Program V3 0:B.

Sc(ID)
BID 105 : Basic Design

BID 105 :Basic Design

Index
Unit 1: Introduction and importance of Interior Design
Unit 2: Elements of Design Line, Form, Texture, Light, Space, Pattern, Colour
Unit 3 : Principles of Design Structural Design, Decorative Design with
characteristics and examples , Symmetry, Balance, Harmony, Scale & Proportions,
Rhythm, Colour, Emphasis Etc.
Unit 4: Standard Dimensions & Drawing Presentation Presentation of various
furniture items including plants in plan & Elevations.
Unit 5 : Ergonomics & Anthropometrics - Introduction to Ergonomics,
Introduction to Anthropometrics.
Unit 6: History of Interior Design Classic Period
Unit 7 : History of Interior

Yashwantrao Chavan Maharashtra Open University, Nashik

Vice Chancellor : Dr. M.M.Salunkhe
SCHOOL OF CONTINUING EDUCATION SCHOOL COUNCIL
Dr. Rajendra Wadnere
Director
School of Continuing Education
Y.C.M. Open University, Nashik

Shri. Ashwin B. Sonone

Associate Professor
Film and Television Insti. Pune

Shri Rajendra Katore

U.K.Metal Indutries
MIDC,Ambad
Nashik

Dr.Surya Gunjal
Director
School of Agricultural Science
Y.C.M. Open University, Nashik

Mr. Goyanka Shankar

Country Head
WOW Factors India Pvt.Ltd.

New Delhi

Mr. P.V. Patil

Deputy District Vocational & Training
Vocational and Traing Center
Nashik

Dr. Jaydeep Nikam

Assocote Professor
School of Continuing Education

Dr. Pramod Khandare

I/c. Director
School of Computer Science

Mrs. Jyoti Shetty

Principal
S.P.More College, Panvel (E)

Y.C.M. Open University, Nashik

Mrs. R. R. Gujar
Dr. Sunanda More
Assocoate Professor

Dr.Abhay Patil
Assistant Professor
School of Health Science

Assistant Professor
School of Continuing Education

Y.C.M. Open University, Nashik

Y.C.M. Open University, Nashik

School of Science and Technology

Y.C.M. Open University, Nashik
Mr. Ram Thakar
Assistant Professor
School of Continuing Education
Y.C.M. Open Univeristy, Nashik

WRITER
Mr. Satish Dhale
Principal, National School of Design
Nahur (E) Mumbai

EDITOR
Prof. Kavita Dhale
National School of Design
Nahur (E) Mumbai

COURSE CO-ORDINATOR
Prof. Ram Thakar
Assistant Professor
School of Continuing Education
Y.C.M. Open University, Nashik

PRODUCTION
Shri. Anand Yadav
Manager, Print Production Centre, YCMOU, Nashik
2014, Yashwantrao Chavan Maharashtra Open
University

First Published : Dec. 2014 E-Book Publication No. : 1

Unit 1: Introduction and importance of Interior Design

Index
1.0 Objectives
1.1 Introduction of Interior Design
1.2 Self Assessment Test

1.0 Objectives
The objectives of this unit are to help you to understand the:
Importance of interior design.

1.1 Introduction
Design is a common word used almost maximum in the field of Fashion, Textile,
Architecture and Fine art, etc. It has a very wide meaning in general. You have heard it in
your day-to-day life with different context every time and might have used it several
times. One-way of defining Design is management of the things in such a way that they
become comfortable and interesting to manage.
The word ' Design' has many meanings in general; the dictionary meaning of 'Design' is
plan, arrangement, project, layout, proposal, map and scheme. In day-to-day life we do
'design', it's a part of our life. Let's see how. As you know that each one of us has a liking
and disliking in food habits, clothing, colors, etc. the choice usually varies from person to
person. You too, are not an exception to it, as you shall also be having liking and
disliking towards a number of things you come across. Basically these reactions or
feelings are the first sign, which shows that you understand and can judge the design.
Lets take an example of a Trouser that you want to buy for some special occasion. You
go to a shop that has a wide range of trousers to choose from. Now, while selecting, we
generally consider the following points as per our choice and liking:
The color of the trouser,
The fabric used,
The make,
The style of stitching,
The durability,
Whether it suits you or not,
And the price.

Fig: 1.1
After these points are justified, you select the one that appeals to you the most. This is
nothing, but the study of the Trouser design that we do and judge it before buying. Just as
in the selection of the Trouser, design is not something out of the world or something
very different; it is a part and parcel of our everyday life. As we have seen the example of
the trouser, which shows that, we can judge the design that will suit us, that means we
understand the design.
Generally, the liking and disliking changes
changes from person to person. The thing which you
like and if you find that it satisfies the requirements you expect from that thing, you find
that it is good design. The understanding of layman is very limited since they are not
trained to see the things the way a designer does.
Let us take another example:
If you want to buy a computer, what will you do?
Whatever you understand about the computer machine you will try, check and then buy;
but a person who has a background of software will expect a lot from
from the machine as his
application & expectations from the machine will be much more than that of a lay man.
This means that the understanding of the same product changes its application & changes
from person to person and according to the use. But being a layman if you still want a
very good configured computer you shall have to rely on the engineer. It now becomes
the engineers responsibility to understand the requirements of your machine and give the
best in your budget.
This becomes possible to the engineer
engineer because he has studied the computer hardware and
can tailor-make
make the machine as per your use. That is, he shall design the machine for
your best use. Similarly a layman who needs to design his home has requirements; but he
doesnt have the knowledge
dge to plan the best design that is fit for him. The designers first
job is to serve him by using the expertise that he has in the subject.
Design always has a purpose and some parameters like materials, time, budget, interest,
fashion, etc.
4

Study the following examples of design created by using a group of elements.

Example -1
Using artistic designs for a
menu card of a restaurant serves
the right purpose of the menu
card i.e. this gives the
information about the menu as
it also looks very inviting and
gives better business to the
restaurant. Thus a good design
can serve the purpose.

Some of the elements for the menu

card design

The designed menu card

Fig: 1.2

Example 2
Study the photograph shown below; the design created by way of arrangement, it looks
interesting, gives classification, easy to locate and is also very handy to use.

Fig: 1.3
Example 3
As shown below, the stacking of the fruits at the fruit shop makes a good pattern and
makes it easy for the shopkeeper to store more fruits in a small space. Though the size of

the fruit is very small but because of the arrangement, it catches the attention of the
customers as well as tempts them.

Fig: 1.4
Example - 4
The arrangement of the glass jars is very functional for the shopkeeper and it also gives
visibility to the customers for easy identification of the variety of goods available. The
arrangement also makes an interesting grid pattern in design.

Fig: 1.5
What is designing?
Now we shall see what is designing?
This is also very simple. Lets take the example of the Trouser again. Just imagine that
you did not like any of the ready-made
ready made trousers that were available as per your choice. So
finally you bought some material to get the trouser stitched.

Next, you go to the tailor to get it stitched. The tailor takes your body measurements and
stitches it according to your choice and you are satisfied. In this process, the tailor has
designed the Trouser as per your need and has stitched it accordingly. This means,
creating anything as per the requirement is nothing, but to Design. So lets define
Design
Design can be defined as a process of completing the objective by planning before
the actual execution.
There are very simple exercises, which you can do to develop your design aptitude. First
and foremost, you should develop your observation. Whenever we see anything, we
generally never think of its size, its materials, its good design points, its functionality,
whether the size is proportionate with respect to its surroundings, its bad points, etc. We
just see the thing and dont react. Or even if we react, we dont go into all these details.
We either like it or we dont like it. This nature is a laymans nature and not a designers
observation.
If you will start observing keenly, as I have mentioned above, you

Fig: 1.6
will get a number of details with regard to the design of the things you see in day to day
life.
To start and develop your observation, you dont have to go out. You can start it at your
very own place as design lies in everything and everywhere.
Lets imagine you are observing a sofa in your living room. Start marking points like its
overall size, finish, material and proportion with respect to the rest of the furniture. You
will come to know a number of new things about the sofa that you have been seeing and

using all these days / years. On top of it, you will get a number of extra details that may
be very interesting.

Fig: 1.7

This shows us that design observation is very important as it helps us in understanding a

number of details about the things that we see in our day-to-day life. In fact, I can say that
developing your observation is the first step to becoming an Interior Designer.
Interior design is one of the very simple fields of design, as we design the things that we
have been seeing and using in our day-to-day life. As a designer, we will see them and try
to visualize them to make them more functional and comfortable to use.
There are many design fields for e.g. Textile Design, Fashion Design, Product Design,
Interior Design, etc.

- Textile Designers design fabric weaving and prints after which the fabric is made.

Fig: 1.8

While designing the fabric, the designer can work out multiple options for it and select
the best one, which suits the requirements.

Fig: 1.9

- Fashion Designers design the clothes as per the human body size. Fashion designers
also consider other factors like what is the budget, what occasions are they required to be
worn, the liking of the person, what color suits the person the most, etc. and work out
multiple options and help the client to select the right one.

- Product Designers design the various products for the users. While designing the
products they consider a number of factors like the function of the product, the size, the
material that will be used in making it, the outer look, durability, safety, the trends, the
fashion, the demands, etc. and then design the product which best satisfies all the
requirements.

