balik-tanaw” (above)

by Karla Avila, Lea Domagas, Kriska Kalingking and Genevieve Susi

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[The homes were chosen based on seven different family set ups to represent low-income families in the country: extended family, family with home-based business, family with home-based work, family with no regular income, family with an elderly person, and family of a single parent.

Having a limited budget and a small space of less than 30 sqm. per house to work with, each group maximized the available resources through our creativity and design skills. Apart from the actual rehabilitation of the select homes, the project also aims to create “design templates” for use on other GK homes and future GK communities.

Through this project, we realized what design can do — that it can promote environmental awareness, upgrade spaces, enrich lives, and influence their outlook in life.

The batch saw this project as a great challenge, not only on how small spaces can be maximized but also on how we, as design students, can possibly contribute to social development by helping families improve their homes. The batch is ready to advance in the real world of design to continue enriching people's lives by designing and upgrading spaces.]

*photos courtesy of UPGRADE

For the past 8 years, the interior design students of UP Diliman have traded the traditional design exhibit project that most ID programs annually organize for a more realistic and “hands-on” endeavor of rehabilitating spaces that cater to the less fortunate Filipinos.

While interior design has always been viewed as a service that only the rich can afford, the ID program in UP (UPID) hopes to change that by allowing the Filipino masses to benefit from well designed interior spaces, one project at a time. This is not only in line with the University’s thrust towards public service, but also in accordance with the real principle behind the professions of interior design—“to contribute to the enhancement and safeguard of life, health and property and the promotion and enrichment of the quality of life.”

Before, UPID’s annual design projects have been focused on the rehabilitation of underserved institutions such as public hospitals, public schools, and orphanages to name a few. This year, the students took the challenge of improving actual residences—real homes with real families! In one of Gawad Kalinga’s communities in Quezon City (Gawad Kalinga-Laura), the students have chosen 7 residences with different family profiles.

One of the students, Carlo Miranda, Associate Head of UPGRADE, shares with us his batch’s experience during the duration of the project:

After more than three months of psyche-breaking brainstorming, numerous design proposals, and stressful fundraising schemes, our batch, collectively called UPGRADE, is now ready to share the seven completed homes at the Gawad Kalinga Site, Laura Street, Brgy. Old Balara, Diliman, Quezon City.

In taking part in the design and construction process, we realized the impact of what design can do — that it can promote environmental awareness, upgrade spaces, enrich lives, and help improve the people’s outlook in life. Our batch saw this project as a great challenge, not only on how small spaces can be maximized and how to creatively use our very limited resources, but also on how well-designed homes could possibly lead to better lives, better individuals, better families, and better communities.

Below are photos during the project turnover last September. Next week, we’ll share with you the dramatic before-and-after photos of the homes that the students transformed in less than three months. df

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“What will you build? A wall? A roof? A room? Or will you build stronger families, better neighborhoods and brighter futures?”

I saw this in Habitat for Humanity’s website yesterday and made me think about my work. For people like me who are in the design and construction industry, “building” is what we do everyday. But because it has been a part of our daily lives, we tend to forget the meaning and purpose of what we do as builders and designers. We do not just make things pretty and functional; we improve the lives of the people by providing better living and workings environments.

This has been the advocacy of UP Interior Design (UPID) under the College of Home Economics for the past 9 years—to build a better and stronger Filipino society by improving the interior environments of underserved communities and institutions here in Manila. This replaced the typical interior design exhibits that previous batches were organizing.  Apart from helping underserved communities, this annual project also allows students to become aware of the possible impact of their work as future interior designers especially with regards to community building and social change.

Below are the rehabilitation/renovation projects that past UPID students have undertaken:

BID batch AY 2001- 2002 – three underserved institutions: Golden Acres, Study Center for Children, and Gawad Kalinga model unit.

