DESIGN STUDIO II: COMMERCIAL INTERIOR

UNIT I: Offices/Retail/Malls/Educational Institutions

Philosophy of design is the study of assumptions, foundations, and implications of

design. The field is defined by an interest in a set of problems, or an interest in
central or foundational concerns in design. In addition to these central problems
for design as a whole, many philosophers of design consider these problems as
they apply to particular disciplines (e.g. philosophy of art). Although most
practitioners are philosophers, several prominent designers and artists have
contributed to the field.
DEFINITION OF OFFICE A location, usually a building or portion of a building,
where a company conducts its business. A company can have just one office,
known as its home office, or a main office and a variety of field offices or branch
offices which people work at a disk doing business or professional activates it also
a place to meet clients

TYPE OF OFFICES:
CELLULAR office: is characterized by stringing together single and multi- person
offices along the building’s facade; a common corridor provides access. The
cellular office is particularly well-suited for companies that want to support
autonomous work that requires concentration and facilitate confidential
meetings. Offices with a door are still regarded today as a status symbol. A
relatively low maximum occupancy rate is taken into account in this type of office.
Autonomous, focused work
Confidential meetings
Status
COMBINATION office: Combination of standardized one- and multi-person offices
for focused work, with significantly reduced floor space. Communication occurs in
the interior multifunctional shared area (central area). Hallway walls are
transparent in order to provide the central area with natural light. The central
zone also serves as a central meeting point for exchange, interaction and support
areas. In combination offices, people switch frequently between individual work
requiring concentration and communicative project or team work. The maximum
occupancy rate is greater than in the cellular office. Focused work
Communication in the central zone Transparency: Visual contact possible thanks
to central break-out area For frequent shifts between focused individual work
and more communicative project or team work.
TEAM office: In the team office, there is a mix of office layouts within the office
floor or building. The focus is on the variability and flexibility of office layouts.
Designed to be partially open and transparent, or modified at short notice for a
company’s special requirements. It is suitable for a wide array of work, such as
team building and structuring, project work, concentration, and communication.
The maximum occupancy rate is also somewhat higher for this office layout.
•High flexibility
•Mix of office types
•Team building and organization
•Project work
•Concentration
•Communications
OPEN SPACE office: Brings together the advantages of several office forms in
open- plan application scenarios. Communication and the quality of interaction
become the focus without mitigating privacy and the opportunity to concentrate.
Employees choose the zones and areas that are best suited to their activities.
Space efficiency is achieved with compacted, non-territorial workplace areas.
•Efficient use of space
•Flexibility in open-plan application scenarios
•Openness and exchange of knowledge
•Communications
•Quality of interaction
OFFICE MODULES & AREAS: One & two person office (cellular office), Secretarial
office, Reception & Waiting area. Open space office, Call center, Archiving,
Conference room & Seminar, Workshop

Secretarial office: The Secretariat is the heart of every company. This is where we
put special emphasis on freedom of action in the field of information
management, documentation and tools necessary to work in this position. It
combines elements of accessibility and privacy. The competent organization of
this area can compensate for both functions.
Reception & Waiting area: First representation of the company. Focal point of
the corporate identity. The company’s culture is manifested and represented to
staff members and visitors. The reception: a successful profile depends on the
first impression. The reception is a place of first contact with the client’s
organizational culture. Regardless of which occupies an area must meet the same
function - to be properly organized, which give the possibility of cooperation with
other organizations so that customers quickly and efficiently receive reliable
information. Professional design represents the company and demonstrates
respect towards the visitor. The company’s culture, image symbols, details and
processes are imprinted in the memory of the person waiting.
Open space office: Open Space is a multi-purpose area. The organization of such
an area requires an analysis of its place in the structure of the company.
Archiving: Archiving is closely linked with the rules governing the media on which
data are recorded, the number of copies required, duration and location of their
storage, available at various levels of management and to safeguard against
access of unauthorized persons. Such information shall ensure the proper
organization of work space.

Conference room & Seminar / Workshop: The conference room is an area of

meetings of various kinds.

1.2.2)RETAIL DESIGN:
Retail is one of the largest sectors of business in the world. Retail store is a place
where buying and selling of goods and services takes place. Retail design is a
complex study which incorporates the management of people and space.
PRINCIPLES OF RETAIL DESIGN
1. Attracting customers
2. Inducing entrances
3. Organizing store spaces
4. Interior displays
5. conveniences
1. Traditional concept: Traditionally retailers were the king. They sell only what
consumer asks for. Consumers were not using all their five senses mostly that
time. That time there were counter systems. There were counters between
retailer and consumers. Consumer only buy that product that he needs, there
were less sales.
2. Modern concept: Now consumers have became the king. Consumers wants
freedom while shopping. people are using their five senses while doing shopping.
Shopping is an experience, customers now want more services to be provided to
them. Sales have been increased.

Functions of Retailing.
Sorting.
Breaking Bulk.
Holding Stock.
Additional Services.
Channel of Communication.
Transport and Advertising Functions
Activities involved in retailing Choosing the Store Location.
Sourcing/buying or partnership/supply chain management.
Merchandising and category Management.
Visual Merchandising (Display) Sales Promotion.
Store Positioning and Building the store as a Brand.
Store Operations.
IT Task.
Inventory Management.
Shrinkage Loss Prevention.
Real estate development.
Achieving efficiencies in Retail Operations.
MALLS
INTRODUCTION:
Greek Agora... The Agora was a central spot in ancient Greek city-states. The
Agora was an open ‘‘place of assembly’’ in ancient Greek city-states. Mumford
(1961) states that the most important function of the agora was place for daily
communications and formal and informal assembly.
The word Agora is Greek for 'open place of assembly’ and, early in the history of
Greece, designated the area in the city where free-born citizens could gather to
hear civic announcements, muster for military campaigns or discuss politics. Later
the Agora defined the open-air, often tented, marketplace of a city (as it still does
in Greek) where merchants had their shops and where craftsmen made and sold
their wares. The original Agora of Athens was located below the Acropolis near
the building.

Forum (Roman)... The Roman Forum is a small open rectangle surrounded by the
ruins of ancient government buildings at the center of the city of Rome. Citizens
of the ancient city referred to this marketplace as the Forum, a marketplace,
along with the buildings used for shops and the stoas used for open stalls.
A stoa is a public space protected from the sun and rain, it was an ideal place for
social life of Mediterranean cities; sometimes also meet business functions,
staying trading posts.

19th century shops... For wealthy women shopping was a popular pastime in the
19th century. In the late 19th century shopping arcades were built in many British
towns. Also in the late 19th century department stores became common. In the
early
20th century chain stores also became common although many shops were still
family owned.

Modern time shops... A shopping mall is a term, in which one or more buildings
forming a complex of shops representing merchandisers with interconnecting
walkways that enable customers to walk from unit to unit.
First shopping mall in India.
Type – shopping mall and commercial offices.
Architectural style – Modernism.
Location – anna salai, chennai, INDIA.
Constructed started – 1863.
Total floor – 8.
Floor area – 1,068,000 sq ft (99,000 sq m).
ARCHITECT – C.R. Narayana Rao & co.
Developer – Mangal tirth. SPENCER PLAZA, CHENNAI.
INDEX :- COLUMN SPACING, STORE DEPTHS CLEAR HEIGHTS,PARKING AND
TRAFFIC SHOP SIZES & LAYOUTS SHOW is CASES AND SHELVING DATA PLANNING
GUIDELINES CIRCULATION ESCALATORS AND PASSENGER CONVEYORS AND LIFT
LIFE SAFETY SANITARY INSTALLATIONS AIR CONDITIONING, HEATING AND
MECHANICAL VENTILATION WATER REQUIREMENTS BARRIER FREE PARAMETERS.
EFFECT OF DEPTH ON STORES
COLUMN SPACING Significant dimension is along the mall as this involves the
widths, i.e. , frontages, of stores. Often used spaces are 20, 25 and 30 ft., with the
last the most flexible .
STORE DEPTHS Buildings are usually 120 to 140 ft deep, sometimes more to
accommodate larger stores . If there are basements or mezzanines, the depth
dimension usually can be reduced 20 to 25 percent
CLEAR HEIGHTS These vary from 10 to 14 ft. or more, with 12 Ft. a good average .
Above this clear height, there must be adequate space for air conditioning ducts,
recessed lights, structural e system, etc.
PARKING AND TRAFFIC A ratio of between 5 and 6 car spaces per 1,000 sq. ft. of
leasable store area is mandatory. In the matter of parking layout, car stalls can be
set at angles (say, 70‘ to the lanes, which then requires one-way traffic; or stalls
can be at 90' to the lanes, permitting two-way traffic.
SHOP SIZES & LAYOUTS
12 to 15 ft wide by 50 to 60 ft long in large cities ; and 15 to 18 ft. wide by 60 to
80 ft long in smaller cities .
These dimensions apply particularly to shops in 100 percent retail districts .
Basements 8 to 9 ft high, in the clear, permit economical stock storage .
Ground floors are preferably approximately 12 ft high If no mezzanine is
included ; mezzanines at least 7 ft6 inch above floor level will accommodate most
fixture heights.
Height from mezzanine floor to ceiling may be as low as 6 ft6 in . if used for
service space only ; 7 ft is the preferred minimum for public use.

