Theory of Interior Design PDF

THEORY OF INTERIOR DESIGN 1. physical objects Design Approach 2. nonobjects -underlying strategy, method, or philosophy that 3. movement in three dimensions guides how a designer tackles a project...

THEORY OF INTERIOR DESIGN 1. physical objects Design Approach 2. nonobjects -underlying strategy, method, or philosophy that 3. movement in three dimensions guides how a designer tackles a project 4. time -shapes the project’s overall direction, affecting -not static but invites people to change it as decisions about aesthetics, functionality, they move through it bodily, visually, or materials, and the relationship between form psychologically and purpose. -Types: - the lens through which a designer views a 1. Positive Space - refers to the area problem or task, guiding how they develop that is filled or occupied by mass, solutions forms, or objects Structural Design 2. Negative Space - objects surround -focuses on an object or space's essential form empty space that surrounds these and structure areas or that. -primarily concerned with function; simplicity - spatial relationships- related by function, Decorative/Applied design location, or circulation: -ornamentation is applied to a structure to 1. Enveloped Spaces- smaller spaces enhance its appearance without affecting its that are contained within a larger functional aspect volume of space. -aesthetics 2. Juxtaposed Spaces- Each space is Naturalistic Design defined in its own unique form -utilizes shapes found in our natural -might be similar, exactly the same, or environment, contrasting—the degree of relationship -inspired by nature, aiming to replicate or depends on the interface emulate natural forms and elements in design -door, column, wall, window, opening, Organic Design floor-level -based on flowing, undulating curves, and 3. Interlaced Spaces- can be seen as forms. part of one of the spaces, or it can gain -characterized by forms and shapes that are its own distinct identity as a link to the fluid, natural, and harmonious with the original spaces. environment 4. Transitional Space- common or Geometric Design intermediate space linking other -related to straight lines, circles, squares, spaces triangles, rectangles, cubes, spheres, and other -heighten people’s senses in mathematically precise shapes. anticipation of moving into another -emphasizes clarity, order, and mathematical space. precision. -spatial arrangements: Abstract Design 1. Linear Arrangement- composed of a -can be derived from natural, organic, or series of spaces placed next to each geometrical shapes, but it distorts or stylizes other in a direct line that can be them to create a new meaning or essence straight, curvilinear, or segmented -doesn't aim to depict anything realistic but 2. Nucleus Arrangement- consists of a rather conveys ideas and emotions through central, dominant space with visual elements supporting spaces grouped around it Metamorphic Design or extending from it -refers to the changing, varying forms or shapes 3. Modular Arrangement- related within a design. functions and/or purposes are grouped -involves transforming or adapting a design or to form a unit is a modular object to serve multiple purposes or change its arrangement. form. 4. Grid Arrangement- creates equal, Elements Of Design repetitive units of space. Space Line -most important and complex element -classified as straight, curved, vertical, -space is the essence of what our natural and horizontal, or diagonal man-made environments are all about - can project emphasis by the apparent path -sub-elements: it takes.  Form -exhibit circular, expanding movement. -compared to mass, which is three-dimensional Rhythm and exhibits volume. -organized movement, regular intervals, or -form gives space dimension and mass recurrence -can also exhibit implied or apparent weight -types: Shape 1. Repetition- utilized to carry the eye -the outline or identifiable contours of an object. throughout the space by repeating -rectangles, circles, squares, and triangles. simple forms, textures, or colors. -Not all shapes are used in their purest form 2. Alternation- Alternation of rhythm can -Based on their orientation, size, proportion, create a slightly more complex system color, and placement within a space, rectilinear of design by alternately changing the shapes can create different effects elements of the design. Texture 3. Progression- Progression of rhythm -visual or tactile characteristics of natural and suggests movement and draws the man-made objects or materials. eye into directional sequences. -soft or hard, rough or smooth, dull or shiny, Emphasis dark or light -certain elements are accented more than -Variation in texture can contribute to physical others, creating a relationship of dominance and emotional comfort in our surroundings. and subordination -Smooth, hard surfaces will reflect and magnify -The emphasized element should be carefully sound, whereas soft, uneven, rough surfaces selected and balanced by or contrasted with will absorb it. other elements. Color Proportion -most emotional and the most personal of all -the relationship of the parts to one another or design elements to the whole. -set the mood -Proportion can be expressed as matters of -based on the psychology and the mindset width in relation to length of the dweller Scale Light -we are comparing the size of an object or an -affects all other elements. Light can make environment to man. space appear large or small, friendly, or cold. - refer to small or diminutive, as well as to large -Light affects the way we interpret texture when or grand, size it highlights textural relief (surface irregularities), Harmony: