Architectural Interiors 1

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ARCHITECTURAL INTERIOR

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Generally referred to as the spatial art of environmental design, form and practice, interior architecture is the process through which the interiors of buildings are designed, concerned with all aspects of the human uses of structural spaces.

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INTERIOR ARCHITECT

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interact with clients to identify their needs and create interior spaces accordingly. They create designs for all aspects of an interior space, such as doors, windows, walls, and furnishings.

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INTERIOR DESIGNER

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interior spaces functional, safe, and beautiful by determining space requirements and selecting decorative items, such as colors, lighting, and materials.

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INTERIOR DESIGNER VS INTERIOR ARCHITECT

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primary difference between them centers on what they design. Architects design buildings, while interior designers use furniture, fixtures and other accessories to create a desired look and function for spaces inside a building.

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ANTHROPOMETRICS

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refers to the measurement of the human individual.

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ERGONOMICS

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the study of people's efficiency in their working environment. A science that deals with designing and arranging things so that people can use them easily and safely. ( activity, effectively, efficiently, comfortably ).

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PROXEMICS

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the branch of knowledge that deals with the amount of space that people feel it necessary to set between themselves and others. ( space articulation, privacy ).

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PRIVACY

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Base on the ability of individuals or groups to control their visual olfactory and auditory.

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KINDS OF PRIVACY

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SOLITUDE, INTIMACY, ANONYMITY, RESERVE.

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SOLITUDE

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State of being free from observation.

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INTIMACY

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With other person, but free from the outside world.

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ANONYMITY

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State of being unknown even with in a crowd.

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RESERVE

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Employ psychological barriers to control unwanted intrusion.

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PERSONAL SPACE

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Consider in designing space, especially fixed furniture.

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TERRITORY

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A certain area that's owned or under the control of someone.

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KINDS OF TERRITORY

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Attached, Central, Supporting or Semi - private, Peripheral

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ATTACHED

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The space immediately surrounding us.

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CENTRAL

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A place where people continuously have control over their individual territory.

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SUPPORTING OR SEMI - PRIVATE

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A place where people congregate informally.

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PERIPHERAL

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A place where one may freely enter.

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PRIVATE, SEMI - PRIVATE, PUBLIC

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In design space we always consider the following.

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LIGHT

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IT SERVES TO 2 BASIC NEEDS: TO ILLUMINATE A TASK AND TO ESTABLISH A MOOD. FACTORS IN THE EMOTIONAL IMPACT OF LIGHT: *DARKNESS BRINGS TEARS TO MANY. *EVERYONE CAN FEEL BLUE AT TIMES. *BRIGHT COLORS AND IMAGES CAN LIFT OUR SPIRITS. *DARK COLORS CAN BE DEPRESSING OR SOOTHING.

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COLOR

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CREATING A COLOR PLAN: *FUNCTION. *SIZE AND DIMENSIONS. *ORIENTATION. *COLOR PREFERENCES. *EXISTING COLORS OF ADJOINING AREAS.

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RED

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POWER, ENERGY, PASSION, DESIRE, SPEED, STRENGTH, HEAT, LOVE, AGGRESSION, DANGER, FIRE, BLOOD, WAR, VOILENCE, INTENSITY, CHRISTMAS AND VALENTINE'S DAY.

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YELLOW

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IT IS THE BRIGHTEST COLOR THAT THE HUMAN EYE CAN SEE. IT REPRESENTS YOUTH, FUN, JOY, SUNSHINE AND OTHER HAPPY FEELINGS. IT IS OFTEN USED FOR CHILDRENS TOYS AND CLOTHES. IT IS RELATED TO LEARNING.

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GREEN

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NATURE, GROWTH, MONEY, ENVIRONMENT, HEALTH, GOOD LUCK, RENEWAL, YOUTH, VIGOR, SPRING, GENEROSITY, FERTILITY, JEALOUSY, INEXPERIENCE, ENVY, MISFORTUNE, START SIGNAL, ST. PATRICK'S DAY AND CHRISTMAS.

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DARK GREEN

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MILITARY, MONETARY, FINANCIAL AND BANKING BUSINESSES.

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BLUE

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PEACE, HARMONY, UNITY, TRUST, TRUST, TRUTH, SECURITY, CONFIDENCE, CONSERVATISM, ORDER, SKY, WATER, COLD, TECHNOLOGY, CLEANLINESS, DEPRESSION, LOYALTY, IMMORTALITY, STABILITY, MUSCULINITY AND PROTECTION.

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ORANGE

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ENERGY, BALANCE, WARMTH, ENTHUSIASM, VITALITY, EXPANSION, FLAMBOYANT, AUTUMN AND HOLLOWEEN.

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PURPLE

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ROYALTY, NOBILITY, SPIRITUALITY, CEREMONY, MYSTERY, TRANSFORMATION, WISDOM AND ENLIGHTENMENT.

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GRAY

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SAFETY, RELIABILITY, INTELLIGENCE, MELANCHOLY, MODESTY, DIGNITY, MATURITY, SOUNDNESS, FUNCTIONALITY, OLD AGE AND GRIEF. IT IS AN UN - EMOTIONAL COLOR. TO MUCH GRAY INVOLVES SADNESS AND DEPRESSION AND A TENDENCY FOR LONELINESS AND ISOLATION.