AISLE WIDTHS Aisle Widths For clerks, min . = 1 ft8 inch. Desirable 2 ft to 2 ft3
inch For main public aisles, min .= 4 ft6 inch Avg.5 ft6 inch to 7 ft; Usual max., 1 1
ft. Secondary public aisles, 3 ft to 3 ft6 inch.

The ratio of sales to ancillary space ranges from about 45:55 in small shops and
departmental stores to 60:40 in supermarkets. Planning Halls are usually designed
to give a large-span open space having natural roof lighting, good ventilation and
service connections. One-floor trading is preferred. Perimeter stalls and other
grouped layouts have service corridors. Fish, meat and food stalls are sited in
zoned areas with more sophisticated ventilation, drainage and services. Key
considerations: Access and linkage to car parks, shopping areas, goods delivery
and parking bays. Mix of traders. Risk of fire (incombustible materials, fire-
resistant construction smoke evacuation)and means of escape. Net areas Gross
areas Staff facilities 10–15 per cent 25–30 per cent Offices 5–8 per cent Additions
to the net sales area.
CORRIDORS AND PASSAGEWAYS:
Where stairways discharge through corridors and passageways, the height of
corridors and passageways shall be not less than 2.4 m. All means of exit including
staircases lifts lobbies and corridors shall be adequately ventilated. Internal
staircase minimum width shall be 2.0m in all group F building.
Pressurization of Staircases (Protected Escape Routes) Pressurization is a method
adopted for protected escape routes against ingress of smoke, especially in high-
rise buildings. In pressurization, air is injected into the staircases, lobbies or
corridors, to raise their pressure slightly above the pressure in adjacent parts of
the building. As a result, ingress of smoke or toxic gases into the escape routes
will be prevented. The pressurization of staircases shall be adopted for high rise
buildings and building having mixed occupancy/ multiplexes having covered area
more than 500 m2.
ARRANGEMENT OF EXITS: Exits shall be so located that the travel distance on the
floor shall not exceed the distance of 30m. In case of all mercantile building.
NOTE:- For fully sprinklered building, the travel distance may be increased by 50
percent of the values specified
EXTERNAL STAIRS: External stairs, when provided shall comply with the following:
External stairs shall always be kept in sound operable conditions. Ail external
stairs shall be directly connected to the ground. The external stairs shall be
constructed of noncombustible materials, No external staircase, used as a fire
escape, shall be inclined at an angle greater than 45° from the horizontal.
External stairs shall have straight flight not less than 1250 mm wide with 250 mm
treads and risers not more than 190 mm. The number of risers shall be limited to
15 per flight. Handrails shall be of a height not less than 1000 mm and not
exceeding 1200 mm. There shall be provisions of balusters with maximum gap of
150 mm. The use of spiral staircase shall be limited to low occupant load and to a
building not exceeding 9 m in height. A spiral staircase shall be not less than 1500
mm in diameter and shall be designed to give adequate headroom.
HORIZONTAL EXITS: For buildings more than 24 m in height, refuge area of 15 m2
or an area equivalent to 0.3 m2 per person to accommodate the occupants of two
consecutive floors, The refuge area shall be provided on the periphery of the floor
or preferably on a cantilever projection and open to air at least on one side
protected with suitable railings. a)For floors above 24 m and Up to 39 m — One
refuge area on the floor immediately above 24 m.

Most wheelchairs require a space 1.4 m square to turn around. This determines
the minimum size of lift cars and circulation spaces in rooms. ESCALATORS AND
PASSENGER CONVEYORS For floors above 39 m — One refuge area on the floor
immediately above 39 m and so on after every 15 m. Refuge area provided in
excess of the requirements shall be counted towards FAR. Where there is a
difference in level between connected areas for horizontal exits, ramps, not more
than 1 in 10 m slope shall be provided; steps shall not be used. Doors in horizontal
exits shall be openable at all times from both sides.
LIFT: Quality Service or Acceptable Interval 20 to 25 seconds Excellent 30 to 35
seconds Good 34 to 40 seconds Fair 45 seconds Poor Over 45 seconds
Unsatisfactory NOTE— For residential buildings longer intervals should be
permissible.
Provision of Facilities
 (a) Soap Dispensers
(b) Litterbins
(c) Electronic Hand-Dryers/Paper Towel Dispensers
(d) Toilet Paper Dispensers
(e) Toilet Seat Sanitizers/Covers
(f) Water Tap Points within Cubicles
(g) Air Fresheners
(h) WC / Urinal Sanitizers
(i) Coat Hooks
(j) Cleaning Attendant’s Sink & Equipment StorageSpace
For toilets, the provision of the following user-friendly features is strongly
recommended.
(a) Accessible Toilet
(b) Toilet for the Ostomates.
(c) Baby Seats
(d) Diaper Changing Stations
(e) Urinals and WC for Children
(g) Signages for cubicle doors
(h) Full-Length Mirrors
(i) Waiting Areas
Looscaping The ambience of public toilets can be enhanced further by:
(a) Introducing plants which can be easily maintained inside the toilets as well as
surrounding the public toilets.
(b) Placing of wall pictures and illuminated with delicate lighting. The pictures or
wallpapers should be waterproof (e.g. made of impervious material).
(c) Placing of ornaments or sculptures at the ‘dead’ corners of the toilets. Off-set
entrance maze without doors Directional signage -A Guide to Better Public Toilet
Design and Maintenance Third Edition 2013.

EDUCATIONAL BUILDING:
CREATING A SAFE SCHOOL BUILDING • Safe schools not only have proactive
prevention and intervention plans, well-organized crisis teams and clear lines of
communication– they also provide physically safe havens for students and staff.
To assure a safe learning environment.
THINGS TO CONSIDER:
• Light all hallways adequately during the day.
• Close off unused stairwells or do not leave areas of the school unused .
• Install all lockers in areas where they are easily visible, or remove lockers
altogether.
• Minimize blind spots; use convex mirrors by portable classrooms or to allow hall
monitors to see around corners.
• Prohibit posters in classroom windows.
• Install an alarm system and/or a closed-circuit television monitoring system.
• Keep buildings clean and maintained.
• Locate playground equipment where it is easily observed.
• Limit roof access by keeping dumpsters away from building walls.
• Cover drain pipes so they cannot be climbed.
• Avoid decorative hedges; plant trees at least ten feet from buildings.
• Trim trees and shrubs to limit outside hiding places for people or weapons.
• Keep school grounds free of gravel or loose rock surfaces.
• Ensure vehicle access around the building(s) for night surveillance and
emergency vehicles.
• Design parking lots to discourage through traffic; install speed bumps.
• Mix faculty and student parking.
• Create a separate parking lot for students and staff who arrive early or stay late,
and monitor these lots carefully. • Use fencing and gates with discretion and
choose attractive wrought iron styles instead of chain link fences. Secure them
with heavy-duty padlocks.

• Establish a policy to have the school campus fully lighted or totally dark at night.
• Keep a complete list of staff members who have keys to the building(s).