BID batch AY 2002-2003 – the pediatric ward, lobby, doctors’ hallway and chapel of the East Avenue Medical Center (2nd and third images above)

BID batch AY 2003-2004 – a preschool in Payatas, the library and clinic in the Balara Elementary School and the library of the Balara High school

BID batch AY 2004-2005 – Children’s Joy Foundation shelter for children

BSID batch AY 2005-2006 – Barangay Aklatang Pambata (5th & 6th images)

BSID batch AY 2006-2007 – HE Cares Foundation shelter for boys (4th image)

BSID batch AY 2007-2008 – UP Kalayaan Residence Hall

BSID batch AY 2009-2010 – doctors’ clinics at the Philippine Children’s Medical Center (top image)

You can read our feature on last year’s Cradle Project HERE. Next week, we’ll share with you this year’s UPGRADE Project that hopes to improve the lives of 7 families! df

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The most significant thing that I learned when I was still a student in interior design is that good design is supposed to be for everyone. It is very sad that in reality, the design practice continues to cater to the elite few of this economically struggling society. I know that having one’s home designed by a professional is definitely not included in the priorities of many Filipino families. I also know that it would be too idealistic to hope that design professionals would lower their design fees so that more people and institutions can afford their services. I only wish that interior designers, and even architects, would organize themselves more often to sponsor (or maybe ask their suppliers to sponsor) projects for the benefit of the less privileged ones. After all, the main thrust of the design profession is to improve the quality of life, right?

Now on its 8th year, the graduating batch of UP Interior Design has been doing design projects to improve facilities of institutions such as public hospitals, public schools, an orphanage, and low-cost housing projects. This is in place of the usual annual design exhibit that most interior design schools organize. UPID thought of this alternative to put the students’ money to a better use. On top of that, it is also meant to support UPID’s advocacy of promoting the value of the interior design as a discipline geared towards improving the lives of people.

This year, the graduating students of UPID, collectively called IDeya (Interior Design by Empowered Young Artists), came up with The Cradle Project, a renovation project for 6 outpatient facilities of the Philippine Children’s Medical Center (PCMC).

Before the renovation, PCMC looked like a typical public hospital–deteriorated facilities with depressing interiors.

The Cradle Project renovated the following areas: general pediatrics clinic, nephrology, adolescents’ clinic, social services office, nutrition clinic, and children’s library. The design concepts for the areas all centered on creating environments that heal the body, inspire the mind, and uplift the spirit.

Don’t you just love these spaces?! A huge improvement from their previous state. Seeing the renovated clinics is just awe-inspiring. Congratulations to IDeya! I hope that when you go out into the real world, you’ll bring with you the values that you’ve learned from this experience.

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[Have you given your space (or furniture) a makeover? Share it with us! Email us about it with before and after pictures at mydesignfolder@yahoo.com. ]

The students were given two months for the design and fabrication of their chairs. Aside from being able to come up with a unique concept and design, the project aimed to give the students the chance to apply what they have learned about anthropometrics, drafting shop drawings, and production management and supervision.

For the first group, they presented their Nautilus Chair which is made of abaca rope on welded steel frame. It is inspired by the organic form and growth pattern of the nautilus shell.

I like the form of the chair. The design is unique but, like what they say in fashion, it is “wearable”. It can fit into the design of many contemporary interiors. Our only comment was that the seat height, with the cushion on it, is a bit high for a Filipino standard of a lounge chair. For me, the height is more comfortable without the cushion.

The second group designed the upholstered Lava Chair. The concept is based on the movement, color and temperature of the lava.

The chair is very comfortable in terms of its dimensions and the type materials used (foam and fabric). However, the form is nothing new. I guess the concept was applied heavily on the details–the color and print of the fabric and the grillework–rather than on the form. In other words, if you change the fabric and remove the grillework, the design was just another tub chair. But among the four designs, the Lava Chair has the highest potential of being marketable.

The third group turns to the outer space for their design concept. Their Alien Chair is based on a typical image of an alien with three fingers.

The appearance of the chair is pretty intimidating because of its scale and proportion. Like the Nautilus Chair, it is made of abaca rope on a steel framework. The rope was stained with automotive oil, which gives its charcoal gray color.

The industrial-looking Reveal Chair of the last group is inspired by x-ray images.

Made of woven polyethylene strips on a thick steel frame, the design aimed to defy the idea of a chair as a solid form. Looking at it, the form is just a group or a web of lines. I personally love the chair’s concept. I just wish they simplified the design and took out the X at the back. Also, the chair could have been comfortable if the seat depth was made a bit longer.

Honestly, I was impressed with all the designs that they were able to generate. No offense to my batchmates, but the designs we had in our class when I was in college was just terrible compared to these four. So, congratulations to Prof. Quevedo and to her students for a job well done!