Interiordesigning Lecture .pptx

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
INTERIOR DESIGNING

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 TYPES OF LINES
In interior decoration
combination of the four
types of lines is
generally seen, each
having its own
influences.
• VERTICAL
• 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.

PROPORTION
The 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.

BALANCE
Also 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
INFORM
AL
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

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.

Interiordesigning Lecture .pptx

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Interiordesigning Lecture .pptx