Chapter 2 – Basic Interior Design

MODULE 2
Prepared By:

ROBHIE A. DOLLENTE, LPT

2nd SEMESTER

TOPICS:

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 a. Basic Design Concepts
b. Interior Designing

Overview
This module introduces the learners to the concept of Interior Designing that plays
a very important role in our life today, making our lifestyle more modern and stylish. Not
only that it also introduces us to elegance and comfort and helps to raise the functionality
in our life. Basic Design provides the framework for understanding design as a new
language by sensitizing students to the conceptual, visual and perceptual issues
involved in the design process.

Objectives
 Acquire knowledge of the principles of design and design elements.
 Create an interior design at home.
 Appreciate the importance of Interior Designing.

Discussion
READ
What is Interior design?
INTERIOR DESIGN
 is "the art or process of designing the interior decoration of a room or building“
 An interior designer is someone who coordinates and manages such projects.
 Interior design is a multifaceted profession that includes conceptual development,
communicating with the stakeholders of a project and the management and
execution of the design.
In the past, interiors were put together instinctively as a part of the process of building. The
profession of interior design has been a consequence of the development of society and
the complex architecture that has resulted from the development of industrial processes.
In ancient India, architects used to work as interior designers.  This can be seen from the
references of Vishwakarma the architect - one of the gods in Indian mythology. The
interior design profession became more established after World War II.
History of Interior Design
History shapes how we live today so an understanding of the fascinating history of
architecture and Interior Design is essential for the professional interior designer. You will
also find this rich history a constant source of inspiration and ideas that will inform your
work as an interior designer.

Entering the world of history provides us with the ability to view Interior Design with a more

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informed and appreciative eye. Along with appreciating the splendor and magnificence of
man's past achievements, there is a deeper gratification in seeing how different building
types have been shaped and developed through vast layers of culture and civilization.

Due to the close relationship between the built environment and human existence, a study
of history allows us to develop a deeper understanding of how humanity influences the
design and style of buildings as well as how construction techniques have developed and
changed through the ages. It's also valuable to comprehend how buildings affect man's
well-being and lifestyle and how technology has been used to progress our lives into the
modern world. Throughout history, interior design was influenced by many factors, such as
religious beliefs, socio-political conditions, and local environmental factors.

From cave dwellings and the first simple manmade structures to today's high tech
architecture, this module takes you on an exciting journey through early civilizations to the
splendours of Ancient Egypt, Greece and Rome, the magnificence of Gothic cathedrals,
Renaissance palaces and Islamic mosques to the decorative delights of Art Nouveau and
Art Deco and finally to the emergence of Modernism and the concept of the building as “a
machine for living”. Each civilization developed their culture and approached interior
environments and architecture from a different angle. Throughout this journey you will gain
a greater appreciation of man's constant striving to create beauty and function through
Interior Design and the layers of the past that remain influential today.

Due to the large volume of historical material, we focus largely on the Western tradition in
this module, though several non-Western styles are also presented in order to provide a
broader understanding of the holistic contribution of all cultures to the overall development
of Interior Design.
Why these ELEMENTS are important to design?
The elements of design are the fundamental building blocks of any composition. These
pieces work together to form a unified composition, and when utilized successfully, create
a strong, dynamic visual layout. The designer uses these elements as tools that control
how a message is delivered to an audience. These principles can be applied to fine art,
photography and graphic design.
ELEMENTS OF INTERIOR DESIGN
Line
One of most important element of design, line
defines a subject’s form or shape on a flat, two-
dimensional surface. Lines can be thick or thin,
smooth or jagged, rigid and mechanical or
organic and hand drawn. When discussing line
as it applies to interior design, we mean the
lines created by the furnishings and
architecture of a room. Line sets form and
shape. Line is responsible for harmony, contrast and unity in interior design. Line can be

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used to show movement and guides the eye throughout a room. Line can be used to show
mood. Lines can be used to convey a sense of strength, serenity, gracefulness, or action.
Combining lines and placing them in a design in certain ways can create specific effects
and feelings. The use of line can also have an effect on how space is perceived. Different
types of lines have different effects on design. A line is a mark, or stroke that is longer
than it is wide. It is the path of a point moving in space. Objects and things are perceived
by the line that describes them.
Characteristics of line include:
 Width - thick, thin, tapering, uneven
 Length - long, short, continuous, broken
 Direction - horizontal, vertical, diagonal, curving, perpendicular, oblique, parallel,
radial, zig-zag
 Focus - sharp, blurry, fuzzy, choppy
 Feeling - sharp, jagged, graceful, smooth ... can you think of others?
Examples
Vertical lines lead the eye up,
 adding height
 formality
 growth
 spirituality
 grandeur
 Strength to a design.
Can be seen in:
 Tall furniture
 Columns
 Pillars
 Striped wallpaper
 Long narrow draperies
Horizontal lines lead the eye to the left or right, suggesting informality
 calm
 peace
 gentleness
 gravity
 Restfulness.
Can be seen in:
 Long, low roofs
 Long, low furniture pieces such as sofas and chests

