Strategic Interior Design

Copyright @ 2015 PIS-Dubai

2015 Pre-Symposium Lessons

MODULE 1

Introduction to Interior Design

LESSON 1 INTRODUCTION TO INTERIOR DESIGN

LESSON 2 THE VISUAL LANGUAGE OF DESIGN

LESSON 3 THE HISTORY OF STYLE DECORATION

LESSON 4 SCALE – SPACE PLANNING AND PROPORTION

LESSON 5 FLEXIBLE ELEMENTS OF DESIGN

Strategic Interior Design

PIS-Dubai …………. Strategic Interior Design Pre-Symposium Lecture Notes

Lesson 1 - Introduction to Interior Designing

History:

For most of us, Interior Designing is a fair new profession. Up until the 1940s,

interior designing was something only rich people could get done. But essentially, the

art of Interior Designing can be traced back to prehistoric humans. The cave men

used to decorate their living spaces with basic drawings. Hence, it will be farely safe

to say that designing and decorating is a primal instinct of human intelligence.

Modern Version of the caveman's Interior.

Decorating the home was an acceptable activity for middle-class women of the

nineteenth century and it was this activity in conjunction with architectural interest in

the design of the interior that ultimately led to the development of the profession. But

Interior design as a profession is only a twentieth-century idea. The twentieth century

brought about many changes in the profession of interior design, led by Edith

Wharton and Ogden Codman, through their book "The Decoration of Houses". This

book led to the emergence of professional decorators, including Elsie de Wolfe, who


claimed to be the first professional interior decorator.

Elsie de Wolfe

Elements of Interior Design:

Interior Design is still made up of eight elements: line, space, form, shape, texture,

color, light, and time.

While designing interiors, the abstract concept of Line becomes very real visually.We

may see a representation of a line as something drawn or placed in a space, or we

may understand it as a visual composition that leads our eyes through a room. Lines

inspire diverse mental emotions, like horizontal lines convey a more relaxed feeling

while Vertical lines may evoke a feeling of more formality. Being aware of the lines

both used and created in our spaces and all other aspects of our designs will help us to

understand the subtle messages we are communicating.

Space is three-dimensional element, and is defined by either physical or visual

boundaries. Based on the events within the boundaries, we can manipulate space.

One also needs to understand that we may design a space that meets a client's needs

by providing a large volume that's very open. We must also consider that specific

space in relation to the other spaces that interact with it. How is the inside space


related to the outside space? Are there visual relationships as well as physical

relationships? Each of these questions must be carefully considered as we create

spaces for ourselves and our clients.

The next two elements, Shape and Form are two distinct elements with individual

characteristics that set them apart from each other, even though they might seem very

interchangeable. Shape is a two-dimensional element that has only length and width

and occurs on one plane. Some common shapes would include a square, circle,

rectangle, and star. Other shapes are more free-formed and convey specific messages

within our designs.

Shapes and forms

On the other hand, Form is a three-dimensional element that has length, width and

depth. Probably the most common form we as designers work with is the rectangular

box, since this is the form of most of the spaces we are presented with. Different

psychological messages can be conveyed to clients and the users of our spaces by


creating more original forms for our enclosed rooms. Forms are typically understood

as either hollow (as in the room) or solid (as in a piece of sculpture), and each is

important to consider as we make choices throughout our designs.

The next element, Texture, is both a visual and tactile element, meaning that we

experience different materials as soon as we see them by visually understanding what

they should feel like. Then when we actually touch the materials, we experience the

texture. Holistic consideration of all materials becomes critical in creating interior

spaces, since textures should strengthen and relate to the other design decisions.

The feel of Texture in Interior

The elements of Color and Light are the most interdependant ones. Changes in one

will create changes in the other and colors viewed under different light sources will

change. So first the light source needs to be chosen and then the colors must be

chosen accordingly. Special care should be taken when using light sources such as

fluorescent and incandescent as they give off different colors of light. Best way to

learn is to start noticing the different types of light sources as you go into diverse


environments. Try and observe colors under each different type of light.

Like everything else in this world, Time effects Materials, styles, colors and forms.

Hence, while designing spaces, we must be aware of these changes to design spaces

that will remain pleasing over long periods. Another trait for a good interior designer

is to understand how changes within a space over the course of a day, month, and

year, effect lighting and in turn, many other choices you'll make.

Principles of Interior Design:

There are six principles of Interior Design:

Like in music, Rhythm in interior design carries the eye along a path at a pace that is

comfortable for the viewer. Rhythm can be found in the repetitive use of a color,

pattern, texture, line or even in furniture pieces. The primary goal of rhtyhm in a

space is to move the eye around the room and keep interest flowing.Your eye should

move easily around the room from one object to another without being jarred or

―tripped up‖ by any one object in particular.

