INTERVIEW with interior designer: Czechs still make mistakes in interior design
Are interior design trends changing at a similar pace to fashion?
Trends change quickly and the interior designer should be aware of them, but should not be overly influenced by them. The purpose of the room and the client's requirements always come first.
So what's in fashion in interior design right now?
What's flying is the eco-friendly approach, recycling of materials and so-called true materials, by which I mean that the material doesn't play at being something other than what it is. For example, vinyls with wood grain, that's just wrong. If it's vinyl, it should be pink or yellow. The material should just show what it can do, not pretend. There are many other trends, whether it's the hygge trend (comfortable interior in Scandinavian style - ed.) or folklore, which is also very popular now.
Folklore?
Yes, drawing on the past and local folk art. Scandinavian design, for example, is a direct example of this trend, where tradition is translated into something new.
Do you also have Czech folklore in mind?
Yes. Of course, we are not creating an open-air museum, but Czech folklore is also an inspiration for us in the use of colours, motifs and patterns on textiles or wallpapers. I see this trend in fashion at the moment, various embroidered blouses, colour in skirts... Preference is given to natural and quality materials, and comfort comes first. There is a parallel with interior design, because interior design must always be functional first and foremost. The three points that apply to architecture apply a hundredfold in interior design. Timelessness, material quality and, above all, function.
Would you say that if we follow these three points, we will create something timeless?
The moment we use natural materials, the whole concept is focused on the individual purpose and characteristics of the room, and we take into account the genius loci, the surroundings, the building and the client's wishes, then a timeless interior is created.
Can you tell us about the psychology of colour?
Sure. Every colour has an effect. An orange or red sign is a warning. The symbolism of the red cross works all over the world. Green means go, red means stop. It's internationally understood because the colour communicates the same to everyone.
And specifically in interiors?
In interiors, of course, I take that into account. Yellow promotes communication and energises, green and blue are calming. But you can't say it that simply, because it always depends on the room in which you want to use the colours. Colour can do real wonders to a space and you just can't do it without thinking. Things we don't want to be obvious can be subdued by colour. In the same way, colour can bring out what we want to show. It can make a place visually larger or smaller, higher or lower, flatter unevenness. But it depends above all on the characteristics of the room, on the orientation of the windows, on the activities I want to carry out in the room. Saying to myself that I like this colour, this colour is trendy right now, so I'll just use it, that's not the right way to go about it.
Are some colours more suitable than others for different natures of people?
You could say that red is not very suitable for people with hyperactivity. It's so energizing that it would make them even more energized.
What about blue?
Blue is specific in a different way. It is fundamentally not suitable for the kitchen, because it evokes spoiled food and thus reduces our appetite. Red, on the other hand, enhances the taste. And with yellow, we have to take into account that it has a really high reflectivity, so if we use it somewhere where the sun is going to shine all day, it's going to be really hot. And the exact opposite effect is achieved if we put a light blue in a north-facing room, which will be cooler. Light blue evokes the sky. We are used to the sky being deep, so we can use sky blue to make the room bigger and deeper. Green, on the other hand, we associate with moss and deep woods, it evokes a feeling of moisture and is very healthy for the eyes.
Do you have favourite Czech designers?
Of course, there are many. I like lighting by Lucie Koldová or Honza Plecháč and his Neverending Glory. I like the porcelain pieces by Maxim Velčovský and Daniel Piršč and the feminine style of Helena Dařbujánová. But if I had to name all my favourites, it would be a really long list. And for those foreign designers, even longer. (laughs)
Lamps from the workshop of Lucie Koldová and Dan YeffetPhoto: Lucie Koldová
When it comes to interiors, do the Czechs make any mistakes over and over again?
Yes, they do. Namely, that they don't trust the experts. They don't give the interior designer as much freedom as their space deserves. Yet the job of an interior designer is to try to make the standard of living better and, along with it, the client's life better. Whether it's commercial or private interiors, it's all about making the most of the space, highlighting all the positives and suppressing the negatives. I try to make the interior several levels better than it was before my intervention. Of course, aesthetic beauty is also important to me. It's essential for me that the beauty lasts a long time. I use natural materials as much as possible and I like to refinish because it's a wonderful craft. Furniture is made very differently today than it was a hundred years ago. And if a piece has lasted a hundred years, I believe that after a thorough renovation it will last another hundred.
What's the worst interior you've visited?
I don't want this to sound unfair, but in terms of design, the worst ones tend to be those Vietnamese restaurants that, with a few exceptions, are completely without a concept, everything is kind of cluttered and designed in the cheapest possible way.