 Diagonal lines suggest

 action,
 activity,
 movement
 excitement
Creates a sense of speed
 Can be seen in:
 Staircases

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  Cathedral ceilings
 Gable Roofs

Curved lines creates

 a busy look
 Represent freedom
 Natural
 Flow
 Appearance of softness
 A soothing feeling.
Can be seen in:
 Doorway arches
 Ruffled curtains
 Curved furniture
 Rounded accessories
 Staircases

Space
Space, in two-dimensional design, is essentially
flat. It has height and width, but no depth. There
are certain visual cues, however, that can create
the illusion of space in the mind of the viewer. By
using those cues, artists and designers can
create images that are interpreted as three-
dimensional. Space is the area provided for a
particular purpose. It may have two dimensions
(length and width) such as a floor, or it may have
three dimensions (length, width, and height), such as a room or dwelling. It refers to the
area that a shape or form occupies. When space changes gradually, it is more pleasing
than when it changes abruptly. When space changes suddenly, the eye shifts from one
view to the other without making a smooth transition.

Space can be defined as positive or negative.

 Positive space is the filled space, the object(s) or element(s) in the design.
 Negative space is the empty space, or the open space between design elements
or objects, such as a background.

Designers can create the illusion of physical space and spatial relationships
through:

 Linear Perspective - is based on the visual phenomenon that as parallel lines (such as
railroad tracks) recede into space, they appear to converge at a distant point. Linear
perspective not only evokes a feeling of great depth, but it also creates a strong focal point
at the place where the lines converge.
 Size & Vertical Location - is one of the easiest ways to create the illusion of space. A
larger image will appear closer than a smaller one because we observed (very early in life)
that objects appear to become smaller as they get farther away.
 Overlapping - is another easy way to suggest depth in an image. When objects overlap
each other, the viewer perceives the one that is covering parts of other to be in front and
the one that is covered to be in the back.
 Detail (Aerial or Atmospheric Perspective)-
 Atmospheric perspective uses value, contrast and color to give the illusion of space.

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  Atmospheric perspective is based on the fact that the farther something is away
from us, the more the atmospheric haze may obscure our view of it.
 By lightening the value, lowering the value contrast, softening the edges,
decreasing detail and muting the color, you can mimic the effect of atmospheric
haze and create the illusion of increasing distance.
 Increasing the bluish cast of an image also creates a sense of depth because cool
colors recede and warm colors come forward.
 Compositional location refers to where a form is positioned vertically in the
image. The bottom is seen as the foreground, the part of the image that is nearest
the viewer and the top as the background, the part farthest from the viewer. The
higher an object is place in the image, the farther back it is perceived to be.

A SHAPE is defined as
 a two or more dimensional area.
 All objects are composed of shapes and all
other 'Elements of Design' are shapes in
some way.
 Shape is a flat image with two dimensions:
Length and Width.
 Any self-contained area with defined form or
outline.
 It refers to the nature of an enclosure, actual
or implied, formed by a line/curve on a flat
surface.
 Examples of "shape" in this context include
"a geometric shape" (eg square), "organic
shape" (flower-shaped object).
 Perceivable area.
 Shapes can be created by enclosing line, or by color and value changes which
define edges.
 Shape has size, which may can note significance or insignificance, strength or
weakness.
 A coloured shape on a white background is itself a positive shape creating a
negative shape (the background).

Types of Shape

Mechanical Shapes or Geometric Shapes are the shapes that can be drawn using a
ruler or compass. Mechanical shapes, whether simple or complex produce a feelings of
control or order.

Organic Shape are freehand drawn shapes that are complex and normally found in
nature. Organic shapes produce a natural feel.

Shape may be:

 Shiny and reflect images- mirrors

 Transparent and create visual effects - window glass
 Textured and absorb light and sound - window treatments and carpeting
 Hard or Soft
 Plain or patterned

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  Colored light or dark

Form

 is the outlined edges of a three-dimensional

object.
 It has length, width, and depth (or height) as
well as volume and mass.
 Form can be measured, from top to bottom
(height), side to side (width), and from back to
front (depth). Form is also defined by light and
dark.
 It can be defined by the presence of shadows
on surfaces or faces of an object.
 There are two types of form, geometric (man-
made) and natural (organic form).
 Form maybe created by the combining of two or more shapes.
 It may be enhanced by tone, texture and color.
 It can be illustrated or constructed.  It has volume and mass.

