On college campuses across the United States, and likely the world, university interior design is a challenge. As students and faculty converge to consider learning’s limitless equations, their pursuits are facilitated by tables, chairs, laboratory and AV equipment, and fixed finishes that define modern higher education. Considering the situational requirements of academia’s many types of spaces, user needs, and functionality of furnishings within the constraints of space, time, and money requires special fortitude and certainty of purpose.
Established in 1979 as a networking organization, the Association of University Interior Designers (AUID) strives to unify those charged with conjuring the perfect mix of form, function, and finance for university interiors. In this edition of Ask A Designer, we consider the conversation on collaboration, flexible furnishings, and the need for timeless, durable interiors in modern college settings. Jessica Arent Owens and her colleague, Elizabeth Stutz Bellew, are both AUID members and Interior Designers at the University of Georgia (UGA). They share their experience balancing the many contending expectations placed on university interiors.
“After graduating from UGA in 2004, I spent 10 years working for a furniture dealer before transitioning to university design. I was at the University of Alabama for five years and have been at UGA since 2018,” begins Arent Owens.
Like Arent Owens, Stutz Bellew graduated from UGA. “Initially, I majored in comparative literature before a theatrical design elective class reignited my love of art and design. After gaining experience in the field, I was excited to return to UGA to pursue a second degree in interior design in 2011,” says Stutz Bellew, who joined the UGA interior design staff in 2018.
Chartered in 1785, UGA is the state’s flagship institution, UGA attracts highly qualified students from Georgia and beyond. UGA’s motto, “to teach, to serve, and to inquire into the nature of things,” reflects the University’s commitment to enriching the state and nation’s intellectual, cultural, and environmental legacy.
“It’s a historic campus with buildings built during every era of a 240-year history,” says Arent Owens. “Our work touches historic buildings, new buildings, and renovations of existing spaces.”
Her point reveals the nature of the beast. Inherent challenges hide behind the charm of old buildings. Integrating new technologies and educational strategies drives decision-making on 21st-century college campuses. At UGA key concerns include balancing privacy with the university’s desire for open spaces, increased flexibility and spontaneity of movement, and offering a variety of environments and choices within them.
“We are working with spaces students and faculty use for social gathering, research and laboratory facilities, offices and meeting space, athletics, theater, and arts. We choose durable furnishings and surfaces with timeless aesthetics to meet functional needs and stand the test of time.”
As with most American universities, student recruitment is a focus at UGA. From residence halls to the dining hall, getting the next generation to commit is imperative. Nowhere more so than in athletics where the university’s brand disseminates to a global audience daily.
“Interiors for athletics areas have many special considerations. From the size of some of the students and their equipment, the wear and tear, and the continual desire to have spaces on par with the best in college athletics make these spaces unique,” says Stutz Bellew. “The level of branding is also a factor. In the athletic areas, the red and black and the bulldog are prominent. Throughout UGA’s academic areas, each building tends to have its own identity; and UGA’s branding is used in limited ways. Finish pallets usually focus on neutral colors and enduring aesthetics.”
“Even within buildings, there are different levels of branding.” Arent Owens adds. “In residence halls, we may use a red and black scheme in the lobby to give a sense of arrival. Then, transitions to muted colors in the residential spaces for a homey feel.”
Finding the right balance between user needs, departmental desires, and the university’s budget is the moving target AUID members set their sights on. With so many variables contending for attention, flexibility in the process is a must.
“We work with project teams that vary,” says Arent Owens of the need to tailor the process to the participants. “On some projects, we provide floor plans and images of pre-selected furniture. On others, we do layout workshops, showroom tours, and test comparisons. On student-facing projects, we often engage students for their feedback.” Stutz Bellew continues, “On a recent library project, the staff was interested in student input. They conducted a furniture review, allowing students to test furniture and vote on favorites to increase project success.”
While project needs may vary, consistency and equity are important. “We have a standard office layout that includes reconfigurable furniture with mobile pedestals and free-standing height adjustable returns. This allows faculty and staff to personalize their spaces,” Arent Owens explains. “We like to provide flexibility where we can. Spaces like student workstations are more challenging. Given space constraints, furniture in these areas tends to be fixed to allow for power, data, and privacy panels.”
In all this, Arent Owens and Stutz Bellew find regular reassurance through a been-there, done-that network of peers in the AUID.
“AUID is such a wonderful organization for feedback on products, designs, and strategies,” finishes Arent Owens. “We are balancing longevity with attracting a new student population every year. AUID membership provides access to other professionals who share the same challenges. I’ve come to rely on this group for their amazing support, ideas, and inspiration.”
Become part of this community and resource for interior designers at institutions of higher education. Join AUID! https://www.auid.org/