This can be achieved by utilizing the same colour or pattern at various intervals to

keep the eye moving throughout the room or by directing the eye to various points

through the use of similar forms or shapes. The Barajas Airport by Richard Rogers

and Estudio Lamela is an excellent example of rhythm achieved through repetition

and progression of colour.

Barajas Airport by Richard


Balance pertains to the visual weight of an object, not so much the actual physical

weight. It can be created with symmetry; mirroring one side of an area or room to the

other with furniture, artwork or accessories. A large piano is balanced by a large sofa.

A sideboard with a large mirror hanging above it would be balanced with a china

hutch. Formal balance has symmetrical visual weights on either side. For example,

you can put 2 identical vases on either end of a table to create formal balance.

Balance can also be created with an asymmetrical approach, informal balance, by

introducing objects or furnishings that off set an imbalanced area in visual weight.

Microsoft‘s office Redmond, Washington, designed by Studio O+A, is an excellent

example of an asymmetrical way.

Microsoft‘s office Redmond

Unity and harmony is simply an orderly blend of lines, forms, colours, patterns and

textures.

While unity refers to the carful avoidance of visual conflict, harmony assures the

assimilation of various elements and objects throughout the room to create a unified

whole.

Unity describes the relationship between each of the various parts of a space and how

they relate to one another. If the room is traditional and feminine with a softly


coordinating colour palette, the introduction of heavily linear or starkly modern

furniture will throw off the entire composition. Similarly, a coat of glossy paint in a

singular colour can unify mismatched furniture or frames to create a harmonious

connection. The Banker‘s Hill Bar and Restaurant in San Diego‘s rustic finishes,

exposed structure, eclectic collection of chairs and deer mount all work together to

create a cosy, unified space.

Harmony can be achieved by thinking of the overall desired mood of the space. A

blend of similar furnishings and monochromatic colours can be used to induce of

peaceful, calming feeling. Likewise, the introduction of angular objects set against

softly rounded pieces can inject a visual tension to produce an exciting, dynamic

feeling so long as those pieces have a unified feel and aesthetic. BEHF Architeckten‘s

design for BIPA headquarters at Vösendorf – Austria, uses colour, pattern and shape

as harmonious elements in at least a couple of floors of open workstations.

BIPA headquarters at Vösendorf – Austria

Scale typically refers to a relationship between elements where there is a known size

of at least one of the objects. For example, a child-scaled room will typically have

smaller objects and/or funiture than an adult-scale room.

Scale is one of the most difficult principles to master but done effectively, can make

the difference between a mediocre design and a brilliant one.


While proportion is the ratio between the size of one object to another, scale refers to

how the size of that one object relates to another in context of the overall space. An

overly large carpet/rug would overpower the living rooms of most modern HDB

apartments in Singapore, as would massive wall decals.

The general rule of thumb is to vary the sizes and proportions of each object. By

ensuring a textural or colour link between them, objects will play against one another

for an interesting and exciting effect.

Two of the questions a good designer should always ask the clients during the

programming phase include: 1) What do you want to highlight in your space, and 2)

What do you want to hide in your space? These questions form a foundation for our

interior designers to create Emphasis - the focal point of a space.

The emphasis of a room can be created by converging lines, contrasting sizes, the

colour and texture of various pieces in a room, or the arrangement of furniture.

Emphasis is crucial in bringing a sense of purpose to a room, lending a more

substantial feel and disputing the notion that the room is for decoration or show only.

The most commonly used way to create focus is to use colour just like Wingardh

Architects did for Swedish law firm Vinge for their office at Gothenburg, Sweden.

Vinge law firm, Sweden.


Lesson 2

The Visual Language of Design


Lesson 2 - The Visual Language of Design

In the fantastic book Gamestorming, by Gray, Brown, and Macanufo (O‘Reilly

Media, 2010), the authors write about visual language as a distinct skill unlike

reading, writing, and arithmetic:

―Nearly every human endeavor, when examined, reveals the importance of visual

language. In legal proceedings, visual aids help juries decide complex cases.

Filmmakers create storyboards to help them bring screenplays to life. Medical

illustration helps surgeons and other medical professionals learn their trade. The road

signs we navigate by, the interfaces on our computer screens, and the logos that help

us find the stores we like are all examples of visual language in action.‖

Just as spoken language is based on fundamental letters, sounds and grammar, visual

language of design is based on elements and principles that, when used together,

create works that communicate ideas and meaning to the viewer.

Design elements are like letters and words. When we add design principles and apply

them to our elements, our words, we form a visual grammar. As we learn to use both


we enable ourselves to communicate visually.

Visual Grammar can be organized as :

Objects – The basic elements we have to work with. Can be abstract or

concrete.