Do not allow graffiti to linger on walls. Follow the three "Rs" after discovery--
read, record (i.e. photograph or videotape) and remove. Inflammatory bathroom
graffiti needs to be removed daily.
Offer school- or community-based activities for students after school and on the
weekends. Institute after-school academic and recreational programs for latchkey
students.

Conduct a thorough background check on anyone applying to work in the school

to assure that no one is hired who has been convicted of sexual assault, child
molestation, or pornography, or has a history of violent criminal behavior. Do not
make a hiring decision before the check is completed.

REPUBLIC ACT NO 7880 • An Act Providing for the Fair and Equitable Allocation of
the Department of Education, Culture and Sports Budget for Capital Outlay
otherwise known as the Fair and Equitable Access to Education Act.

• Based on the proposed list of recipient schools prepared by the DepEd Schools
Division Office (SDO), the DepEd Project Engr./Architect(DPE/DPA) together with
the Division Physical Facilities Coordinator(DPFC) and representative/s from the
Department of Public Works and Highways(DPWH) District Engr. Office(DEO) shall
conduct joint site appraisal and validation activities to determine the actual
conditions and requirements of the proposed school recipients.

• All School buildings constructed shall be provided with corresponding number

of school furniture by the DepEd.
• In the finalization of the list of recipient schools, the following shall be
submitted using the following format:

UNIT II: Layout

Layout may refer to:
● Page layout, the arrangement of visual elements on a page
 ○ Comprehensive layout (comp), a proposed page layout
presented by a designer to their client
● Layout (computing), the process of calculating the position of objects in
space
● Layout engine, another name for web browser engine, the core software
that displays content in a web browser
● Automobile layout, a description of the locations of the engine and drive
wheels on a vehicle
● Integrated circuit layout, the representation of an integrated circuit in
geometric shapes
● Keyboard layout, an arrangement of the keys on a typographic keyboard
● Model railroad layout, a diorama with tracks for operating scaled-down
trains
● Layout or marking out, the transfer of a design onto a workpiece in
manufacturing
● Plant layout study, an engineering study to analyze physical
configurations for a manufacturing plant
● Layout, a specific version of the splits, a position in which the legs are
extended in opposite directions
● Layout, a specific version of a Running Catch and Slide in (Ultimate
Frisbee) where the player is at running speed and attempts to catch the
disc just beyond one’s running reach while staying at full speed,
extending both hands out in front to catch the disc and grabbing hold of
it with one hand, with chest and forearms parallel to the ground and
legs extended out back behind; often followed by hitting the ground
hands first, sliding up onto one’s forearms, followed by the chest hitting
the ground and continuing the slide, making sure to keep hold of the
disc.
● Process layout, a floor plan of a plant that arranges equipment
according to its function
● Product layout, a floor plan of a plant in which work stations and
equipment are ordered by assembly sequence
OFFICE DESIGNING :

• Office interior design is as vital whether the office is at your home or in a

commercial building. In either of the cases, a proper planning is necessary to get
the best results.
• An ideal office is one which has all the comfort, safety and functionality along
with eye catching environment.
• Interior design is an important consideration, whether you are decorating your
home or company offices. The right décor choices and the proper accents set the
tone of quiet elegance that is so vital in an office.
• When you step into a professional workspace, you immediately notice not just
the employees but their surroundings.
• Choosing the right office décor doesn't just make things "look nice"---it can
positively affect visitors opinions of a company.
• It can also affect employee productivity and even employee health.

CONCEPT OF DESIGNING :According to a survey “the finest and the best

performing companies provide workspaces that support the four working forms
that of learning,focusing, collaborating and socializing”.So when you are planning
to do corporate office interiors,plan for all four modes for a better design.

OFFICE LAYOUT:Research shows that space design has a crucial effect on the
correlation of behavior and performance.So a “feel good” office space would have
been designed to optimize the space utilization. It would be a clutter free design.
Most importantly it would have clear and clean spaces.Closed-plan offices provide
each employee with their own office---either a room or an area with floor-to-
ceiling walls.Open-plan offices erase these boundaries and place employees in
cubicles or partitioned areas.Many offices have a mix of both types, with higher-
ranking employees placed in offices while lower-ranking employees sit in cubicles
or at tables Open-planned offices promote communicationClosed-plan offices
may reduce productivity but employees but can be noisy and crowded.enjoy
privacy.

DESIGNING AN INTERIOR OFFICE LOBBY:

• The lobby in your office is the first place that your customers or clients will see.

• The design of the lobby will create a lasting impression on these visitors that can
set the tone for how your business is viewed. A well-appointed lobby can
encourage your customers to feel comfortable and confident in your business.
• Create an office lobby offering personality, comfortable seating and that is
interesting to the eye.
• To design an interior office lobby, there are a few things that should be taken
into consideration:
1. Measure the Space -
• The interior office lobby design is limited by the amount of space that is
available for seating and front office furniture. When there is a large space to
work with, the amount of seating should be determined by the amount of traffic
that is typically waiting in the lobby.
• A very busy office can have several people waiting for their appointment time
and this will require chairs for everyone. Purchase enough seating for the
maximum number of visitors that are expected.
2. Proper Placement of Reception Desk -
• The reception desk should be placed in view of the front door.
• This should be the first thing that clients see when they walk through the door.
• A straight line from the front door to the reception desk is ideal so that traffic
can enter the door, check in with the receptionist and then find a seat in the
lobby.
• The desk should not be placed too close to seating if it can be helped.
• A small lobby might make it difficult to move the reception desk out of earshot
of the clients in the lobby, but if it is possible it is preferred.
•Select magazines for the tables to give clients something to read while waiting
for their appointment.
•A wide variety of magazines ensures that there will be something of interest for
every client in the lobby.
•Also, add some trade magazines in the same industry as the business.

3. Colors -People are very enthusiastic about the colour their office would have.
But you should remember that there are aspects beyond a colour that need to be
considered like the average age group of the people, the kind of work, shades of a
particular colour, the overall theme, bright, neutrals, vibrant ora basic white. The
final out come is the reflection of some of these considerations.Painting it a color
that both calms and energizes, as well as being more attractive than the standard
industrial gray or boring white, should be an easy project.

AN OFFICE IN A CORPORATE SETTING:

If you're in a corporate setting you may be limited to neutral colors.Gray and
beige covers a very wide range of colors and hues, handsome darker beiges and
light browns can be distinctive, evendramatic, but should still be conservative and
versatile enough for a corporate setting. Select a color that is neutral or opens up
a small office space area. Dark colors tend to close in areas and make them
appear smaller.
• The color scheme used in a corporate office can set the mood and even give
subtle hints about the status of the person in the office.
• Deep, rich colors like hunter green and royal blue can convey a sense of status,
while lighter colors like pale blues and greens can provide a soothing and calming
atmosphere.

Colors -People are very enthusiastic about the colour their office would have. But
you should remember that there are aspects beyond a colour that need to be
considered like the average age group of the people, the kind of work, shades of a
particular colour, the overall theme, bright, neutrals, vibrant ora basic white. The
final out come is the reflection of some of these considerations.Painting it a color
that both calms and energizes, as well as being more attractive than the standard
industrial gray or boring white, should be an easy project.
HOME OFFICE:
• Your home office should be a distinct space within your house.
• Paint it a complementary color to the adjoining spaces to make it feel like a
separate space.
• If the color scheme in the rest of your home centers around warm light brown
and earth tones, consider an energizing pale orange or terracotta, or a tranquil
seafoam green or dusky blue.
• Take your office furniture and decor into consideration. Cool colors make cherry
office furniture pop, while blond wood looks elegant with gray walls.
• Paint a single focal wall in a dramatic color to highlight prints, photographs or
framed certifications.
MATCH THE COLOR TO THE BUSINESS:
• Add character befitting your business to the walls with faux or specialty paints.
• Faux leather-look walls in deep red or rich brown add gravitas to a legal or
financial office.
• If your business centers around the creative arts, echo that energy on your walls
with a mural, stenciling or lettering.Greens and blues are calming and may help
you focus,while spicy reds and golds are energizing and uplifting.Remember that
your office reflects both your personality and your professionalism, and color can
affect the way you feel in your office, as well as make an impression on clients and
visitors.
Green Plants For Office Interiors -
• Plants can make your office feel more welcoming.
• Green plants in your office improve air quality, provide screens and brighten the
décor.
• A study on particle accumulation in offices, conducted by the Department of
Horticulture and Landscape Architecture at Washington State University,
concluded that the presence of plants reduces the amount of dust settling on
surfaces and increases humidity levels, benefiting even computer rooms, where
excess dust damages computer hard drives.Artificial plants can be a good choice if
your office has no natural light, and today's artificial plants look very real.
Flooring -Concrete and vinyl are popular and affordable flooring alternatives for
offices and certain types of environmentally safe floorings are growing in
popularity as well. Concrete Flooring
• Concrete is a durable and easy-to-maintain flooring alternative.
• This versatile surface may be decorated or enhanced in many ways. Concrete is
easy to paint or stain and you can create a variety of patterns and textures.
• Rugs can always be added in certain areas to create warmth and complement a
design scheme. Once you have installed your concrete flooring, it is easy to lay
other types of flooring on top if you decide that you want to try something new.
• Concrete is probably not an ideal choice for your office if some employees must
stand or walk in the office for extended periods as prolonged exposure may cause
joint pain or soreness. Sometimes, laying ergonomic padding over areas that may
require long-term standing or walking helps.