Unity & Variety and light affects patterns by clarifying or by -composition fitting together, from a correct submerging details combination and balance; provides a sense of Principles of Design belonging, consonance, or oneness. Balance TYPES OF SPACES IN INTERIOR DESIGN -related to the apparent perceived relative Residential Design weights of objects in architecture and interiors. Single-attached Homes -types: Single-detached Homes 1. Symmetrical Balance- Refers to the Condominiums arrangement of objects that seem to Apartments have an imaginary mirror placed along Townhouses a central axis that bisects the form and Commercial & Corporate Design presents each half as a mirror image Retail Spaces of the other. Offices 2. Asymmetrical Balance- Sometimes Banks called “informal balance”, the visual Hospitality Spaces arrangements or weights are neither Institutional Spaces identical mirror images nor equivalent Hospitality Design images, but they do tend to stabilize Restaurants & Bars one another. Clubs 3. Radial Balance- similar to Casino symmetrical balance but has a central Cafe point, or core, from which elements Pop-up extend outward, or radiate Spas  Lounges Functional Hotels -functional programming–spatial needs and Villa requirements, system performance as well as Resort durability and efficient maintenance of building Theatre & Exhibit Design elements Set Design -programming should begin with clear definition Concerts of activities Trade Show Displays -accounts for functional and psychological need Booths of users Kiosks Historic Preservation Institutional Design -specific actions within historical district or Schools affecting a historic building Churches -classification: Government Offices 1. Preservation Hospitals 2. Rehabilitation Libraries 3. Restoration Museums 4. Reconstruction Malls -RA 10066- National Cultural Heritage Act of DESIGN STYLE VS. DESIGN CONCEPT 2009 Design Style Sustainable -defined as a specific or characteristic manner -pertains to the environmental performance of of expression, execution, construction, or building elements and strategies design, in any art, period, work, or employment, CRITERIA OF A GOOD DESIGN -types -Dieter Rams 1. Transitional 1. Innovative 2. Traditional 2. Useful 3. Modern 3. Aesthetic 4. Contemporary 4. Understandable 5. Eclectic 5. Unobtrusive 6. Minimalist 6. Honest 7. Mid-Century 7. Long-lasting 8. Bohemian 8. Thorough 9. Shabby Chic 9. Environmentally friendly 10. Japandi 10. Little design as possible 11. Scandinavian THE PRINCIPLES OF DESIGN Design Concept Invisible Structure -core idea driving the design of a product. In -refers to the underlying framework, principles, interior design, the design concept assists the and elements that create harmony, functionality, designer in thinking through and visualizing the and a sense of cohesion solution to a problem. -essential for effective interior design GOALS OF DESIGN -Spatial layout and flow, scale and proportion, Accessible balance, rhythm, emphasis, color theory, -building elements address the specific needs lighting design of disabled people Visible Structure -B.P 344- The Accessibility Law of the -the tangible and perceptible elements within a Philippines space that are intentionally incorporated for -removes discrimination, improve quality of life, functional or aesthetic purposes meet applicable building codes -Furnishing and fixture, light fixture, cabinetries, Aesthetics decorative finishes, art and decor, color palette -the physical appearance and image of building 1. Form elements and spaces as well as the integrated -mass or volume evidence in 3 dimension design process >direction- vertical or horizontal axis of the Cost-effective mass -building elements on the basis of life-cycle >shape- geometric qualities costs as well as basic cost estimating and -Form deals with shape and when the figure is budget control three-dimensional, it becomes mass. > Mass- can be vigorous or weak; it can have subtracted or an irregular composition of regular vitality and strength, or it may be indecisive and forms. faltering. TRANSFORMATION OF FORM > Volume- has three dimensions: length, width, Dimensional Transformation and depth. -transformed by altering one or more of its -can either be solid or void dimensions and still retaining its family identity. >points (vertices)- where several Subtractive Transformation planes come together - transformed by subtracting a portion of its >planes (surfaces)- the limits or volume. boundaries of a volume Additive Transformation >lines (edges)- where two planes - transformed by the addition of elements to its meet volume. The nature of the additive process will -visual properties: determine whether the identity of the initial form Shape is retained or altered. Size PRINCIPLES OF COMPOSITION Color Contrast Texture -essential that certain areas, directions, and Position colors vary or differ from others so that by Orientation contrast the qualities of each are emphasized. Visual inertia -typical contrast: 2. Shape 1. Contrast of Form- For a shape to be -principal identifying characteristics of the form interesting, there must be variety or -results from specific configuration or a form’s contrast. surfaces and edges -”Through the introduction of -planes (floor, walls, ceilings), openings interesting geometric shapes, one can (windows, doors), silhouettes of forms create a more subtle yet complex (furniture, fixture, equipment) contrast in a space” (Rodolfo Dordoni) -Primary shapes: 2. Contrast of Line- may vary with Circle- centralized, introverted figure reference to direction. It is possible to that is usually stable and self-centered have a horizontal