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BROWN

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EARTH, HEARTH, HOME, OUTDOORS, RELIABILITY, COMFORT, ENDURANCE, STABILITY, SIMPLICITY, TREES, NATURE AND AUTUMN. PROVIDES A FEELING OF GOOD HEALTH. IT BRINGS YOU DOWN TO EARTH, ADDS ORDER IN YOUR LIFE.

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BLACK

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POWER, FORMALITY, ELEGANCE, WEALTH, MYSTERY, FEAR, EVIL, ANONYMITY, UNHAPPINESS, STYLE, GRIEF AND DEATH. YOU FEEL HIDDEN AND UNNOTICED IN THE CROWD. PROVIDES A RESTFUL FEELING OF EMPTINESS. OPENS THE DOOR TO MYSTERY AND PREPARES YOU FOR THE UNKNOWN.

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ADDITIVE MIXING

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THE PRIMARY COLORS OF LIGHT ARE ORANGE - RED, GREEN AND BLUE. WHEN ALL 3 ARE ADDED TOGETHER, THEY FORM WHITE. WHEN ANY 2 OF THE PRIMARIES ARE COMBINED, OTHER HUES ARE PRODUCED.

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SUBTRACTIVE MIXING

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THE PRIMARY PIGMENT COLORS, YELLOW, MAGENTA, AND CYAN, ARE SHOWN AT THE UPPER RIGHT. IT PRODUCE BLACK OUT OF ALL 3. THE MIXTURES SHOWN AT THE LOWER LEFT ALSO PRODUCE BLACK.

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OSTWALD COLOR SYSTEM

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IT HAS A BRANCH FOR EACH NUMBERED HUE IN THE SYSTEM. THE CHIPS ON EACH BRANCH ARE MARKED AND PLACED TO SHOW THE DEGREE OF THEIR WHITE AND BLACK CONTENT. EXAMPLES OF 4 CHIPS FROM THE TREE ARE SHOWN AT THE RIGHT, 2 MARKED WITH HUE NUMBER 19 ONE WITH NUMBER 16, AND ONE WITH NUMBER 6. THE PA ON THE TOP CHIP INDICATES THAT IT HAS A HIGH WHITE CONTENT AND A MINIMUM BLACK CONTENT. THE PA ON THE BOTTOM CHIP INDICATES THAT IT HAS A MINIMUM WHITE CONTENT AND A MINIMUM BLACK CONTENT.

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PROPORTION AND COLOR

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THE BEST WAY TO DESCRIBE A PROPORTION IS SIZE. COLOR AFFECTS A ROOMS VISUAL PROPORTION. A GENERAL GUIDE LINE IS WHITE OR PALE COLORS MAKE OBJECTS RECEDE, WHILE DARK OR BRIGHT COLORS DRAW THINGS CLOSER WHICH CAUSES THEM TO APPEAR LARGER.

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INTERIOR DESIGN

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THE ART, BUSINESS, OR PROFESSION OF PLANNING THE DESIGN AND SUPERVISING THE EXECUTION OF ARCHITECTURAL INTERIORS, INCLUDING THEIR COLOR SCHEMES, FURNISHING, FITTINGS, FINISHES, AND SOMETIMES, ARCHITECTURAL FEATURES.

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UNITY AND HARMONY

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EVERY DESIGN REQUIRES A UNIFYING THEME TO HOLD IT TOGETHER. ( *HAVE A CENTRAL THEME AND CONSISTENCY OF STYLE ), ( *USE ELEMENTS OF REPETITION AND UNIFORMITY ), ( *LACK OF UNITY MAKES A SPACE SEEM SMALLER ), ( *HAVE A STRONG FOCAL POINT IN A SPACE SO THAT THE SPACE REVOLVES AROUND IT ).

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BALANCE

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THERE ARE 3 BASIC TYPES OF BALANCE, SYMMETRICAL, ASYMMETRICAL, AND RADIAL. ( *A LARGE OBJECT OR SHAPE HAS MORE VISUAL WEIGHT THAN A SMALLER ONE ), ( *A SMALL, DARK SHAPE CAN BE EQUAL TO OR GREATER THAN A LARGER, LIGHTER ONE ), ( *VISUAL WEIGHT CAN BE ALTERED BY ALTERING COLOR. WARM = MORE VISUAL WEIGHT; COOL = LESS VISUAL WEIGHT ), ( *TEXTURED, PATTERNED SURFACES = MORE VISUAL WEIGHT; SMOOTH, PLAIN SURFACES = LESS VISUAL WEIGHT ), ( *MORE LIGHT = MORE VISUAL WEIGHT ), ( *A FORM THAT BLENDS OR THAT HAS IDENTICAL PATTERNS APPEAR LIGHTER THAN THOSE THAT CONTRAST ).

