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A C T I V I T I E S
Pazartesi, Haziran 29,2015
10:00 ''ankaya niversitesiTantm Gnleri''
Sal, Haziran 30, 2015
10:00 ''ankaya niversitesiTantm Gnleri''
aramba, Temmuz 1,2015
10:00 ''ankaya niversitesiTantm Gnleri''
LECTURE NOTES
YOU ARE ONLY RESPONSIBLE OFLIGHT AND COLOR FOR THE
FINALEXAM!!!!!!!
/uploads/files/INAR121%20designelements4%20LIGHTa%202014-15.ppt/uploads/files/INAR121%20designelements4%20LIGHTb%202014-15.ppt/uploads/files/INAR%20121designelements4%20LIGHTc%202014-15.ppt/uploads/files/COLOR%20AND%20COLOR%20PSYCHOLOGY%202015.pptx
YOU ARE NOT RESPONSIBLE FOR THE OTHER SUBJECTS IN THE FINAL
EXAM!
DESIGN:The term describes all of the decisions that determine
how a particular object, space,or building will be. It includes
most purposeful changes to the physical environment.Design can also
be described as determination of form. Form is understood tomean
every aspect of every quality, including size, shape, material,
structure, texture,and color, that makes one particular physical
reality different from any other. Forexample, when we speak of a
house, an office, chair, or vehicle, we refer to certaingeneral
characteristics, and the useful purposes they serve; but nothing of
thespecifics that make them unique, different, special. It is the
design differences thatmake them different, so that we can compare
them as better or worse.
Designers represent a variety of approaches and aesthetic
attitudes. But
they share an understanding at some basic level of what a good
design is:
A Good Design Satisfies 3 Essential Criteria:1. It works well,
serving the needs andrequirements of its users,2. It is well made
of good and appropriatematerials,3. It is aesthetically
successful.So basically, when we analyze and evaluate a design, we
view it in terms of
three qualities:
1. FUNCTION
2. STRUCTURE AND MATERIALS
3. AESTHETICS
ARCHITECTURE:Taking the concept of design, we can move on to
Architecture. It has been said thatdesign is the purposeful changes
made to the environment, architecture is thereforeany construction
that deliberately changes the physical environment according tosome
ordering system. By order we mean classification, organization
anddifferentiation.
PURPOSES OF ARCHITECTURE:- Architecture provides settings for
certain activities such as sports, education,leisure activities
etc.
- It reminds people of what certain activities are, for example,
eating, studying, etc.
- It signifies power, status, or privacy as in government
buildings, or wealth andrichness as in residential buildings.
- It expresses and supports beliefs, as mosques and churches
do.
INAR121INTRODUCTION TO INTERIORARCHITECTURE
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- It communicates information. For instance, we can talk about
the time a buildingwas built by looking at the types of materials
used, or the style of the elements usedsuch as columns, or talk
about the climate, thickness of the walls, etc.
- It helps establish individual or group identity. Home vs.
classroom, studios.
- And it encodes value systems. Building types are differ among
differentcultures. For example Japanese housing is different than
Turkish housing)
ARCHITECT:An architect is a person trained in basic building
construction, and designs buildingsfrom the foundation up. In many
cases, the architects design includes many interiorelements such as
room shapes, door and window locations, details and selection
ofmaterials, and elements such as lighting, heating, air
conditioning, plumbing andrelated fixtures. Note that you will be
hearing the abbreviation HVAC many times inthis profession.
INTERIOR ARCHITECTURE:We all know how important it is to create
spaces that are comfortable, organized,convenient, and pleasant.
Therefore Interior architecture describes a group of
relatedprojects that are involved in making any interior space into
an effective setting for allhuman activities that take place.
Interior architecture is an exploration of the wholespectrum of
architecture necessary for human accommodation, comfort, and
delight.It focuses on the humanistically conceived space and seeks
to synthesize theparallel development of architects, interior
designers, and artists. Interior architectureis a combination of
all these disciplines.
