PSYCHOLOGICAL ASPECTS OF INTERIOR DESIGN A DISSERTATION REPORT Submitted by MANOJRAJ.M.R.P in partial fulfillment for the award of the degree of BACHELOR OF ARCHITECTURE (INTERIOR DESIGN) MEASI ACADEMY OF ARCHITECTURE, CHENNAI ANNA UNIVERSITY: CHENNAI 600 025 OCTOBER 2015 ANNA UNIVERSITY: CHENNAI 600 025
Dessertation work of pshcological aspects of interior
Welcome message from author
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
PSYCHOLOGICAL ASPECTS OF INTERIOR DESIGN
A DISSERTATION REPORT
Submitted by
MANOJRAJ.M.R.P
in partial fulfillment for the award of the degree
of
BACHELOR OF ARCHITECTURE (INTERIOR DESIGN)
MEASI ACADEMY OF ARCHITECTURE, CHENNAI
ANNA UNIVERSITY: CHENNAI 600 025
OCTOBER 2015
ANNA UNIVERSITY: CHENNAI 600 025
BONAFIDE CERTIFICATE
Certified that this project report “PSYCHOLOGICAL ASPECTS OF INTERIOR
DESIGN” is the bonafide work of “MANOJRAJ M.R.P” who carried out the project
work under my supervision.
SIGNATURE
EXTERNAL EXAMINER
SIGNATURE SIGNATURE
HEAD OF THE DEPARTMENT AR.RAJAKRISHNAN
SUPERVISOR
Measi Academy Of Architecture, (CHIEF ARCHITECT)
87,Association Gardens,
New College Campus,
Peters Road, Royapettah,
Chennai 600014
OFFICE SEAL
Studio XYZ,
(Design division of shanmugam associates)
New no. 3 Singaram Street,
T.Nager,
Chennai – 600 017
1 | P a g e
Abstract.
Interior spaces play a huge role in our daily life. No matter what your profession is, your
life constantly revolves around these spaces. The daily interior experience affects our
mood, work and our whole lifestyle. Understanding of the function and the psychology
of the user is the key to a good interior design. From the material selection to upholstery,
colour palette and even furniture design should be according to the function and mood of
the interiors.
Effective interior design can lead to increased productivity and efficiency of the function
and it can even elevate the mood of the space. Any interior space is created to fulfill a
particular function, yet most of them disregard the psychological and experiential needs
of a human. A space will remain an empty void until and unless it is especially designed
for the human presence and the function that will take place in it. Understanding the
human needs and responses in interior spaces can be provided by sensory experience
which can leave a positive impact on the person. As Tadao Ando said:
“Spatial experiences in childhood exert an enormous influences on
one's later life. For that reason, we ought to create spaces that are not
only safe and functional but endowed with aesthetics individuality so
that they leave an imprint on human memory.”
The dissertation aims to focus on exploring how the interior design elements and
principles can be used to provide an sensory experience within the interior spaces and
how they create an impact on the person.
2 | P a g e
Table of Contents
Abstract ................................................................................................ Error! Bookmark not defined.
List of Figures…………………………………………………………………………………………………………….4
6.5 Unity and Variety……………………………………………………………………………………………43
6.6 Scale and Proportion……………………………………………………………………………………….44
7.0 Elements of Design ........................................................................................................................ 47
7.1 Form ........................................................................................................................................... 47
8.0 Psychological Effects of Light ....................................................................................................... 55
9.0 Psychological Effects of Colour .................................................................................................... 57
10. Case Studies ................................................................................................................................... 64
10.1 Kid’s Republic Bookstore, Beijing-China Designed by SKSK Architects……………………64
10.2 Barbie Flagship Store by Slade Architecture………………………………………………………..67
10.3 Ithaa underwater restaurant by mj murphy ltd :……………………………………………………..69
10.4 Ore-no kappa restaurant by japanese architect ……………………………………………………72
calm or relaxed and a happy person –depressed, just by the way interior has been
designed. Interior spaces are designed to affect the psychology of the user so that the
functions are performed in a more effective manner.
For an Interior Designer, space is a raw material which is moulded and shaped with the
different elements of interior design, like colour, texture, scale, proportion or light.
These elements can be used to create a sensory experience. Each of your senses responds
to the surrounding environment whether the experience is pleasant or not. Your work,
mood, health and well-being can be affected by the rooms you live and work in. Interiors
can be designed to stimulate, calm, relax and enhance your senses and psychological
reactions, so that the impact of space is elevated.
The dissertation aims to focus on creating a better understanding and perception of
interior design as an art form and a profession. It is an analytical research of interior
spaces and how human respond in these environments. It focuses on how interior design
can be effectively used to create a positive sensory experience which enhances the
interior environment. Case studies are included at the end of the dissertation which will
further explains the topic in detail. The aim of this research is to study the importance of
interior design in our lives and change the perception of it being only a decorative art
form.
The visual perception is one of the most powerful factors in the human psyche. From
the early hours, when the child opens his eyes to the world, it’s the visual environment
and surroundings which affects him the most. He discovers and explores the world by
the visual feelings and impressions. Interior Design is a visual art which can be
experienced, creating an overall impact on the physical and psychological well being
of the person.
10 | P a g e
2. HUMAN PSYCHOLOGICAL NEEDS IN THE INTERIOR
SURROUNDINGS
Psychology is the study of human mental functions and social behaviours.
Psychologist study the human mind by perceptions, emotions and behaviours, which
are evoked inside the mind. Our built- environment plays a very important role in
creating these perceptions and behaviours, affecting our personalities and even governs
our social interactions.
The physical space affects the human psyche when the characteristics of the space evoke
a reaction and cause us to behaviour in a certain way. Focusing on interior spaces, the
human mind is influenced by different levels of social interactions like privacy,
ownership and social gathering.
