Whatever our lifestyle, our homes must echo our character as a people." says Edith Oliveros, founder-director of the Philippine School of Interior Design (PSID). Edith Oliveros has contributed incalculably in educating hundreds of students since the school was founded in 1966. An articulate member and past president of the Philippine Institute of Interior Designers (PIID), she has hosted TV shows on design and has written for major dailies in Manila. She is a current editorial consultant for Good Housekeeping Philippines, Design and Architecture and Woman Today Homes. She has written two books: Designing Homes and Design in the Home. Her extensive portfolio over the last thirty years of professional work includes exclusive hotels, clubs, resorts, offices and homes throughout Asia.

A Lifetime Achievement Award for education was given to her recently during the Third Guhit Awards sponsored by Design and Architecture Magazine. The Guhit Awards recognizes important contributions in Philippine architecture, interior design and related fields. We talked with Edith about the PSID, the local design profession, and about herself.

East by Southeast:
What was the vision behind the PSID and who are the moving spirit besides yourself of the new school?

Edith Oliveros:
When I started my design practice at Cancio Associates in 1964, there were a number of employees in the company who wanted to tag along to jobsites and meetings. Since I was teaching at the Philippine Women's University, the owners of the firm, Herminia Layug and Agustin Cancio,, suggested that perhaps we should look at a more formal setup to train them. We thought formal lessons coupled with practical training was a good idea. That was how PSID got started.

Over the years, the PSID has produced a number of successful practitioners and has been consistent in topping the local board examinations for interior design. What can you attribute to this success?

The type of students who enroll in PSID tend to be more mature than the average student and they go there for their deep interest in design. Some have had previous training or background in architecture or fine arts that make them absorb readily. Since the beginning, PSID has enjoyed the advantage of having teachers who are active in the profession so that their practical experiences are imparted to the students.

How long did you head the PSID and what is your most memorable time in running the school?

I am still the director of the PSID although the day to day administration has been transfered to Charo Cancio Yujuico who is the majority owner of the school.

My most memorable time has to be the start when I had to do almost everything by myself; putting up the infrastructure, organizing the faculty, setting up the curriculum and having it approved by the Department of Education. Aside from these, I was also doing the PR and getting students to enroll.

In our first year, I had to monitor the classes very closely and be ready for any eventualities. The student shows were very nice events, especially in the early years when we had an exhibit every four months.

This bedroom designed in the 80's features four massive antique curved wooden columns contrasting the delicacy of the embroidered native fabric covering the bed and the minimalistic artwork hanging above the headboard. Philippine santos adorn the bedside tables while a Korean cabinet, with a portrait of the owner above, highlights this eclecticism.

As a pioneer and one of the leading practitioners, can you describe the last thirty years of interior design and decorating in the Philippines?

The last three decades have been busy for interior designers in this country to a point that the profession needed some government regulations and licensing. From a handful in the sixties, there are now hundreds of designers doing commercial and residential interiors.

How would you characterize your clients of thirty years ago to your present ones? Describe your ideal client. How do you deal with difficult and unreasonable clients?

Back then, the needs in residential interiors were much more simpler and the architect usually dictated the approach. We only chose the furniture, draperies and art works for most rooms. Progressively, the profession took on a wider scope, including electrical and mechanical systems, requiring more meetings and coordination with the client and those involved with the project. My ideal client would be one who actively participates in the design process so that the outcome will be an expression of his or her character, not mine. For those who are difficult, I let them go ahead with all their ideas and I make adjustments in the overall outcome, discouraging impossible requests. It was tedious in the beginning, but they tend to listen to me now.