INTERIOR ARCHITECT:An interior architect is a designer who deals
with the basic arrangement of spaces,room arrangements, and manages
technical issues such as lighting and acoustics,taking into
consideration aesthetic values, and social and emotional needs of
theusers.
The Interior Architect:
A professional Interior Architect is a person, qualified by
education, experience,and recognized skills, who - identifies,
researches, and creatively solves problems pertaining to the
functionand quality of the interior environment; - performs
services relative to interior spaces including programming,
designanalyses, space planning, aesthetics, and inspection of work
on site, usingspecialized knowledge of interior construction,
building systems and components,building regulations, equipment,
materials, and furnishings; - and prepares drawings and documents
relative to the design of interior space,
in order to enhance the quality of life and protect the health,
safety, and welfare ofthe public. ELEMENTS OF DESIGN:
The relationship among the elements of a design give it
individuality. In order to lookat a design as a whole, we must
consider the pattern or interrelationship amongthem. We should be
conscious of the visual characteristics of things and how
theyrelate to aesthetic quality of our environment. Each of these
elements contribute tothe overall design and its effect.
DESIGN ELEMENTS:
1. LINE
2. FORM
3. SHAPE
4. TEXTURE
5. PATTERN
6. COLOR
7. LIGHT
8. SCALE
9. SPACE
POINT: Is the generator of all forms. It is static and
directionless. When point moves itmakes a LINE.
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A LINE CAN BE IMPLIED BY: I) POINTS
II) II) SIMILAR ELEMENTS IF CONTINIOUS
III) III) TEXTURE QUALITIES
HORIZONTAL LINES REPRESENT:
1. Stability
2. Strength
3. Plane upon which we stand or move
VERTICAL LINES REPRESENT: State of equilibrium with force of
gravity.
DIAGONAL LINES REPRESENT:
1. Rising and Falling
2. Movement
3. Active and Dynamic
CURVED LINES REPRESENT:
1. Movement deflected by lateral forces
2. Gentle movement
3. Uplifting or solidity and attachment to earth
4. Small curves can express playfulness, energy, or pattern of
biological growth.
WITHOUT LINE THERE IS NO DEFINITION OF SHAPE.
LINE IS ESSENTIAL IN THE FORMATION OF ANY VISUAL
CONSTRUCTION.
LINES ARTICULATE EDGES OF PLANES AND CORNERS OF VOLUMES.
LINES CREATE TEXTURE AND PATTERN
A composition with too much of any one type of LINE may become
uninteresting orunpleasant; but emphasizing one type promotes
them.
PLANE has 2 dimensions: WIDTH & LENGTH but has NO DEPTH
PLANAR FORM QUALITIES:
I) MATERIAL
II) COLOR
III) TEXTURE
IV) PATTERN
PLANAR FORMS ARE FUNDAMENTAL ELEMENTS OF ARCHITECTURE
VOLUME: Is a plane extended in a direction other than along its
surface
Volume can be either SOLID or VOID
SOLID: Space displayed by MASS
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VOID: Space enclosed by planar forms
FORM: Describes the contour and overall structure of a
volume
Visible form gives space:
I) DIMENSION
II) SCALE
III) COLOR
IV) TEXTURE
SHAPE: Is the primary means by which we distinguish one form
from another
SHAPE refers to:
I) The contour of a line
II)The outline of a shape
III)The boundary of a 3 dimensional shape
3 BASIC GEOMETRIC SHAPES ARE
I) CIRCLE
II) SQUARE
III) TRIANGLE
WHEN EXTENDED INTO 3-D, THE PRIMARY SHAPES GENERATE
SPHERE
CYLINDER
PYRAMID CONE
CUBE
CIRCLE: Is a compact shape, it is introverted, the centerpoint
represents:
I)UNITY
II)CONTINUITY
III)ECONOMY OF FORM
TRIANGLE: Represents stability
I)It is stable, resting on one of its sides
II)When tipped to stand on one of its points, it becomes