Structures – The patterns formed from our basic elements. Can be abstract or

concrete.

Activities - The processes we can represent with our basic elements and

patterns.

Relations – The relationships between objects, patterns, and processes. They‘re

the way everything in your design relates to each other and the viewer.

Objects

Objects are the basic elements at our disposal. They‘re akin to letters and words. We

use objects to express different ideas and concepts. A circle is an object as is a line as

is a single character of type. A single point is an object as is an image of a person

holding your product. Objects are the most basic elements we can add to any design.

Objects can be abstract or concrete.

Abstract objects are idealized shapes that can‘t physically be created. For example

take a point. A point by definition has no area. It only has a position. Any point we try

to draw will have some kind of area if we are to see it and once it does, it ceases to

become a point. It can only exist as an abstract concept and not as a physical thing.

Abstract objects include Points, Lines, Surfaces and Volumes.

Concrete objects are perceived within defined limits called contours. Inside and

including the contour itself is our object, our shape, our form, and outside the contour

is everything else. Forms or shapes can be geometric, organic, or random (sometimes

called abstract). A circle is an example of a concrete object. It‘s contour being the


curved line that encloses it. Concrete objects have Form, Size and Color

Any element we place on the page is a concrete object. Remember abstract objects

can not physically be created. Abstract objects exist to talk about objects in general in

order to better describe them.

Structures

Whenever we place two or more objects in relation to one another we form a

structure. We describe these structures by the patterns they form. We must be able to

recognize the presence of a pattern in order to describe the structure. Structures have

structure lines connecting objects. These lines are the axis along which the objects are

arranged. Structure lines may be visible or invisible and they may be active or

inactive.

Abstract Structures

When the structure lines of a structure are invisible and inactive the structure is

considered to be abstract. Consider the image below. The circles are clearly arranged

in a pattern. There is a structure present, but the lines defining that structure are

invisible. Structures can be categorized as:

Formal – even distribution of elements and spacing (structure units) between

them

Informal – lacking regularity in the arrangement of objects. Even if a pattern

is observed the structure is informal if the objects do not follow straight

structural lines

Gradation – structure units change in form or size, but at an even rate

Radiation – structure units radiate from a common center

Spiral – uneven distribution from a common center


Concrete structures have either visible or active structure lines. Where abstract

structures indirectly show the structure, concrete structures directly show the

structure. Concrete structures can be visible compositions on their own such as the

patterns that form into textures.

Visible structures do not have to include objects. As long as the structure lines are

visible, the structure itself is visible. Visible structures can include the objects being

organized, but they don‘t have to. Both of the structures in the image below are

visible structures despite the absence of any objects in the second one.

Active structures are those where the structure lines influence the form of the objects

within the structure. In an active structure the objects need to be present, but the

structure lines can be absent as long as their influence is seen. In the image below

both structures are active despite the absence of any visible structure lines in the

second one.

Structures that can be seen and/or felt are textures. Textures can be formed from

either objects or structure lines or both. Textures can be ornamental, random, or

mechanical and we can classify them in the same way we classify abstract structures.

They can be formal, informal, gradations, radiations, or spirals.

Activities

They include:

Repetition : Anytime several objects share some characteristic repetition is

created. When more than one characteristic is shared the dominant one is used

to describe the repetition. Repetition helps create consistency and design flow.

Frequency/Rhythm : When the distance between repeated objects is identical

we have frequency. When the distance is varied between several frequencies

we have rhythm.


Mirroring : When light waves are reflected from the surface at the same angle

they fall onto it, an object is symmetrically rendered around an axis and

mirroring is created.

Mirroring against a volume : When the surface has several different angles of

reflection it becomes a volume. Volumes distort the reflected object and the

mirroring is no longer symmetrical about an axis.

Rotation : When an object moves around a point or axis it rotates around that

point or axis. The point or axis of rotation can be inside or outside the object.

Upscaling/Downscaling : When objects are scaled up or down their dimensions

remain in proportion to each other. Their width-to-height ratio remains

constant.

Movement : Within a visual design movement can only be shown as a

representation of movement. This representation can be shown as a sequence

or some illusion of motion.

Path : An object showing movement travels along an imaginary line or curve,

which is the object‘s path.

Direction : A moving object has a direction defined by a line or curve that

leads from start to end point.

Superordinate and subordinate movement : Objects can rotate, move back and

forth, or swing as they travel along a path. This secondary movement is the

subordinate movement, whereas movement along the path is the superordinate

movement.

Displacement : When only part of an object moves it‘s form is displaced.

Displacement is define by an angle between the original point and the new

displaced point.

Direction of displacement : Displaced objects move in a specific direction.