Fig: 1.10

Interior Designers design interior spaces for the users. Like product designers they also
have to consider a number of factors while designing the spaces. This we shall study in
detail, as this is our field of designing.
Just as to make a delicious meal, a cook needs all ingredients and then by following the
various steps given in the recipe that helps as a guide, the preparation is done to get the
best results - i.e. taste.
Similarly, to design, we need all the ingredients of design. These design ingredients are
called the Elements of Design and to make good design we should follow some rules or
10

standards. These rules or standards help as a guide and are called the Principles of
Design.
Designing will be very easy if you understand the Elements of Design and the Principles
of Design properly.
Elements of Design are discussed in detail in the Chapter Elements of Design.

Fig: 1.11

Study the above photograph. The furniture, curtains, carpet, plants and accessories are the
elements of design in this room and the overall ambience created by the arrangement of
these elements is the Design.

1.2 Self Assessment Test

1. What is designing?
2. Explain and illustrate the term Product design.
3. Explain the term Product design.
4. Explain the term Fashion design.

11

Unit 2: Elements of Design Line, Form, Texture, Light, Space,

Pattern, Colour
Index
2.0 Objectives
2.1 Introduction
2.2 Self Assessment Test

2.0 Objectives
12

The objectives of this unit are to help you to understand the:

1. Elements of design and there importance in interior design

2.1 Introduction
The process of Designing is very simple, if you understand how a good design is created
right from the start to the finalization and execution of it i.e. from the thought of the idea
or concept to its implementation. This means you should know how to make the design.
As we can solve any mathematical complex problems by using methods and formulas,
similarly there are some formulas and some basic requirements of Design that you should
first understand for good designing. In other words, I can say that designing is very
simple if you do it systematically, step by step. Take the example that is given in the Unit
Introduction to Design. To make a delicious meal, a cook needs all ingredients. Then by
following the various steps given in the recipe that helps as a guide, the preparation is
done to get the best results - i.e. taste. Similarly, to design, we need all the ingredients of
design. These design ingredients are called the Elements of Design.
Designing is very easy if you understand the Elements of Design properly.

Elements of Design

Elements of Design are as follows

Point
Line
Shape
Form
Colour
Space
Pattern

These are the main elements of design. You already know all these elements as you may
have studied them in your school days. But, we will now try to understand their meaning
and their application as, design elements.

Point

13

The beads of a string spread on the floor can be considered as points on the floor; the
stars you see in the sky at night also appear like shining points in the sky. These stars of
various sizes have round shape and can be considered as points of galaxy. Here the place
of these points has more importance than the size of them. Similarly, the point is a
diagram, which is just a dot made by a pen or a pencil on the paper. Now, if you want to
draw the same point on the roadside hoarding, it has to be very big in size in comparison
to the one that is made on the paper, by the pen or pencil.

Fig: 2.1 - Points

This indicates that the point can be of any size - small or big. In fact, the point does not
have any size. Hence the point can be defined as
A diagram, which has magnitude, but no direction
The point is the very first and basic element of design without which design cannot be
made. All other design elements are made up of points. The paths of various movements
of the points produce various types of lines.
Or in other words - the set of points arranged like a chain of beads is a line. Lines can be
drawn in a number of types and can be used in making design. If the two ends of a line
meet each other, they form a shape.

Line
A line can also be drawn in various types and every type can be given a separate name in
design.

14

Fig: 2.2
2. - Line made by beads for necklace

Fig:
2.3 -next
Linetomade
standing
in a make
file a line of beads; the
By keeping beads in a single
string
eachbyother,
we can
necklace formed by the beads is the line made by the beads. This is one of the simplest
examples
amples of the line. This means that you can make a line by keeping relatively some
elements next to each other in a file. As we have already studied, line is a diagram
constructed by a number of points joining each other together in a row. Therefore a line
will have length and negligible thickness. Lines are one of the basic design elements used
in designing. Lines can create various feelings i.e.

- Horizontal lines give stability

Ground Line

15

Fig: 2.4
All the lines drawn parallel to the ground are horizontal lines; and when they are parallel
to the ground they give a better sense of stability. In fact, horizontal lines create a sense
of stability more than any other type of line. Similarly, if you want to give the feeling of
stability in design, this nature of line is very helpful. Study the following example -

Fig: 2.5
Two rectangles are shown next to each other. After careful observation you can sense that
the position B is more stable than the position A; this is because in position B the
object is getting more support of the ground. This shows that if the object is horizontal on
the ground, it gives stability to the object.
Now consider the centerline of the object and study their position on the ground (refer the
fig.)

Line passing through the

center of the object

B
Ground line or line of
horizon

All these lines parallel to

the ground or line of
horizon are horizontal
lines and the most stable
position of the line

16

Fig: 2.6
-

Vertical line gives steadiness

The line perpendicular to the horizontal line is known as vertical line. Steadiness is the
quality of the vertical line. Study the following examples to understand the quality of
steadiness of the vertical line.

Vertical line

Blocks placed on each other

vertically are more stable

Blocks placed on each other in

angle are not stable
17

Stable and steady

Unstable and active

Fig: 2.7
-

An inclined line gives instability

Inclined lines are very interesting as they are unstable lines. These lines can give the
feeling of movement, which can create speed.

Study the following examples

18

Fig: 2.8

In example no. 1, the horizontal line is giving stability to the ball kept on it.
In example no. 2, the vertical line is giving stability to the ball kept on it.
In example no. 3, the inclined line is not giving stability to the ball kept on it. It appears
to be in motion; you get the feeling that the ball will roll down the inclined line.

- Curved line gives movement

Inclined curved lines are also very creative in nature as they create a feeling of freedom
and appear to be more natural than the straight, horizontal, vertical, and inclined lines.
These lines can be drawn free hand or by compass. We use curved lines for sketching.
Study the following examples

Fig: 2.9

Shape
A shape can be made by using three straight lines or a shape like a circle can be made by
turning the line and joining the two ends of a line together. Shapes can be divided into
two major types.
1. Regular shapes
19

2. Irregular shapes

1. Regular shapes
Regular shapes are shapes like square, circle, regular polygons, equilateral triangle, etc. If
you see these shapes, they can be divided into two equal parts. As they appear to be very
stable, these shapes can be used to create patterns of a regular nature. These are the most
common shapes that are used in design as they follow symmetry and give a formal and
stable look. Its very easy to design by using them.

Fig: 2.10 - Regular shapes

By using the regular shapes, it is also very easy to make patterns. As they are regular
they help to create the feeling of rhythm in design.
Study the following examples

A pattern created by using squares; the square shapes are of the same size.

20

Fig: 2.11

A pattern created by using triangles; by changing the orientation of alternate triangles

Fig: 2.11

Triangle
It is the simplest shape made up of three lines. By taking various lengths for sides, one
can have very interesting shapes in a triangle. These shapes can be given names that we
have already studied in geometry i.e. a triangle with all sides equal is termed as an
equilateral triangle, with two sides equal is termed as an isosceles triangle, with none of
the sides equal is scalene, etc. Now taking the example of the equilateral triangle if you
draw this equilateral triangle resting on one of its side; it appears to be the most stable
shape. But the same triangle if drawn resting on one of its apex, it appears to be an
unstable shape. This shows that the shape of the triangle can create exactly opposite
feelings in design or it can also be used for creating other feelings. It all depends on how
it is used in designing.

Stability by triangle resting

on one of its sides

Instability by triangle resting

on one of its apex

21

Fig: 2.13

Square
It is made up of four equal lines joined at 90 to each other. It is the most stable and
steady shape and one of the most common shape used in design. By using squares one
can create patterns, graph, etc. This shape is also very easy to scale.

Fig: 2.14 - Square

Circle
It is one of the most regular shapes that create a feeling of motion. As it is very close to
natural form, it can be used to create smoothness and speed in design. Circle is also one
of the best shapes for making pattern. As circle is a natural form, it can create a good
rhythm in designing.

Fig: 2.15 - Circle

2. Irregular shapes
Shapes other than regular shapes are known as irregular shapes. The irregular shapes do
not have any kind of symmetry bilateral or otherwise. Because of their irregular
appearance, they are more natural. All the shapes drawn free hand are irregular shapes.
The free hand sketches are drawn by using the irregular shapes. This quality of

22

irregularity can be used in design to give an informal look. To understand the shapes in
detail we shall study some of the basic shapes.

Fig: 2.16 - Irregular shapes

Form

Forms are easy to understand as we are used to seeing the three dimensional objects in
nature. But at the same time drawing the form is difficult than the 2 D shape. But in
design, forms are friendlier to the layman to understand.
While drawing the form draw the shape; draw one side of the shape of the object first and
then give thickness to it and you will get the desired Forms which is by adding the third
dimension to the shape. This element of design is a good medium for the layman to
understand the design. The designs made by using forms are easier to understand, as they
are three-dimensional. Forms are the best elements for conceptual design.
23

Square
shape

Cubical
form

Circular
Shape

Fig: 2.17 - Form

Texture
The actual or seeming tactile or touch value of a surface area.(actual and simulated.
Texture is not a means of form in itself but a result of the other means. Tactile effects are
arrived at by using means of color, tone, pattern, and line contrasts and variations

24

Fig: 2.18
The tree's visual texture is represented here in this image.
Meaning the way a surface feels or is perceived to feel. Texture can be added to attract or
repel interest to an element, depending
depe
on the pleasantness of the texture
Types of texture

Tactile texture is the actual three-dimension

three dimension feel of a surface that can be touched.

