ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
ARCHITECTURAL
MODULE 1: Social Structures
-The network of actually existing relations
among human beings who are connected by a
complex structure of social relations.
Social Structures and Spatial Relations
-expressed in SPATIAL RELATIONS or the
interplay of the organization, distribution and
categorization of objects and people in space. Spatial
relations represent the social structures and
principles of a society or group.
The study of spatial relations is based on the
study of the most commonplace, everyday actions of
everyday people as well as less frequently performed
activities.
 It tracks the movements and the concrete
products which people negotiate in the
performance of these movements.
 It leads to a deeper understanding of the
social relations of the society of which they
are active part.
Material culture objects and their
location in space are fundamental to the study of
spatial relations. The major underlying
presuppositions about the social dimensions of
space are:
 Spatiality is socially produced
 Objects are neither randomly nor arbitrarily
selected or positioned in space.
 Space, objects and people give meaning to
each other
Filipino Society & Culture
Filipino Family Values
The family is the center of the social
structures and includes the nuclear family, aunts,
uncles, grandparents, cousins and honorary
relations such as godparents, sponsors, and close
family friends often called aunts and uncles
though they are not. Close familial ties are
upheld to the highest extent.
INTERIORS
Filipino Concept of Shame
 Hiya is shame and is a motivating factor
behind behavior. It is a sense of social
propriety and conforming to societal norms of
behavior.
Social Relationships/Etiquette
 Pakikisama. Filipinos use pakikisama, or
camaraderie in English, to maintain a
harmonious relationship.
MODULE 2: Filipino Building Traditions
and Beliefs
Filipino Traditions Regarding Land and
Space
Public Spaces
 Traditional Filipino culture share land
communally instead of having private properties
bounded by fences and gates.
 Even in contemporary Filipino communities
where the boundaries of private lots are clearer,
parties, businesses and other activities still spill
over to the public areas like sidewalks or even the
streets.
 The Spanish colonial policy of resettlement
created the plaza complex. e. Although some
of the structures around plaza have since
been converted to commercial uses, its
function as a gathering and meeting place for
the community remains.
Private spaces
 The spaces inside the house serve a number
of purposes-transforming and adapting
according to the needs of the users at any
particular time.
 The traditional Filipino space is always
transparent. The native cultural idea of living
with a group-whether a village or a family-
encourages visible spaces where one can see
everyone else.
P a g e 1 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
 Traditional ethnic houses express the
indigenous way of spatial organization.
Territorial space is suggested by symbols,
never stated with fences or walls but
territoriality is still respected by passersby
and other residents in area.
FILIPINO TRADITIONS REGARDING
THE CONSTRUCTION OF HOUSES
Ethnic Filipino Building Traditions
 Ethnic houses reflect the wisdom of skilled
artisans who intuitively blend aesthetics and
utility into a harmonious whole.
 Decoration, while one sparingly often
combines aesthetics and socio-political
factors.
 The design construction of houses is affected
by animistic beliefs and assumptions.
 These govern the choice of site, time and
season for building, rituals to be observed
before and during construction, the
orientation of the house and distribution of
interior spaces.
 Houses maybe used essentially as shelter or
may double as a social and cultural center.
Building Traditions during Spanish period
 New structures were built during the Spanish
period reflecting the major preoccupations
and values of the Spanish colonial life.
 Houses signify the wealth and rank of the
owner.
 The bahay kubo retained the features of the
traditional house with the addition of awning
window, the silid where occupants could
change clothes in private, the altar, and other
furniture and furnishings required by the new
hispanized manners.
 The bahay na bato retained the usual post and
lintel construction of the bahay kubo with
some innovations:
a. A highly flexible interior where rooms
may be joined or separated by opening or
closing wide doors;
b. The addition of the azotea at the back of
the house, the caida or antesala at the top
of the stairs.
c. Details such as the media agua, the
ventanillas and the tiled roof which gave
the bahay na bato an elegant appearance
without losing the airy and light qualities
of the bahay kubo.
Building traditions during the American
Period
CHALET- most prominent feature is the
front porch which may be extended to the
sides of the house.
BUNGALOW- brought the American
concept of privacy which encouraged family
to have his/her own room thus introducing
hallways and corridors-spaces that solely as
distribution points.
FILIPINO BUILDING BELIEFS
Post
 In Southern Tagalog, posts nearest the east
are laid fist. The other posts follow, one after
the other in a clockwise direction. In
Romblon, this practice is believed to make
the house windproof.
 In Cagayan Valley, the first post to be raised
is the one nearest to the northeast. But this is
done only after the footings have been
sprinkled with wine.
 In Bataan and some Tagalog provinces, a
solitary post in the middle of the room is
believed misfortune to the family.
 The Tausugs equate the building of the
house to the development of a fetus. They
believed the first to appear in a woman’s
womb id the navel. Hence, the first post to be
erected should be the main post in the interior
of the house.
 The Yakans do not use crooked posts and
those with knots as these are believed to
symbolized death.