Relations

Objects placed in a composition relate to each other, they relate to the overall design,


the format and, they relate to the viewer. Through relations with each other, elements

can attract or repel, they can imply movement and flow. Through relation to the

overall design, elements convey a concept and theme. Through relation with the

viewer elements communicate different messages.

The list of relations is huge and includes, but not limited to:

Attraction/Static

Symmetry/Asymmetry

Balance

Groups

Fine/Coarse

Diffusion

Direction

Position

Space

Weight

Amount/Dominance

Neutral

Background/Foreground

Coordination

Distance

Parallel/Angle

Negative/Positive

As interior designers it‘s our job to communicate. Communications requires language

and for designers that language is visual. How can we communicate if we don‘t

understand the language to at least some degree?

In life we can communicate through the spoken word or through gestures. In design

we‘re bound by a visual language. Even the words on the page are made up of

characters of type which are abstract shapes. Written language itself is a visual

representation of spoken language.

point.


Lesson 3

The History of Style Decoration


Lesson 3 - The History of Style Decoration

From the very first caves we inhabited as human beings we chose to decorate them

with cave paintings that depicted the lives that were led in those days. From these

extremely humble origins the art of interior design has grown. Through most of the

ancient times and up through the renaissance the focus of the dwellings of the

common man was primarily that of necessity. It was more important for the common

man to be able to have the things necessary to survive than to have his home look

pretty. This left the decor to the nobility.

The Home of the Noble

In the history of decorating we find that in the ancient times, speaking of the roman

era through to the time of renaissance, it was the royalty or the wealthy class that was

involved in decorating their homes. The primary reason for this is that they did not

worry as much about their day to day survival as much as the common person. They

were able to spend the extra money that they had furnishing their home with the latest

linens, draperies, hand made elegant furniture etc. To have a home decorated it was a

sign of wealth that only the upper class had the fortune to enjoy.


Historically speaking we don't see a real interest by the common man in interior

decorating until the establishment of the middle class in the western world. Once the

middle class was established there was an influx of common people having more

money and the ability to be less preoccupied with their daily survival. This time

period really begins about the time of European Imperialism. This era created more

jobs for the common man such as; Merchants, sailors etc. These new jobs afforded

more luxuries to the common man, which allowed them to decorate their homes in a

more lavish style.

A typical home during the European Imperialism

Through out history the art of interior design has grown and changed. Publications

came into print depicting lovely homes. Fashion became a must for any suitable

person. This included fashion for the home and self. The advent of television created

a more universal style pushing interior decorating into a new era.

The four most important Periods of style decoration are:


Gothic Period: 1150 to 1550, 19th Century (Revival)

Gothic design was the first true ecclesiastical style and was symbolic of the triumph

of the Catholic church over paganism in Europe. The new age of soaring cathedrals

meant the initiation of new methods of building, to support this extreme weight.

Style had a religious symbolic base- think of old, ornate churches and you will be on

the right track. Pointed arches and stained glass in complex trefoil or rose designs

were predominant, exposed, wooden beams, large, imposing fireplaces, and emulated

candle lighting completed the ecclesiastical style. There was a strong vertical

influence, supported by the high arches and peaks of the architecture. Light was also

important, as windows grew more and more expansive and light and air flooded into

the once gloomy churches of the Romanesque period.

Ecclesiastical style in the Gothic era

Furniture was massive and oak, adorned with Gothic motifs. Chairs, bed frames,

cabinets were sturdy and featured arches, spiral-turned legs and rich upholstery in

dark colors. Old church furniture such as pews, benches and trestle tables finish the

look. Victorian gothic reproduction and Arts and Crafts era furniture can be used as


an acceptable alternative, as many of the same motifs crossed over.

The Gothic Style of furnishing

Colors were rich and dark, of the Victorian era. Purple, ruby, black, ochre, forest

green and gold added complemented the heavy furniture and rich design. Wallpaper

was ornate and heavily patterned in natural flowers and foliage. Also popular was

trompe-l‘oeil architectural features or stenciled designs. Walls were painted in flat

colors, to depict stones, and often covered in wall hangings- especially tapestries.

Obviously stained glass was a significant feature, and these were ideally accented

with pewter, wrought iron, suits of armour and candles. Decorative ribbing or

cornices were common and elaborately carved. Heraldic emblems were seen

everywhere.

The church most heavily influenced gothic design, and this medieval ecclesiastical

style shines strongly through. Architectural influences were mostly from Roman and

Medieval design, with elaborate carved wood and open tracery.

Georgian Period: 1714 to 1837

Severe lines and classic architectural details moved design away from the gentle


curves of Queen Anne design. Georgian style is characterized by its elaborately

carved cabriole legs, ball-and-claw feet, broken pediments, ornate carvings, piercing

and gilding.