Privacy is a basic human need in which a person prefers to have less interaction with
people. For example, in a typical house interior layout, there are separate rooms for
personal privacy, which are also known as intimate spaces. Similarly, in workplace
setting, people prefer to have partitions and screening which provided some level of
privacy for the employees. In restaurant interior layout, there are private booth areas
for personal interaction with friends and family. Different interior functions require
different levels of privacy levels.
User Ownership is also an essential need in which a human claims a dominion of a
space. This ownership helps the human in having complete control of his privacy and
personal interactions. Owning this space, a person can personalize it according to his
personality, style and needs. On a larger outlook, houses are dominion for families
living in it, they have absolute control that space and how they wish to interact and
personalize. Zooming inside houses, each individual room is a dominion of a particular
person owning that room. Similarly, in offices, each workstation provides area ownership
for the employee to personalize the space. This personalization helps human in creating
settings in the interior spaces, which they can feel comfortable, and at ease in.
11 | P a g e
Social gatherings also influence human behaviours and interactions. They help in
providing forums for interactions and relationship. Parks, malls, cinemas, theaters,
gym, restaurants and shops are few examples of interior spaces, which provide different
level of social interactions. These spaces help a person built up person relationships as
well as provide a source of entertainment and fun, which positively affects the human
mind. The negative form of social gatherings is crowding. This type occurs when people,
creating unwanted social interactions, intrude personal space. Crowding can create
congested spaces within the interior spaces when the number of people in a space is more
than what was anticipated. This generates negative emotions and behaviour, which can
negatively affect the human mind.
The interior environment consist of two types of experiences: One is the physical
experience and the other is the psychological experience. Elements of an interior space,
which provides the physical experience, include wall planes, ceiling, floor, arches,
windows openings, partitions and circulation paths such as stairs and corridors. Whereas,
the psychological experience is dictated by the interior planning and design which helps
in creating patterns for social behaviour and interactions. These patterns are influenced
by the elements of interior design like light, colour, texture and sound. Combined with
the principles of design like symmetry, axis, rhythm, balance and proportion, the interiors
can provide a positive impact on the human psychology.The impact of these elements
will be discussed later in the chapter in detail.
2.1 Perception of Space
Perception can otherwise be termed as awareness between our bodies and the
awareness of other bodies, organisms and bodies around us. Perceived beauty and
personal involvement within an environment are key factors, which determine our
perception of space. As defined in the Measurement of Meaning by Osgood, Suci and
Tannebaum the factors influencing the perception of space are: 1. Evaluation- including
the aesthetic, affective and symbolic meaning of space 2. Power- the energy requirements
12 | P a g e
to adapt to a space 3. Activity- links to the noise within a space and the worker’s
relationship and satisfaction with job and task In “Effects of the self-schema on
perception of space at work” by Gustave Nicolas Fischer, Cyril Tarquinio, Jacqueline C.
Vischer, and the study conducted linking design and psychology in the workplace. In this
study they proposed a theoretical model linking environmental perception, work
satisfaction and sense of self in a feedback loop.
People's perception of their environment influences their social interaction within that
environment. Social interaction can be discussed in terms of four concepts: privacy,
personal interaction levels, territoriality, and crowding.
Privacy is a central regulatory human process by which persons make themselves more
or less accessible to others. In an office environment, privacy may be manipulated
through the use of partitions which protect the individual from physical, visual and
acoustical intrusion. The plan of an office environment establishes the privacy level at
which the office functions. Definition of an individual's interaction levels is one
mechanism used in achieving a desired level of privacy. Besides needing enough space
to move about and perform various tasks, each person moves within a domain that
expands and contracts to meet individual needs and social circumstances. The size of a
space determines perceptions, experiences, and uses of that particular environment.
People inherently discern their relationship with others in terms of distances, or spaces,
between them. Edward T. Hall defines four distinct distances at which interpersonal
transactions normally take place. These are categorized as intimate, personal, social, and
public1 (Fig. 1).
Figure 1: Levels of space: intimate,
personal, social, and public
13 | P a g e
· Intimate space is that area immediately surrounding the individual’s body. This area is
the most private and involves both physical and emotional interactions.
· Personal space is that area within which a person allows only select friends, or fellow
workers with whom personal conversation is mandatory.
· Social space is that area within which the individual expects to make purely social
contacts on a temporary basis.
· Public space is that area within which the individual does not expect to have direct
contact with others. The more intimate the spatial relationship, the more people resist
intrusion by others. Personal space factors are important in establishing privacy
requirements for interior design.
Territoriality is a means of achieving a desired level of privacy. It involves the exclusive
control of a space by an individual or group. This control implies privileges and may
involve aggressive actions in its defense. For the individual, territorial control provides
security and identity and is communicated through personalization and definition.
Crowding occurs when personal space and territoriality mechanisms function
ineffectively, resulting in an excess of undesired external social contact. Sociologically,
people respond to crowding in different ways depending upon the situation. Sometimes
humans tolerate crowding, though it may be unpleasant, because they know it is only
temporary. In some situations crowding may be considered desirable, it may even be
sought after if it is perceived as "part of the fun" or the expectation within a social setting.
In either situation, however, psychological discomfort may be experienced if the
crowding is perceived as too confining.
2.2 Human Response to the Interior Surroundings
Responses to the environment are complex and best understood in terms of three
psychological stages of human behaviour: perception, cognition, and spatial behaviour.
Perception of the environment, in its most strict sense, refers to the process of
becoming aware of a space by the acquisition of information through the sensations of
14 | P a g e
sight hearing, smell, touch, and taste. Cognition is the mental processing of this sensory
information. This may involve the activities of thinking about, remembering, or
evaluating the information. Spatial behaviour refers to responses and reactions to the
environmental information acquired through perception and cognition.
The designer creates environmental stimuli to direct these psychological stages as well
as the secondary processes of motivation, effect and development. Environmental
expectations, another determining element to be considered by the interior designer, are
developed over time through experience and interaction with the environment.