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PROPORTION

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" AN OBJECT CAN BE OF BEAUTIFUL PROPORTION IN ITSELF, YET TOTALLY OUT OF SCALE WITH ITS SURROUNDINGS..." " IT IS ESSENTIAL TO REMEMBER THAT WHEN DESIGNING AN OBJECT OR SPACE, IT MUST NOT BE CONCEIVED IN ISOLATION, BUT AS IT RELATES TO ITS SURROUNDINGS."

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SCALE

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"DESIGN MUST ALL BE RELATED TO EACH OTHER AND TO THE AVERAGE HUMAN BEING, THE STANDARD UNIT OF MEASUREMENT."

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RHYTHM

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*REPETITIVE - THE MOST COMMON AND CAN BE SEEN EVERYWHERE, PARTICULARLY ON FABRICS, WALLPAPER, AND IN NATURE. IT CAN INVOLVE COLOR, LINE, TEXTURE, PATTERN, OR FORM. *PROGRESSIVE - AN ORDERED, GRADUAL CHANGE IN THE SIZE, DIRECTION, OR COLOR OF AN OBJECT OR SPACE. IT IS MORE SUBTLE, DYNAMIC, AND INVENTIVE. *ALTERNATING - THE REGULAR, UNDULATING, AND CONTINUOUS FLOW OF A LINE OR SPACE. *RADIATING - CREATED WHEN AN OBJECT'S LINES / MOTIFS EXTEND OUTWARD FROM A CENTRAL AXIS.

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EMPHASIS

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THERE ARE 3 BASIC TYPES OF EMPHASIS: DOMINANT, SUBDOMINANT, AND SUBORDINATE. *SIZE - THE LARGER THE OBJECT IN RELATION TO ITS SURROUNDINGS, THE MORE DOMINANT. *LIGHTING - CAN BE USED TO FOCUS ATTENTION ON AN AREA OR OBJECT. *CONTRAST - CONTRAST A TEXTURED SURFACE AGAINST A SMOOTH ONE. *FURNITURE - EMPHASIS THROUGH FURNITURE ARRANGEMENT. *ACCESSORIES - THOUGHTFUL ARRANGEMENT ADD TO AN ELEMENT'S DOMINANCE.

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VARIETY AND CONTRAST

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CONTRAST IS OBTAINED BY THE JUXTAPOSITION OF 2 OR MORE DISSIMILAR OR OPPOSING ELEMENTS OR

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VARIETY AND CONTRAST

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"CONTRAST IS OBTAINED BY THE JUXTAPOSITION OF 2 OR MORE DISSIMILAR OR OPPOSING ELEMENTS OR QUALITIES." *LINE - OBTAINED WHEN LINES VARY IN THEIR DIRECTION. *COLOR - ACHIEVED WHEN A DARK COLOR IS USED SIMULTANEOUSLY WITH A LIGHT COLOR CONTRAST CAN ALSO BE ACHIEVED BY USING COMPLEMENTARY COLORS. *TEXTURE - SUCH AS A ROUGH SURFACE PLACED ADJACENT TO A SMOOTH SURFACE.

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INTERIOR DESIGN ELEMENTS

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SPACE, FORM, LINE, TEXTURE, PATTERN, LIGHT AND COLOR.

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SPACE

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IS THE DISTANCE, INTERVAL, OR AREA BETWEEN, AROUND, OR WITH IN THINGS, AND IS EITHER 2 OR 3 DIMENSIONAL. KINDS OF SPACE *FLAT SPACE - AN IMPLIED 2 DIMENSIONAL SPACE, CONSISTING OF HEIGHT AND WIDTH. *PERCEPTUAL OR IMPLIED SPACE - AN IMPLIED SPACE FREQUENTLY USED IN 2 AND 3 - DIMENSIONAL EXPRESSION. *ACTUAL SPACE.

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FORM

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" IS THE ANTITHESIS OF SPACE". BASIC KINDS OF FORMS. *STRAIGHT, *CURVED, *IRREGULAR.

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LINE

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" WITHOUT IT, WE CANNOT PERCEIVES FORM OR SHAPE". *STRAIGHT, *CURVED.

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TEXTURE

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"A DISTINCTION SHOULD BE MADE BETWEEN ACTUAL TACTILE TEXTURES AND VISUAL TEXTURES." BASIC TEXTURE SENSATIONS: *SMOOTH SURFACES - WORKSHOPS, PAINTED WALLS, CEILINGS, WINDOWS, BUILT IN FURNITURE. *ROUGH TEXTURES - CONCRETE AND BRICK, STUCCO AND STONE. *SOFT SENSATIONS - A PILLOW, A PLUSH CARPET, CURTAINS. *DELICATE / SENSUOUS TEXTURES - LIVE OBJECTS: HUMAN SKIN, LEAVES, FLOWERS, RIPPLING WATER.

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PATTERN

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IS THE EASIEST WAY OF DESIGNATING SURFACE ENRICHMENT. IT IS CLOSELY RELATED TO TEXTURE AND FORM, AND IS A REPETITION OF A MOTIF. TO MUCH PATTERN CAN BREAK UP A ROOM, MAKING IT APPEAR VERY BUSY AND UNCOMFORTABLE. AT THE SAME TIME, A ROOM WITH NO PATTERN AT ALL CAN BE DULL AND LACK CHARACTER.