And the best?
The best ones are mine, of course! (laughs) I really like Phillip Starck and Marcel Wanders' interiors, they are exactly to my taste. Playful, functional and colourful. I appreciate it when there's some humour in the interior and it's not boring.
You mean like using kitsch?
Exactly! If kitsch is used in such a way that it's obvious it's meant to be funny, then it's a playful element and a joke that I like to laugh at. However, the play of kitsch is very shaky.
If the reader wants to furnish their interior without an expert...
...they'll make a lot of mistakes and cost more money than if they hired an interior designer. I dare say that the money the client invests in the designer, the designer saves him at the same time. And the interior will be one hundred percent better than if the person had done it himself, without help. Even if it's just a consultation, it's worth it. After fifteen years of practice, I can already see how a material looks in everyday use, how it looks after a long time... A client who, of course, doesn't spend ten to twelve hours every day on interior design doesn't have all this information.
So is it possible to have a nice interior even if we have, say, a very limited budget?
Absolutely. I think in this situation it is very worthwhile to at least have a consultation, because the designer will point out pieces that are worth keeping, refurbishing and giving them a new twist. Equally, he'll point out the pieces that don't make sense anymore and can pick out new ones that fit the budget. It'll kick the whole interior up a few levels and then make it more luxurious, even on a budget.
Is there a distinctive handwriting in interior design? Is there an element that you use in all your projects?
If the designer is a true professional and has been designing for a while, you can recognize a distinctive handwriting. Even though every project is a little different, I would say my signature is using natural materials, combining new and old and adding some wit to it.
If you have a new project on your desk, what's the first thing you focus on?
The first thing I'm interested in is what the client plans to do in the space, whether it's a bedroom or a restaurant. The second important thing for me is the budget and the handover date. This is how I know what can be done and what changes are possible within the budget. In commercial spaces, I look at who the target audience is and why the owner wants to build the space in that particular environment. When someone decides to buy a house, it's important to know why they chose to buy in that particular location. I need to know what the client enjoys and what inspires them, if they have any collections, if they want to use some pieces from the old interior in the new one. To figure all these things out, I basically live with the client for a while.
Do you tailor the design to the client's lifestyle?
Of course. If I see that the client is a messy person, I try to make closed closets so that he has somewhere to hide the clutter. If I see that someone has a large, interesting collection, I try to figure out how to place it in a way that makes it stand out.
Do you ever turn down clients unless there's a spark between you?
I turn down a client the moment they insist on things that will have to be redone in the future. Either I know they'll stop working, or the trend will pass and they'll stop liking it. As a designer, I do everything I can to suppress such elements, and if the client rejects the idea, we won't get along. But other times we don't click humanly, which is also a problem because I'm coming into their lives quite significantly. I'm interested in how they live, and that's the only way I can really complete the interior successfully. If there's a problem or a fundamental disagreement, it's better to break up with the client. He will find his designer elsewhere and it will be better for both of us, because a project where we disagree would not turn out well.
Can you tell us what you are working on right now?
We're doing a makeover for the Czech TV show "Living like...". I'm doing the interior folklore I was talking about. It's very demanding because we're doing a complete renovation in one week, including demolition, painting floors, electrical wiring, making and refinishing furniture... It's a lot of work and we're filming the finale tomorrow.
So you understand the technical side of things?
Yes, that's what I manage in projects. Of course, I also work with a grinder. I definitely don't shy away from working with my hands.
As far as your work goes, do you have any other dreams or goals that you would like to achieve?
I'm actually starting to realize my dream. I have my own interior design school, Intermezzo, and I recently opened the Intermezzo design lab where we have different workshops, furniture refinishing workshops, sewing classes, etc.
Is the teaching here only in the form of a studio, or do you also have some courses for the public?
We have courses accredited by the Ministry of Education, so it's a retraining for an interior designer. We have a two-and-a-half-year course or a one-year course. We also have courses for decorators, where you really work a lot with your hands. Sewing, sanding furniture and so on... We have separate courses at the Intermezzo design lab in Oldřichova Street.
Jana Hradecká
Since 2005 she has been designing interiors. In 2008 she founded the successful Intermezzo interior design school, which became the first private school of this specialization to receive accreditation from the Ministry of Education. In 2013 she wrote the book School of Interior Design, which has been reprinted three times due to great interest. She designs original furniture, does set design for two theatres and last year founded the Association of Interior Designers and Decorators. She has three grown-up daughters.
She also enjoys adrenaline sports, quiet walks with her dog and looking into the fire with her cat on her lap.