In early Georgian times, heavy carved and gilded pieces were upholstered in velvet

and damask. Fabrics were luxurious: brocade, damask and tapestry, with colors and

patterns kept subtle. A royal style extended into common houses with cabriole legs

and claw feet on chairs and baths creating an almost throne-like feel. Mahogany

slowly replaced walnut as the wood of choice.

The Georgian Style at a Glance

The furniture was delicate, and the fireplace was the heart of the room. It was often

fully outfitted with cast iron, carved pillars and medallions, and an opulent fire

screen.

Colors were pale and subtle—cream, dusky rose, sage, pea green, powder blue.

Florals were also found, and in more grander houses, gold and murals were the

preferred wall coverings. Upholstery and curtains often had matching fabric.


Early Georgian style was the tail-end of Queen Anne design, and this gradually

became more severe in its lines and architectural detail. Architecture style was copied

from Ancient Greece and Rome, however a lot of Chinese design showed through in

the interior. Chinese motifs like peonies and chrysanthemums were found in the

fabric and Chinese porcelain and motif table lamps were common. Georgian furniture

was strongly influenced by Palladian, Rococo and Neo-Classic design.

Queen Ann Style of Decoration

Victorian Period: 1837 to 1901

Victorian period design was based on imitation and reproduction, made easier by the

induction of mass production.

Many different styles were revived, and often more than one influence featured on a

single piece. The Victorian era saw a great change in the middle-class home, as goods

became more available for the general population, and pride in the home emerged.


Style was eclectic, and some would say cluttered. Homes were filled to the brim with

big furniture and excessive amounts of ornaments. The Art Nouveau influence of

natural motifs was apparent, but in a less stylized manner.

The Victorian Style with its classic furnishing

Victorian period furniture was ornate in design and hugely overstuffed. Think of

plump, button back chairs, pouffes and ottomans. Furniture designers also drew on

influence from a variety of other eras for their work. Mahogany was the favored

wood and characteristic Victorian pieces were chiffoniers and sideboards- often

inlayed with ivory. Rooms were very densely furnished, to the point of overcrowding.

Victorian colors were rich and dark. Ruby red, forest green or blue, with heavy

damask patterns were prominent. The color palette was initially restricted until the

mastering of chemical process dying. Peacock greens and blues, magentas, violets

and raw pinks burst onto the scene. Fabrics were highly patterned. Velvet and damask

were of choice for the winter, switching to cotton and chintz for the cooler summer

months. Wallpaper became mass-produced and was embraced by the masses. Paper


went from the skirting board to the dado line and was pattered in flock, damask or

water silk.

Being an eclectic era, Victorian design was influenced by many; gothic and rococo

were most noteworthy. World trade and the industrial revolution meant a multitude of

new techniques and materials were available.

Edwardian Period: 1901 to 1910

The Edwardian era saw the beginning of a new century with a new king and a new

style of interior design.The heavy, dark, cluttered look of the Victorian era was gone,

and in its place, something much lighter and more cheerful.

The Edwardian Interior concept

This early 20th century style had an eclectic feel to it, and drew from elements of

Georgian, Medieval and Tudor style. Light, airy, and simplicity of detail were key

principles of this era.

Bamboo and wicker was the material of preference in Edwardian times. This added to


the already delicate and breezy nature of the style. Other furniture was reproductions,

drawing influence from baroque, rococo and empire style. The wing chair is a classic

shape, and upholstery favored chintz and damask in pale colors.

Shifting away from the darkness of the Victorian interior, colors were fresh and light,

with an informal feel. Patterns were feminine, with flowers and floral designs being

highly favored. Colors were predominantly pastels: blue, lilacs, greens, yellows and

grays. The floral theme was complemented by the liberal use of fresh flower

arrangements. Living rooms often took darker colors such as dark green for fabrics,

complemented with cream walls.

While not alive at the time, Thomas Sheraton had quite an influence on the design

choices made during this time. Along with Sheraton, Chippendale, Queen Anne and

Baroque reproduction furniture was widely used.


Lesson 4

Scale - Space Planning and Proportion


Lesson 4 - Scale - Space Planning and Proportion

Most of us are not familiar with the language of interior design. Words such as space

planning, form, scale, and depth sound like a foreign language to anyone that is not a

designer. However, ―every one of us has experienced being in a place that just feels

like ‗home‘ from the moment we walked in. Although we may not be able to describe

why, we know that it is comfortable, or inviting, or simply beautiful,‖ comments

Peggy Fuller, ASID and licensed designer #3904, of By Design Interiors, Inc.

Simplicity in home design

Given that your home is more than likely the principal investment of your lifetime,

the expert advice of a designer is priceless.