DYNAMIC
TRIANGLES COMBINE TO FORM POLYGONAL SHAPES
SQUARE: Represents the pure rational equality of its sides, they
expressREGULARITY and VISUAL CLARITY
I)It is stable, resting on one side, no direction
II)Standing on one corner, it becomes DYNAMIC
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A rectangle is a variation of a square with the addition of:
WIDTH & LENGTH
VARIETY to rectangle is achieved by:
1. SIZE
4. TEXTURE
3. COLOR
2. PROPORTION
5.PLACEMENT
6. ORIENTATION
IN DESIGN WE PREFER RECTANGULAR SHAPES BECAUSE THEY ARE:
I)EASILY MEASURED
II)EASILY DRAWN
III)EASILY MANUFACTURED
IV)FIT WELL IN CONSTRUCTION
TEXTURE: Refers to the quality of a surface because of its 3-D
structure
Texture describes:
I) Smoothness or roughness of a surface
II) The characteristic surface qualities of familiar materials
such as stone, wood,fabric
2 BASIC TYPES OF TEXTURE:
TACTILE: felt by touching
VISUAL: seen by eye
The visual texture of a surface gives information about its
tactile quality withouttouching
PHYSICAL REACTIONS GIVEN TO THE TEXTURE QUALITY OF A
SURFACEDIFFER ACCORDING TO:
I) SCALE: The finer the scale of a texture, the smoother it
becomes
II) VIEWING DISTANCE: From farther distance, texture looks
smoother
III) LIGHT: How much light a surface reflects, gives information
about itsmoothness
Texture and Light
DIRECT LIGHT ENHANCES TEXTURE
SMOOTH SHINY SURFACES REFLECT LIGHT
MATTE OR MEDIUM ROUGH TEXTURE ABSORBS LIGHT UNEVENLY
Pattern
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Is the 2 or 3 dimensional ornamentation of a surface based on
therepetition of a design motif (shapes)Pattern can be created by
texture, points, lines and formsToo much pattern makes a design
look busy or crowded
DAYLIGHT / NATURAL LIGHT - ARTIFICIAL LIGHT
Light is not what we see, but what we see by. Exactly what we
perceive dependsupon the kind and quality of light available. The
light bouncing off objects reflects backto the eye variations of
brightness and color that correspond in a complex geometricway with
the size, shape, distance, color and texture of those objects.
NATURAL LIGHT:THE SUN IS THE OLDEST SOURCE OF LIGHT KNOWN TO US.
ITS RADIATION NOTONLY PERMITS US TO SEE, BUT ALSO ALLOWS THE
LIFE-SUPPORTINGPROCESSES TO TAKE PLACE. ROOMS THAT ARE ILLUMINATED
BY SUNLIGHTHAVE A VITALITY ABOUT THEM.
Daylight is highly variable, its angle and brightness changes
over the course of theday and the year, and with fluctuations in
the weather. Because natural light is bothhorizontal as well as
vertical, it helps define the changing contours and textures
ofsurfaces. It also provides light from the entire light
spectrumeven those frequenciesthat we cannot perceive with our
eyes. Some lighting experts argue that the qualitiesof daylight are
essential to a sense of well-being in people, and that lack of
daylightleads to boredom, fatigue, lack of concentration, and even
a reduction of intellectualcapacity.
ORIENTATION
EAST: East-facing openings admit strong sunlight early in the
morning and lose thesun sometime before noon. BEDROOMS, KITCHENS,
BREAKFAST AREAS, AREASUSED EARLY IN THE DAY
WEST: West-facing windows receive the late afternoon sun, which
is sometimes toomuch direct daylight on summer afternoons, or in
climates with many days of strongsunlight. WESTERN EXPOSURE CAN
CREATE UNCOMFORTABLE GLARE ANDHEAT IN SOME PARTS OF THE COUNTRY.
SHADING DEVICES SUCH ASOVERHANGS OR BLINDS CAN PREVENT PROBLEMS
CAUSED BY THEHARSHNESS OF DIRECT SUNLIGHT
NORTH: Openings facing north, which never admit direct sun,
generally receive coolbut consistent light from the north sky.
