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SYNOPSIS
Interior design, planning and design of man-made spaces, a part of environmental design and closely related to architecture. Although the desire to create a pleasant environment is as old as civilization itself, the field of interior design is relatively new.
Since at least the middle of the 20th century, the term interior decorator has been so loosely applied as to be nearly meaningless, with the result that other, more descriptive terms have come into use. The term interior design indicates a broader area of activity and at the same time suggests its status as a serious profession. In some European countries, where the profession is well established, it is known as interior architecture. Individuals who are concerned with the many elements that shape man-made environments have come to refer to the total field as environmental design.
PRINCIPLES OF INTERIOR DESIGN
It is important to emphasize that interior design is a specialized branch of architecture or environmental design; it is equally important to keep in mind that no specialized branch in any field would be very meaningful if practiced out of context. The best buildings and the best interiors are those in which there is no obvious disparity between the many elements that make up the totality. Among these elements are the structural aspects of a building, the site planning, the landscaping, the furniture, and the architectural graphics (signs), as well as the interior details. Indeed, there are many examples of distinguished buildings and interiors that were created and coordinated by one guiding hand.
COMPONENTS OF DESIGN
A general definition of beauty and aesthetic excellence would be difficult, but fortunately there are a number of generally accepted principles that can be used to achieve an understanding of the aesthetic considerations in design. One must note, however, that such understanding requires exposure and learning; an appreciation of any form of art needs such a background.
A thorough appreciation of design must go beyond the first impression. The first impression of the interior of a Gothic cathedral might be that it is somewhat dark or gloomy, but, by the time the visitor senses its majestic proportions, notices its beautiful stained glass windows and the effect of light, and begins to understand the superb structural system that permitted builders of cathedrals to achieve their lofty goals, he can truly begin to appreciate the overall aesthetic qualities.
All interiors, by definition, occur inside buildings and therefore have a very real relation to these buildings. The best interiors today, as well as in the past, are those that relate well in character and appropriateness to the particular building. The furnishings designed and scaled for spacious country homes or palaces would obviously be out of place in a small urban apartment or suburban home. A strong and unusual piece of architecture such as New York City’s Trans World Airlines terminal (at John F. Kennedy International Airport) could not be properly furnished with standard commercial furniture and products. The building, as well as the interiors, was conceived as a total design by the Finnish-born architect Eero Saarinen. Whether the observer agrees with the architect’s concept or not, he clearly senses the strong interrelationship between the exterior and the interior and therefore the aesthetic unity and success. Another successful interior and building is the Ford Foundation headquarters in New York City, the work of architects Kevin Roche and John Dinkeloo, with interiors by Warren Platner. The design is notable for its handsome spaces opening out toward an enclosed garden space. This obviously would not have been possible or appropriate if the view from the offices had been unattractive.
The interiors within indifferent or unattractive buildings must strive to make up for the lack of design qualities in the structures. Thus, it is sometimes necessary to ignore the ugliness of the building and create an inward-looking beauty if no architectural character exists.
The most difficult aesthetic consideration is the problem of appropriateness. The appropriate atmosphere or character of an interior must take all the foregoing points into consideration. The architectural character of the TWA terminal would make it inappropriate for use as an office building. The appropriateness of individual, more intimate, and small-scaled interiors is more subtle. The interior design of a discotheque would hardly be appropriate for a research library, and a college classroom would hardly provide the desired atmosphere for a kindergarten. Many of these responses and relationships are complex and have psychological as well as aesthetic factors.
ELEMENTS OF DESIGN
Of all the component elements that together form a completed interior, the single most important element is space. Spaces can be exhilarating or depressing, cheerful or serene, all depending upon the use the designer has made of the various elements that form the whole. Space is, in modern times, a costly commodity. The beautiful space of the Gothic cathedral achieved its success through generous proportions and lofty heights. Due to the vast increase in construction costs in contemporary structures, spaces tend to be smaller and less generous; more skill on the part of the designer is required to give such limited spaces a particular atmosphere or character. On the other hand, sheer volume of space is not sufficient. There is hardly a larger space than the interior of the Vehicle Assembly Building at the John F. Kennedy Space Center in Florida, yet the aesthetic impact of that immense interior is negligible. A space need not be large and monumental to be aesthetically successful. The handling of mass and form even within a small structure can become exciting and beautiful. Frank Lloyd Wright was masterful in creating beautiful spatial sequences within residential-scale buildings. The Ford Foundation building is a relatively small structure among the huge buildings of New York City, yet the experience of that space is real and pleasurable.