Visual texture is the illusion of the surfaces peaks and valleys, like the tree pictured.
Any texture shown in a photo is a visual texture, meaning the paper is smooth no
matter how rough the image perceives it to be.

Most textures have a natural feel but still seem to repeat a motif in some way. Regularly
repeating a motif will result in a texture appearing as a pattern.
pa

Fig: 2.19

25

Fig: 2.20

Light
Paint, furnishings and accessories most often come to mind when talking about interior
design, but lighting is an essential design element that is used in a variety of ways. Lighting
is not simply to eliminate darkness; it is a creative ingredient in successful design. While
many people will focus on the selection of fixtures, the choice of how to effectively use light
is one of the most important areas of a design plan. Lighting serves a number of different
aesthetic
thetic purposes as well as the obvious functional task lighting. Lighting gives priority to
the objects selected, focusing the eye on a seating area or an accessory.

Lighting is a subtle way to create a path through the home, providing direction and a
logical
ogical progression that leads the eye and creates memory points along the way.
Light is crucial for displaying framed art work, but there is more than one choice. Track
lighting can be used to spotlight each piece of artwork or an entire gallery wall. Or for
f a
single significant work, light can be focused directly on the piece, framing it in shadow. The
full potential of art glass is realized only when the piece is properly lighted. The
architectural details of a home are accentuated with lighting.
Numerouss effects can be achieved by lighting. Ambient lighting can be either direct or
indirect, such as lighting accessories on a shelf from behind for a dramatic look. Another
setting where a striking appearance can be accomplished is focusing a flood of light on a
dramatic drapery treatment.
Lighting design sets the stage for the activity planned for the homes interior. For example,
dimming controls can establish the mood for dining.
A more recent innovation is the whole-home
whole home lighting system, where the lights of an entire
home can be programmed for various activities. With the touch of a single button, the
homeowner can create the lighting for a large party, an intimate gathering or coming home
at night. When on vacation, the lighting can be programmed on a variable
variable setting, with lights

26

coming on in different parts of the house on different days, thus giving the appearance that
someone is home.
Halogen lights are to be preferred for use in a residence because they provide a full spectrum
of color, resembling natural
atural light. They are brighter and more concentrated. While
fluorescent lights may be less expensive, they are more suitable for the laundry room, the
closet, or garage when it comes to design.
Lighting is an often neglected aspect of interior design, yet it is one of the most important
considerations. Lighting enhances color, accentuates the architecture and highlights art and
accessories. Proper lighting takes an interior beyond the ordinary to create the exceptional.

Fig: 2.21
Lighting at the sales counter; differing light levels create shadows and interest and
makes the product behind the counter the focus.

Light is essential to any interior space as it is the means by which we can see our
surrounding environment. The feeling of a space can be completely
completely transformed by altering
the intensity, placement and colour of light which makes it a very powerful tool. And
wherever there is light there are shadows; a favourite saying of one of our professors was,
Shadows are free.
Any interior designer who has
as tackled a lighting plan in detail understands that this is not a
simple task. There are many considerations that must be taken into account to ensure interior

27

spaces are properly lit for functionality, mood and atmosphere, and sustainability. Since
light has both psychological and physiological effects on people it is important to get it right.

Functionality
Different types of spaces have different lighting requirements. In office spaces it is
important that workers can complete their tasks, often involving reading printed documents
or working at a computer. In retail the lighting should be designed to allow the product to
shine (pun intended). The two biggest contributors to functionality from a lighting
perspective are quantity and quality.

Fig: 2.22
A good job creating some task lighting over the tables while providing a decent amount
of ambient light down the shop; this image also displays great examples of line and
colour; two previously discussed elements of design.

Quantity
Too little and it becomes difficult to perform necessary tasks. Too much and it causes glare.
Both scenarios can cause eye discomfort which lead to health issues, both physical and
emotional. Good lighting is providing enough illumination so that people can see printed,
handwritten or displayed documents clearly but are not blinded by excessively high light
levels (a cause of glare).
The three main types of lighting that designers are concerned with are ambient, task and
accent.

28

Ambient light is the general illumination surrounding the environment or subject. It is

indirect and soft, reducing contrast and shadows and is achieved through natural and
artificial light sources, as well as reflection from surfaces.

Task light is that which illuminates a small, specific area. A good example of this is a
desk lamp which allows one to add more light to complete a working task.

Accent light is used to add highlight, drama and focus to interior spaces. This includes
directional lighting placed on artwork or recessed floor lighting to graze the surface of
a textured material.

Using these three lighting types correctly and intelligently in a space will ensure that the
occupants have the right quantity of light; however this goes hand-in-hand with quality of
light.
Quality

Fig: 2.23
This corridor uses light as an element of design in way that highlights room entrances
and provides a soft, welcoming ambient light; Look how colour and pattern are also
incorporated here to emphasize the entry doors.
When it comes to quality of artificial light, designers must consider glare, contrast,
uniformity and colour.

Glare can be either direct, coming straight from a light source, or reflected, shows up
on a surface like your computer screen. Neither is good and lighting should be
designed to reduce glare.

29

Contrast describes a difference in illumination level between two points. We need

contrast to distinguish one thing from another; printed words contrast their white
background and allow us to read them. Too much
much contrast can limit our ability to see
fine detail and cause eye fatigue.

Uniformity refers to the overall space and affects how comfortable one is within the
space. Too much uniformity is not usually desirable; this can create a bland space
without interest
erest and highlight. Have you ever been in a commercial space with
fluorescent lighting where some bulbs are warm and some are cool? This makes the
space uncomfortable to be in.

Colour in lighting describes how the colour of a light source affects the colour
colo of
surrounding objects. This is a huge topic in the design world with the main factors
being colour temperature and colour rendering.

Mood and Atmosphere

Lighting has a dramatic affect on the mood and atmosphere of an interior space; different
schemes are used depending on the purpose of the space. Some of the best examples of
mood lighting in commercial interior design are restaurants and bars. From brightly lit and
loud diners, to romantic candlelit restaurants, to mysteriously dim night clubs, lighting
light
intensity and colour are valuable tools for creating a desired mood. And, of course, a good
designer will also use those free shadows to enhance the lighting design.
Light is a powerful tool and as an element of design it must be carefully planned to suit
s the
space it is illuminating. The inclusion of a couple of different schemes within one space can
singlehandedly change the perceived use of a space; think art gallery by day, party venue by
night. By designing using dimming control and switching to allow
allow a number of different
lighting scenarios a space can become extremely versatile with little else.

Fig: 2.24 - Talk about mood lighting

30

Fig: 2.25

Sustainability
Sustainability is another important factor when considering the design of light in a space.
Daylight is free and comes without electricity bills attached, and also has many benefits to
occupants of an interior space. But daylight cannot be our only source of light, so how do we
light up our spaces in an environmentally
environment
responsible way?
There are many energy efficient lighting options out there to choose from. These are ever
evolving and improving in a response to our more sustainably minded modern society. From
fluorescent, to LED, to high pressure sodium; there is a suitable solution for every situation.
We feel that it is very important that the functionality of the light source be considered first
with the effective means of achieving this. LED are very popular in todays market, but by
no means are they the right solution to every lighting problem.

Fig: 2.26

31

The Plumen bulb is a designer low energy light bulb that is a great alternative to the
spiral CFL bulbs.
There is no doubt that light is a terrifically important element of interior design. Ensure that
this is done not only aesthetically, but also scientifically to properly and effectively light
your interiors. Correct use can increase employee productivity and reduce number of sick
days, help to sell your products, and lure passersby into your restaurant or lounge.
Space
Space is the interval of distance or area around or between objects. Space on a page is 2
dimensional, but 3 dimensional space can be implied by overlapping elements, changes in
size, using perspective, using diagonals or using color and tones. Space contains background,
middle ground and foreground. One can perceive space as positive (figure) or negative
(ground) depending on its use.
In relation to the Elements of Design, positive space describes the object or subject within the
frame. Negative space describes the area around the object or what remains. Space also
refers to the area that a form or shape contains. Use of space is most recognizable in 3
dimensional objects including sculpture.

Fig: 2.27
In the image above, the positive space is the blue squares or figure, the negative space is the
dark orange ground. The space an object appears to reside in can be influenced by its
placement within the frame. An object placed higher in the frame appears to reside farther
32

from the viewer than an object near the bottom of the frame. In a case like that, the brain
creates its own perspective accepting the higher object as more distant.

Fig: 2.28
In this image, we see effective and expressive use of space. If you first view the image as an
abstract, the dominant feature in this image is the flat expanse of water stretching into the
distance, filling nearly 2/3 of the frame. By focusing on the water, and not the trees, the water
and fog appear as a higher-valued
valued (lighter toned) figure or positive space. This allows the
brain to see the image as an abstract of dark and light and makes for an interesting tone map.
If you find it difficult to perceive
erceive the image in this way, try squinting your eyes until they are
about closed. By removing the detail, the forms, tones, shapes and spaces become more
apparent. You can use this technique with mostly any image.