Sensations, in combination with expectations of the environment, define one’s
perception of a space.
'Senses are the physiological methods of perception'.
Human sense of touch, sight and hearing can be incorporated with the function of the
space to create an experience of the interiors. Whether the experience is good or bad,
it all depends on the interior design of the space. There are numerous examples of
sensory experience in our daily lives. For example, many people must have felt
relaxed or inspired, walking into a particular room. Similarly, people must have also
felt claustrophobic and tired in some room. These human responses are governed by
the interior design elements. Due to lack of knowledge or experience in interior
design, many a time, interior spaces only deal with one sense: the visual experience.
Lighting, colour, texture and spatial experience, if properly planned and design
according to function, can enhance the overall experience and efficiency of the space.
The human response in the interior spaces can be divided into three main sections:
psychologically, functionally and in social context. In psychological context, visual,
acoustic and physical privacy as well as the design elements are important factors, which
govern the human response. Control the amount of privacy level can help restraint
unnecessary interactions. Any type of privacy intrusion can disturb or irritate a person,
if it is not properly controlled. For example, if the no proper acoustic control in an office
15 | P a g e
interior spaces, the space can be less effective as people will feel disturbed and annoyed
due high noise value. Similarly, partitions or screens provided visual barriers to help
protect the privacy of each workstation.
Human responses are also influenced by the functional needs of any interior space. If the
space is not designed to meet the functional needs of the interior space, it automatically
reduces the efficiency level of the particular space. There are different sub-divisions
which needs to be considered like function, ergonomic and anthropometric requirements
of the space as well as the health and safety factors should also be considered while
designing. Whether it is a restaurant, office or bedroom, every function required specific
spatial layout, which is designed to meet its requirement. A restaurant typically has
private booth system and then an informal bar area, waiting area, reception and kitchen.
Lack of these facilities in the interior spaces will create negative psychological response
by the user.
The use of materials, furniture, furnishings, fabric and upholstery are factors which
influence ergonomics. Anthropometric requires the study of the human body
measurements in accordance with the function of the space. These measurements can be
applied to furniture as well as space planning and design. A kindergarten class will have
different furniture measurement requirement as compared to college lecture room. This,
Proper ergonomic and anthropometric needs should be fulfilled according to the function.
Lastly, Human responses in the social context refers to how human communicate with
each other in the interior spaces. It is very important to keep in mind how the interior
design affects the communication of people in that particular space. For example, looking
at the acoustics problems like echo, noise levels, distance and sound absorption
problems, this may effect communication at different levels. An important part of the
human experience in interiors depends on the acoustics of that space. For example,
16 | P a g e
a large auditorium requires sound to reach equally in every direction whereas an open
office layout or a restaurant requires sound to be contained within the workstation or
booth seating so that there is no noise disturbance. Another important factor is the
distance and layout of seating for the possible communication to take place. A very
common observation is that people prefer to sit opposite each other rather the side by
side while conversing. However, every function requires a different seating layout
according to the communication activities of that space. For example, an office
conference room requires a formal seating and distance between seating is farther apart
as compared to a restaurant, which may require a very casual and informal seating layout
in which people sit more closely to each other. Thus, it is important for designers to
understand the mode of interaction in that space and design communication areas
according to the function.
“I can't dictate how people will use these spaces, but I want
them to be aware of the possibility of dialogue. Space cannot
dictate to people, but it can guide people.”
-Tadao ando
Like architecture, interior design is meaningless without human presence. It is just a
container, which only attains its character and life when a human inhabits it. Human
presence and interaction in the space transforms it and gives it a true meaning. In
addition, it is important to understand that not every human will react similarly to
particular interiors. For example, a dark room may be scary and gloomy for one person
whereas the same room may provide peace and calmness to the other person. All these
factors are required to generate effective human response to the interior design. Thus,
proper knowledge and study of these factors is required in created a well- planned
interior design, which address the aesthetic and functional, needs of the interior space.
Each person responds uniquely when confronted with a specific situation or
experience. These responses fall into three categories—sociological, psychological and
physiological—all of which are influenced by factors within the interior environment.
17 | P a g e
2.3 Sociological Determinants
Sociological determinants relate to the social needs and problems of the occupants.
Factors that pertain to these sociological responses, including group dynamics and
communication, should be considered during planning.
2.3.1 Group Dynamics
Group dynamics (the interpersonal relationships among members of a small
group) are a result of the personality and cultural backgrounds of the individuals involved,
their task, and the nature of the physical setting. Spatial arrangements in small groups are
functions of environment, task, and personality. Various cultures respond differently to
the amount and arrangement of space. In determining the physical arrangement of an
interior space, the interaction distances between work groups and the tasks to be
performed are very important to successful communication and social relationships. The
study of small group ecology is important not only from the standpoint of understanding
the impact of social relationships, but also from the practical standpoint of designing and
maintaining a variety of functional spaces in which various relationships can be fostered.
2.3.2 Communication
Studies of communication reveal that, in conversation, people prefer to sit across
from one another rather than side by side. If the distance between conversing people
becomes too great however, they will usually choose to sit side by side rather than across
from one another. The scale of a room—it's size relative to the occupants—
also influences conversational distance. As room scale diminishes, people tend to sit
closer together. Likewise, increased noise levels and distractions drive people to sit
closer together.
18 | P a g e
2.4 PSYCHOLOGICAL DETERMINANTS
Psychological determinants in the planning of an interior environment relate to the
psychological needs and concerns of the occupants. Visual privacy, acoustic privacy, and
aesthetic factors are key determinants to be considered.