Vinyl Flooring:
• Vinyl is a fairly durable and economical variety of flooring.
• Vinyl floors are designed to handle heavy traffic and significant wear and tear.
• This flooring is easy to install and maintain and is lightweight and comfortable to
walk on.
• The designs and colors for laminate flooring are endless, so you should not have
a problem finding vinyl flooring that matches your design scheme.
• Vinyl is not necessarily an ideal alternative if your goal is to eliminate toxins and
chemicals. Like carpet, vinyl flooring typically contains a fairly large number of
additives that may be released into the air when the floor is washed or dust is
stirred and released from the floor.
• Vinyl is also difficult to recycle and attempts to dispose of it usually results in the
release of environmentally hazardous chemicals.
Environmental-friendly Flooring:
• Bamboo and cork are ideal forms of office flooring in that they are both
biodegradable and contain no harsh chemicals or additives.
• Bamboo is stain-resistant and more durable than most varieties of hardwood
flooring.
• Cork is a great alternative as it is naturally microbial and provides excellent
cushioning and insulation.
• These types of flooring may be more expensive depending upon the amount of
square footage you are covering, but their harmless materials and recycling
potential make them well worth considering.
Office Lighting -
• This is one of the most imperative factors of a good interior design.
• In an office the lighting design should be more functional than anywhere else.
• The best locations of lights should be designed so as to have maximum output
with the minimum of energy intakes.
• The natural lights should be optimised. It is a strong recommendation to be
utilising the natural day lights and incorporating it in the office interiors. This will
not only reduce energy consumption but would help you to create a “green”
office. Office with ample daylight Dramatic OFFICE LIGHTING to create visual
effect Task lighting in office.

GOOD OFFICE LIGHTING STANDARDS:

Productivity in an office setting depends on the proper lighting. Establishing a
good lighting system in the office setting makes for a comfortable and safe
workplace. A variety of factors affect the quality of light in the workplace.
Brightness, quantity and contrast all have an impact on work productivity.

ContrastThe contrast ratio between the worker, the visual target and the
background is an important factor.
The Working area illumination needs to be three times brighter than the closely
surrounding area and 10 times brighter than the background.Brightness and
Quantity.
A computer-oriented workspace requires a combination of lighting fixtures.
Overhead lights, indirect lighting, task lighting and direct light through a window
all have a bearing on eye strain. The combination of all of these factors together
provides the proper work station illumination.GlareGlare is another factor that
contributes to eye strain in the workplace. Eliminating glare can be as simple as
painting the walls and ceiling a neutral color. Installing blinds on the windows will
also help reduce glare as well as indirect lighting.

Furniture -
• The office furniture is one of the indispensable objects in the offices.
• This shall be most functional and sturdy to be used handled easily over a period
of time.
• The use of recyclable and reusable materials and to avoid plastics is suggested.
The chair is the next most expensive investment in an office.
• The quality and the stuff should speak of its quality and should take the test of
time.

Modular furniture“35% of the project time is saved by using the modular

furniture for an office”.The modular furniture can be used as it is time and cost
efficient. Also the various patterns and shapes can be moulded of the modular
furniture.
The advantages of Altitude Design modular Office Furniture:
• Customised.
• Saves time.
• Cost effective.
• Can be developed in any shape, size or shades.
• Challenges creativity.
• Unending options.
• Variety with ease. General layouts
• Adjustable.
• Easy handling.
• Premium finishes.
• Finest workmanship.
• Finest service.
• Durable and sturdy.
• Water proof.
• Termite proof.
• Quality control.
• Helps in clutter free clean space.
• Trendy.
• In vogue
• As per higher standards.
• Correct workstation height
• Ease of bulk quantities.
• One year on site warranty.
Desks and Chairs:
•Select office desks and chairs that match for the entire work area and are
Ergonomically correct.
•The small office space can look smaller and cluttered with mismatched business
furniture. Match The furniture and desk styles with other furniture that is present,
if you're sharing the small office space with others.
•Choose desks that provide storage space and maximum floor space. Tall desks
with shelves, cubbies and space to hold equipment are ideal.
•Corner desks are extremely functional for small office space designs. The desk
provides the utility of traditional business desks, while minimizing the amount of
floor spaced used.
•Equipment can be stored on the top part of the desk and under the desk to get
the most from this type of unit. Pull out keyboards take up even less space, but
are easily accessible to use for work activities. Office Chair Executive Chair.
Built-in Bookcases:
• Bookcases and display cases built flush into the wall often are seen in corporate
offices, especially at the higher levels of the company.
• These built-in bookcases provide a suitable spot for annual reports, corporate
data and other information critical to decision-making along with a safe and
secure way to display and highlight corporate awards, certificates of
accomplishment and letters of commendation.
Hidden Wire Guides
• One of the biggest challenges of designing corporate offices is dealing with the
cords and cables that are necessary for workers to perform their daily tasks.
• That is why designers need to build cable channels and wire guides into their
designs to hide these items from view.
• Installing wire guides and cable channels on the side of each desk or cubicle
keeps those cables neat and tidy, while reducing the risk that a worker will
inadvertently knock a network cable or telephone cord loose.Brass fittings can
make even ordinary furniture look elegant, and those high-quality fittings are
afrequent part of corporate office design and make the entire office more elegant
and upscale.
 UNIT III: Visual perimeters
The visual field is the "spatial array of visual sensations available to observation in
introspectionist psychological experiments".[1]
The equivalent concept for optical instruments and image sensors is the field of
view (FOV).
In optometry, ophthalmology, and neurology, a visual field test is used to
determine whether the visual field is affected by diseases that cause local
scotoma or a more extensive loss of vision or a reduction in sensitivity (increase in
threshold).

General Design Principles: Design for the built environment, whether buildings or
other places for people, has multiple components: successful accommodation of
functional requirements; safe and durable construction; and aesthetic quality. We
react to all of these through our senses – by seeing, hearing, touching, moving
and even by smelling.

A design may be considered successful when all of the components are perceived
by people' senses and they are able to use and enjoy the environment. When
there is a shortfall in any of these perceptions by building users, their enjoyment
of life and their well-being may be compromised. Because one of the more
common shortcomings of design is the inability of persons with low vision to be
able to fully engage with their environment, it is the purpose of these guidelines
to help designers more fully accommodate this population.
A visual environment is comprised of four essential, interrelated components;
• Sources of light
• Materials and surfaces that reflect light from the sources
• Receptors of the direct and reflected light
• Responses to the signals from the receptors. This chapter defines the
characteristics of these components in terms that can be used in the design,
operation, and evaluation of indoor and outdoor visual environments. They are
consistent with terminology used by health-care professionals. Where possible
and appropriate, these characteristics are expressed as measurable parameters
and values based on empirical evidence obtained in laboratory tests or from
verifiable field data as currently available.