Fig: 2.29
Viewing the image by focusing on the trees and land create a more literal reading of the
image and enhance the sense of place and time. The bases of the trees are flooded and convey
a sense of isolation and vulnerability within the expanse of the water. By placing the trees to
the far left of the frame has isolated them in their space, further affecting the impact. This

33

impact would have been greatly reduced had more land been included to the left or less water
in the fore ground.
Space as we can now see has expressive qualities that enhance our purposes:
Using

small

spaces

between

objects

can

connect

them

through

proximity.

Surrounding an object with lots of blank space or white areas will draw attention to the
object.
Overlapped

objects

or

perspective

creates

depth

of

space.

Unequal spacing between similar objects is more dynamic than regimented grouping.
Blank spaces or white areas also create a visual place of rest for the eyes, just as rest
intervals in music are the quiet intervals in between notes.
It should be evident by now that most of these elements of design, do not singularly occur on
their own. In most images, you will observe multiple elements at work in concert with one
another. This means that attempting to create an image based solely on any one element will
be next to impossible.
Pattern
All the lines we have studied up till now have their own qualities and uses. You can use all
these lines to create some drawings. Now we will see how to give the feeling of rhythm in the
design by using lines or how to make a pattern by using lines.
If you will draw three to four triangles joining each other in a row, it creates a feeling of good
rhythm in design. You can also create a good pattern by using the same shape in triangle as
shown in the figure.

Fig: 2.30 - Pattern in Design

Fig: 2.31 - A pattern made by triangles

34

Fig: 2.32

35

Fig: 2.33
By repeating the rectangular shape of the same size, a pattern can be created.

Fig: 2.34
By repetition of lines, rhythm can be created in the design
Thus, line can create various feelings by the way they are drafted. The lines also can be
used to create textures or to create gradients. They can also be used for making shapes
and forms for designing. If you will join the two free ends of a line, it will form a shape.

Colour
We all know the colors and also have liking for some of the colors in clothes, furniture,
household items, etc. Just imagine life without colors, it will be very dry. One cannot
think of it; similarly in design the colors are one of the very important design elements.
Colors can create a number of feelings in design, such as - they can make a design look
young if you use the color yellow.

The Colour red can make the design look Warm. Warm colors include: yellows,
red and orange we associate these with blood, sun and fire.

Fig: 2.35
36

Fig: 2.36 - Sunrise behind a tree has a warm fire like feel to it.
- Color grey can give one a dull feeling;

- Colors green and blue can create cool feelings in design.

37

Hue: refers to the names of the primary colors red,

yellow and blue.

Value: lightness and darkness of the color - the amount of white or black added.

Intensity:

the

purity

or

saturation

of

the

color

Monochromatic color: use of one color where only the value of the color changes

Analogous colors: colors that are adjacent to each other on the color wheel, e.g. yellow
and green

Analogous colors next to each other on the color wheel "get along" and are referred to as
being harmonious. Analogous colors are often used in visual design and have a soothing
affect.
Complementary colors: colors opposite to each other on the color wheel, e.g. Blueviolet and yellow, represent colors positioned across from each other on the color wheel.
Complimentary colors exhibit more contrast when positioned adjacent to each other -for
example yellow appears more intense when positioned on or beside blue or violet (see
picture below).

In the photograph above - green and yellow are analogous colors that harmonize where as
the violet color of the shooting stars appears more intense against a complementary
colored background.
38

Cool colors include: violet, blue and green because of our association with snow and ice.

Light blue emphasizes the coldness of winter (Monochromatic color)

Colors are called warm or cool because of our association with various elements in our
surroundings. Red, yellow and orange are considered warm colors whereas
whe
blue, green
and violet are considered cool colors. These contrasts are relative since yellow-green
yellow
are
cool next to red, orange or yellow, but would be considered warm next to blue-violet.
blue
Perceptually, cool colors tend to recede into the distance whereas
whereas warm colors appear to
advance (see image below).

Loaf Mountain - warm glow of sunrise advances where the cool blue shadows
recede.
So, we have studied how the elements are very important in design. But for a successful
design, you also need to know and follow the rules and standards i.e. the Principles that
are called the Principles of Design.
39

2.1

Self Assessment Test

1. Explain any three Elements of Design?
2. What are Regular and irregular shapes?
3. What is a pattern explain and illustrate.
4. Explain the colours as design element.
5. What do mean by Complementary colours?
6. Write a short note on texture.

Unit 3 : Principles of Design Structural Design, Decorative

Design with characteristics and examples , Symmetry, Balance,
Harmony, Scale & Proportions, Rhythm, Colour, Emphasis Etc.
Index
3.0 Objectives
3.1 Introduction
3.2 Self Assessment Test

3.0 Objectives
The objectives of this unit are to help you to understand the:
Principles of Design and their use in Interior Design process.

3.1 Introduction
40

Principles of Design Structural Design, Decorative Design with characteristics and

examples
Design process for any product can be divided in two parts 1. Structural Design and
2. Decorative design
When the designs are made for exhibition of any work to be done or for the product
to be made, the design should be made structurally stable, durable, functional, should
be user friendly and also economical.
To achieve this, the design is developed in two stages i.e. first structurally and then
decorative. The design of the structure is structural design and design of the final
form with the finish is decorative design.
Structural Design This is the first stage at which the basic conceptual design is
finalized; the design is worked out for making the object stable, strong, durable, safe,
and economical. Study the structural design shown below

Decorative Design once the structural design is finalized, the final look is given to
the object by using the finishing material. At this stage, care should be taken that the
product gets the final touch in such a way that the finish of it should be safe to use for
the user.

Structural design of a puffy

Decorative design of the puffy

This indicates that good design needs the proper structure as well as decorative
design. The principle of design can thus be stated that form should follow the
function or form should be user-friendly.

Symmetry

41

Symmetric

Asymmetric

Symmetric arcades of a portico

Symmetry has two meanings. The first is a vague sense of harmonious and beautiful
proportion and balance. The second is an exact mathematical "patterned self-similarity"
self
that can be demonstrated with the rules of a formal system, such as geometry or physics.
Although these two meanings of "symmetry" can sometimes be told apart, they are
related, so they are here discussed together. Mathematical symmetry may be observed

with respect to the passage of time;

as a spatial relationship;

through geometric transformations

transform
such as scaling, reflection, and rotation;

through other kinds of functional transformations; and

as an aspect of abstract objects, theoretic models, language, music and even

knowledge itself.

Symmetry can be described from four perspectives

-

The first is symmetry in geometry, which is the

the most familiar type of symmetry
for many people.

The second is the more general meaning of symmetry in mathematics as a whole.

42

The third describes symmetry as it relates to science and technology. In this

context, symmetries underlie some of the most profound results found in modern
physics, including aspects of space and time.

The fourth discusses symmetry in the humanities, covering its rich and varied use
in history, architecture, art and religion.

The opposite of symmetry is asymmetry.

Symmetry (in geometry)

The most familiar type of symmetry for many people is geometrical symmetry. A
geometric object is said to be symmetric if, after it has been geometrically transformed, it
retains some property of the original object (i.e., the object has an invariance under the
transform). For instance, a circle rotated about its center will have the same shape and
size as the original circle. A circle is then said to be symmetric under rotation or to have
rotational symmetry.
The type of symmetries that are possible for a geometric object depend on the set of
geometric transforms available and what object properties should remain unchanged after
a transform. Because the composition of two transforms is also a transform and every
transform has an inverse transform that undoes it, the set of transforms under which an
object is symmetric form a mathematical group.
The most common group of transforms considered is the Euclidean group of isometries,
or distance preserving transformations, in two dimensional (plane geometry) or three
dimensional (solid geometry) Euclidean space. These isometries consist of reflections,
rotations, translations and combinations of these basic operations. Under an isometric
transformation, a geometric object is symmetric if the transformed object is congruent to
the original. A geometric object is typically symmetric only under a subgroup of
isometries. The kinds of isometry subgroups are described below, followed by other
kinds of transform groups and object invariance types used in geometry.

Reflection symmetry

43

An isosceles triangle with mirror symmetry,

symmetry the dashed line is the axis of symmetry.
Folding the triangle across the axis results in two identical halves

A drawing of a butterfly with bilateral symmetry

Reflection symmetry, mirror symmetry, mirror-image
mirror image symmetry, or bilateral symmetry is
symmetry with
th respect to reflection.
-

In one dimension, there is a point of symmetry about which reflection takes place;

Inn two dimensions there is an axis of symmetry, and

Inn three dimensions there is a plane of symmetry.

44

An object or figure which is indistinguishable from its transformed image is called mirror
symmetric (see mirror image). The axis of symmetry of a two-dimensional figure is a line
such that, if a perpendicular is constructed, any two points lying on the perpendicular at
equal distances from the axis of symmetry are identical. Another way to think about it is
that if the shape were to be folded in half over the axis, the two halves would be
identical: the two halves are each other's mirror image. Thus a square has four axes of
symmetry, because there are four different ways to fold it and have the edges all match.
A circle has infinitely many axes of symmetry passing through its center, for the same
reason.
Balance
Balance in design can be obtained by using axis that is X, Y and Z axis and designing the
mirror image on the opposite sides so that the design looks balanced. This is the easiest
way of balancing the design. The balance in design can be achieved by asymmetry; the
balance created by asymmetry is more popular in design. In other words it is the state of
rest or repose. This restful effect is obtained by grouping forms around the central axis.