2.4.1 Visual Privacy Figure 2:
Visual privacy addresses the ability to limit other's
view of oneself. Inherent in human behaviour is the
tendency to avoid situations in which one can be watched
without being aware of who is watching. Visual privacy
can be achieved through the use of furnishings, partitions
or walls. In a private space or an office, people will often
orient their desk in order to visually control the doorway
and achieve a visually private space on one side of the desk (Fig. 2). Similarly, people
prefer to sit with a protected back, controlling the area they cannot see directly. In
restaurants, the first seats to be filled are usually those along the walls. In outdoor spaces,
people tend to sit against or beside objects such as trees and bushes rather than in the
open.
2.4.2 Acoustic Privacy
Acoustic privacy in an interior space results from effective treatment of the acoustic
environment as an interrelationship of many components: ceiling, partitions, furniture,
equipment, and floor. A complete acoustic system will generally provide adequate speech
privacy. Speech privacy is achieved when there is sufficient acoustic shielding to allow
conversation to be unheard beyond the participants of the conversation. A high quality of
speech privacy will contribute significantly to a desirable level of communication,
social interaction, and productivity. An appropriate relationship between background
noise and that produced within the activity space is conducive to speech privacy.
19 | P a g e
2.4.3 Aesthetic
Aesthetic appreciation is both expressed in and influencedby the environment. To
define aesthetic qualities, the designer needs to understand that the concept of beauty
differs with time and place, purpose and context. Values captured under the label
"aesthetic" can best be understood at a universally comprehensible level. These aspects
of a design go beyond the functional and constructional concerns, and are associated with
the specific way the design presents itself to the human senses. The designer uses an
object to serve some need or want. When we look at an object, its physical appearance
causes a sensory experience in us above and beyond its mere utility. The designer’s
appreciation of this experience helps him to communicate his intent and understanding to
the user.
2.5 PHYSIOLOGICAL DETERMINANTS
Physiological determinants relate to physical needs of the occupants. Factors to be
considered during the planning phase that deal with physiological responses include
functionality, ergonomics, life safety, and health concerns.
2.5.1 Functionality
Functional efficiency relates to the degree to which physiological needs are supported
in the interior space plan. These needs, which are physical in nature, relate to human
body requirements. Interior environments must respond to basic human functional
needs—vision, hearing, stability, and mobility—to achieve both comfort and efficiency.
The ability to comprehend one's environment as well as to perform tasks within it are
strongly dependent upon vision. The critical variables in human vision are visibility,
legibility and recognition. Hearing is critical because it not only affects ability to
communicate but also the general capacity to perform other tasks. The critical variables
in human hearing are audibility, intelligibility, signal-to-noise ratio, and noise annoyance.
Stability refers to elements that support individuals as they walk and move about or
perform functional or manipulative tasks. Some of the elements that need to be
20 | P a g e
considered in terms of mobility include slope of floors, width of walkways, depth of stair
treads, location of handrails, and height of door thresholds. All physiological needs affect
how a person perceives and reacts to an environment. When these needs are
appropriately met, the user will perceive the environment as successful. Studies show that
a worker’s productivity increases with an improved environment. Emphasis upon the
following specific environmental conditions contribute to improved worker efficiency.
Proper illumination for each task.
A suitable acoustic environment that allows ease of communication, limited intrusive
noise (and resultant distraction), and protection from ear damage where appropriate.
Human/facility interface features designed to be used within human mobility and
strength limits. (Special attention should be given to the removal of accessibility
barriers for the handicapped worker.)
Physical features of the facility that are compatible with typical human expectations
and comprehension.
A plan that conserves human energy.
An environment that allows workers to function within their most productive range
of motion.
2.5.2 Ergonomics
Ergonomic design recognizes that the environment significantly influences and impacts
human behaviour. Each aspect of the interior design—including space, furnishings, and
environmental variables such as temperature, sound, humidity, and ventilation—needs to
be carefully assessed in terms of its compatibility with the purpose for which it is
intended: to conform to the human body. The challenge is to plan for the intended
activities, furnishings, and finishes that are appropriate for the purpose of the expected
user. Ergonomics combines anthropometrics (human body measurement data),
physiology, and psychology in response to the needs of the user in the environment. This
data is used by the designer to create interior designs which are both humanistic and
functional in nature.
21 | P a g e
2.5.3 Life safety and health concerns
Life safety and health concerns are primarily focused on human response to
negative stimuli; the natural responses when an individual sense danger—generally
referred to as fight or flight. Life safety centers on the ability of an individual to vacate a
facility in a timely manner when necessary. Generally this is accomplished through an
assurance of adequate travel path capacity for the occupants of the space, and a clear
indication of a safe means of egress. In a panic or emergency situation, people generally
do not have the opportunity to decipher codes which may indicate safe passage at an
abstract level. It is imperative that the guide mechanisms be highly visible and clearly
stated. Obviously this impacts the designer’s desire to control the visual environment as
completely as possible. It is therefore in the designer’s (as well as the user’s) best interest
to be aware, from the outset, of the regulatory and common sense criteria that
guide the development of egress systems; to work with them to enhance the overall
plan, as opposed to applying them at the end over an executed design concept. Health
concerns are often less obvious than life safety. Ergonomic design is an aspect of health
consciousness. If a space functions properly for the task, it is less apt to cause physical
harm—such as repetitive strain injury (carpal tunnel syndrome) or simple backache.
Health concerns also factor into the selection of materials. Fumes from paints or carpet
adhesives may cause severe bronchial stress or headaches in some individuals. Often,
odors of even non-toxic elements may raise concerns that will foster absence among
workers. The designer cannot control all such contaminants, but must be conscious of the
range of possible impacts of material selections, and avoid such occurrences when
possible.
3.0 Visual Perception
• All visual phenomena can be classified in two large groups, visual perception and
visual cognition.
• Visual perception is detection of present scenes, objects and events (it will be
elaborated later in more details).
22 | P a g e
• Visual cognition is mental manipulation ("mentipulation") of absent contents. It
encompasses the different processes and capabilities. Imagery or visualization, that
is, creating mental images or mental representations of absent or unreal objects and
events.