ARTISTS STUDIOS, DESIGNERSWORKSHOPS, THEY SHOULD NOT HAVE A WIDE
VARIATION OF ILLUMINATION
SOUTH: Good orientation, ideally facing south with appropriate
shading, makes adifference in winter and summer. FAMILY ROOMS,
LIVING ROOMS, SEWING ROOMS
WE CAN USE DECIDUOUS TREES ON SOUTH SIDE TO PREVENT HEAT
ANDGLARE.
CONIFEROUS TREES GIVE A GARDEN GUARANTEED COLOUR ALL YEAR
ROUND;WHEN PLANTED ON THE NORTH SIDE, THEY CAN BLOCK SOME OF
THEPIERCING NORTHERN WINDS IN THE COLDER MONTHS OF THE YEAR.
Finishes. The color and reflectivity of interior finishes are
important in use of daylightand control of luminous ratios. Light
colored surfaces enlarge the perception ofspace and diffuse the
light distribution. The ceiling is the most effective surface
forreflecting light and typically, it should be very light in
color. The floor is one of the leastsignificant, and it is here
that the designer has the greatest opportunity for the use ofdarker
colors, such as those found in carpets
Shading Devices. Louvers, overhangs, shades, blinds (with or
without draperies), orother devices can be applied creatively to
control the excessive illumination andluminance contrast emitted
from the sun. This is critical when eyes that areconcentrating on
an interior task can view the light source. In such cases, the
windowor skylight should be filtered or shielded from view, or the
task should be orientedaway from these sources.
Furniture Placement. When placing furniture, it is important to
keep bright windowsout of the field of vision of any person doing
close up tasks like reading or repairwork. Seated people who are
doing visual tasks with their backs to a window cancause problems
because of the shadow cast forward on to the work plane.
Thetraditional advice of light over the left shoulder is still
good, although light from theright is also satisfactory for most
tasks and ideal for left-handed people.
Multiple Glazing. Multiple glazing uses two, sometimes three,
sheets of glass thatare factory-assembled into a sandwich. The dead
air spaces between the layersminimize winter heat loss or summer
heat gain. Specialglass tinted to filter out unwanted heat energy
while permitting most light to passthrough can also be
obtained.
ARTIFICIAL LIGHT:Good lighting supports convenience, efficiency,
comfort, safety and favorableemotional reactions. It has been shown
that improving the lighting of a space can be
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more effective than any other single factor in increasing the
overall sense ofsatisfaction. Just switching off a glaring ceiling
fixture and substituting a well-placedtask lamp can make a dramatic
improvement, often at very little cost. PROPER AMOUNT AND TYPE OF
LIGHT ADDS BEAUTY TO THE COLORS ANDFURNISHING OF SPACES. EXCESS
BRIGHTNESS DISTURBS THE EYE, ITSHOULD BE CONTROLLED.
LIGHT IS MEASURED IN FOOT CANDLES
GOOD LIGHTING:
CAN INCREASE EFFICIENCY: Direct or concentrate attention.
Lighting draws attentionto points of interest and helps guide users
through space by influencing the timingand direction of their gaze.
A brightly-lit wall or spotlight clearly displays artwork, anddraws
the viewer to it. A good light at a desk, with the surroundings at
a lower lightlevel, helps to concentrate attention on work.
RELEIVES EYE STRAIN
CUTS DOWN ON ACCIDENTS: Proper lighting can enhance visibility
and engender afeeling of safety; it also can be used to illuminate
potential hazards, such as achange in floor plane or a moving
object. HELPS SET THE MOOD/ATMOSPHERE OF A SPACE: Dim light usually
makes aspace seem intimate and cozy; bright light, more
business-like and energetic. CAN GIVE CHARACTER: Every designer
needs to have a basic understanding oflighting mechanics in order
to deal with design issues directly, as well as to workeffectively
with engineers or lighting specialists when they are involved in a
project
WHEN LIGHT HITS A SURFACE:ANGLE OF INCIDENCE (a) IS EQUAL TO
ANGLE OF REFLECTION (b) a = b
DIFFUSED LIGHT: IS LIGHT REFLECTED THROUGH GLASS OR PLASTIC.