45

The Principle of balance in design appeals to our sense of equilibrium. Balance in

designing the furniture or by using a cluster of furniture adds aesthetically to an interior.
Study the following example.

Fig: Balance
Harmony
Finally the harmony - this is the blend of all the principles of design that we have studied
up till now. The design has a number of elements used to complete it; the essence of the
design depends on the proportion, emphasis, balance, rhythm, etc. This means there are a
number of things that are used together to make a good design. Now to bind all these
elements and principles together and get one required identity becomes very important to
achieve a good design; and this can be achieved by Harmony.
Harmony is essential to design. Its the principle of any art that produces an impression
of purity. All the elements of Principles of design blend together to create harmony.
Similarity with variation is the keynote of harmony. The five aspects of harmony are:
Line and shape, Size, Colour, Texture, Concept.
Study the following examples, the first example shows the harmony by shape; the shapes
are all squares. In design, same shape can be used to create harmony.

46

Fig: Harmony by shapes

Fig: Harmony by Texture

Harmony is created among all these shapes by using the same texture.

Fig: Harmony by colour

Harmony can be created in furniture by using any one shape in the design. Lets study the
design of the shutter in interiors.

47

Example -1

Example-2

Fig: Design of the shutter

By using a similar pattern for all the shutters, a harmony can be given in the design.
Similarly, harmony can be created by using one color / one texture on the furniture or by
using one material.

48

Fig:

Harmony

using

one colour

by

49

Fig: Harmony by using one finish or texture

Scale & Proportions
We see proportion in everything. Take the example of the best proportion of nature i.e. if
all the organs of the human face are proportionate, the face looks beautiful; but even if
the proportion of one of the organ changes,
changes the face looks unattractive.

50

Proportion and scale refer to the relationship of various parts of the design to one another
and as a whole. In everyday life, we are constantly aware of scale and proportions and we
are often applying this principle of design even though we are not always aware of doing
so. Some of the best ratios for a proportion are 2:3, 3:5, 5:8 and 8:13.

Fig: Proportion
Different
fferent sized objects and areas in relationship to one another determine scale. Colour,
texture and live-play
play are significant in establishing proportions. The proportion in interior
design is very important as it creates interest in the design.

51

To understand the proportion in design lets take an example of the dressing stool. The
function of the dressing stool is to sit on it while dressing in front of the dressing table.
The height of the stool should be kept as low as to get foot rest on the floor while sitting
on the stool; but if the height is a little high it will be problematic; as also if the height is
low it will also be difficult to manage. The height should be proportionate so that one can
use it for seating in front of dressing table. Same way, the width and the length of the
stool should also be well proportioned to accommodate a person comfortably - over size
or smaller size will give discomfort to the user.

52

Fig: Proportion in dressing table stool

After studying this you must have realized that the proportion in design is the first
priority. If the proportion is not followed properly the design may not be functional.
Rhythm
Quality of design that gives a feeling of movement is rhythm in design. Rhythm in design
can be used to make the design flowing; it creates the ambience of activeness in the
design. To make the design live, rhythm can be given by repetition of a cluster of objects.
Rhythm is the quality of movement that leads to beauty. When the elements of a design
are arranged to make the eye travel from one part to another, the design has movement. If
the eye moves smoothly and easily, the motion is rhythmic. Rhythm can be created by
curved lines as well as by geometrical lines, study the figure given.

Fig: Rhythm
Colour

53

A colour wheel or colour circle consists of a range of colours in the form of a circle. It
shows the relation among colours. It is a helpful tool for choosing harmonious colour
combinations. The colour consists of the Primary, Secondary, Tertiary colours which
help us to create various colour schemes.
Primary colours
Red, Blue and Yellow are known as primary colours. They are basic colours, which
cannot be obtained by mixing other colours. Primary colours are the source of the
Secondary colours.

11

RED

YELLOW

BLUE

Primary colours
Secondary colours
Secondary colour is obtained by mixing two primary colours in equal amounts.

ORANGE

GREEN

VIOLET

Secondary Colours
R + Y = Orange

R + B = Violet

B + Y = Green

54

Tertiary colours
Tertiary or intermediate colours are obtained by mixing a primary colour with its
adjacent secondary colour. The exact shade depends upon the proportion mixed.

REDVIOLET

BLUEVIOLET

BLUEGREEN

YELLOWGREEN YELOOWORNGE REDORNGE

Tertiary Colors
Colour Wheel

Basic

Characteristics

of

Colour
Colour has four aspects or qualities
-

hue,

value,

intensity and
55

temperature

Hue

Hue is the property that gives a colour its name or the name of a colour is its hue. It is the
term by which a colour is identified. For example Red is a Hue, as Yellow, Blue, Green,
Orange etc. are other Hues.

Value

(Dictionary meaning - Worth, importance) Value of a colour refers to the degree of

lightness or darkness in relation to white or black. By adding white to a colour we get a
lighter colour, which is called as a Tint of that colour and by adding black, we get a
darker colour which is called as Shade of that colour. For example Red + White = Pink
which is called as Tint. Red + Black = Brown which is called as shade.

W White
HL

High Light
High Value

L Light
LL Low Light
G Grey
LD

Low Dark

Middle Value

D Dark
HD

High Dark

B Black
Low Value

Value Chart

Tints of blue colour

All high values are called tints and are obtained by adding or mixing white to any hue.

56

Shades of blue colour

All low values are called shades and are obtained by adding or mixing black.
In interiors, mostly tints are used; pure colours and shades are used sparingly (less
quantity). The lightest value of a colour is almost white and the darkest almost black. A

tint has a higher value than its original colour while a shade has a lower value than the
original colour. Light values make us cheerful & active. They also recede and make an
object seem further away and so when used on walls, make a room gain in size creating a
sense of spaciousness and airiness.

Intensity

(Dictionary meaning - extreme in degree, strength) Intensity denotes the brightness or

dullness of colour. A colour in its purest form is bright & has greatest intensity. For
example, a tomato is brighter than a carrot. Dullness of a colour can be achieved by
adding the neutral colour Grey which reduces the intensity. In interiors, colours in the
background are usually painted somewhat dull, grayed or neutralized because it is easier
to live with them in large amounts. Colours with pure intensity are often reserved for
small areas where people do not spend a great deal of time. Intensity or bright colours are
also used for accessories for they draw more attention than other colours. Objects with
bright intensity attract the attention readily and look larger in size than they really are.
Bright colours advance, so the rooms with bright colour walls would appear smaller than
they really are.

Rough textures dull the intensity of colour.

57

Smooth textures brighten the intensity of colours.

Matt surface lowers the intensity of colour.

Shiny surface brightens the intensity of colour.

-

Temperature

Temperature is the quality of colour that gives the feeling of warmth or coolness. This
quality is inherent in colours. There are two types of colours - Warm colours and Cool
colours.

Warm colours

58

The hues from red to yellow including orange, pink and brown are called warm colours.
They are associated with the fire and the sun. Warm colours are bright & splashy. More
than any other colour, they attract the eye and excite our emotions. In the work place,
warm colours can heighten motivation and make us work faster and on books, magazines
and posters, they almost always grab our attention. Warm colours make a colour scheme
look cheerful. Warm colours lead to activity and hence can be termed as active colours.
Warm colours are often used in rooms that are difficult to heat and they are good in
rooms that do not admit natural daylight.

Cool colours
The Hues from green to violet including blue are known as cool colours. They are
associated with water, sky, ice and shade. Cool colours have exactly the opposite effect
as warm colours; they slow down the bodys metabolism. Cool colours lead to repose
(relaxation) and hence can be termed as passive colours, in rooms where there is bright
sunlight, and if a cool atmosphere is desired then blues and greens are preferred. Too
much of warm colours can cause nervous tensions whereas too much of cool colours can
cause depression. Colours used on the

59

outside of the buildings and on the clothing are usually chosen to be compatible with the
climate. Pink and yellow houses are popular where the climate is more often warm, green
and grey - green homes are popular in cold places.

Colour Scheme
The employment of one or more hues along with their Tints / Shades / Greys to obtain
the desired result is called a colour scheme. There are three types of colour schemes.
Related colour scheme,
Contrasting colour scheme,
Triad colour scheme.

Related Colour Scheme

Related colour schemes are colour schemes sharing common characteristics or are
closely associated to each other on the colour wheel. They are further sub-divided into
two:

(1) Monochromatic colour scheme,

(2) Analogous colour scheme.

(1) Monochromatic colour scheme:

60

Monochromatic means of one colour. Under this scheme, only one Hue and its different
values and intensities are used. This scheme, as simple as it is, gives a spacious feeling to
an interior and provides unity and a calm background. The only drawback is that it being
monotonous, it easily becomes boring. Other colours can be added to it for variety. White
and black can also be used with it effectively.

(2) Analogous/Adjacent colour scheme: In this colour scheme, colours situated next to
each other (side by side) on the colour wheel are combined. It generally uses one colour
as its major force with the two neighboring colours as secondary force, e.g. Yellow with
yellow green & green or blue with blue-green & blue violet. For an accent colour you can
use a contrast colour opposite any
-

orange

to

red

group,

one of your group, for instance in the yellow

complementary blue could be used

for accent.