• Visual perception includes the three domains, physical, physiological and
psychological.
• Physical domain encompasses the optical stimulation, that is, the light.
• Physiological domain encompasses the processing of optical information from eye to
the brain Finally, psychological domain refers to the phenomenological state of
consciousness during the watching particular object. Hence, information about the
object is at least twice encoded/decoded. The first encoding is transformation of light
energy into neural impulses, and the second encoding is transition from neural to
conscious level. Ambient light is reflected from the objects carrying the information
about their surface, texture, color (spectral composition), shape, size, relative
position, motion (direction and velocity of position change), orientation and so on.
One of the central question for vision science is how our visual system processes all
that features and how it binds them again in the coherent, stable and meaningful
perceptual object many people reached to the approaches of using smart materials.
Perception of invariants and transformations
Objects have invariant and variable features. Invariant features are intrinsic properties
of objects, such as size, shape and surface lightness/color. Variable features are
transformational states of objects, such as orientation, position (distance) and ambient
brightness. The transformations physically don’t change the intrinsic features: change
of orientation doesn’t change the shape of object, change of distance doesn’t change the
object size and change of ambient light doesn’t change the surface color.
23 | P a g e
Figure4: Invariants and Transformations
Figure 5: illusions: Zölner illusion (horizontal lines are parallel)
and lightness contrast (lightness of rectangle is uniform).
3.1 Gestalt Principles
Gestalt is a psychology term which means "unified whole". It refers to theories of
visual perception developed by German psychologists in the 1920s. These theories
attempt to describe how people tend to organize visual elements into groups or unified
wholes when certain principles are applied.
Gestalt theory discusses how we perceive objects in our environment. It discusses
the difference between figure and ground and examines how various principles help us to
Figure 3: Invariants and
transformations: shape-orientation,
size-distance,illumination (shadow)-
surface lightness We perceive both,
invariant and transformational states
of objects. For example, we see that
our friend going away from us
apparently looks smaller and
smaller, but in the same time we see
that he doesn’t change its size.
Similarly we see that the things
look darker in the night than during
the daylight, but we don’t see that
they change their natural color. In all
that situation we have no problem to
extract the invariant (intrinsic)
features from the transformations.
24 | P a g e
decide which is figure and which is ground. Gestalt is also known as the "Law of
Simplicity" or the "Law of Pragnanz" (the entire figure or configuration), which states
that every stimulus is perceived in its most simple form.
Gestalt theorists followed the basic principle that the whole is greater than the sum of its
parts. In other words, the whole (a picture, a car) carried a different and altogether greater
meaning than its individual components (paint, canvas, brush; or tire, paint, metal,
respectively). In viewing the "whole," a cognitive process takes place – the mind makes
a leap from comprehending the parts to realizing the whole, We visually and
psychologically attempt to make order out of chaos, to create harmony or structure from
seemingly disconnected bits of information.
The prominent founders of Gestalt theory are Max Wertheimer, Wolfgang Kohler, and
Kurt Koffka.
3.1.1Figure/Ground
“Elements are perceived as either figure (the element in focus) or ground (the
background on which the figure rests).”
Figure/ground refers to the relationship between positive elements and negative space.
The idea is that the eye will separate whole figures from their background in order to
understand what’s being seen. It’s one of the first things people will do when looking at
any composition.
Figure 6: This is the classic example
of figure/ground. Seeing a black vase on
the white background. One of the first
things people will look in the interior
space is to determine what is figure and
what is ground. This determination will
occur quickly and subconsciously in
most cases.
25 | P a g e
The focus at any moment is the figure. Everything that is not figure is ground. As our
attention shifts, the ground also shifts so that an object can go from figure to ground and
then back. Ground is sometimes thought of as background or negative space. Figure-
ground refers to the relationship between an object and its surround. Sometimes the
relationship is stable, meaning that it is easy to pick out the figure from the ground.
Figure 7: M. C. Escher Sky and Water 1 1938
Henri de Toulouse-Lautrec
Other times the relationship is unstable, meaning it is difficult to pick out the
figure from the ground. Rarely, the relationship is ambiguous, meaning that the figure
could be the ground or vice-versa.
Figure 8: figure and ground in the interior
spaces.
26 | P a g e
Figure 9: figure and ground in the interior spaces
3.1.2 Similarity
“Elements that share similar characteristics are perceived as more related than elements
that don’t share those characteristics.”
Any number of characteristics can be similar: colour, shape, size, texture, etc. When a
viewer sees these similar characteristics, they perceive the elements as being related due
to the shared characteristics. In the image below, red circles are seen as related to the
other red circles and black circles to black circles due to the similarity in colour. Red and
black circles are seen as dissimilar to each other even though they’re all circles.
Figure 10: Same elements in different colour
27 | P a g e
Focal point “Elements with a point of interest, emphasis or difference will capture and hold the viewer’s attention.” This principle suggests that our attention will be drawn toward contrast, toward the
element that is unlike the others in some way. In the image below, your eye should be
drawn to the square. It’s a different shape and colour from the other elements. I’ve also
given it a drop shadow to further emphasize it.
Focal Points.
The principle of focal points likely arises out of our need to quickly identify the unknown
to alert us to potential danger.
The principles of similarity and focal points are connected, and focal points can’t be seen
without the presence of similarity among other elements.
3.1.3 Proximity
“Objects that are closer together are perceived as more related than objects that are
further apart.”
The Gestalt law of proximity states that "objects or shapes that are close to one another
appear to form groups". Even if the shapes, sizes, and objects are radically different, they
will appear as a group if they are close together. Proximity is similar to common regions
but uses space as the enclosure. The objects don’t need to be similar in any other way
beyond being grouped near each other in space in order to be seen as having a proximity
relationship.