FROSTEDBULB PROVIDES BETTER QUALITY LIGHT THAN CLEAR BULB.
GLARE: IF THERE IS LUMINANCE DIFFERENCE BETWEEN 2
OBJECTS,SURFACES, GLARE WILL OCCUR.
TYPES OF GLARE:
Direct glare Glare resulting from an unshielded source
Disability glare Glare resulting in reduced visual performance
and visibility
Discomfort glare Glare producing discomfort but not necessarily
impairing visualperformance or visibility
3 MAJOR TYPES OF ARTIFICIAL LIGHT SOURCES:
INCANDESCENT FLUORESCENT HIGH INTENSITY DISCHARGE (HID) AND COLD
CATHODE
INCANDESCENT LIGHT:
THE LIGHT IS PRODUCED FROM THE HEATING OF THE TUNGSTEN FILAMENT
INSIDETHE LIGHT BULB WITH AN ELECTRIC CURRENT UNTIL IT GLOWS.*SIZES
VARY FROM 15 WATTS TO 200 WATTS*BULBS ARE AVAILABLE IN BLUE, PINK,
YELLOW, GREEN.*SHAPES AND FINISHES VARY ADVANTAGES: IT IS LESS
EXPENSIVE , MORE FLEXIBLE, EASY TO CHANGE, MAY BERECYCLED INTO
CERAMIC TILESDISADVANTAGE: IT TAKES MORE ENERGY AND GENERATES MORE
HEAT THANFLUORESCENT LIGHT.TUNGSTEN HALOGEN LAMPA Tungsten Halogen
Lamp is a type incandescent lamp with a tungsten filamentcontained
within an inert gas and a small amount of a halogen such as iodine
orbromine.The filament of the small lamp is surrounded with halogen
gas. As the tungstenburns off, the halogen reacts with the tungsten
(called Halogen Cycle), creating abright light. Advantages and
Disadvantages: Tungsten halogen costs more than common
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incandescent lighting but last three times longer, burn 10
percent brighter,and are closer to the natural spectrum. But
produce more heat.FLUORESCENT LIGHT: THE TUBE IS FILLED WITH VERY
LOW PRESSURE MERCURY VAPOR (OR XENON) AND ASPECIAL POWDER COAT
INSIDE THE TUBE. WHEN THE CATHODES AT EACH END OF THETUBE ACTIVATE
THE VAPOR, THEY CAUSE THE FLUORESCENT COATING TO
PRODUCELIGHT.SHAPES AVAILABLE: STRAIGHT, TUBULAR, CIRCULAR, U
SHAPEDADVANTAGES: IT LASTS LONGER, PRODUCES LESS GLARE, LESS HEAT,
COSTS LESS.DISADVANTAGE: COLOR QUALITY. DIFFICULT TO
MAINTAIN.Fluorescent light is a relatively shadowless, even light,
making it ideal for generallighting of environments where tasks are
performed but where task lighting wouldbe impractical or
undesirable. They are commonly used in luminous ceiling panels,
under-the-cabinet lighting overthe counters, in bathroom lighting
and over work surfaces in offices.With this type of light, work can
take place for hours without lighting-causedfatigue. COMPACT
FLOURESCENT LAMPSThese are initially more expensive , yet they
consume almost one-fifth ofthe power and last up to sixteen times
longer than incandescent lamps.Basically, CFLs use less power and
have a longer rated life. METAMERISM:
1. SAME MATERIAL LOOKS DIFFERENT UNDER DAYLIGHT AND ARTIFICIAL
LIGHT2. TWO MATERIALS LOOK ALIKE UNDER DAYLIGHT, BUT DIFFERENT
UNDER ARTIFICIALLIGHT HIGH INTENSITY DISCHARGE (HID):High Intensity
Discharge (HID) HID lighting combines some of the advantages
ofincandescent and fluorescent. The lamps give point or near-point
light; they arecheap and efficient to run, have a very long life,
and some types (especially whenused in combination) have good color
characteristics. On the other hand, there isa high initial cost for
both the lamp and the specialized fixture, and they require abulky
and expensive transformer. There are several types of readily
available HIDlamps:LIGHT IS PRODUCED BY DISCHARGING ELECTRIC
CURRENT THROUGH HIGH PRESSUREVAPORHID is used for bright interior
and exterior lighting. HID lamps establish an arcbetween two vey
close electrodes set in opposite ends of small, sealed,transclusent
or transparent glass tubes. HID lamps are used to uplight exteriors
of large buildings and sometimes ininteriors of nonresidential
buildings.Neon. These tubes are familiar to us in illuminated
signs, are available in a fullrange of colors, including whites.
