Interior designing

INTERIOR DESIGNING

INTERIOR DESIGNING

Interior Designing is systematic arrangement of linen, forms, texture, colours etc. to create beauty in interiors.

The OBJECTIVES of Interior Design and Decoration is to create:

• BEAUTY

• EXPRESSIVNESS

• FUNCTIONALITY

BEAUTY

BEAUTY is organization, selection and arrangement of materials into an appealing form. It should be aesthetic and appealing.

EXPRESSIVNESS

Selecting, decorating and furnishing an area to express some definite idea or theme in it. These themes could be naturalness, sophistication, coolness, royalty, formality etc.

FUNCTIONAL

All areas should give the maximum of service, comfort and pleasure for the minimum of care.

BASIC TYPES OF DESIGN

STRUCTURAL DESIGN

It denotes the structure or construction of objects. This is comprised of size, form, colour and texture of an object, be it the object itself, or the drawing of the object worked out on paper.

DECORATIVE DESIGN

This is the surface enrichment of structural design. Any lines, colour, or materials that have been applied to structural design for purpose of adding a richer quality to it constitute its decorative design.

BASIC TYPES OF DESIGN

STRUCTURAL DESIGN DECORATIVE DESIGN

ELEMENTS OF DESIGN

LINES

In interior decoration combination of the four types of lines is generally seen, each having its own influences.

TYPES OF LINES

• VERICAL

• HORIZONTAL

• DIAGONAL

• CURVED

VERTICAL LINES

Vertical lines suggest steadfastness, sturdiness, or an upward swing and has masculine effect. In hotels vertical line of doorways, pillars, columns, draperies, and furniture give the strength and height.

HORIZONTAL LINES

Horizontal lines suggest rest, pose, or steadiness. They help to break the affect of vertical lines. In hotels, the horizontal lines of tables, sofas, and other furniture complement the severely vertical lines in other parts of an area.

DIAGONAL LINES

Diagonal line suggests movement and activity and action. Forward –slanting lines suggest push and backward-slanting lines suggest pull. In hotels, diagonal lines appear in staircases and sometimes in curtains, draperies, and wallpaper.

CURVED LINES

Curved lines suggest flexibility, grace and feminine effect. In hotels curved lines are seen in tied back curtains, aches and the graceful curves of furniture.

FORM

• The term form is applied to 3D area and objects, where as shape may refer to a 2D one. Without the beauty of form, good texture, colour or decoration is of no use. The form of an object should suit its function.

TEXTURE

The word texture refers to the tactile quality of the surface of any object or area. It refers to the surface quality – how something feels to touch and how it behaves when light strike to it. Two categories of texture are:

• TACTILE

• VISUAL

TACTILE TEXTURE

Tactile or actual texture can be felt by hand – be it rough like unglazed brick or smooth like velvet.

VISUAL TEXTURE

Visual or illusionary texture may be absolute smooth to touch, but gives impression of texture.

COLOUR

The appeal of colour is universal. Colour is the impression received by the brain from the certain simulations of the retina of the eye. Light rays that vary in wavelength and rates of vibration produce different sensation and appear as different colours

PATTERN

This refers to any sort of surface enrichment and applies to both 2D and 3D objects. Patterns used may be naturalistic, stylized, geometric, or abstract. Generally pattern should cover just about a quarter of the total surface area.

LIGHT

When light strikes an object, it may be reflected, absorbed, or allowed to pass through. Light has functional as well as an aesthetic effect. Light may be dull or sharp, bright or diffused.

SPACE

The organization of space is basic to architecture and interior decoration. Almost any space, if sensitively handled can be made effective, liveable, and even dramatic

PRINCIPLES OF DESIGN

The principles of design help one in determining the quality of design to access whether it is artistically good or poor in appearance. While using the basic elements or art, we should keep these principles in mind.

PROPORTIONThe principle of proportion is also called the “ law of relationships”. It states that the relation between parts of the same things or between different things of same group should be aesthetically satisfying. It deals with relationships of size, shape, colour, light, texture, and pattern.

THE GREEK OBLONG

Also called the “Golden Oblong”, it measures two units on the short side and three on the long side (2:3). Its proportion are considered more beautiful than a completely symmetrical shape like square.

SCALE

• The sizes of all the elements making up the structure have a consistent, pleasing relationship to the structure of each other.

• The size of the structure be in pleasing proportion to the different objects combined with it.

BALANCEAlso known as equilibrium, balance is a condition of rest or repose. This restful effect is obtained by grouping shapes and colours around the centre or pivotal point in such a way that there are equal attractions on each side of the centre.

BALANCE

FORMAL

SYMMETRICAL

BI-SYMMETRICAL

ASYMMERTRICAL

OR

INFORMAL

RADIAL

FORMAL BALANCE

The “centre” of the space under consideration is the pivot around which attractions must be adjusted. when objects are alike or are equally forceful in appearance and attraction, they are placed equidistant from the centre.