CONCEPTS OF DESIGN
The scale and proportion of any interior must always relate to the architecture within which the interior exists, but the other important factor in considering the scale of man’s environment is the human body. Throughout the ages, designers and architects have attempted to establish ideal proportions. The most famous of all axioms about proportion was the golden section, established by the ancient Greeks. According to this axiom, a line should be divided into two unequal parts, of which the first is to the second as the second is to the whole. Leonardo da Vinci developed a figure for the ideal man based on man’s navel as the centre of a circle enclosing man with outstretched arms. The French architect Le Corbusier developed a theory of proportion called Modulor, also based on a study of human proportions. Yet, at best, these rules are merely guidelines. They can never substitute for the eye and judgment of the designer, and it is reasonable to predict that attempts to make the all-powerful computer a substitute for the designer’s sensitivity are also bound to be far from perfect.
DESIGN RELATIONSHIPS
The real and conscious relationship between art, architecture, and design is of long standing. Though mural painting was largely neglected in the mid-20th century, in the past great murals have been the planned focal points of interiors and have in a way determined the architecture. Similarly, sculpture or sculptural forms, as fixed and permanent spects of buildings, can be the most important design features if planned that way by the architect together with the interior designer and artist. Perhaps the best design is one in which there is no visible difference between architecture and interior and in which even the artwork is incorporated as an integral part of the total.
INTRODUCTION TO INTERIOR DESIGN
Interior design is the art or process of designing the interior, often including the exterior, of a room or building. An interior designer is someone who coordinates and manages such projects. Interior design is a multifaceted profession that includes conceptual development, communicating with the stakeholders of a project and the management and execution of the design
Interior design, planning and design of man-made spaces, a part of environmental design and closely related to architecture. Although the desire to create a pleasant environment is as old as civilization itself, the field of interior design is relatively new.
Since at least the middle of the 20th century, the term interior decorator has been so loosely applied as to be nearly meaningless, with the result that other, more descriptive terms have come into use. The term interior design indicates a broader area of activity and at the same time suggests its status as a serious profession. In some European countries, where the profession is well established, it is known as interior architecture. Individuals who are concerned with the many elements that shape man-made environments have come to refer to the total field as environmental design.
HISTORY OF INTERIOR DESIGN
Elsie De Wolfe was one of the first female interior designers. Rejecting the Victorian style she grew up with, she chose a more vibrant scheme, along with more comfortable furniture in the home. Her designs were light, with fresh colors and delicate Chinoiserie furnishings, as opposed to the Victorian preference of heavy, red drapes and upholstery, dark wood and intensely patterned wallpapers. Her designs were also more practical; she eliminated the clutter that occupied the Victorian home, enabling people to entertain more guests comfortably. In 1905, de Wolfe was commissioned for the interior design of the Colony Club on Madison Avenue; its interiors garnered her recognition almost over night.She compiled her ideas into her widely read 1913 book, The House in Good Taste
As department stores increased in number and size, retail spaces within shops were furnished in different styles as examples for customers. One particularly effective advertising tool was to set up model rooms at national and international exhibitions in showrooms for the public to see. Some of the pioneering firms in this regard were Waring &Gillow, James Shoolbred, Mintons and Holland & Sons. These traditional high-quality furniture making firms began to play an important role as advisers to unsure middle class customers on taste and style, and began taking out contracts to design and furnish the interiors of many important buildings in Britain
In the past, interiors were put together instinctively as a part of the process of building.The profession of interior design has been a consequence of the development of society and the complex architecture that has resulted from the development of industrial processes. The pursuit of effective use of space, user well-being and functional design has contributed to the development of the contemporary interior design profession.The profession of interior design is separate and distinct from the role of Interior Decorator, a term commonly used in the US. The term is less common in the UK where the profession of interior design is still unregulated and therefore, strictly speaking, not yet officially a profession.
INDIA:
In ancient India, architects used to work as interior designers. This can be seen from the references of Vishwakarma the architect - one of the gods in Indian mythology. Additionally, the sculptures depicting ancient texts and events are seen in palaces built in 17th century India.
EGYPT:
In ancient Egypt, "soul houses" or models of houses were placed in tombs as receptacles for food offerings. From these, it is possible to discern details about the interior design of different residences throughout the different Egyptian dynasties, such as changes in ventilation, porticoes, columns, loggias, windows, and doors.
Throughout the 17th and 18th century, and into the early 19th Century, interior decoration was the concern of the homemaker or, an employed upholsterer or craftsman who would advise on the artistic style for an interior space. Architects would also employ craftsmen or artisans to complete interior design for their buildings
HOTEL DESIGN
Involves the planning, drafting, design and development of hotels.The concept of hotel design is rooted in traditions of hospitality to travellers dating back to ancient times, and the development of many diverse types of hotels has occurred in many cultures. For example, the advent of rail travel in the early 1900s led to the planning, design and development of hotels near railroad stations that catered to rail travelers.Hotels around Grand Central Station in New York City are an example of this phenomenon.Hotel interior design and styles are very diverse, with numerous variations existent.