Two Primary Bases of Lighting Design:

Light that enters the eye is characterized and measured both indirectly and
directly. Signals from this light impingement are emitted from receptors in the
retina. These signals are transmitted to two different parts of the brain where:
1) perception and vision occur (1) and 2) circadian rhythms are regulated (see
Appendix 6A). Recognizing these effects on normally sighted and visually impaired
persons, two basic lighting design methods are described in this section:
Illuminance-Based Design and Luminance-Based Design: 1.1.1 Illuminance is the
most common lighting parameter in current building standards and guidelines.
Illuminance-Based Design is the traditional method of design, which is based on
lighting horizontal and vertical surfaces to provide “acceptable” (i.e.,
“standardized”) levels of illuminance for general (i.e., ambient) lighting and for
specific task lighting (5; 6) Thus, this method relates only indirectly to light
impinging on the eye.

While ambient levels of illuminance are intended for comfort and safety in
general spaces, task levels are intended to enhance visual performance,
productivity, and safety while reducing operating costs. Illuminance-Based Design
does not directly address light impingement on the eye nor does it include such
factors as luminance contrast and glare that affect vision. Illuminance-Based
Design is not sensitive to the circadian response. Although this method is useful in
the conceptual design phase, it may not be sufficient in the design refinement
phase to ensure the intended visual responses of low vision as well as normally
sighted occupants with regard to brightness, luminance contrast, and glare.

Procedures for calculating values of illuminance are described in Appendix 6B

1.1.2 Luminance is a direct measure of light at the eye. It is specifically used to
characterize circadian rhythm entrainment (see Appendix 6A), but is not a
common basis for visual design standards and guidelines for buildings. It is,
however used as the primary measure for special applications, such as design and
operations of video equipment, computer monitors, theaters, art galleries, and
museums where perception and vision is a primary design objective (7; 8)
Luminance is the basis from which values for luminance contrast and glare should
be calculated in design, especially for spaces that persons with low vision may
occupy. Luminance is also a primary parameter that is used by clinicians in patient
care. Luminance-Based Design provides a basis to describe and plan the optical
effects on occupants throughout an entire space or room, or at specific locations
(7). Unlike Illuminance-Based Design, which only characterizes the quantity of
light that impinges on horizontal or vertical surfaces, Luminance-Based Design
characterizes both the quantity and quality of light from within a field of view that
enters the eye.

This method, which is sensitive to the occupant’s location within the space or
room, is the basis for addressing other factors, such as luminance contrast and
glare. Procedures for calculating values of luminance are described in Appendix
6B. 1.1.3 Luminance Contrast is a function of luminance, and glare is a function of
luminance contrast. Many modern buildings are designed with large areas of glass
for daylight and views, and with extensive electric lighting for comfort and
aesthetics. High luminance contrast and high glare from both sources of light are
major causes of distraction, discomfort, and impediment to viewing for many
building users, especially those with low vision.

Also, many newer or recently renovated building interiors have monochromatic

or low-value contrast surface finishes treatments that are difficult for persons
with low vision to negotiate (see Section 1.3, Tables 1 and 2, and Appendices 6B
and 6C for additional information). Procedures for calculating values of luminance
contrast and glare, including the Daylight Glare Index (DGI) are described in
Appendix 6C. 1.1.4 Color and value of light sources are also functions of
luminance. The ability to see and to differentiate between surfaces and objects in
the visual environment is dependent on the various characteristics of the color of
light source, color of objects/materials, and the combination of these
characteristics. In addition, the light source shining on a surface will affect the
perception of the material and the space.

Circadian rhythms may also be affected by these light sources and reflections (see
Appendix 6A for further information on circadian rhythms and other health
effects). Procedures for calculating values of color and value are described in
Appendices 6B and 6C. 1.1.5 Rationale for design and clinical practice. A workshop
whose members were drawn from subject matter experts (see Appendix 5E)
revealed a need to develop a common vocabulary with a common set of
measures for clinicians, design practitioners (e.g., architects, interior designers,
lighting designers, engineers), building owners and managers, and policy makers
to provide for the visual comfort and safety of low vision as well as normally
sighted populations in the built environment.

• Illuminance-Based Design affords designers a relatively simple method to

evaluate selections of fenestrations and lighting fixtures (e.g., luminaires) for
“natural” and “electrical” illumination of surfaces: o Traditional values of
illuminance and power requirements (i.e., lighting power densities – LPD) are
provided in building codes and standards (9) o This method provides inadequate
information for the designer or the clinician to evaluate the effects of the design
on the light entering the eye or the resultant perception and vision of This
method provides little information that the clinician can use in patient diagnosis
and treatment of visual impairments

• Luminance-Based Design is a more comprehensive method with which to design

and evaluate the performance of a lighting system and its effect on occupants,
including those with low vision. This method also offers the clinician a set of space
or room parameters that can serve as background information for patient
diagnosis and treatment: o

The definition of luminance, LT, and its functional relationships to various

measures of contrast (i.e., CR, CW and CM) and glare (i.e., DGI, GSV), defined and
described in Appendices 6B and 6C, are similar, if not synonymous, for the
designer and the clinician o Although the methods of determining the values for
these parameters may differ for the designer and the clinician, the results with
regard to values of luminance used to calculate CR, CW, CM, DGI and GSV should
be similar, if not synonymous o Therefore, Luminance-Based Design should be
used whenever the objective is to design or evaluate the visual environment of a
facility for health or safety.

General Design Considerations: The following considerations incorporate both

Illuminance-Based Design and Luminance-Based Design. Use of these
considerations is recommended when Design Guideline for the Visual
Environment: Version 4.3 October 2, 2013
©National Institute of Building Sciences 14 evaluation of the
impact of the visual environment on the health, safety, and well-being of all
persons, including those with low vision and other visual impairments. (See
Appendices 6B and 6C for formulas and details).

Conceptual Design Phase:

For all environments:
• Develop quality daylight parameters Design Guideline for the Visual
Environment: Version 4.3 October 2, 2013
©National Institute of Building Sciences 16
• Identify interior architectural surfaces to be lighted especially walls and ceiling
• Identify visual tasks and lighting requirements
• Select generic luminaires, and lighting sources describe important and
characteristics such as low brightness, directional or uniform, efficacy and
dimmability
• Identify background architectural and site surfaces such as walls and other
vertical surfaces, ceilings, floors and other horizontal navigational surfaces, task
surfaces and furnishings including: and characteristics, including: o Interior areas:
§ Circulation and other non regularly occupied spaces that require navigation §
Regularly occupied spaces where visual tasks are performed. o Exterior and
transition areas: § Surface areas of circulation areas o Exercise and recreation
areas § Furnishings and coverings
• Describe important surface characteristics, including: o Surface characteristics
of Light Reflective Values of Colors Contrast: hues, chroma saturation and values
o Sheen o Textures o Patterns
• Perform Lighting Calculations: o Spatial daylight autonomy and annual sun
exposure calculations for all regularly occupied spaces, and preferably for all non
regularly occupied spaces o Calculation point by point illuminance calculation for
each area. Refer to Appendix 6B for procedures § In regularly occupied spaces,
calculate task surface illuminance
• In intermittently occupied spaces, calculate circulation surface illuminance such
as the floor or stairs. Point-by-point, area-by-point, or utilization factor methods
may be used to estimate illuminance values (see Appendices 6B and 6C)
• Compare results and rationalize with illuminance criteria in Table 1
• Calculate thermal loads from natural and electrical lighting sources and estimate
impacts on sizing the HVAC system capacities. The thermal and electrical loads for
lighting systems that accommodate LV occupants may exceed those required by
low energy codes and standards (see Appendix 6E)
• Estimate impact of proposed lighting system on whole building energy
consumption and costs (see Appendix 6E)
• Compare and rationalize results with the OPR. For environments in which
daylighting is used:
• Control glare. If daylight is not properly regulated, glare results, and may
interfere with visual comfort, wayfinding, safe ambulation, and performing tasks,
particularly in today’s computer environment
• Avoid a single source of daylight: Daylighting from more than one direction in a
space may be beneficial in balancing the light throughout the room during the
day. However, these sources may require controls to prevent direct sunlight from
falling on surfaces where not desired: o The shape of the ceilings can significantly
affect how ambient daylight can be provided throughout a room o Multiple
sources of penetration (e.g., windows in adjacent walls) may be more difficult to
provide in office buildings, particularly with relatively low ceiling heights. But
interplay with electric ambient light to balance the light levels and colors becomes
an option
• Spaces reliant on daylighting can become too dark without supplemental
lighting for a person with low-vision to navigate. Luminance contrast for
wayfinding in daylit spaces should be considered both with and without the
impact of daylighting to maximize the navigational assistance provided for low-
vision individuals
• Lighting and thermal transmission characteristics of glazing and fenestration
assemblies significantly affect daylighting quality
• Highly reflective surfaces in any space may confuse the person with low vision
and may compound glare for everyone
• Shadows can be beneficial and detrimental: Corners and surfaces with high
definitions are difficult to see without contrast
• Brilliant sunlight on a building’s façade can obliterate detail for the person with
low vision, even to the point where a door may be indistinguishable from the
surrounding construction. Glass doors in a window wall may require solid
surfaces, visible characters/marking or other architectural.
 UNIT IV: Colour and texture
How Color Impacts us as Designers Color creates a visual experience in an interior
space
1. Gives direction and defines circulation ex. The Triennale Design Museum in
Milano designed by Fabio Novembre (right)
2. Creates a mood and tells a story
3. Affects taste and smell Synaesthesia is how senses work together. Each sense
has a pathway to the brain and run parallel to each other, however sometimes
they cross over and evoke memories.
4. Creates a connection between the surrounding environment and interior space
A color palette is affected by the geographical location, characteristics of potential
users, the programming, light sources, and overall form of the space.

