We were approached and began to write this book in the middle of a pandemic, in the middle of online school for our two kids, and trying to maintain three businesses, in which our personal and professional lives are intertwined—architecture, design, furniture, and education. We were also learning new languages for PPP loans, grants and stop-gap measures to keep everything afloat.

The call to write this book arrived at a time when uncertainties about the future was in constant flux, when struggles against racism and representation brought our own inadequacies to the forefront of thought, and in a pivotal moment when the future of the country we live in was in question, when we were kept awake at night wondering if we needed to flee north or even further away.

With this writing, research, and documentation of this book, we have tried to represent the world of interior design as comprehensively as possible, and to reframe the western-centric histories and examples that we were taught in school, and have written about in the past. These processes are emergent, and as such, we fully accept our shortcomings here. We wish we had more time, more energy, and more resources to reference, and we hope that some of our work begins to correct that record.

Our continued thanks to the following their input and insight when we were attempting to figure out the most relevant principles to include Dorothy Deak, Megan Dobstaff, Brian Graham, Royce Epstein, Peter Grimley, Jessica Klein, Sarah Kuchar, Virginia Schubert, Sascha Wagner.

Much gratitude for the many hands and eyes that have helped us on the book. The persistence and organization by Josie Cerbone, who took on the daunting task of coordinating images and rights, the early research efforts of Margaret Robe, and the team at Rockport/Quarto—Joy Aquilino, David Martinell, and John Gettings. We are indebted to our proofreader, Martha Wetherill, who took our words and elevated them to prose. Any remaining mistakes are our responsibility.

Thanks to the designers, architects and photographers, that allowed us to share their work. The inclusion of your labor and talent enriches our attempt to quantify what is a constantly changing and evolving profession.

Finally, this book would not have been possible without a decision a young man made in Glasgow, Scotland, sixty years ago. He was advised to finish apprenticing as a sign-painter, and to go to the Strathclyde School of Building to train as an Interior Designer. He left the United Kingdom as a young man to pursue his dreams, and moved, sight unseen, to Canada to continue a career in what was then an emerging profession. This courage (to leave England when he had a son that was only 6 months old), led to the establishment of his own independent design office, which at the time was struggling to assert itself against the disparaging efforts of the ‘architects’ in the room to assert itself as a viable, and legitimate, profession. His son followed him to offices and job sites, went to school to earn a degree in the same discipline. We dedicate this book to Peter Grimley—Interior Designer, ARIDO President Emeritus, Glasgow Celtic supporter, father.