line opposing vertical in its environment. or diagonal lines that may form a Triangle- signifies stability. When composition. resting on one of its sides, the triangle -may also offer contrast on account of is an extremely stable figure. When its change in type or character. It may tipped to stand on one of its vertices, be curved or straight, regular or however, it can either be balanced in a irregular, broken, or continuous. precarious state of equilibrium or be 3. Contrast of Size- Deals with objects unstable and tend to fall over onto one which may have the same shape and of its sides direction but may vary in size. Square- represents the pure and the -change in size is gradual and uniform, national. It is a static and neutral figure the result is called gradation having no preferred direction; stable 4. Contrast of Material- achieved by when resting on one of its sides, and default, particularly in the case of dynamic when standing on one of its furniture. corners. -Combining opposing forms in >Regular Forms- whose parts are related to concepts such as weight, permeability, one another in a consistent and orderly temperature, and coldness manner.; generally stable in nature and 5. Contrast of Color- When looking to symmetrical about one or more axes; can retain create contrast, one should remember their regularity even when transformed to let one color dominate the scheme, dimensionally, or by and the addition or while the other accents it subtraction of elements. Proportion >Irregular Forms- parts are dissimilar in nature -refers to the balance between design and related to one another in an inconsistent elements, including size, shape, color, and manner; can be regular forms from which texture irregular elements have been -essentially a matter of relationships.  1. Color Proportion- designers usually principle of harmony. suggest a combination of three colors -Alternation is the sequence of two or to decorate the walls of a space. more components by which the eye -referred to as the 60-30-10 rule can follow a rhythmic pattern. -should also be in sync with the 2. Progression or Gradation- seen in furniture, curtains, and other decor shapes progressing from large to small elements. or small to large 2. Proportion of Space- refers to the -can also be seen in the value placement of elements or objects of color, where a color scheme within a space. contains shades that vary from very 3. Proportion of Light- perfect light values to medium values to dark proportion of natural light and artificial values light is necessary to complete the 3. Transition- leads the eye without interior design of a space. interruption from one point to another -Light affects the perception of the -established by a continuous line space we live in 4. Opposition or Contrast- an abrupt 4. Anthropomorphic Proportions- change that forms an interesting, based on the dimensions and repetitive rhythm and is seen in three proportions of the human body. ways: Scale >can be seen as repetitive 90-degree -is a fixed proportion used in determining angles— such as window frames or measurements and dimensions. grids, as built-in units, and as the -refers to how we perceive the size of a building corners of angular furniture or framed element or space relative to other forms. artwork. -generally categorized as small or light, >can be seen in patterns: open and medium, large or heavy, or grand (extra large) closed, busy and plain, light and dark -Although the actual dimensions of two objects combinations of fabric, area rugs, or may be similar, one may be of a visually heavier other textiles or wall coverings. scale than the other because of its weight or >forms can be placed to contrast in a mass and the selection of material. pleasing rhythm. Balance 5. Radiation- established by radiating - is equality. It is composition concentric or spoke-like lines or forms -foundation upon which arrangement, harmony, can be dramatic and impressive. and adjustment of weights, tones, values, etc. Unity and Harmony are developed -There must be a central motif, a theme, or a -Types of Balance: center of interest. The attention of the observer 1. Symmetrical Balance- elements are must be drawn to this focal point. arranged in precisely the same -The major masses of the building should manner on either side of a central axis dominate the less important ones. or line. -All the units should together form a compact 2. Asymmetrical Balance- also known and coherent ensemble as informal, active, optical, or occult -The element of emphasis must be introduced. balance. -limiting the amount of treatment seen at one 3. Radial Balance- state of equilibrium time. based on the circle. -selecting details, materials, colors, etc. in Rhythm harmony with the basic idea. -Movement is the basis of rhythm -selecting styles, furniture, and furnishings in -carries the eye along a path at a pace harmony with the surroundings. determined by the elements that illustrate it. Hierarchy and Emphasis -Types of Rhythm: -implies that in most architectural compositions, 1. Repetition and Alternation- real differences exist among their forms and establishes rhythm through the spaces. repetitive use of an element of design, -can be achieved by endowing a form or shape as previously suggested with the following: -also provides unity, or sameness, 1. Exceptional Size- dominance is made which is a part of the visible by the sheer size of an element  2. Unique Shape- A discernible contrast in shape is critical, whether the differentiation is based on a change in geometry or regularity -Emphasis is the creation of a focal point—an area visually important enough to draw and hold attention.