5.1 COLOR
5.1.1 INTRODUCTION
Pure white light passes through a
prism, it separates into all of the
visible colors. Newton also found that
each color is made up of a single
wavelength combined to form other
colors. For example, red light mixed
with yellow light creates an orange color. Some colors, such as yellow and purple,
cancel how certain colors can be
mixed to create other colors.
Marion Boddy-Evans,
About.com's Guide to Painting,
has an excellent overview of
color.
5.1.2 Psychological Effects of
Colors
While perceptions of color are somewhat subjective, there are some color effects
that have universal meaning. Colors in the red area of the color spectrum are
known as warm colors and include red, orange and yellow. These warm colors
evoke emotions ranging from feelings of warmth and comfort to feelings of anger
and hostility.
Colors on the blue side of the spectrum are known as cool colors and include
blue, purple and green. These colors are often described as calm, but can also call
to mind feelings of sadness or indifference.
• Color is the most important, versatile, and distinctive of the elements of design.
• Color is almost always the first thing you notice when entering a room.
• Color can set a mood.
• Color can make rooms feel larger or smaller.
• Color can even hide architectural flaws.

Types of Color Schemes

 ● Neutral
● Monochromatic
● Analogous
● Complementary
● Split-Complementary
● Triad

Monochromatic
Monochromatic color schemes are all of a single tint, shade, and hue. Because
they lack definition or focal areas, they tend to be relaxing. They are really easy to
manage, as there are no more decisions to be made concerning color. However,
depending on which hue is chosen, it could be stimulating as well.
Analogous Palette
This palette uses harmonizing colors, either in the warm or cool spectrum. For
instance, red-orange-yellow combinations or green-blue-violet are more
appealing than violet-green-orange. Again there are exceptions. Try not to use
too many analogous colors because it will ruin the flow of the area.
Complementary
Ok. Choose two colors. Now create shades, tints, and tones of those same colors.
Congratulations! You just created your own complementary color palette. Using
shades creates depth and character to your room. In this palette, the tints are
used for focal points. This can create everything from a bright, cheerful style to a
soothing, formal look.
Split Complementary
On the color wheel, these are exact opposites. Red’s opposite is green. Violet’s
nemesis is yellow, and the anti-blue is orange. Here is where it gets difficult, so I’ll
break it down. 1. Choose a color (I’ll choose blue). 2. Find its complementary
(orange). 3. Now choose colors on either side of orange on the color wheel
(yellow-orange and red-orange). This allows for nuances of color, yet still
maintains strong focal areas.
Triadic Complementary
Have you ever played cat’s cradle with a piece of string? Working with a triad
complementary color scheme is kind of like that. It looks easy if you know what
you’re doing. If you don’t, you just end up with a mess. The fundamental idea is
that you take three colors which are evenly spaced around the color wheel. When
everything is working, the palette provides a rich, balanced, and harmonious style
that others do not have. Because of its nature, it is used by many artists.
Illusions with Color
• Warm colored objects appear closer than cool-colored ones.
• You can visually enlarge a room by painting the walls a cool color.
• High ceilings painted dark colors appear lower and a light color will allow a
ceiling to seem higher.
• Bold, bright colors make objects stand out.
BLACK

A mixture of all colors. Sharpens and adds richness to the hues placed next to it.
Used generously may create a dramatic and theatrical setting. Accents give
richness.
WHITE
White absence of color which provides increased visual space. Whitened
backgrounds look light, spacious, and farther away. Hues seem cleaner and
crisper when surrounded by white.
Blue
It is one of the most earth colors,
which appear blue. The sky and sea,
the most beautiful example of this.
Blue sky and sea, freedom, peace and
eternity mean. The blue color is a
color stable and unobtrusive
available funds, especially the back.
Human comfort and soothing,
relaxing color.

Red

The
hottest color is red. The red color in the
physical sense mobility, dynamism, and
youth, in the emotional sense of happiness, perseverance and determination
mean. A sort of symbol of strength and determination. Mobilize people. Mobility
and determination needed to use the red areas may be appropriate. Because of
the red color human zeal, perseverance, and mobility aids. Therefore, products,
red is often used specifically addressed to young people. Of red, especially close
to the distances, are easy to spot. Therefore, warning signs are generally used red
color.

Yellow

Yellow, light, joy, production and productivity

color. Humans give joy and enthusiasm. Inspiring.
This refers to knowledge and wisdom. The
brightest color is yellow. The yellow color is a
warm color, but the color is perceived as a cold
tone of green. For this reason, the yellow color of
vitality and joy as well as sorrow, and the color of
autumn. This is because it contains the two
opposite effects on human emotions and can lead
to confusion. May cause confusion because it is a
more inspiring workroom that is not
recommended. In addition, a suitable color for the
relaxation is not local places.
BROWN
It is mixing several colors on the color wheel or neutralizing orange. Often
introduced through stained woods. It does not need to match as long as they
harmonize. If used in large amounts can create an oppressive or cave-like coziness

GREEN
Green is the color of nature and spring,
the impact on people is indisputable.
Bellows creativity. It also represents
peace and productivity. This is a color
that confidence and comfort. Green is a
color that dominates nature in a
relaxing calming effect is a grid. The
green color is used mainly where
productivity increases. Green areas led
people less stomach pain has been
identified.
Texture
This is the visual or tactile surface
characteristic of something, be it fabric,
timber carpet or glass. Tactile means that
it is perceptible by the sense of touch.
Every surface has a texture. There are
two types of texture – rough and smooth
– and through using texture, we can
create quite different effects.

Examples of Jim lambie

art installation
5.4.1 Jim lambie art installation
Lambie specializes in
colorful sculptural
installations made from
everyday modern
materials including pop
culture objects, such as
posters and album covers,
and household
accessories. The other
trademark theme in his
artistic practice is using
brightly colored vinyl tape
arranged into patterns
around the floor of the gallery space, tracing the shape of the room to reveal the
idiosyncrasies of its architecture. The vinyl tape, an everyday material applied in
continuous lines, has a capacity to transform the dynamics of space, changing a
quiet gallery space into an energetic and emotional space of sensory pleasure.
Lambie creates a rhythm that vibrates and pulsates, and even confuses and
disorients the spectator.
According to Lambie: "For me something like Zobop, the floor piece, it is creating
so many edges that they all dissolve. Is the room expanding or contracting? …
Covering an object somehow evaporates the hard edge off the thing, and pulls
you towards more of a dreamscape."
In addition to his mesmerizing floor installations, Lambie creates found-object
sculptures.
Tides restaurant new york
This ceiling at the Tides Restaurant in
New York was achieved by embedding
over 110,000 bamboo skewers into a
back-lit acoustical ceiling. LTL Architects
arranged the skewers so that they would
achieve a topographical effect, like
islands of sea grass.