When it comes to creating an exceptional interior. As a designer it is sensible to that

you are informed about the products and services you are delivering, and knowing the

language associated with them is invaluable. It is the job of a designer to transform a

client‘s desires into a plan and define how it will be executed.


Space Planning

What is it, and why is it important?

Space planning is one of the most important aspects of interior design. It can have a

very strong impact on the success of a room. Without proper planning, a room can

end up awkward at best or disastrous at worst. Knowledge of furniture sizes and

space allowances, some imagination and a sense of composition really help too. In a

well-planned room space is used to its utmost effect. The room's needs and functions

are taken into consideration, and any difficult spaces or problem areas are dealt with.

Your goal is to accomplish this beautifully, comfortably, tastefully, and so gracefully

that the placement of all the objects in the room seems both obvious and surprising.

A scaled floor plan is like a map - it shows where you're going and how to get there.

With a good floor plan, you'll know the right sizes of furniture to purchase, and where

to put any existing pieces that you already have. You'll know how to place the

furniture for maximum usage and comfort with a pleasing sense of order.

A Typical Scaled Interior Plan


Space planning is the first step in a design plan for producing a room that flows well.

The size of a room and how it is going to be used, along with the amount and size of

furnishings going into that room all influence the space plan. Each one of these

elements must be considered in order to construct an area that is aesthetically

pleasing. Furthermore, unused spaces and odd shaped rooms require innovative

solutions. A skilled designer can help ensure the efficient and creative use of space

within a room.

Example of a successful space planning design: The home feels spacious and yet

intimate at the same time. The living room and family room areas can be opened up

so our guests can walk around comfortably, and there are plenty of places for people

to sit and talk. The designer ensures that everything fit correctly and coordinated

well.

Form and Function

Can form function?

Form is how something looks; function is how it works. Form and function work

together, and the importance of each are dictated by the intended use of a room as

well as the desires of the client. A good designer has the ability to balance both.


The best designs in the world are based on purpose and function. When a design

solves a functional problem as simply and elegantly as possible, the resulting form

will be honest and timeless. Consider the umbrella, the violin, and the canoe. Their

exceptionally pure and elegant forms are the result of performance-centric designs

that have stood the test of time.

Part of human nature to be drawn towards beautiful things—even if they aren‘t

exactly the right choice in the moment. This same theory weaves seamlessly into

interior design. You could go through a store and pick up every single stunning accent

piece you see, but when you put them all together in a room without a couch or table

or any other important or necessary item—they become clutter that generally serve

no purpose at all.

Notice the FORM of the sofa FOLLOWING the FUNCTION of the sofa

For this reason, it‘s best to keep in mind that form should follow function when it

comes to interior design. You don‘t want to fall into the trap of creating spaces full of

unimportant items just because they shine. Instead, you want to aim to create a space

that is equally efficient and appealing.


Example: The kitchen and family room are characteristically the most well utilized

rooms in a home because they are used by everyone in the family on a daily basis. As

a result, it would seem that function takes priority over form. Sometimes form can be

incorporated with a little forethought and ingenuity.

A Typical Functional Kitchen

While researching and selecting furnishings and other items for your client, you

should carefully considered the lifestyle needs of the family. It is important to that

every piece be purposeful in addition to stylish. For a large and cosy family, some

ways in which this can be achieved is as follows:

• If you are looking to accommodate the entire family with plenty of space for

relaxing, choose the family room sectional accordingly. Maybe construct it with

fabrics that are high in durability for a young, active family.

• For the coffee table, choose iron based copper top, for its stability, unique

appearance, and resiliency to endure the various cups, feet, and bottoms that end up

resting on it.

• Put a small wooden box on the coffee table to deal with the unsightly necessity of


electronic

remotes, and place a large colorful trunk against the wall to serve as storage for

games and toys.

It‘s about creating in your home something that will work for your client and make

them happy, not you - designer. Your clients should never feel like that you are trying

to put something in their home that they did not want.

Scale and Proportion

How do they affect the end result?

Proportion is primarily concerned with the relationship of one part to another. Our

eye is pleased with good proportion and disturbed by poor proportion, but the choice

remains a personal judgment. It involves every aspect of design and is extremely

visual. In Interior Design there is a ―two-thirds to one thirds‖ rule as reference for the

selection of colours, textures and patterns. Ancient Greeks designed all their buildings

on the Golden section 2:3


Scale refers primarily to the relative size or character of an object or to its parts. This

is in comparison with other objects either in whole or in part. A chair is small and a

table is large, but either can be small or large in scale depending on the space they are

placed in. Human scale too is of vital consideration. Rooms, furniture and equipment

must be suitably scaled and designed to meet people‘s needs and requirements. The

basic aim of form follows function is lost if human scale is not considered. For

example a kitchen should always be designed for the person who uses it most.