Figure 12:
Figure 11:
Focal point :In
a square, a
circular bath tub
is kept in the
center. Bath tub
is the focal
point. It will
draw attention
towards it.
28 | P a g e
• Arranging words into sentences or titles is an obvious way to group unrelated elements
to enhance their meaning (it also depends on a
correct order for comprehension).
• Also called grouping, the principle
concerns the effect generated when the
collective presence of the set of elements
becomes more meaningful than their presence
as separate elements. Figure 13: Shows Proximity
• Grouping the words also changes the visual and psychological meaning of the
composition in non-verbal ways unrelated to their meaning.
• Elements which are grouped together create the illusion of shapes or planes in space,
even if the elements are not touching.
Grouping of this sort can be achieved with:
• Tone / value
• Color
• Shape
• Size
• Or other physical attributes
3.1.4 Closure
“When seeing a complex arrangement of elements, we tend to look for a single,
recognizable pattern.”
As with Prägnanz, closure seeks simplicity. With closure, we instead combine parts to
form a simpler whole. Our eye fills in the missing information to form the complete figure.
Closure is the effect of suggesting a visual connection or continuity between sets of
elements which do not actually touch each other in a composition. The principle of
closure applies when we tend to see complete figures even when part of the information
is missing. Closure occurs when elements in a composition are aligned in such a way that
the viewer perceives that "the information could be connected." Imaginary lines called
29 | P a g e
vectors, or shapes called counter forms, are generated by these relationships, which the
eye understands as part of the composition even though there is "nothing there. Linear
vectors direct the path of the eye through the composition and determine where the eye
will go once it is attracted by the prominent features of the composition. A vector can be
straight or curved, depending on the relationships that form it.
Figure 14: Shows Closure .
3.1.5 Continuation
“Elements arranged on a line or curve are perceived as more related than elements not
on the line or curve.”
It’s instinct to follow a river, a path or a fence line. Once you look or move in a
particular direction, you continue to look or move in that direction until you see
something significant or you determine there’s nothing significant to see. The edge of
one shape will continue into the space and meet up with other shapes or the edge of the
picture plane.
30 | P a g e
Figure 15: Continuation
Zaha hadids Roco London
gallery shows a particular
path or direction to the user
in all the elements of the
buildings including the
materials and lighting.
Graffiti café Restaurant –
Wood is used as a
continuality from column to
the roof and it conceals the
ceiling light .
31 | P a g e
3.1.6 Symmetry or Order
“People tend to perceive objects as symmetrical shapes that form around their center.”
Symmetry gives us a feeling of solidity and order, which we tend to seek. It’s our nature
to impose order on chaos. This principle leads us to want balance in composition,
though our compositions don’t need to be perfectly symmetrical to be in balance.
Symmetry states that the viewer should not be given the impression that somethingis
out of balance, or missing, or wrong. If an object is asymmetrical, the viewer will waste
time trying to find the problem instead of concentrating on the instruction.
• Order has connotations of stability, consistency and structure.
• An orderly arrangement of elements has connotations that will be perceived either
positively or negatively by a viewer depending on the purpose of the communication
and the viewer's personality.
Figure 16: Similarity where it provides balances in the composition.
Taj Mahal is the best example for similarity
4.0 Cognitive theory
Cognitive theory is concerned with the development of a person's thought
processes. It also looks at how these thought processes influence how we understand and
interact with the world. The foremost cognitive thinker was Jean Piaget, who proposed
an idea that seems obvious now, but helped revolutionize how we think about child
development: Children think differently than adults. Piaget then proposed a theory of
cognitive development to account for the steps and sequence of children's intellectual
development. Cognitive theories of psychology are focused on internal states, such as
motivation, problem solving, decision-making, thinking, and attention.
32 | P a g e
Cognitive psychology is the branch of psychology that studies mental processes
including how people think, perceive, remember, and learn. As part of the larger field of
cognitive science, this branch of psychology is related to other disciplines including
neuroscience, philosophy, and linguistics. Each space in the architecture helps to think
based on the psychological aspects of the interior design.
How is Cognitive Psychology Different?
• Unlike behaviourism, which focuses only on observable behaviours, cognitive
psychology is concerned with internal mental states.
• Unlike psychoanalysis, which relies heavily on subjective perceptions, cognitive
psychology uses scientific research methods to study mental processes.
5.0 SENSORY EXPERIENCE IN INTERIOR SPACES
“ To an extent every place can be remembered partly
because it is unique but partly because it has affected
our bodies and generated enough associations to hold
it in our personal world. ”
Our experience in interior spaces rely on how our senses are affected in that space.
These senses record our experience and transfers it to the brain for interpretation and
understanding. These interpretations are then converted into our mind as memory.
Sensory experience is one of the main reasons we are able to recall memory of a specific
place. For example, Experience inside Hagia Sofia mosque, in turkey, is dictated by the
scale of the mosque, its diffusing light quality, openness and calmness experienced in the
space. Whereas experience inside the temples in south India, is dictated by the scale,
proportion and the minimal light with the use of high decorative ceilings. The colonnades
are common in temples with decorative sculptures, thus people tends to remember the
place easily. These associations remain with our memory of that space and they can be
easily recalled as they have been registered in our mind forever. This sensory experience
is dictated by the elements and principles of interior design used in the space. Thus each
33 | P a g e
and every space in the building psychologically affects the human being by using the
elements and principles of interior design in the space, as it tends to guide the people
subconsciously to the particular space.
6.0 Principles of interior design
The principles of design are used to organize individual elements into a workable,
aesthetic design concept. The Principles of interior Design are the ways that designers
use the Elements of interior design to create good Compositions
(decoration/arrangement’s). Design principles are ways of arranging or organizing
design elements. These principles evaluate each element in a design (magnificent vs.
mediocre right vs. wrong). The way the elements are arranged to create a feeling of
stability in a work. . They include balance, rhythm, emphasis, harmony, proportion, and
scale.