P_Wall, San Francisco Museum of Modern Art

P_Wall (2009) was commissioned by the SFMOMA Architecture and Design
Curator Henry Urbach for the exhibition Sensate: Bodies and Design. The wall,
part of a series started with P_Wall (2006), is an evolution of the earlier work
exploring the self-organization of material under force. Using nylon fabric and
wooden dowels as form-work, the weight of the liquid plaster slurry causes the
fabric to sag, expand, and wrinkle.

Casa Batllo, Barcelona

The inside of Casa Batlló is a marvel of design. Gaudí collaborated with the very
best artisans of the time, working with wrought iron, wood, stained glass, ceramic
tiles and stone ornaments, among others.
When touring the house, its details never ceases to amaze. Doors leading to the
different apartments are identified by letters with modernist traits. The windows
of each landing distort the tiles of the patio of lights, transforming them into
beautiful ripples of water. The doorknobs and banisters have ergonomic shapes…
It is a true work of art, in which the artist has been involved in each and every
aspect: design, color, shape, space, and light.
This exuberance will never cease to amaze you, but the most surprising thing is
that it is always based on functionality. Beauty and function come together in
each corner of the building, from the entrance hall to the roof terrace.
Living Wall
A green wall is a wall
partially or completely
covered with greenery
that includes a growing
medium, such as soil,
water or a substrate. Most
green walls include an
integrated water delivery
system. A green wall is
also known as a living wall or vertical garden. It provides insulation to keep the
building's inside temperature consistent.
Green walls are different from green facades. Green walls have growing media
supported on the face of the wall (as described below), while green facades have
soil only at the base of the wall (in a container or in-ground) and support climbing
plants on the face of the wall to create the green, or vegetated, facade.
Green walls may be indoors or outside, freestanding or attached to an existing
wall, and come in a great variety of sizes.
Liquid wall
The Liquid Wall concept from designer Stefan Ulrich puts in a “life” in the walls,
elevating them above the status of mere supporting structures. The flexible wall is
marked with the prints and of those who touch it, and I guess it makes for a fair
degree of “customization” of these walls as well.
5.5 Revision Points
Color
Pure white light passes through a prism, it separates into all of the visible colors.
Newton also found that each color is made up of a single wavelength combined to
form other colors. For example, red light mixed with yellow light creates an
orange color. Some colors, such as yellow and purple, cancel how certain colors
can be mixed to create other colors. Marion Boddy-Evans, About.com's Guide to
Painting, has an excellent overview of color.
Monochromatic
Monochromatic color schemes are all of a single tint, shade, and hue. Because
they lack definition or focal areas, they tend to be relaxing. They are really easy to
manage, as there are no more decisions to be made concerning color. However,
depending on which hue is chosen, it could be stimulating as well.
Analogous Palette
This palette uses harmonizing colors, either in the warm or cool spectrum. For
instance, red-orange-yellow combinations or green-blue-violet are more
appealing than violet-green-orange. Again there are exceptions. Try not to use
too many analogous colors because it will ruin the flow of the area.
Complementary
Ok. Choose two colors. Now create shades, tints, and tones of those same colors.
Congratulations! You just created your own complementary color palette. Using
shades creates depth and character to your room. In this palette, the tints are
used for focal points. This can create everything from a bright, cheerful style to a
soothing, formal look.
Split Complementary
On the color wheel, these are exact opposites. Red’s opposite is green. Violet’s
nemesis is yellow, and the anti-blue is orange. Here is where it gets difficult, so I’ll
break it down. 1. Choose a color (I’ll choose blue). 2. Find its complementary
(orange). 3. Now choose colors on either side of orange on the color wheel
(yellow-orange and red-orange). This allows for nuances of color, yet still
maintains strong focal areas.
Triadic Complementary
Have you ever played cat’s cradle with a piece of string? Working with a triad
complementary color scheme is kind of like that. It looks easy if you know what
you’re doing. If you don’t, you just end up with a mess. The fundamental idea is
that you take three colors which are evenly spaced around the color wheel. When
everything is working, the palette provides a rich, balanced, and harmonious style
that others do not have. Because of its nature, it is used by many artists.
Texture
This is the visual or tactile surface characteristic of something, be it fabric, timber
carpet or glass. Tactile means that it is perceptible by the sense of touch. Every
surface has a texture. There are two types of texture – rough and smooth – and
through using texture, we can create quite different effects.

UNIT V: Future expansion

Designers have always been instrumental in pushing the boundaries in
technological innovations. For many years, we have seen the design industry
evolve, and never before has it been at a faster pace. Each of these innovations
have been key in transforming the design world and given interior designers,
architects and fashion designers new opportunities to further grow in this
lucrative field. One such technological advancement has been the Virtual Reality
and Augmented Reality instruments, which allow designers to allure customers
and outcompete rivals. It wouldn’t be an understatement to say that the future of
interior design, is brighter than ever before.

Helping customers understand the future outcome of a space, has been the topic

of discussion for designers for many years. Interior designers in olden times used to rely on

only 2D drawings and handmade models to convey their ideas to clients. Handmade

sketches and drawings were later replaced by CAD technologies as man took to the

screens. Subsequently, the development of new soft wares and methods of expressing

design came up, and it was possible to portray in 3D photo realistic renders, what the

designer conceptualizes for a space. This was a huge leap as it helped clients to visualize

what exactly the space would look like and gave them an insight as to what they were

investing in. With the help of 3D printers, it is now possible to generate models much more

easily and accurately than it was with handmade models. It is also less time consuming.
These methods of communicating ideas to clients have since then helped them get a better

grip on what to expect.

Helping customers understand the future outcome of a space, has been the topic
of discussion for designers for many years. Interior designers in olden times used
to rely on only 2D drawings and handmade models to convey their ideas to
clients. Handmade sketches and drawings were later replaced by CAD
technologies as man took to the screens. Subsequently, the development of new
soft wares and methods of expressing design came up, and it was possible to
portray in 3D photo realistic renders, what the designer conceptualizes for a
space. This was a huge leap as it helped clients to visualize what exactly the space
would look like and gave them an insight as to what they were investing in. With
the help of 3D printers, it is now possible to generate models much more easily
and accurately than it was with handmade models. It is also less time consuming.
These methods of communicating ideas to clients have since then helped them
get a better grip on what to expect.
However, in the wake of recent technological innovations, one can expect even
better ways to approach and explain a design. The field of Virtual Reality, allows a
user to completely immerse in a visual sense of a different environment. With the
VR devices like Oculus Rift, HTC Vive, Samsung Gear or the Google Cardboard, a
person is transported to a different visual context in 360 degrees. The Virtual
Reality technology so far has made waves in the gaming world, where more and
more video games are trying to create a (virtual) realistic world for the gamer
rather than just a console.

The design world isn’t far behind either! With virtual reality and softwares like
Sketchup, V-Ray and 3DsMax, it is now possible to generate virtual walkthroughs
in one’s future house, with a 360 degrees overall view of how the space would
look and feel like. This technology has rightfully created a sensation in the design
world, as it gives customers the closest experience to what their future homes
and spaces would be. This makes the designers’ job really easy as instead of
drawing, explaining or imagining the space, a person can now literally walk
through various ideas, exploring different angles and experience the space. They
can also gauge the size and dimensions of furniture, ceilings etc. which was till
now not possible to imagine via renders.
The virtual reality technology has also revolutionized the furniture and home
decor sector. For companies such as IKEA, where customers can walk through
different permutations and combinations of bedrooms, living spaces to compare
styles, furniture and themes, the virtual reality technology offers a new future for
interior design. Virtual showrooms, with realistic graphics may soon replace the
huge showrooms. Another technology, merging the physical world and the virtual
world is augmented reality. With a mobile device in each person’s hand, this
technology gives people the opportunity to simply overlay the physical world with
virtual elements. The ability to virtually place furniture in their house to
understand how they would fit in in terms of size, existing surroundings and
context is a next level step in the world of design. By aiming your phone at the
location, the piece of furniture — with real-to-life dimensions and scaling —
virtually appears on screen as if it were part of the room. IKEA has already
launched printed catalogs with augmented reality apps through which they can
visualize the pieces in their own homes before making a decision.