61

Contrasting Colour Scheme

Two colours, which are extremely opposite, one might be cool and the other warm, are
chosen for this colour scheme. Contrasting colour schemes can be divided into the
following:
(1) Neutral colour scheme
(2) Complementary colour scheme
(3) Double complementary colour scheme
(4) Split complementary colour scheme

(1) Neutral colour scheme: Here non-colours black, white & grey are used. It is a very
simple colour scheme. It has its plus points in the fact that it presents the interior with a
neutral background which enhances the objects and people in an interior. For that reason
it is very useful for people wishing to display their collection of objects of art or
merchandise, for e.g. a boutique where fashionable & colorful clothes look good on a
neutral background; in a Hotel, the coffee shop in black and white colour scheme. The
neutral colour scheme is more in fashion in bedrooms, beauty parlors, offices, reception
areas, but preferred less in the living room due to maintenance of white, which spoils
easily.

Emphasis
Catching attention is the essence of design; the whole process of design along with the
functional aspect strives to give a good and different look. The attention can be drawn by
many ways and to achieve this in design you can emphasize the important areas of the
design. To get appreciation in design, you need to first grab the attention of the observer.
This becomes the first priority, or else even if your design is 100% functional the
62

ambience cannot be created by the design. This indicates that emphasis in design is
important. You can emphasize the design by a number of ways - by striking lights, by
bright colors, by change of materials, by creating levels, etc. A good design needs
leadership of some particular note that attracts the interest. Other components enhance
the focal point, but they are subordinate to it. There may be more than one center of
interest in a group, but too many points of emphasis produce a confused effect.
Study the example given of the face of a lady; the emphasis is on the forehead because of
the bindi on it or the lips with bright color lipstick can be emphasized.

63

The bright color top on it emphasizes the column

The Staircase gets emphasized by bold railing

64

The bright color base on it emphasizes the column

3.2 Self Assessment Test

1. Write a short note on primary colours?
2. Explain and illustrate Tint and shades.
3. Explain any two principles of design.
4. Explain the term Decorative design.
5. What do mean by Symmetry in design.
6. Explain and illustrate the term Harmony.

Unit 4: Standard Dimensions & Drawing Presentation

Presentation of various furniture items including plants in Plan &
Elevations.
Index
65

4.0 Objectives
4.1 Drawing Presentation
4.2 Self Assessment Test

4.0

Objectives

The objectives of this unit are to help you to understand the:

Presentation of various furniture

4.1

Introduction

FURNITURE DIMENSIONS
Childrens Furniture and Tables
CHILDRENS FURNITURE

Diaper Changer
H: 36 42
W: 32 42
D: 21 24

Side Chair
H: 24 26

Feeding Unit
H: 24 26
W: 24 28
D: 24 25

Arm Chair
H: 23 25

Table for 2
H: 20 22

High Chair
H: 36 40
W: 18 22
D: 18 20

Tables for 4
H: 20 22
66

W: 14 16
D: 15 17

W: 14 16
D: 16 17

W: 24 30
D: 24 25

W: 36 42
D: 36 42

End / Side
H: 20
W: 36
D: 20

End / Side
H: 18
W: 20
D: 20

End / Side
H: 18
Dia. 18

Low / Coffee
H: 18
W: 36
D: 24

Stools
H: 18
W: 18
D: 18

Stools
H: 38
W: 18
D: 20

838 1.37
Junior Crib

9141.93
Youth Bed

Low / Coffee
Low / Coffee
H: 18
H: 18
W: 36
Dia. 36
D: 36
Bed / Mattress Types and Sizes

660 990
Bassinets

762 1.27
Infant Crib

67

9902.03
Twin Bed

9902.13
Twin Extra long

1.37 2.13
Full Double Bed

Figure 1
BED / MATTRESS TYPES AND SIZES
Figure 1 provides the designer with an array of typical bed and mattress sizes with which rooms
can be planned. Tables 1 and 2, however, suggest that within the bedding and mattress
industries there exists a wide range of sizes from which to select. Many manufacturers use
bed/mattress terminology that reflects different dimensional standards than those of other
manufacturers. Ultimately, the designer, in consultation with the client, must verify exact
measurements. Be sure to take your clients to see and test the bed or mattress selected. After
all, they are the ones who will have to sleep on it.

Queen 60" X 60" Queen Extra-long 60" X 84" King 78" X 80" California King 78" X 84"
Portable Crib
Junior Crib
Youth Bed
Bunk Bed
Dorm Bed
Hospital Bed
Narrow Twin
Twin Bed
Full-size or Double Bed
Queen-size Bed
King-size Bed

68

Extra-long Double
Super Twin
Standard
Queen
King

Wardrobes
1. Single Wardrobe

2. Double Wardrobe

Size 0.60 m 0.91 m 1.82 to 2.13 ht

Size 0.60 m 1.82 m 1.82 to 2.13 ht

Chest of Drawers

Plan

Elevation

Size 600 1.21 863

Size 600 1.21 1.67

Size 600 1.21 1.67

Dressing Table

Plan

Size 1.20 750 600

69

Plan

Size 1.00 450 1.50

Desk

600 1.20750
Plan

Dining Chair

Size 450 56 3.0 seat height 450

Sofa Seating
1.80 m
685

Three seat sofa,

600

900

single seat with armrest,

685

685

single seat without armrest

Coffee table, End table

70

1.06 m

1.06 m

500

500

Bookcase
750

450

Length
750
1.20 m
1.50 m
2.00 m

Width
450
450
450
450

Height
As
per
requirement

1.00 m

600

300 to 941

450
482 to 2.08 m

450

Television - Plasma / LED/ LCD

Desk and Chair

Dining Tables and Room Sizes (Circular shape)

Diameter Circumference
3.00 m
2.74 m
2.43 m
2.13 m
1.82 m
1.52 m
1.21 m

9.57 m
8.58 m
7.64 m
7.01 m
5.74 m
4.80 m
3.81 m

Approx. Seating Recommended room

size
12 to 15
9.14 m 6.09 m
11 to 14
5.79 m 5.79 m
10 to 12
5.56 m 5.56 m
9 to 11
4.87 m 4.87 m
8 to 9
4.41 m 4.41m
7 to 8
3.50 m 3.50 m
5 to 6
4.41 m 4.41m

Dining Tables and Room Sizes (Square Shape)

Width

Length

1.52 m
1.37 m
1.21 m

1.52 m
1.37 m
1.21 m

Approx. Seating Recommended room

size
8 to 12
3.96 m 3.96 m
4 to 8
3.65 m 3.65 m
4 to 8
3.50 m 3.50 m
71

1.06 m
1.06 m
4
900
900
4
Dining Tables and Room Sizes (Rectangle Shape)
Width

Length

1.82 m
1.82 m
1.82 m
1.52 m
1.52 m
1.37 m
1.37 m
1.37 m
1.21 m
1.21 m
1.21 m
1.21 m
1.21 m
1.06 m
1.06 m
1.06 m
1.06 m
1.06 m
0.91 m
0.91 m
0.76 m
0.76 m

8.53 m
7.31 m
7.31 m
6.70 m
6.09 m
5.48 m
4.87 m
4.26 m
3.96 m
3.65 m
3.25 m
3.04 m
2.89 m
2.74 m
2.59 m
2.43 m
2.13 m
2.13 m
1.98 m
1.82 m
1.67 m
1.52 m

3.20 m 3.20 m
2.74 m 2.74 m

Approx. Seating Recommended room

size
28 to 30
5.48 m 12.19 m
24 to 28
5.48 m 11.58 m
24 to 26
5.48 m 10.97 m
22 to 24
4.57 m 9.75 m
20 to 22
4.57 m 9.75 m
18 to 20
4.11 m 8.22 m
16 to 18
4.11 m 7.62 m
14 to 16
4.11 m 7.01m
12 to 14
3.65 m 6.40 m
12 to 14
3.65 m 6.09 m
10 to 12
3.65 m 5.79 m
10 to 12
3.65 m 5.18 m
8 to 10
3.65 m 5.02 m
8 to 10
3.20 m 4.87 m
8 to 10
3.20 m 4.57 m
8 to 10
3.20 m 4.57 m
6 to 8
3.20 m 4.41 m
6 to 8
3.20 m 4. 26 m
6 to 8
3.04 m 4.11 m
6 to 8
3.04 m 3.96 m
4 to 6
2.74 m 3.81 m
4 to 6
2.74 m 3.65

Dining Tables and Room Sizes (Boat Shape)

Width

Length

1.04 m
1.11 m
1.19 m
1.29 m
1.39 m
1.49 m
1.60 m
1.70 m
1.82 m

2.43 m
2.74 m
3.04 m
3.35 m
3.65 m
4.26 m
4.87 m
5.48 m
6.09 m

Approx. Seating Recommended room

size
8 to 10
3.04 m 4.57 m
8 to10
3.35 m 4.87 m
10 to 12
3.65 m 5.18 m
10 to 12
3.96 m 5.79 m
12 to 14
4.26 m 6.40 m
14 to 16
4.57 m 7.01 m
16 to 18
4.87 m 7.92 m
20 to 22
5.18 m 8.83 m
20 to 24
5.48 m 9.75 m

Dining Room

72

1.20

1.20

900

450

800

900

Small Buffet

Table for four

Table for six

1.20

1.80

1.50

Table for ten

BATHROOMS
Basins

Material Ceramic
MaterialSize - 520445790mm

Size- 435270325mm

73

Name
Wall hung toilet
500370390mm
Size
Description Fixing to wall with back

NameWall hung Reactive Flush

Urinal
Size780390355mm
Description Top flushing installation

NameWall-hung basin
Size415350195mm
Description Fixing with wall
to back

NameSquatting Pan W.C

Size500 320 180mm
Description Front outlet

NameSquatting Pan W.C.