Types of Form

 Organic - natural, living form.

 Inorganic or geometric - man-made, non-living forms.
 Open-forms - forms that can be looked into.
 Closed-forms - self-contained.
 Geometric Shape - circle, square, rectangle, triangle, pentagon, octagon, other
polygons. Geometric Form - sphere, cube, pyramid, cone, cylinder.
 Free-Form - any non-geometric shape: irregular, amorphic

Texture

 it is the surface quality or appearance of an object.

 Texture can be used to enhance a room’s features
or provide added dimension.
 The element of texture is defined as “the feel,
appearance, or consistency of a surface.” Texture
is a surface’s tactile quality.
 Tactile refers to the perception of touch.

Types of Texture

 Visual texture is a quality of the surface that you can ‘see’, but not necessarily
‘felt’.
 Actual texture is a quality of the surface that you can both ‘see’ and ‘feel’.

Texture may be:

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  Rough/smooth,
 wet/dry,
 hard/soft,
 shiny/matte(dull),
 slick/sticky,
 slippery/abrasive,
 coarse/porous ...

Color is the key element of interior design.

 It is used to create aesthetically pleasing combinations and also works on a

psychological level.
 Each color has three characteristics: hue, value, and intensity.
 It can give emphasis to create a hierarchy and the piece of art
 Colour Saturation gives a color brightness or dullness.
 Colour may connote emotion (excitement, rage, peace) and stimulate brain activity
(action, relaxation, concentration).  Light is additive – working towards white.
 Paint or pigment is subtractive – working towards black.
 Mixing red blue and yellow can create any pigment colour.
 Tints are made when white is added to a pure hue to make light values.
 A Shade is when black is added to a pure hue to make dark values.
 Hue is the name of a color.
 Red, green and blue-violet are examples of hues.
 A color may be lightened or darkened, brightened or dulled, but the hue will remain
the same.
 Colouris said to have value, which refers to the lightness or darkness of the colour
(hue).
 Tint (colour plus white) is high-value colour, whereas shade (colour plus black) is
low value colour

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Intensity

 Refers to the brightness or dullness of a color.

 Intensity is the brightness or dullness of a hue.
 Adding some of its compliment can lower the intensity of a hue. The compliment of
a hue is the color directly opposite it on a standard color wheel.
 Examples of high intensity colors include hot pink and fire-engine red. Low intensity
colors include rust and smoky blue.

Colors have a degree of Transparency

 A color is Transparent if the viewer can see clearly through it.

 A color is translucent if it admits light but the image is diffused and cannot be seen
clearly. A color is opaque if it can't be seen through. Colors have degrees of
transparency Descriptors: brilliant, medium, dull.
 Value is the lightness or darkness of a hue.
 The value of a hue can be made lighter by adding white. This produces a tint.
 Pink is a tint of red, made by adding white to red.
 A hue can be made darker by adding black. This produces a shade.
 Maroon is a shade of red.

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PRINCIPLES OF INTERIOR DESIGN
What is meant by “Principles of Interior Design”?
 The Principles of interior Design are the ways that designers use the Elements of
interior design to create good Compositions (decoration/arrangements).
 Design principles are ways of arranging or organising design elements.
 These principles evaluate each element in a design (magnificent vs. mediocre right
vs. wrong).
 The way the elements are arranged to create a feeling of stability in a work.

Principles of Interior Design

1. Balance
2. Space
3. Focus/Emphasis
4. Rhythm
5. Unity

Balance
 In interior design refers to the proper
distribution of objects in a room to
create visual balance.
 Balance refers to the distribution of
visual weight within a composition.
 Lack of balance disturbs the harmony
of a composition.
 A work that is unbalanced visually
creates tension.
 Balance is created when there is equilibrium of elements that need each other and
together they create Unity.

Types of Balance
There are three different kinds of balance:
 Symmetrical (formal),
 Asymmetrical (informal)
 Radial.

Symmetrical (formal) Balance

 His easiest way to achieve balance is by using the symmetrical or formal form;
objects are repeated or mirrored along a central axis.
 It’s when the space is evenly split into two sides that mirror each other.
 Symmetry is created by dividing a space and the elements within it equally.
 Symmetry can create order, formality, calmness and stillness.
 Symmetry Makes Design Simple

Asymmetrical/Informal Balance
 Asymmetrical design is typically created with an odd number of disparate elements.
 Lines, colours, forms and textures are balanced in a space without duplication.
 The two sides of a work of art are not exactly the same, but are still visually
balanced.
 Asymmetry can look informal, natural and energetic.