COMMERCIAL INTERIOR DESIGN
Commercial interior design is the process of creating and overseeing the construction or renovation of a commercial space. Involving much more than simply decorating the interior of the space, commercial design will address such issues as the choice of building materials, the layout and placement of interior walls, plumbing and power systems, and even coordinating communications with construction professionals, owners, and service providers. This level of interior design requires the interior designer to have a solid working knowledge of architecture, as well as a sense for creating functional and attractive settings within the space.
Interior designers who specialize in commercial interior design often work with clients to develop a plan that begins with the actual construction or renovation of the building. This first segment of the process is often referred to as field verification. Essentially, this step has to do with taking measurements at the work site to determine the exact dimensions of the existing building shell or to determine the measurements for the building that will be constructed. At the same time, ideas about ceiling and lighting options will begin to emerge, as well as ideas about how to best arrange the interior space to meet the needs of the client.
ELEMENTS OF ART
ELEMENTS OF ART:
The visual components of color, form, line,shape, space, texture, and value. may be two-or three-dimensional, descriptive, implied, or abstract. Shape An element of art that is two-dimensional, flat, or limited to height and width.
LINE:
Lines that are used in designing interiors give a feeling of movement. Because the eye travels along a line, lines can appear to alter the size or proportion of a room. For example, if two identical rectangles are divided in half, one horizontally and one vertically, they will seem to be different sizes.
The rectangle divided in half vertically appears to be taller and thinner than the rectangle, which is divided in half horizontally. The second rectangle appears to be shorter and wider.
VERTICAL STRAIGHT LINES:
Vertical straight lines tend to give height, strength, and dignity. The exterior columns on a building suggest strength and dignity. Vertical features such as bookcases, panels, wall units, and floor to ceiling fire places create a feeling of dignity. Vertical lines often give a formal feeling to an interior.
HORIZONTAL STRAIGHT LINES:
Horizontal straight lines give a feeling of solidness and stability. Examples seen in interiors include dressers, low bookshelves, and other long, low pieces of straight-lined furniture.
DIAGONAL LINES:
Diagonal lines give a feeling of movement or action in a room. Examples of diagonal lines include slanting ceilings, a staircase, and woven cane furniture.
CURVED LINES:
Curved lines produce a flowing, graceful effect, which results in a feminine feeling in a room. Curved lines are found in archways, drapery swags, rounded and curved furniture, etc.
Too much line used in a room creates a feeling of instability and can be overpowering. Care should be taken to balance the use of curved and straight lines.
TEXTURE:
Texture refers to the surface quality of objects—how they feel. For example, a marble tabletop is smooth and cold; tweed is rough and warm, and velvet looks warm, soft, and napped (it has what is known as a pile).
Textures can also produce feelings in a room. Plush carpet and soft fabrics provide a sense of comfort, while glass, metal and stone give a feeling of coolness. Rough, nubby materials give a feeling of ruggedness and stability, while smooth velvets and brocade suggest luxury. By having an understanding of texture, you can bring character to a room.
SHAPE OR FORM:
The contour of an object makes up its shape. For example, a tabletop can be round, rectangular, square, or oval. Shape is two-dimensional. In a room, walls, rugs, and pictures are all two-dimensional shapes. When a third dimension is added to a shape, it becomes form or mass because depth is added. A bookcase has form because it has height, width, and depth.
Furniture creates form and its arrangement in a room can create different effects. For example, large heavy objects like a piano or sofa can give a feeling of stability. If there is too much variety in shapes and forms in a room, the result is a feeling of confusion. If there is no variety of shape and form, the result is monotonous.
SPACE:
Next to colour, space is the most important element of interior design. Space is the area in which everything is arranged. An empty room is a space. Wellplanned and well-organized space makes for a more efficient home; rooms that are free of clutter create a more restful feeling.
Different spaces may also convey different feelings. Large, open spaces give a feeling of freedom and sometimes luxury, as in a ballroom or the entrance to a theatre. Empty space may cause people to feel lonely and uncomfortable, like a room with a high ceiling and too little furniture.
These four elements of design, along with colour, form the background for applying the principles of design
DESIGN ELEMENTS AND PRINCIPALS
Principles applied to the elements of design that bring them together into one design. How one applies these principles determines how successful a design may be
Unity/Harmony
According to Alex White, author of The Elements of Graphic Design, to achieve visual unity is a main goal of graphic design. When all elements are in agreement, a design is considered unified. No individual part is viewed as more important than the whole design. A good balance between unity and variety must be established to avoid a chaotic or a lifeless design.
Methods
• Perspective: sense of distance between elements.
• Similarity: ability to seem repeatable with other elements.
• Continuation: the sense of having a line or pattern extend.