Heights of work benches can be adjusted in relation to the person‘s height, the

implementation of the ―work triangle‖ is important for a practical design.

Tips: Interior design tips for small spaces and rooms with low ceilings:

Use light colors on the walls

Paint the ceiling white, or lighter than the walls

Have lots of light – and use up lighters, to highlight the light ceiling

Keep home decor simple – limit patterns and choose small designs

Use mirrors and glossy finishes


Streamline your furniture – keep open spaces in mind when arranging

them

Stay as tidy and uncluttered as possible

Consider a simple style – traditional designs can be too fussy and cluttered

Match the scale of your furniture to the scale of your room

Wallpaper with vertical stripes can make low ceilings seem taller

Depth

How is it created?

Depth describes the degree of interest, complexity and intensity of something.

Several of the fundamental elements that create depth include color, pattern and

texture. Fabric is the first thing most of us think of when we hear these words, but

they apply to other surfaces, too.

A variety of hard surfaces can be applied in unique ways in order to create additional

interest in a room. In addition to being educated, experienced, and talented, a

professional designer provides an in-depth knowledge of products, materials, and


finishes that is invaluable.

Tips:

The walls, ceiling, and molding can be painted different shades of gold to

warm up the room and produce a calming atmosphere.

The matching bedroom furniture can replaced with pieces that are more to

scale. None of the items should match, but they should complemented each

other, bringing diversity and intrigue to the space.


Lesson 5

Flexible Elements of Design


Lesson 5 - Flexible Elements of Design

Interior design concerns itself with more than just the visual or ambient enhancement

of an interior space; it seeks to optimize and harmonize the uses to which the built

environment will be put. The interior designer must not only be knowledgeable

(though not an expert) in building systems, but also at times recommend a system

concept that supports the goals of the client and the design direction. To that effect,

Flexibility may be a key driver for the space. For example, in a family living/dining

area use furniture that's lightweight, it allows you flexibility when entertaining.

Collapsible / Foldable Doors to allow for more room

Spatial flexibility enables the space to be easily transformed to support a variety of

different program uses. A living room becomes a party space or banquet hall through

the use of folding panels, moveable partitions, curtains on cables, stage platforms,

moveable furnishings, and flexible lighting and sound fixtures. As an important

cultural and intellectual forum for public speaking engagements, music recitals,


poetry readings, and other academically related activities, the union can include these

design elements to accommodate this variety of regularly scheduled campus events.

By incorporating a modular building structure that will support the reconfiguration of

space over time, this structural flexibility can accommodate a variety of changes in

program, such as transforming small offices or meeting rooms into larger spaces and

vice versa. Like at George Mason University, a modular structural grid of columns

allows partitions to be nonbearing, creating the potential to move walls in the future

as the services provided by the facility evolve.

George Mason University

Business interiors should include a flexible design that can change and grow with a

company's operation and can portray an image as unique as their business. For

example:

Work stations that can be easily moved to accommodate staff and increase its

efficiency

Flexible lighting that can be reconfigured for various tasks


Flexibility in Interior Space Design

One of the most important businesses where Flexibility in Interior Design is required

the most is Hospitals and Clinics. New care protocols, patient populations,

technologies, aesthetics and branding messages can trigger updates to any facility's

interiors. The latest products and designs enable health care organizations to respond

to change with style.

Notice the partitioning drapes in a hospital ward


Clever details can make designs more flexible. For example, the Marshall and

Katherine Cymbaluk Medical Tower at Providence Regional Medical Center Everett

(Wash.), designers from the Seattle office of ZGF Architects used aluminum slat

walls to mount computer monitors and desk accessories off the nursing stations,

minimizing clutter and freeing the work surfaces for multiple uses.

More flexible solutions for health facilities might include demountable wall systems,

modular millwork or some combination of the two. With advances in engineered

product offerings, these systems can be tailored to suit most hospital needs.

Internal demount-able walls

Modular millwork often is defined as millwork that is reconfigurable, finished on all

six sides, and can be moved or added to with less disruption to the interior

environment than conventional built-in millwork. Modular millwork cabinets

typically are attached to a traditional gypsum wallboard partition on a track or rail

unique to each manufacturer. The track replaces blocking that is used to anchor

millwork in typical wall construction.

Another important business where Flexibility in design is needed is Colleges and

Educational Institutions. These instituions must constantly reinvent itself to keep pace


with evolving services and programs. As they constantly rethink how to deliver these

enhanced programs and services, they are charged with creating space that not only

accommodates today's needs, but also addresses as yet unknown needs of the future.