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  A design effect in which elements on either side of an imaginary central line are
unmatched but appear to be in balance.
 Asymmetrical balance makes for a more relaxed and lively interior space.
 This balance scheme uses a central line but relies more on the eye's sense of
balance to complete the design.
 Rather than having identical objects on either side of the central axis,
asymmetrically balanced spaces have different objects of equal visual weight on
either side of the line.
 Asymmetry Helps Us Stay Interested Asymmetrical/informal balance
 Asymmetrical interiors tend to feel more dynamic and less rigid because in these
spaces a variety of objects types are working together to create balance.
 This form of balance can be more difficult to achieve it often requires an “eye for
design”.

Radial Balance
 When there is a central focal point with other elements radiating from it or around it,
this is radial balance.
 Radial balance is almost circular – distributed arrangement of items around a
central point either extending outward or inward.
 You see radial balance less often in traditional homes; round rooms are difficult to
link to other spaces. But the result can be stunning. The central elements of a
radially balanced room — like the dining table and light fixture in this dining space
— become the immediate focal points.
 The chairs, sculpture and print all radiate out from this central point. The circular
furniture placement radiates from the central round coffee table and makes the
arrangement look comfy and relaxed.
Visual Balance
 There are instances when this is the desired effect, but for the majority of
spaces one goal is visual balance.
 This is achieved by distributing the visual weight of objects within a space to
achieve a feeling of equilibrium.
 The size, color, texture, shape of an element can change its visual weight.
 For example, larger, darker, brighter, highly textured, complexly shaped objects
typically feel heavier and require balance through the placement equally “heavy”
items or multiple less heavy items.
 Very dark or saturated areas of color demand attention within a composition.
 An area of high contrast, even at a small size, will automatically draw the
viewer’s eye.
 Forms placed near the edge of a page can also draw more visual attention than
forms placed directly in the center of a page.
The Rule of Thirds
 The Rule of Thirds refers to the idea of dividing a composition into thirds based on a
grid.
 The most important elementsof the composition fall on the lines in between to
create a strong composition.

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  A slightly off center balance is more visually interesting and harmonious than an
evenly centered composition.
 A rectangle has been divided horizontally and vertically by four lines.
The rule of thirds states that the centers of interest for any rectangle lie somewhere along
those lines.
The Golden Mean
 Golden Mean: Relationship between sizes that is pleasing to the human eye.
 This concept was first formally recognized by the ancient Greeks, and examples of
the golden mean can be observed through Greek artwork and architecture.
 The golden mean appears in everything from atomic structures to galaxies.
 Graphic designers can use these proportions to create work that instinctively looks
“right.”
 There’s a mathematical ratio commonly found in nature—the ratio of 1 to 1.618—
that has many names. Most often we call it the Golden Section, Golden Ratio, or
Golden Mean, but it’s also occasionally referred to as the Golden Number, Divine
Proportion, Golden Proportion, Fibonacci number, and Phi.
Fibonacci sequence
 The Fibonacci sequence is also one of the most elemental building blocks found in
nature.
 This principle is based on the Fibonacci sequence, which is a series if numbers to
denote proportions: 2,3,5,8,13,21,34,55,89,144,233, etc. The each number in this
series is the sum of the two numbers preceding it.
 Proportions are based on the number Pi, in which measurements are
approximately1.618 times one another in a layout.
 In the example above, segment A is 1.618 times the size of segment B, and
segment B is 1.618 times the size of segment C.

Space
 Space is the area in and around
something.
 Designing involves arranging design
elements in space.
 The distance or area between, around,
above, below, or within things.
 Three-dimensional designs have:
 form
 length
 width
 Height and occupy space.

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Focus/Emphasis

 Accent, stress, or importance placed on

a part of a piece of artwork.
 Focus is used to centre attention.
 Focus can be created by contrasting
elements so that they attract attention.
 Emphasis is something we all know
about. It simply means that every room
or space has a focal point, whether it is
architectural or an object.
 A fireplace is the most common
architectural focal point.
 Oversized artwork or a large piece of furniture can also be a focal point in a room.
 Interior design elements like color, texture and form are used to add emphasis to a focal point.
 If you refaced your fireplace with bronze glass tiles, you have used color and texture to create
emphasis.