• Repetition: elements being copied or mimicked numerous times.
• Rhythm: is achieved when recurring position, size, color, and use of a graphic element has a focal point interruption.
• Altering the basic theme achieves unity and helps keep interest.
Balance
It is a state of equalized tension and equilibrium, which may not always be calm.
Types
• Symmetry
• Asymmetrical balance produces an informal balance that is attention attracting and dynamic.
• Radial balance is arranged around a central element. The elements placed in a radial balance seem to 'radiate' out from a central point in a circular fashion.
• Overall is a mosaic form of balance which normally arises from too many elements being put on a page. Due to the lack of hierarchy and contrast, this form of balance can look noisy but sometimes quiet.
Hierarchy
A good design contains elements that lead the reader through each element in order of its significance. The type and images should be expressed starting from most important to the least important.
Scale/proportion
Using the relative size of elements against each other can attract attention to a focal point. When elements are designed larger than life, scale is being used to show drama.
Dominance/emphasis
Dominance is created by contrasting size, positioning, color, style, or shape. The focal point should dominate the design with scale and contrast without sacrificing the unity of the whole.
Similarity and contrast
Planning a consistent and similar design is an important aspect of a designer's work to make their focal point visible. Too much similarity is boring but without similarity important elements will not exist and an image without contrast is uneventful so the key is to find the balance between similarity and contrast.
Similar environment
There are several ways to develop a similar environment:
• Build a unique internal organization structure.
• Manipulate shapes of images and text to correlate together.
• Express continuity from page to page in publications. Items to watch include headers, themes, borders, and spaces.
• Develop a style manual and adhere to it.
CONTRASTS
Space
• Filled / Empty
• Near / Far
• 2-D / 3-D
Position
• Left / Right
• Isolated / Grouped
• Centered / Off-Center
• Top / Bottom
Form
• Simple / Complex
• Beauty / Ugly
• Whole / Broken
Direction
• Stability / Movement
Structure
• Organized / Chaotic
• Mechanical / Hand-Drawn
Size
• Large / Small
• Deep / Shallow
• Fat / Thin
Color
• Grey scale / Color
• Black & White / Color
• Light / Dark
Texture
• Fine / Coarse
• Smooth / Rough
• Sharp / Dull
Density
• Transparent / Opaque
• Thick / Thin
• Liquid / Solid
Gravity
• Light / Heavy
• Stable / Unstable
INTERIOR DESIGN FLOOR COVERINGS:
Floor covering is a term to generically describe any finish material applied over a floor structure to provide a walking surface. Materials almost always classified as floor covering include carpet, area rugs, linoleum, vinyl flooring, wood flooring, ceramic tile, stone, terrazzo, and various seamless chemical floor coatings. The choice of material for floor covering is affected by factors such as cost, endurance, noise insulation, comfort and cleaning effort. Some types of flooring must not be installed below ground level, and laminate or hardwood should be avoided where moisture or condensation is present in the air.
Natural Wood:
Natural Wood is wear-resistant, long-lasting, provides a warm natural look which may darken with age but can be refinished or retouched as your needs change. However it is vulnerable to water, damp and moisture while softer woods, such as pine, may dent easily and are difficult to repair. When putting down a wood floor be aware that it may shrink and expand, creating gaps or warping so it is advisable to remove skirting boards first and leave room for expansion or shrinking that can be covered by the skirting boards afterwards. To keep wooden floors at their best place mats at entrances to catch dirt and put protective pads on the bottoms of chair and table legs to prevent scratches when moving furniture.
INTERIOR DESIGN FABRICS & FIBRES
Natural fabrics are made of natural supplements and can be expensive to purchase. However, as its name suggests natural fabric is more durable, soft, luxurious and resilient. Some of the common used natural fibres used to make fabric are linen, cotton, silk, hemp, jute, wool, horsehair, cashmere, mohair and camelhair. Artificial fibres are obtained from different engineered processes or alterations of existing natural fibres. The market of artificial fibres has widened due to modern techniques. Some of the popular artificial fibres used to create fabrics are acetate, rayon, triacetate and modified rayon, some of which are also explained below. Synthetic fibre is again man-made fibre that is used to improve the quality of natural and artificial fibres. Some of the improved synthetic fibres are acrylic, nylon and polyester.
Linen:
Linen is a natural fibre derived from the flax plant which provides tough yarn that is slight glossy and smooth in appearance. The fabric made from linen fibre is moth resistant and hard wearing. It can be easily washable and is also strong when wet. Linen tends to crease quite easily yet it makes a good choice for homeowners when it comes to a fabric for curtains. The collective term "linens" is still often used generically to describe a class of woven and even knitted bed, bath, table and kitchen textiles. The name linens is retained because traditionally, linen was used for many of these items.