Neon tube life is very long (several years); it islimited by low
efficiency, and usually considered for special,
decorativeapplications. Cold Cathode. This type is very similar to
neon, and is sometimes useful insituations such as indirect
lighting coves of irregular shape. Fiber Optics. Strands of glass
fibers, usually bundled, can convey light from anysource to one or
more remote locations, where the light then emerges from thefibers.
Various experimental applications are under development, but the
only usesavailable in interior design are decorative. Laser Light.
This is a process in which light is concentrated and emitted inan
intense beam. Although laser light can be used in decorative and
display
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functions, it does not yet have extensive practical
application.TYPES OF LIGHTING DEVICES All lighting devices fall
into one of two mounting types: architectural or
portable.Architectural lighting is fixed by building in or
attaching fixtures to the structureof the building. Fixtures are
often recessed, and more or less concealed. Correctarchitectural
lighting is planned and is installed as a space is built or
renovated.Portable lighting includes lamps and other moveable
lighting devices that areplugged into outlets and can be moved
about or replaced at will. Types of Floor, Table, Desk and
Specialty Lamps
Shaded Lamps. This is probably the most familiar and useful,
portable fixturetype. The bulb or bulbs are surrounded by a
shade,which reduces glare butdisperses direct light up, down or
both. They can be fitted withincandescent or the new compact
fluorescent lamps for energy efficiency.Because such lamps deliver
excellent lighting, they are often selected astask lamps to
illuminate small areas in offices and residences.Reflector Lamps.
These enclose a regular or reflector bulb, eitherincandescent or
halogen, in an opaque reflector that directs light in onedirection.
They make good reading or work lights but can produce
excessivebrightness contrast unless fill light is provided from
another source. Themost familiar version is the cantilever,
adjustable neck reflectors that areused as desk lamps. They have
become a popular, inexpensive solution tomany home and office
lighting problems.Globe Lamps.In these, glass replaces the shade;
this reduces the brightness of theenclosed incandescent lamp, and
delivers diffused light. Globes are made ofclear, frosted, smoked,
or colored glass, and the fixtures are either wall-mounted or
chandelier. Globe lamps tend to form a spot of glare and
deliverunattractive, flat lighting.Uplights and Torchieres. These
are usually floor lamps that aim all lightoutput upward to use the
ceiling plane as a reflector, providing indirect,general lighting.
The source light is usually incandescent, but halogen andHID
versions are becoming increasingly popular.POINTS TO BE CONSIDERED
WHEN CHOOSING A LAMP:SHOULD BE STABLE AND WELL BALANCED DIFFUSED
LIGHT GIVES LESS GLARE LAMP SHADES SHOULD BE SIMILAR IN COLOR,
TEXTURE, OR CONTRAST HEIGHT COULD BE ADJUSTABLE OR TILTABLE A FLOOR
LAMP SHOULD BE PLACED SO THAT LIGHT COMES FROM BEHIND THESHOULDER
OF THE READER. LEFT OR RIGHT, BUT NOT DIRECTLY BEHIND THEREADER.
FOR READING PURPOSES:LOWER EDGE OF SHADE SHOULD BE ABOUT 1 M FROM
FLOOR FOR TABLE LAMPLOWER EDGE OF SHADE SHOULD BE ABOUT 1.20 M 1.25
M FROM FLOOR FORFLOOR LAMP Cove Lighting. Lighting by means of
sources shielded by a ledge orhorizontal recess that distributes
light over the ceiling and upper wall. Thissystem requires a cove,
or pocket, to be built into the ceiling or wall. Thelight units,
typically fluorescent or cold cathode, are concealed from viewand
provide indirect light.