Size525425230

74

Rectangular shower tray 12080h12

Square shower tray 90 cm

Bathtub

Dimensions of bath tubs

Length
1.67 m
1.06 m
1.65 m
1.52 m
1.52 m
1.21 m
1.52 m
1.52 m
1.52 m
1.06 m
1.52 m

Width
812
939
787
762
762
762
762
762
762
939
787

Height
406
300
406
355
419
406
381
406
355
300
406

75

Whirlpool Types and Dimensions

Length
1.82 m
1.82 m
1.06 m
1.82 m
1.67 m
1.52 m
1.52 m
1.52 m
1.82 m

Width
1.11 m
914
863
1.72 m
914
1.06 m
812
812
914

Height
660
660
558
508
457
406
457
406
457

Bidet

Western WC

76

Material: Ceramic
S-trap:
trap: 300mm
Floor-Mounted
Floor
Size: 685*380*735mm
Indian WC Pan

KITCHENS
Typical Layouts

77

Refrigerator

Preparation

Sink with Drain

Board

Overhead Storage

Cooking Range

78

Figure: U-shaped Plans. If dishwasher is desired, it should be located at sink centre

79

Figure : Corridor Plans. If dishwasher is desired, it should be located at sink centre

80

Figure 3: Broken U-shaped Plans. If dishwasher is desired, it should be located at sink

centre

Figure 4: L-shaped Plan. If dishwasher is desired, it should be located at sink centre

Typical Layout

81

82

Figure 5: These diagrams illustrate further variations of the typical plans shown in Figures 1
to 4. A triangle perimeter of 23ft in or less is usually indicative of a relatively efficient
kitchen layout.

83

Storage and Cabinets

Cabinet Dimensions

Cabinet Sizes
WALL CABINETS
84

Wall cabinets are available in heights of 42, 30', 24, 18, 15 and 12". Most cabinets are available in widths
ranging from 9" to 48, in 3" increments. Framed wall cabinets are 12" deep, not including doors. Frameless
wall cabinets are 12" deep, including doors.

WALL BLIND CORNER CABINETS

Wall blind corner cabinets are available in heights of 42, 30" and 24. Most wall blind corner cabinets are
available in widths of 24, 27, 30, 33, 36, 42 and 48".

DOUBLE-FACE WALL CABINETS

Double-face wall cabinets are available in heights of 30, 24" and 18". Most are available in widths of 18,
24, 30, 36, 42" and 48. Framed cabinets are 1315/16" deep with doors. Frameless are 13" deep with
doors.

BASE CABINETS
All base cabinets are 34" tall. Most are available in widths ranging from 9" to 48, in 3" increments.
Framed base cabinets are 24" deep, not including doors. Frameless base cabinets are 24" deep, including
doors. Four-drawer base cabinets are available widths ranging from 12" to 24, in 3" increments. Frameless
base cabinets are also available in a three-drawer style in width of 30" and 36.

BASE BLIND CORNER CABINETS

All base blind corner cabinets are 34" high. Most are available in widths of 24, 30, 36, 39, 42, and
48.

4.2

Self Assessment Test

1. Draw any three furniture of living room with standard measurements.

2. Draw cross section through the kitchen platform and labile it.
3. Students are advised to refer the latest standard dimensions of the furniture, product
and make a market survey report.

Unit 5: Ergonomics & Anthropometrics - Introduction to

Ergonomics; Introduction to Anthropometrics.
Index
5.0 Objectives
85

5.1 Ergonomics & Anthropometrics

5.2 Self Assessment Test

5.0 Objectives
The objectives of this unit are to help you to understand the:
Ergonomics & Anthropometrics in Interior Design

5.1

Introduction
Ergonomics
Ergonomics is a multidisciplinary field incorporating contributions from psychology,
engineering, biomechanics, industrial design, graphic design, statistics, operations
research and anthropometry. In essence it is the study of designing equipment and devices
that fit the human body and its cognitive abilities. The two terms "human factors" and
"ergonomics" are essentially synonymous. The International Ergonomics Association
defines ergonomics or human factors as follows:
Ergonomics (or human factors) is the scientific discipline concerned with the
understanding of interactions among humans and other elements of a system, and the
profession that applies theory, principles, data and methods to design in order to optimize
human well-being and overall system performance.
Ergonomics is employed to fulfill the goals of health and safety and productivity. It is
relevant in the design of such things as safe furniture and easy-to-use interfaces to
machines and equipment. Proper ergonomic design is necessary to prevent repetitive
strain injuries and other musculoskeletal disorders, which can develop over time and can
lead to long-term disability. Human factors and ergonomics is concerned with the "fit"
between the user, equipment and their environments. It takes account of the user's
capabilities and limitations in seeking to ensure that tasks, functions, information and the
environment suit each user.
To assess the fit between a person and the used technology, human factors specialists or
ergonomists consider the job (activity) being done and the demands on the user; the
equipment used (its size, shape, and how appropriate it is for the task), and the
information used (how it is presented, accessed and changed). Ergonomics draws on
many disciplines in its study of humans and their environments, including anthropometry,
biomechanics, mechanical engineering, industrial engineering, industrial design,
information design, physiology and psychology.

86

Anthropometry
Anthropometry is the science of the relationship of human body and its movements with
the things, objects and spaces that it comes across in its day to day life. The knowledge of
Anthropometrics is most essential for the designers and architectural planners.
The accepted proportion of the human body by nature is the face; from the chin to the top
of the forehead is a tenth part of the whole body. Ergonomics is based on the human
biological sciences: Anatomy, Physiology and Psychology. Anthropometry and
Ergonomics may be used interchangeably as basically all designing projects require the
human factor input. The dimensions of the human body that have an impact on the design
of the interior spaces are of two basic types:
1. Structural
2. Functional
Body linkage system and the common terms

87

1] Structural:
Structural dimensions are static and include the measurements of the head, torso and
limbs in standard positions.

88

2] Functional:
Functional dimensions are dynamic and as the term suggests, include measurements taken
in working positions or during the movements associated with certain tasks.

Body measurements which are necessary to be considered in the designing process

89

The study of the body movements is very useful in designing interior spaces and during
environmental planning. For example, the widths of corridors, passages, staircases, ramps

etc. depend on the number of users at peak hours and the purpose and functions they
serve.

90

91

The Dynamics of Sitting Posture

92

The Dynamics of Sitting

The dynamics of sitting are clear in the above figure showing the mechanics or
anatomical or structural support system of human beings
Seat height, seat depth, seat width, backrest height, arm rest height and spacing are the
fundamental elements of Anthropometrics to be considered for the sitting posture.
The overall height of the backrest may vary depending on the type and intended use of
the chair involved. Armrests serve several functions. They support the weight of the arms
and assist the user in lowering himself into the seat or in pushing or raising himself out of
the seat. The purpose of cushioning is essentially to distribute the pressure caused by the
weight of the body at the point of interface over a large surface area or plane.

Elbow To Elbow Breadth The distance from the lateral surfaces of the elbows when flexed and resting lightly
against the body with the forearms extended horizontally is the elbow to the elbow

93

breadth. This data is useful to determine the allowances for seating around conference
table, dining tables, counters, etc.
Hip Breadth:
Hip breadth is the breadth of the body as measured across the widest portion of the hips.
This data is to determine the inside width of chair dimensions.

Elbow Rest Height:

Elbow rest height is the height from the top of the sitting surface to the bottom of the tip
of the elbow. This data is helpful in determining the heights of the armrests, work
counters, desks etc.

Elbow Height:
Elbow height is the distance vertically measured from the floor to the depression formed
at the elbow, where the forearm meets the upper arm. Elbow height data is essential in
establishing comfortable heights for work counters, kitchen platforms, laboratory desk
tops, etc.
Thigh Clearance:
Thigh clearance is the distance taken vertically from a sitting surface to the top of the
thigh at the point where the thigh and the abdomen intersect. This data is essential in
order to establish the dimension of any apron or drawers situated directly below the work
surface so that adequate clearance will be allowed between the top of the thigh and the
bottom of any plane above it.

Knee Height:
94

Knee height is the vertical distance from the floor to the midpoint of the kneecap. This
data is essential to establish the distance from the floor to the underside of the desk,
counter, etc.

Popliteal Height:
Popliteal height is the distance taken vertically from the floor to the underside of the
portion of the thigh just behind the knee while the subject is seated with the body erect.
This data is critical in establishing the height of seating surfaces above the floor.

Stature:

95

Stature is the vertical height from the floor to the top of the head, measured while the
subject stands erect, looking straight ahead. This data is useful in establishing minimum
heights of openings and doors.

Eye Height:
Eye height is the vertical distance from the floor to the inner corner of the eye measured
with subject, looking straight ahead and standing erect. This data is helpful in establishing
sight lines in buildings such as theatres, auditoriums, conference rooms and in the
placement of signage and other visual aids.