Formal Balance can be achieved in two ways:

• Symmetrical formal balance

• Bi-symmetrical formal balance

SYMMETRICAL FORMAL BALANCE

When objects on either side of the centre are identical or mirror images of each other and are placed in equal distances from the centre, the result is a symmetrical formal balance.

BI-SYMMETRICAL FORMAL BALANCE

When objects are not alike but are equal in their power to interest and attract, the result is bi-symmetrical formal balance.

INFORMAL BALANCE

This is also referred to as “active balance” or “occult balance”. Asymmetry results when the visual weights of two objects do not attract the same amount of attention and so they have to be placed at different distances from the centre.

RADIAL BALANCE

This is the type of balance that grows out of a central point or axis. It may be observed in the diverging lines that from the pattern of spokes in a wheel, the petals of flowers, and so on.

EMPHASIS

This is the design principle that directs to create a point of interest such that the eye is carried first to the most important thing in any arrangement and from that point to every other detail in order of importance.

Emphasis can be achieved by:

• Placing together of grouping

• Use of contrasting colour

• Having sufficient background

• Using unusual elements.

EMPHASIS BY GROUPING

The objects grouped together thus must have some common characteristics or similarity so that the group does not create confusion in the mind of the observer.

EMPHASIS BY CONTRSTING COLOURS

The eyes are equally attracted by contrasts of light and dark and contrasting colours. One of the most striking means of calling attention to any object is to place it against a background with which it contrasts.

EMPHASIS BY SUFFICIENT BACKGROUND

Usually plain walls are preferred as the details of the objects placed against them can be properly observed.

EMPHASIS BY UNUSUAL ELEMENTS

Emphasis can be achieved by the use of unusual lines, shapes, colours, or size to heighten the affect.

RHYTHM

Rhythm helps to achieve underlying unity and variety. Rhythm is “related movement” that directs the eyes towards the lines suggested in the pattern they make together.

It can be achieved by following ways:

• Repetition of shapes

• Progression of sizes

• Continuous line of movement.

RHYTHM BY REPITITION OF SHAPES

When a shape is regularly repeated at proper intervals, a movement is created that carries the eye from one unit to the next in such a way that one is not conscious of separate units but of a rhythmic advancement, making it easy for the eye to pass along the entire length of the space.

RHYTHM BY PROGRESSION OF SIZES

Progressing sizes create a rapid movement of the eye. Progression can be created by increasing or decreasing one or more of the object’s qualities. It is also known as an “ordered” or “systematic” change

RHYTHM BY CONTINUOUS LINE MOVEMENT

Lines compel the eye to follow the direction they take. The design of a room is usually composed of many different lines, but a predominance of one type will cause the eye to move in that direction.

HARMONY

To create harmony, appearance as well as its use have to considered. It produces an expression of unity through the selection and arrangement of discrete objects and ideas.

Harmony has five aspects:

• Harmony of line and shape

• Harmony of size

• Harmony of texture

• Harmony of ideas

• Harmony of colours.

HARMONY OF LINE & SHAPE

• Lines that follow or repeat each other

• Lines that contrast with each other

• Transitional lines that soften or modify others.

In producing harmony of shapes, there should always be an effect of organization.

HARMONY OF SIZE

When sizes are too different used together, they appear inconsistent. The aspect of proportion called “scale” is allied to harmony. The understanding and application of principles of proportion will assure harmony of sizes.

HARMONY OF TEXTURE

Coarse and fine materials used together do not give harmonious effect and so should be avoided.

HARMONY OF IDEAS

It is not enough that sizes, shapes and texture have something in common: there must be harmony in the idea presented together. Things that may appear appropriate in royal suite would be distinctly out of place in a cottage setting.

HARMONY OF COLOURS

Colour combination giving the most pleasure are likely to be those possessing harmony or unity. They give the impression that all the colours really belong together, yet at the same time, there must be sufficient variety to avoid producing a monotonous arrangement.

UNITS OF DESIGN

There are four units of design: naturalistic, stylized, geometric, and abstract. an individual design may be based on any one of the units or may contain a combination of two or more units.

NATURALISTIC

These represent nature- flowers, leaves, fruits, animals, landscapes, and so on. Efforts are made to keep motifs realistic. These patterns lend themselves to either formal or informal themes.

STYLIZED

These designs resemble natural objects, but usually the lines are simplified and conventionalized. Sometimes they are distorted. The designer uses various degrees of stylization, depending upon the materials employed and the purpose of the article.

GEOMETRIC

These are based on such pure forms as the circle, rectangle, and triangle, although endless variations and combinations of them are used. Geometric motifs include stripes, dots, checks etc.

ABSTRACT

Many abstract designs are based on geometric forms. Abstract implies an element of impressionism and a greater freedom than is found in most geometric forms. The shapes and pattern, although derived from the geometric, may be less rigid and formal.

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