While this is a complex undertaking, it makes the programming, planning, and

(re)design of existing and new facilities challenging and rewarding. As a result, some

spaces might be designed in such a way that they require no reconfiguration to

accommodate a variety of similar uses, others might be designed to accommodate

temporary reconfiguration, and still others are designed for long-term adaptive reuse

to accommodate major shifts in function.

Hansen Student Center at Illinois Wesleyan University offers an example of

programmatic flexibility. When the center opened its doors a few years ago, the

traditional pub environment on the lower level was an immediate success with

students, especially those under 21 years of age who wanted to hang out in an

"authentic" looking bar geared toward adults, not a trendy club for youngsters. To

meet this need, the union's daytime campus eatery, "Tommy's," can be transformed

easily into an intimate nightclub for live performances in the evening by simply

softening the lighting over the dining and bar areas and redirecting the spotlights to a

small performance space at the rear of the pub. No spatial alterations or changes in

decor or furnishing are required. This strategy is particularly suited to

accommodating multiple programming changes throughout the day without spending

time or energy reconfiguring space. Similarly, at Macalester College, the dining area

can accommodate performance space for music, poetry slams, or stand-up comedy.

The dining area doubles as the seating/dance area, which focuses on the stage at one

end of the space.


Macalester College

The key to programmatic flexibility is to appeal to the diverse tastes and preferences

of all campus community members by transforming the space's use while the interior

design elements remain fixed. The challenge for the architect is to design space that is

sufficiently generic to accommodate multiple uses, but which creates a sense of place

that is also aesthetically distinctive.

Increase building flexibility and ease of adaptive use over the life of the structure by

employing at least three of the following strategies.

Use interstitial space. Design distribution zone utility systems and equipment

including HVAC, plumbing, electrical, information technology, medical

gases, and life safety systems to serve the occupied zones and have the

capacity to control multiple zones in clinical spaces.

Provide programmed soft space, such as administration or storage, equal to


at least 5% of departmental gross area (DGA). Locate soft space adjacent to

clinical departments that anticipate growth. Determine a strategy for future

accommodation of displaced soft space.

Provide shell space equal to at least 5% of DGA. Locate it such that it can be

occupied without displacing occupied space.

Identify horizontal expansion capacity for diagnostic and treatment or other

clinical space equal to at least 30% of existing floor area (excluding inpatient

units) without demolition of occupied space (other than at the connection

point). Reconfiguration of additional existing occupied space that has been

constructed with demountable partition systems is permitted. Design for

future vertical expansion on at least 75% of the roof, ensuring that existing

operations and service systems can continue at or near capacity during the

expansion.

Designate space for future above-grade parking structures equal to 50% of

existing on-grade parking capacity, with direct access to the main hospital

lobby or circulation. Vertical transportation pathways that lead directly to the

main hospital lobby or circulation are acceptable.

Use demountable partitions for 50% of applicable areas.

Use movable or modular casework for at least 50% of casework and custom

millwork.

Base the calculation on the combined value of casework and millwork, as

determined by the cost estimator or contractor.

One new age idea which interior designers can push for is "Design flexible offices

with employees in mind". Companies that focus broadly on the user experience are

learning that it‘s also a crucial component of workplace productivity. Workplace

interiors that prioritize a simple, intuitive and beautiful ―user experience‖ are places

where employees are more engaged. And highly engaged employees have 37 percent

less absenteeism, 28 percent higher gross margins and 18 percent higher productivity.


One design factor alone can have a significant impact on increased engagement: the

ability to choose a workspace based on the task at hand. Office space must be flexible

and offer not only offices and workstations, but also a variety of unassigned spaces.

Phone rooms for personal phone calls. Headache rooms with dimmable lights. Team

rooms suitable for brainstorming sessions.

Another workplace design concept that is increasing productivity by replacing the

traditional break room is the ―work cafe.‖ These often are modeled after coffee shops,

such as Starbucks, that also function as community gathering places. The new work

cafés invite people in with warm, welcoming colors and materials and allow the

capacity to power devices. They offer various seating configurations, whether tables,

comfy chairs or sofas. People gravitate to them to meet, eat and relax. In the process,

they think, act and work more collaboratively.

Well-designed workspaces now have built-in controls to make people comfortable —

and therefore more happy and productive. We often recommend task lamps that are

dimmable. Some of the more robust lamps even let users adjust between warm and

cool tones. Underfloor air systems allow individuals to close and open vents to suit

their internal thermometers.

Another great example is - Moscow-based architectural studio Ruetemple that has


designed a compact and clever student accomodation. Designed for two siblings, the

apartment features moveable furniture that allows one to change the configuration of

the space, allowing for sleep, or to entertain visitors. Through a series of smart

choices, the space becomes instantly flexible, devised to make everyday life easier.

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Strategic Interior Design