SITTING HEIGHT (When Erect):

Sitting height is the vertical distance from the sitting surface to the top of the head with
the subject sitting erect. This data is essential in designing bunk beds, storage above
sitting, seating in shoe shops, etc.

Eye Height (When Sitting):

Eye height while sitting is the vertical distance from the inner corner of the eye to the
sitting surface. This data is essential to know the primary value of sight line and fields of
vision.

Shoulder Breadth

96

Shoulder breadth is the maximum horizontal distance across the deltoid muscles. This
data is essential for interior designers and architects to help in establishing allowances for
sitting around tables and low seating in auditorium.

Vertical Reach Grip:

Vertical reach grip is usually measured from the floor to the top of the bar grasped in the
right hand while the subject stands erect. This is essential in establishing the maximum
height above the floor for switches, controls, handles, book shelves, etc.

Sidearm Reach:
Side arm reach is the distance from the centre line of the body to the outside surface of a
bar grasped in the right hand when the subject stands erect. This data is essential to locate
controls railings, etc.

Maximum Body Depth:

Maximum body depth is the horizontal distance between the most anterior points on the
body to the most posterior point of the body.

97

Buttock Knee Length

Buttock knee length is the horizontal distance from the rearmost surface of the buttock to
the front of the kneecaps. This data is useful in determining the proper distance from the
back of the seat to any physical object located in front of the knee.

Buttock Heel Length:

Buttock heel length is the horizontal distance from the base of the heel to a wall against
which the subject sits erect with his leg maximally extended forward along the sitting
surface. This data is essential to establish the distance required for lounge and informal
seating.

Maximum Body Breadth:

Maximum body breadth is the maximum distance including arms, across the body. This
data is essential in planning corridors and equipment.

98

Banquette Seating (Lounge Seating)

A designer has to be very careful in designing seating because it involves the comfort of
the user, the purpose and the function it serves. For example - seating is many times
directly related to table, desk, counter etc. seating can provide formal as well as informal
arrangement.
Seating in lounge has to have proper dimensions for longer time seating with good back
rest and angle of the seat. While designing sofa sets, the elbow clearance for comfortable
99

seating has to be considered. The length of the sofa again depends on low density and
high density sitting.

100

101

102

We have to consider average human dimensions in designing of comfortable staircases.

Following points are required to be considered in the designing of staircases.
1. Proportional relation of tread and riser
2. Height of the human
3. The minimum headroom required

We also have to consider width of the staircase based on purpose, function and number of
users at maximum peak hour.

103

5.2

Self Assessment Test

Q. No. 1.. How does anthropometry help in bathroom design, explain and illustrate.
Q. No. 2. What are Structural dimensions?
Q. No. 3. Write short note on buttock knee length, buttock heel length maximum, and body
breadth

Unit 6 : History of Interior Design

Index
6.0 Objectives
6.1 Classic Period, Medieval Period, 19th Century, Modern Period, Oriental Period,
Indian Interior Design
104

6.2 Self Assessment Test

6.0 Objectives
The objectives of this unit are to help you to understand the:
The History of Interior Design and Furniture and its development till date

6.1

Introduction

History of Interior Design

An interior designer expresses his creativity in interior spaces, but it is not known as to when
this idea initiated. All throughout history, the concept of interior design and its influence
have been seen and valued in many civilizations of the world. The information that we have
about the interior decoration through the ages is sparse and pieced together from bits of
archaeological data and extant manuscripts. In the olden times when there was no electricity,
the spaces were designed to allow maximum natural light into the interior. The early pre
historic humans used basic tools to build their dwellings. The people lived in hut like
structures that were put together with the natural material available in their region such as
wood, mud, rocks, grass, etc. and animal skins to build a functional and comfortable home.
Many a times, as has been discovered by archaeologists, these cavemen decorated their
dwellings with drawings mostly of animals. The rock paintings, rock carvings and sculptures
made from rocks themselves (relief sculptures), woven baskets, mats and decorative pots are
all examples of interior design that has been followed since our ancient times.
The Ancient Egyptian period
The credit for the birth of interior design is most often given to the Ancient Egyptians. The
poor decorated their mud huts with simple furniture, animal skin and painted vases. In the
royal palaces, they built elaborate columns, intricate tombs and exotic furniture.
The Roman & Greek Civilization
Like the Egyptians, the Romans and Greeks too began to plan and design their homes. The
rooms were designed to maximize the natural light and ventilation with elaborate furniture
and wall hangings. The public buildings had a dome roof. Mosaic floors, frescoes or wall
paintings and vases were used to decorate the interior spaces. The Romans made their
furniture from wood, stone or bronze while the Greek used wood with silver or ivory for
ornamentation.
The Dark Ages 10th &11th Century
Stone slab floors with minimum furniture and sober wood paneling.
The Gothic Period 12th Century
105

The basic idea was to keep the interior well lit and ventilated with natural light;
ornamentation and color was used in this period. Furniture and furnishings were often made
from carved pieces of heavy wood.
The French Renaissance 15th & 16th Century
The focus in this period was on art and beauty. The French used elements such as marble
floors, inlay work in wood, paintings and the furniture was made from the finest wood. Many
of the furniture pieces were named after the French Royalty. The influential styles were Louis
period style, Regence style, Directoire style and Empire style.
The Italian Baroque 17th Century
The Italians too loved to show their artistry and creativity. Palaces were decorated with lavish
draperies and expensive and exquisite fabrics like velvet and silk. The Pope and the nobles
employed the leading artists to decorate their villas and palaces. The elements used were
stain glass and color marbles; columns were twisted and ceilings were painted. This style was
found predominantly in areas like Italy, Austria, parts of South Germany, Spain and Portugal.
The Rococo mid 18th century
The use of elements such as floral designs, Asian porcelain and furniture was inlaid with
mother of pearl and tortoise shell. This style was popular in more secular regions of Europe
like Austria and North Germany.
Neo-Classical Style late 18th Century
Heavy use of elements like silk, satin, velvet and bronze.
Art Nouveau (1890s)
This period used elements and styles of natural forms such as seeds, roots and flowers with
curvy, elongated lines.
Art Deco (1920s)
Use of angular and geometric shapes with bold outlines and zigzag forms. Also more unusual
materials such as glass, steel, mirrors & shiny fabrics, aluminium, lacquer, inlaid wood, zebra
skin, etc. were used.
Mid-Century Modern (1930s)
Structures were created with open interior spaces to merge the exterior with the interior. The
style was clean and simple and glass was preferred instead of heavy and bulky support walls.
Minimalist Style (1960s)
This style saw the use of basic geometric shapes with bright color combinations, natural
textures, lighting and fine finishes.
Contemporary Style
The term Contemporary simply means current or modern. By using the materials available
currently, any style can be designed. Nowadays, the preference is for simple, clean and
106

uncluttered look with sophistication. The interiors are welcoming and comfortable. The focus
is mainly on the space and colors to give the feeling of freshness. The designers and
manufacturers are now producing low cost furnishings for small rooms that are easy to
maintain. Use of synthetic materials like glass and metal are more popular. Modular systems
are now in style as the units help to use the maximum wall space or vertical space and can
also have flexible combinations. More emphasis is given to the lighting arrangement. The
trend is to blend the indoor spaces with the outdoor spaces with more of natural light and
ventilation coming into the interior.
21st Century - Eclectic Style
New concepts have emerged and hundreds of design styles exist with a large variety of
building material. A combination of a variety of style periods and cultures with careful use of
color, pattern, texture and composition inspire us to create interiors to fit the tastes and likes
of every individual.
Interior Design as a Profession
Though interior design started spreading quickly after the 1930s, the common man could not
afford the lavish pieces that were used by the rich and famous. It was only after the Industrial
revolution wherein there was mass production of cheaper goods, more jobs were created and
businesses started booming. This allowed creating a space called home and also the concept
of decorating it. Magazines with home decorating ideas and designs were printed showing the
latest trends. All this gave way to the interior design profession and people started respecting
this art. Interior design courses were recognized and organizations to regulate the education,
the qualification and the practice were established and thus interior design became accepted
as a profession.

6.2

Self Assessment Test

Q. Write short note on

1. Classic Period
2. 19th Century
3. Indian Interior design

107

REFERENCE MATERIAL
Sr.
No.

Author

Title

Publisher & Address

Joseph De Chaira
Jullius Panero

Time Saver Standard for

Interior Design & Space

Martin Zelnik

Planning

Mcgraw Hill New York

John Pile

Interior Design

Harry N. Adry Publishers

Ahmed Kasu

Interior Design

TWAIN Pub. Bombay

Jullius Panero
4

Martin Zelnik

Human Dimensions and

Interior Spaces

Whitney Library
New York

Beginning of Interior
5

Phillis Sleen Allen

Environment

New York

Basic Design of
6

Shirish Bapat

Anthropometry

Bela books Publishers

Living Area (Interior

7

Shirish Bapat

Space)

Bela books Publishers

Francis D K Ching

Interior Design Illustrated

Van Norstrund, New Delhi

Design Fundamental in 1st

9

10

V. S. Parmar

M. Prataprao

architecture

Somaiya Pub. Pvt. Ltd.

Interior Design Principles

Standard Publisher &

& Practices

Distributor, New Delhi

Sanskruti a manual of
11

Sudhir Diwan

Interior Design Vol-1

Interior Affairs, Mumbai

108