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{C} {C}cornice lighting Lighting by means of light sources
shielded bya panel parallel to the wall and attached to the
ceiling
{C} {C}soffit lighting The underside of a structural component,
suchas a beam, arch, staircase, or cornice.A light built into a
soffit.
{C}
{C} {C}valance Longitudinal shielding member mounted across the
topof a window or high on a wall to conceal light sources
{C}
{C} {C}POINTS TO BE CONSIDERED WHEN CHOOSING A FIXTURE:
{C} {C}ADJUSTABILITY, MULTIFUNCTIONALITY (DIMMER CONTROL,HEIGHT,
SWING){C} {C}DIFFUSED LIGHT IS MORE PLEASANT, EXPOSED BULB
ISIRRITATING{C} {C}DESIGN OF A FIXTURE SHOULD BE IN HARMONY WITH
THECHARACTER OF THE SPACE
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TYPES OF LIGHT DISTRIBUTION: DIRECT: SHARPEST CONTRAST BETWEEN
LIGHT AND DARK. USED TO EMPHASIZEOBJECTS
INDIRECT: SOURCE IS HIDDEN, LIGHT IS DIRECTED TO CEILING, A COVE
OR ANOTHERSURFACE FROM WHICH IT IS REFLECTED.
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DIRECT INDIRECT: LIGHT IS DISTRIBUTED EVENLY IN ALL DIRECTIONS.
THE FIXTUREHAS A BULB ON BOTH SIDES,INSIDE AND OUTSIDE THE
REFLECTOR.
{C} SEMI DIRECT:MORE LIGHT IS DIRECTED TOWARDS WORK PLANE
{C} SEMI INDIRECT: MORE LIGHT IS DIRECTED TOWARDS CEILING OR
UPPERWALL
METHODS OF ILLUMINATING SPACE:
{C} {C}AMBIENT / GENERAL LIGHTING: The overall level of light in
a space:COVE, VALANCE, CORNICE, SOFFIT, PANEL LIGHTING{C} LOCAL:
PORTABLE LAMPS AND FIXTURE{C} ACCENT LIGHTING: Directional lighting
to emphasize a particularobject or draw attention to a part of the
field of view (SPOT LIGHTING THATEMPHASIZE THE CENTER OF
INTEREST)
3 ASPECTS OF LIGHTING:
1. FUNCTION: QUALITY AND QUANTITY IS IMPORTANT{C}
READING/WRITING, SHAVING, MAKE-UP
2. SAFETY: CERTAIN SPACES NEED MORE CARE{C} STAIRWAY, PATIO,
DOORWAY, DRIVEWAY
3. BEAUTY: GOOD LIGHTING MAKES INTERIOR LAYOUT MORE BEAUTIFUL
LIGHT AFFECTS PEOPLES:
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{C} MOOD OR EMOTION{C} PRODUCTIVITY{C} AWARENESS
{C} Several general design strategies can be used to update the
thinkingon how lighting and energy are used.
Keep it Low. Contrary to the older school of thinking, working
inadequate yet dim light will not harm the eyes, anymore than
listening to music atlower volumes will hurt the ears. Brighter
light is not necessarily better.Uniform Overhead Fixtures Cannot
Provide the Only Source of Light. This isespecially true for
offices now that computers are the focus of many peoples
jobs.Additional and appropriate lighting should accompany each
individual task in a workarea.Make Lighting Specific. Tasks need to
be identified carefully and lighting chosenfor each based on the
task itself. It is important to take into consideration thetasks
size, importance, the duration of time it needs to be performed,
its priorityin relation to other tasks, general lighting in the
area, and the physical condition,age, and expectations of the
person performing the task.Let the User Control Lighting Options
Whenever Practical. Because comfortfactors will vary dramatically
from task to task and person to person, the best tasklight is one
that gives the user the most control over position and intensity.