Paints, brushes and colour palettes are essential tools for fine artist to play with their
canvases, Similarly, the elements and principles of design are like tools for the interior
designers which can help them mold spaces according to their designs. These principles
provide designers the possibility of creating an illusion and play with the perception of
space. It is not necessary that all the principles should be applied in a particular space,
one or two main principles can be used to dictate the interiors and create the overall effect.
It is also important to consider the appropriateness while using any principle of design in
an interior setting, the principles used should respect the functionality and dynamics of
the space. The following is a brief summary of the basic principles of design and how
they can be manipulated to create an environment.
6.1 Balance
• Balance in interior design refers to the proper distribution of objects in a room to create
visual balance.
• Balance refers to the distribution of visual weight within a composition.
34 | P a g e
• Lack of balance disturbs the harmony of a composition. A work that is unbalanced
visually creates tension.
• Balance is created when there is an equilibrium of elements that need each other and
together they create Unity.
There’s three different kinds of balance:
symmetrical (formal),
asymmetrical (informal) Figure 17:
radial.
• Symmetrical (formal) Balance
He easiest way to achieve balance is by
using the symmetrical or formal form, objects
are repeated or mirrored along a central axis.
It’s when the space is evenly split into two
sides that mirror each other.
Symmetry is created by dividing a space and
the elements within it equally.
Symmetry can create order, formality,
calmness and stillness.
Symmetry Makes Design Simple
35 | P a g e
• Asymmetrical (informal) Balance
Asymmetrical design is typically created with an odd
number of disparate elements.
Lines, colours, forms and textures are balanced in a space
without duplication.
The two sides of a work of art are not exactly the same,
but are still visually balanced.
Asymmetry can look informal, natural and energetic.
A design effect in which elements on either side of an imaginary central line are
unmatched but appear to be in balance.
Asymmetrical balance makes for a more relaxed and lively interior space.
This balance scheme uses a central line but relies more on the eye's sense of balance to
complete the design.
Rather than having identical objects on either side of the central axis, asymmetrically
balanced spaces have different objects of equal visual weight on either side of the line.
Asymmetrical interiors tend to feel more dynamic and less rigid because in these spaces
a variety of objects types are working together to create balance.
Figure 18:
Although it's primarily a
practical space, a bathroom
works its best when it's
beautiful as well as
functional. In this
symmetrical layout, custom
his-and-her vanities on either
side of the central bathtub
divide the space. The dark
wood pops beautifully against
the neutral bathtub and tiles.
36 | P a g e
This form of balance can be more difficult to achieve it often requires an “eye for
design”.
Figure 19:
In this living room, the left
side of the fireplace serves as
the central line. The height
and weight of the sofa and
cushions on the right balance
the console on the left. The
height of the fireplace
surround also balances out
the tall bookshelves.
Figure 20:
You wouldn’t guess that the above photo of Microsoft’s new office, designed is balanced, but it is. This
is because it’s balanced in an asymmetrical way using variety in the visual weight of objects.
37 | P a g e
• Radial Balance
When there is a central focal point with other elements radiating from it or around it,
this is radial balance.
Radial balance is almost circular –distributed arrangement of items around a central
point either extending outward or inward.
You see radial balance less often in traditional
homes; round rooms are difficult to link to other
spaces. But the result can be stunning. The central
elements of a radially balanced room —like the dining
table and light fixture in this dining space —become
the immediate focal points.
this central point.
Figure 21:
The circular furniture placement
radiates from the central round coffee
table and makes the arrangement look
comfy and relaxed.
Figure 22:
The central elements of a radially balanced room —
like the dining table and light fixture in this dining
space —become the immediate focal points. The
chairs, sculpture and print all radiate out from this
central point.
This circular staircase creates a feeling of grandeur and focus. The hall table embraces
the radial balance of the space, and the circular planter attracts the eye. The dark color
of the table is an eye-pleasing link to the black metal railing.
38 | P a g e
6.2 Rhythm
The design principle that suggests connected movement between different parts of a
design by using colours, lines, forms, or textures; also referred to as continuity
Rhythm is visual flow: the eye should be able to ‘flow’ smoothly across the room.
Regular repetition of lines, shapes, or colours that create a movement.
Patterns have rhythm.
Rhythm refers to a way of utilizing the art elements to produce the look and feel of
rhythmic movement with a visual tempo or beat.
Rhythm is a feeling of structured movement created by the repetition of elements.
Rhythm can be used to create a sense of movement in, through or around a design.
Repeated elements and the spaces between them make patterns that we experience as
rhythm.
This helps to give a composition visual harmony by creating unity in a layout.
Examples include the repetition of similar shapes, colours or textures.
Rhythm can be accomplished through the following means:
1. Repetition
2. Alternation
3. Progression
1. Repetition
The repeated use of certain objects or physical attributes of decor elements.
For example: chevron patterns on both your sofa and wall tapestry, a series of similar
vases lining a mantle or a stack of books on a shelf.
Similarly-themed homeware and arts will also contribute to the theme of your interior
design.
Repetition is the simplest way to attain rhythm and can be achieved by repeating any
of the elements of design (line ,colour, texture and pattern, light, and scale and proportion)
or other design concepts in an organized and regular way.
39 | P a g e
Figure 23: He repeating wood slats on the
wall of this pizza shop creates a
playful rhythm and draws your
eye through the space.
Repetition is the simplest
way to attain rhythm and
can be achieved by
repeating any of the
elements of design (line,
colour, texture and pattern,
light, and scale and
proportion)
2. Alternations
Alternation is used to create rhythm by alternating two or more elements in a regular
pattern.
The pattern may be ABCABC or ABBABB, but always repeating in the same order
a modular sofa with alternating colours of white and green, placing a small roundtable
between two armchairs, or
even differently-shaped wall
recesses can achieve this
effect, as seen below.