Virtual Reality has thus paved the way for The Future of Interior Design. Interior
architecture projects or big home renovations which require substantial
forethought before investment, is now simplified by these advancements and will
lead to easier decision making for home owners and clients. Augmented reality,
will empower people to make quicker and wiser decisions before investing in
expensive furniture by answering questions related to size, color and feel of a
space. Thousands of different options, which were only possible to browse
through printed catalogs and then crosschecked with a measuring tape, all of that
might get obsolete fast, with the onset of a new future in Interior Design! Stay
Tuned!
Design Will Be Increasingly Digital

Once reserved largely for the wealthy, interior design services are gradually
becoming available to almost everyone, thanks to a bevy of online outfits like
Homepolish, Modsy, and Havenly—a trend that will strengthen in the years
ahead. “Your budget won't determine whether you can have a home you like or
not,” says Noa Santos, the chief executive of Homepolish. “There will be a
solution for everyone, at every budget category.”

Homepolish offers a service where designers typically work in-person with

homeowners but are supported by online tools for purchases, communications,
and more. Santos believes those tools will become increasingly sophisticated in
the decade ahead. “It's going to provide designers with efficiencies that help them
do more designing rather than the operations, communications, tracking, order
management, and other stuff that has historically made up 75 percent of their
job. A lot of that will be off-boarded to technology-enabled services.”

As visualization apps and communication tools continue to improve, designing

rooms in the virtual realm with far-flung designers will also become increasingly
easy and attractive. “We will not distinguish as strongly as we do today between
what we consider the offline physical world, and online,” says Shanna Tellerman,
the chief executive of Modsy, which already offers design help with 3D renderings
starting at $69 per room. “For designers, that opens up the idea that they can
have clients anywhere.”
Indeed, as technology improves, Tellerman expects 3D visualization, including
advances in augmented reality and virtual reality services already offered by some
start-ups, to be at the heart of most design decisions. “Ten years from now,
people will use visualization for buying furniture no matter whether they’re going
into a store to buy a piece, trying to lay out an entire room, or hiring an interior
designer. It’s going to be an expected part of the flow,” she says. “You’ll be able to
take a few pictures of your room, and it will be developed into a 3D model in a
couple of seconds.”

Originality Will Be More Important Than Ever

As designer products and services become increasingly accessible to a broader

audience, and as services like Pinterest, Instagram, and Houzz spawn lookalike
interiors, the wealthiest clients will increasingly search out one-of-a-kind interiors
from the pros.

“There will always be a market of people who want something that isn't seen
everywhere, and that isn't available to everyone,” says the New York designer
David Kleinberg. “People in the high-end, bespoke marketplace will look further
for novel things, one-of-a-kind things, and commissioned pieces. In the last
number of years, we’ve seen an expansion of creative people working at a small
scale, doing really beautiful one-off work. That kind of craftsmanship will become
even more prized.”

Social Media Will Mean Business

Over the past decade, social media has changed from online curiosity to big
business. For designers, it is now an effective way to showcase completed
projects, highlight new product launches, and ultimately meet clients. In many
cases, “it’s become their portfolio,” says Elizabeth Blitzer, founder of the design-
focused public relations agency Blitzer & Company, which works with clients such
as Thomas O’Brien, Alexa Hampton, and Bunny Williams Home.

As such, Blitzer expects social media will become increasingly polished and
business-centered. “It's going to get more and more refined, and less and less
haphazard,” she says, noting that the current rage for paying influencers to pose
with a company’s products is already making social media less authentically
personal than it used to be. “People are going to be investing money in photo
shoots that are meant for social media, versus more casual posts.”

Laura Bindloss, founder of the design-centric public relations agency Nylon

Consulting, predicts that social media will grow to include full virtual
walkthroughs of designer projects. “You will be able to walk a real home or a
conceptual home using visualization and virtual reality on a social media
platform,” she says. “That will impact the way that designers pitch clients.”

At the same time, by allowing them to tell their stories in such a rich way,
“designers are going to go the way of the celebrity chef,” Bindloss says. “Ten
years ago, chefs weren't celebrities, but TV made them famous. I think interior
designers will follow.”
Brick-and-Mortar Will Get Smarter

As e-commerce sites have nibbled at the profits of traditional shopping giants, the
retail landscape has undergone its most radical change in a century. But that
doesn’t mean brick-and-mortar retail is dead—there’s a reason digitally driven
companies like Casper, Warby Parker, and Everlane continue to open newer,
bigger stores in select locations.

Where 20th-century retailers focused on economies of scale and saturating the

marketplace, “we are now moving into an era of economies of presence,” says Jay
Goltz, founder of Jayson Home, the furniture and accessories retailer with a store
in Chicago and national e-commerce presence. “The smart companies are using
economies of presence and leveraging their physical locations to build
relationships.”

In the decade ahead, says Goltz, we are likely to see retailers with fewer stores
that are more experiential, with top-level customer service and quick turnaround
times to make the buying process as painless as possible. “You have to have the
right number of stores, which doesn't mean you need one in every market,” he
says. “I can be more successful with one well-stocked store, and good people who
can ship things quickly, than by spreading myself thin with numerous locations,
which used to be the only way to do it.” For architects and designers, that could
potentially mean fewer, but more engaging and inventive, retail commissions.

Online Retail Will Get Slicker

Ten years ago, many designers scoffed at the notion of buying furniture online
without giving clients the opportunity to try pieces out in the person; today, it’s
commonplace. Now the next major shifts in online retail are beginning to take
shape. “Visualization is going to be a really big part of it,” says Anna Brockway, the
cofounder and president of Chairish, which also runs Decaso and Dering Hall.
“Allowing people to see and fully customize pieces will be a regular part of our
reality.”

Chairish already offers an augmented reality feature with its mobile app, which
allows shoppers to see selected pieces in their homes. In the years ahead, “virtual
reality will be the ultimate outcome of that,” says Brockway, for a more
immersive experience.

More sophisticated visualization tools will also help streamline the process for
creating and buying custom furniture, she says, noting that it currently remains a
laborious, time-consuming process for designers. “Even just getting a customer’s
own material onto an existing upholstered piece has a lot of steps,” says
Brockway. “In the future, all of that will be more automated.”

Finally, she predicts that shipping furniture to people’s homes will become a
much easier experience. “This notion of a truck coming through one day a week,
and you have to wait around for it, will be over,” she says. “There will be
significant innovation in our transportation systems, which will alter the business.
I dream of drones carrying beautifully wrapped sofas.”
Antiques Will Make a Comeback

Antiques, in general, have had a difficult run over the past 10 years, as once
fashionable periods and designers fell out of favor and collectors increasingly
focused on contemporary works. But much like the stock market is cyclical, many
industry watchers say that antiques are overdue for a comeback. “As design
becomes mainstream, people are going to want individuality and the special
touch that will make their interiors remarkable,” says Benoist Drut of New York’s
Maison Gerard, which sells both antique and contemporary furniture.

And that’s the appeal of antiques—many pieces are truly one-of-a-kind, and made
with a level of craftsmanship that can be otherwise impossible to find today.
Indeed, Drut is already stockpiling antiques in preparation for the resurgence.
“I've never bought so much 18th-century furniture as I have lately—that's by
choice.”

Anthony Barzilay Freund, the editorial director and director of fine arts at 1stdibs,
already sees signs of a changing marketplace. “Antiques have been woefully
underappreciated by collectors and the design community in the last decade or
so, but we’re seeing an uptick in interest, both in the transactions taking place on
our online marketplace and in the work of interior designers that we feature,” he
says. Prices have dropped so much that “many pieces can be had for less than
you’d spend at Restoration Hardware,” for something equivalent.

Just don’t expect those fire-sale prices to last for long. He predicts “a full-blown
renaissance that’s certain to be in full flower by the end of 2019.”