It isalso important for the same person to be able to alter light
levels to match his orher changing needs over the course of the day
or season.Consider the fixtures as a design element. Select
fixtures that complement theover-all design objective. They should
be a compatible scale, color, finish andgeometry. Plan placement so
that it coordinates with the structure from everyview, and does not
destroy the harmony of the design.Prepare for the Aging Population.
As peoples eyes age, the lenses grow largerand more rigid,
requiring more effort for the eye muscles to focus at close
range.
As a result, low light makes it harder to see clearly, color
identification isdecreased, and intolerance for both direct and
reflected glare increases.
All these vision changes and their accompanying lighting needs
will increase thechallenge for the designer as our population ages.
FINAL EXAM (8.1.2013) WILL BEGIN AT 10:00 am!!!!!!!!!! IFI DFIE
INTERIORS DECLARATION
It is the nature of Humankind not only to use spaces, but to
fill them with beauty andmeaning.Skilfully designed spaces can
arouse in us a sense of purpose, or a sense of theprofound.In the
spaces that are important to us, we experience not only a sense of
place, but asense of who we are, and of what we can be.Thoughtfully
designed spaces help us learn, reflect, imagine, discover and
create.Great spaces are indispensable for great creative cultures.
They encourageconnections between people, ideas and entire fields
of thought.As design professionals, our knowledge enables us to
form spaces that respond tohuman needs. These human spaces are the
domain of our competence, our passionand our work.We use space
responsibly. We practice our profession with highest regard
forengaging the worlds economic and natural resources in a
sustainable manner.We design for health, safety, well-being and the
needs of all.It is, after all, for Humanity, our ultimate client,
that we design.We shape the spaces that shape the human
experience.This is what we do, what we create, what we give.It is
how we earn our place at the human table.It is why our work is
important to our clients, to our societies and to ourselves.It is
the difference we make and why we choose this noble profession.
VALUE"The profession provides leadership and utilizes an iterative
and interactive processthat includes discovery, translation and
validation, producing measurable outcomesand improvements in
interiorspaces and in the lives of the people who use them.This
process delivers economic, functional, aesthetic and social
advantage that helps
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clients understand the value of their decisions and enables
better decisions that arebeneficial to users and to society.It is
recommended that the profession become a trusted voice and develop
multipleresearch models in the context of physical, emotional and
behavioural patterns ofusers."RELEVANCE"The profession defines
projects at their commencement, and champions humanexperience at
all levels.Interior designers and interior architects synthesize
human and environmentalecologies and translate science to beauty
addressing all the senses.The practitioner listens, observes,
analyzes, improves and creates original ideas,visions and spaces
that have measurable value."RESPONSIBILITY"The responsibility of
interior designers and interior architects is to define the
practiceand the required expertise, educate ourselves and the
public, and to positionourselves in the public realm as experts
inthe built environment.The responsibility of interior designers
and interior architects is to advance theprofession and advocate
for social well-being."CULTURE"As a creative enterprise, interior
design and interior architecture are a mode ofcultural production.
They are a place-maker that interprets, translates, and
editscultural capital.In a global world, interior design and
interior architecture must play a role infacilitating the retention
of cultural diversity."BUSINESS"The profession of interior design
and interior architecture provides value to thestakeholders.It
improves well-being as a factor of economic development.It provides
strategic thought leadership resulting in multifaceted return on
investment.Interior designers and interior architects advocate
education for the ongoing benefitand awareness of the
profession."KNOWLEDGE"Theoretical, applied, and innate knowledge
are fundamental to the practice of interiordesign and interior
architecture.The confluence of environmental psychology and the
science of anthropometrics arecritical to the quantitative and
qualitative knowledge that form the practice of interiordesign and
interior architecture."IDENTITY"Interior designers and interior
architects determine the relationship of people tospaces based on
psychological and physical parameters, to improve the quality
oflife." IFI 2011 This document is copyrighted IFI material and may
not be distributedwithout the permission of IFI.
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