Figure 24:
This restaurant displays both
repetitive rhythm, in the booths and
chairs, as well as alternation which
can be seen in the pendant lights that
hang in groupings with an
ABAAAABA rhythm.
40 | P a g e
3. Progression
Interior design elements placed according to size from smaller to bigger ones, or
perhaps according to the gradient of their colours.
Rhythm can also be achieved through progression. Examples are a gradation of colour
or a series of objects that start small and become large in a very regular manner.
6.3 Emphasis / Focus
attract attention.
has a focal point, whether it is architectural or an object.
ece of furniture can also be a focal point in a room.
point.
Figure 25: The Barajas Airport
is an excellent
example of rhythm
achieved through
repetition and
progression of
colour.
41 | P a g e
create emphasis.
FIGURE 26: A B
A. The single element of emphasis in this bathroom is the sink structure. The sink draws your eye to it
because of the bold gold and brown color, the shape and size of the element in the room. The shape
provides movement in the space and the colours complement the wall colour behind it. In this small
area, the sink dominates the space.
B. The ceiling in this kitchen is amazing, its the first thing my eyes went to when I saw the image. The
placement, color, shape, and size of the lighting makes this kitchen different and exciting.
Figure 27:
The sofas frame the
painting as the focal
point of this room,
with a white wall-
to-ceiling construct
juxtaposed against
the wall and ceiling
for further contrast.
42 | P a g e
6.4 Harmony
Harmony can be defined as consonance or the pleasing arrangement of parts or
combination of parts in a composition. While balance achieves unity through the careful
arrangement of both similar & dissimilar elements, the principle of harmony involves the
careful selection of elements that share a common quality or characteristic such as shape,
colour, texture or material. It is the repetition of a common trait that produces unity and
visual harmony among the elements in an interior setting.
Harmony, when carried too far in the use of elements with similar traits, can result in a
unified but uninteresting composition. Variety, on the other hand, when carried to an
extreme for the sake of interest, can result in visual chaos. It is the careful and artistic
tension between order and disorder – between unity and variety – that enlivens harmony
and creates interest in an interior setting.
Figure 28:
43 | P a g e
6.5 Unity and Variety
The basic aim of every interior designer should be to create spaces as a holistic
design. Every element should be considered in totality where everything relates to one
another. Nothing should be arbitrary to the interior design. The principle of unity brings
harmony and order to the interior space. This principle brings order and discipline of the
space. Every element should complement the other, creating a sense of wholeness in
terms of design. The principle of rhythm and repetition go hand in hand with unity.
Repetition of material, form, color, texture and fabric are used by designers to create that
sense of unity within the space. The principle of balance is also used to compose these
elements in an aesthetically pleasant design. The principle of unity is used throughout the
design process so that all the elements and principles used are in sync with each other.
When unity is achieved:
• a composition does not become cluttered or confusing.
• a concept can be communicated more clearly.
• a design evokes a sense of quality and organization.
Some of the ways to
achieve unity include:
1. Alignment
2. Similarity
3. Proximity
4. Repetition
5. Continuation
6. Overlapping
Figure 29: Repeating colors, shapes, values, textures, or lines
creates a visual relationship between elements, called correspondence.
44 | P a g e
6.6 Scale and Proportion
Scale is a common medium of comparison. Scale is the measure of one size
compared to another. In interior design, human scale is most commonly used as the
comparing factor. For example, we determine the scale of the space in terms of height
when we compare it to the human scale. By this comparison, we are able to deduce
whether a particular space is too height or too low for the human use. Even in furniture
designing, the scale of the seating is usually compared with the human scale so that it is
not uncomfortable in use. Thus, anthropometric is an essential area to consider while
designing interiors. If not consider properly, the design can result in being ineffective and
unusable. For example, if the scale of door knob is bigger than the scale of the human
hand, then the person will not be able to open the door. Or if the scale of furniture in a
kindergarten is not designed according to anthropometric of the children, then furniture
will be uncomfortable and ineffective. Scale can also be used to intimate a person in an
interior setting. The scale of a Gothic cathedral compared to scale of person standing
inside, is overwhelming which creates an pro-founding impact on the person. Proportion
refers to how elements within an interior space relate to each other as a whole. Proportion
is affected by the function and aesthetics of the space. Proportion is always in relation
with another thing. For example, space allocation in interior spaces should be in
proportion to the square footage required by each function. Japanese interiors provide a
perfect example of proportion, where the whole interiors planning is based on one module
as proportion - the
tatami mat.
Figure 30: Human Scale
45 | P a g e
Figure 31:
The classic Barcelona
chair is an icon, but because
it’s so low it often appears as
though it is not sized
appropriately for our
modern human scale.
In the room pictured above
by Design Partners
International for Kuper,
vertical line has been
applied to the ceiling and
wall to draw the eye down
and add a sense of
proportion to the space.
Without this consideration
for scale and proportion, this
room may not be so well
balanced simply due to the
low horizontal nature of the
seating.
Human Scale
Human scale refers to the feeling of bigness something gives us. If the dimensions of an
interior space or the sizes of elements within it make us feel small, we can say they lack
human scale. If, on the other hand, the space does not dwarf us or if the elements offer a
comfortable fit without dimensional requirements of reach, clearance, or movement, we
can say they are human in scale. Most of the elements we us to ascertain human scale are
those whose dimensions we have become accustomed to through contact and use. These
include doorways, stairs, tables and counters, and various types of seating. These
elements can be used to humanize a space that would otherwise lack human scale.
The issue of scale in an interior space is not limited to one set of relationships. Interior
elements can be related simultaneously to the whole space, to each other, and to those
people who use the space. It is not usual for some elements to have a normal, orderly
scale relationship but have an exceptional scale when compared to other elements.
Usually scaled elements can be used to attract attention or create and emphasize a focal