Rhythm
 The design principle that suggests
connected movement between
different parts of a design by using
colors, lines, forms, or textures; also
referred to as continuity
 Rhythm is visual flow: the eye
should be able to ‘flow’ smoothly
across the room.
 Regular repetition of lines, shapes,
or colors that create a movement.
 Patterns have rhythm.
 Rhythm refers to a way of utilizing the art elements to produce the look and feel of
rhythmic movement with a visual tempo or beat.
 Rhythm is a feeling of structured movement created by the repetition of elements.
 Rhythm can be used to create a sense of movement in, through or around a design.
 Repeated elements and the spaces between them make patterns that we
experience as rhythm.
 This helps to give a composition visual harmony by creating unity in a layout.
 Examples include the repetition of similar shapes, colors or textures.

 Rhythm can be accomplished through the following means:

1. Repetition
2. Alternation
3. Progression
Repetition
 The repeated use of certain objects or physical attributes of decor elements.
 For example: chevron patterns on your sofa and wall tapestry, a series of similar
vases lining a mantle or a stack of books on a shelf.

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  Similarly-themed home ware and arts will also contribute to the theme of your
interior design.
 Repetition is the simplest way to attain rhythm and can be achieved by repeating
any of the elements of design (line, colour, texture and pattern, light, and scale and
proportion) or other design concepts in an organized and regular way.
 Alternation

 Alternation is used to create rhythm by alternating two or more elements in a

regular pattern.
 The pattern may be ABCABC or ABBABB, but always repeating in the same order
 a modular sofa with alternating colours of white and green, placing a small
roundtable between two armchairs, or even differently-shaped wall recesses can
achieve this effect, as seen below.
Progression
 Interior design elements placed according to size from smaller to bigger ones, or
perhaps according to the gradient of their colours.
 Rhythm can also be achieved through progression. Examples are a gradation of
colour or a series of objects that start small and become large in a very regular
manner.
Unity
 Unity is achieved when all of the different elements in a design work together to
create a unified whole. Designers use unity to make elements in a composition
appear to belong together.
 When each element has a clear visual relationship to one or more other elements,
the composition is unified.
 Unity is what draws the whole design together. Simply put, every single item in your
home should contribute to the overall interior design concept, not draw away from it.
 All Parts of a work of art are interrelated, balanced, and organized to achieve a
quality of oneness.
 A unified design is greater than the sum of its parts; the design is seen as a whole
first, before the individual elements are noticed.
 Unity can be compared to harmony, integrity or wholeness.
 When unity is achieved:
a composition does not become cluttered or confusing.
a concept can be communicated more clearly.
a design evokes a sense of quality and organization.
Some of the ways to achieve unity include:

1. Alignment
 Alignment consists of arranging elements so that their edges are lined up.
 The common alignment allows the eye to group those elements together.
 A grid is often used to create unity through alignment, not just in a single
design but also between related designs (the pages of a magazine or book,
for example).
2. Similarity

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  Repeating colors, shapes, values, textures, or lines creates a visual
relationship between elements, called correspondence.
3. Proximity
 Proximity is based on grouping by closeness; the closer elements are to
each other, the more likely we will see them as a group.
 Proximity is one of the easiest ways to achieve unity.
4.  Repetition
 Repetition is based on grouping by similarity; elements that are similar
visually are perceived to be related.
 Any element can be repeated - line, shape, color, value or texture - as well
other things such as direction, angle or size.
 Repetition helps unify a design by creating similar elements and is one of the
most effective ways to unify a design.
5. Continuation
 Continuation means that something (a line, an edge, a curve, a direction)
continues from one element to another.
 The viewer’s eye will follow the continuing line or edge smoothly from one
element to other and the mind will group the elements because of this
connection.
 Implied lines are one example of continuation.

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ASSESSMENT
INSTRUCTIONS: Answer the following questions:
1. Take a picture of your house or your room and discuss at least one Elements
and one Principles of Interior Design that shows.
2. Draw an Interior Design of your Dream House and Discuss the Basic Interior
Design you consider in your Design.
3. In your own words explain the benefits of Basic Interior design in the Industry.

RUBRICS

REFERENCES
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https://www.slideshare.net/grgnolis/laundry-an-housekeeper-perspective
https://www.slideshare.net/indianchefrecipe/types-of-laundry
Read more: https://lifestyle.inquirer.net/373893/the-evolution-of-laundromats-in-
the-philippines/#ixzz7KjKl5UQP
Follow us: @inquirerdotnet on Twitter | inquirerdotnet on Facebook
ohea.on.ca/blog/the-brief-history-of-laundry
https://thedailyroar.com/specials/the-art-of-labada/
https://smallbusiness.chron.com/open-laundry-business-2468.html
https://www.hensonlaundry.com/5-equipment-you-need-to-start-your-laundry-business/

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