P a g e 2 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
 To prevent termite infestation, the bottom of
the post is charred (Pangasinan) or tarred. In
some areas, rock slat is sprinkled generously
in all footings.
 Old people also caution against cutting old
posts for reuse so as not to lose one’s wealth.
Stairs
 Stairs are generally positioned towards the
east. The Illocanos believe that facing them
towards the west would mean turning one’s
back on the fate. O the other hand, some
builders in Bulacan prefer west-facing stairs,
believing that anything facing the sun dries
up ahead of the others and so, wealth taken
into the house will dry up much faster.
 If it is not possible to make the stairs face
east, they should face nearby mountains.
 If the lot abuts the river, the stairs should be
oriented upstream so that luck will not be
washed away by the river’s flow. For the
same reason, if the house is facing the sea,
the stair should be placed parallel to the
shore.
 It is not advisable to have a large window on
the wall facing the stairs because good
fortune will go out of that window.
 The space beneath the stairs should not be
used as passageway or sleeping quarters
(Tagalog) or a place where money is kept
(eg. Cashier’s counter).
 Stairs should not be located at the center of
the structure as this divides the area.
 The number of steps is governed with the
guidelines of “oro, plata, mata”. Starting with
the first step, the steps are counted using the
word oro (gold), plata(silver) and mata
(death). The last step should not end with
mata.
 The Yakans believe in odd numbering od
steps. The Chinese count their steps by fours.
Doors
 One’s main door should not directly face that
of the neighbors to avoid fighting over the
luck that passes in front of both houses.
 In most areas of the country, the main door is
never positioned opposite the main gate.
 Doors should not face each other. The people
in North believe that doors facing each other
allow easy passage of a coffin. In some areas
in Bulacan, however, wide doors facing each
other are considered lucky, especially if they
lead to the terrace or garden.
Living Rooms
 Sunken rooms are regarded as pockets of
caves where evil spirits can hide. It is
balanced off with an exit that is lower than
the room.
 Old folks in Bulacan advise that the living
and dining rooms should be of the same floor
level to allow the “ball of fortune “to roll
freely across both areas.
 Any ornamentation or style (e.g. Mansard
roof) that might remind one of a coffin is
avoided in living areas.
Dining Rooms
 Pampangos locate their dining room in the
sunniest and brightest portion of the house as
they consider cooking and eating as festive
activities.
 The Ilocanos, on the other hand, regard
eating as a solemn occasion and so, place the
dining rooms in areas where the lighting is
more subdued.
Beds and Bedrooms
 Beds should place so that when the door is
opened, one would not face either the head or
the foot of the bed.
 There should be ample space between the
door and the bed.
 The headboard should be ample space
between the door and the bed.
P a g e 3 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
 Beds should not be places under drain pipes
(for houses with second floor). Likewise,
they should be placed over pipes containing
unclean fluid as this would mean that the bad
energies may affect the good energy of the
people sleeping over the pipes.
 Beds should not be placed under beams.
Never position the bed so that the occupant
would be lying perpendicular to the beam.
 It is considered lucky if the bedroom is
placed higher than the living room.
Basements are not favored locations for
bedrooms.
MODULE 3: THE USER
REQUIREMENTS AND PERCEPTION,
AND SPACE
A Designed Environment:
 Results when a design problem is approached
holistically
 Uses the designer’s approach of:
o Analyzing the clients’ basic needs
o Translating these needs to architectural
terms
 Requires that the designer know his role in
the project in order to create the best
designed environment
A Holistic Design Approach should consider:
1. The building’s structural system
THE DESIGN PROCESS
2. The spatial form created by structure
3. Light and patterns of light and dark patterns it
1. PRE-STATEMENT
creates
 Statement of the given problem/s; usually
4. The surface treatment of floor, wall and
ceiling planes
5. The acoustic nature of the room’s surfaces
6. The activities to be performed in the space
2. INFORMATION GATHERING
 Researching information and details related
Designing Interior Environments
Analyzing User Requirements
3 Categories of Questions That A Designer
Should Ask His Client:
 Practical Questions- questions that deal
with functional or spatial considerations
 Aesthetic Questions- questions
concerning taste, style and color
preferences
 Budgetary Questions- questions that deal
with financial considerations or
limitations.
ASSESSING THE CLIENT’S
PSYCHOLOGICAL NEEDS
It is also important that the designer know the
following:
1.Are the clients satisfied with the
chronological age?
2. Are they happy with their occupational/
educational level?
3. Do the clients accept stereotype roles?
4. How do the clients project themselves?
5. How mobile are the clients
6. How resistant to change are the clients?
Do they want to preserve the past or
anticipate the future?
7. What is the clients’ goal in undertaking the
project?
8. Are the clients concerned with prestigious
brand names; company/product images that
with intrinsic value or total design?
states what space is to be designed-giving
very little information regarding the related
requirements
to the problem through review of
related literature, ocular inspection of the
space, direct observation, interview/ survey
with the users, secondary information.
P a g e 4 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
3. PROBLEM STATEMENT
 Identification and presentation of
problem based on data gathered
4. ANALYSIS OF THE PROBLEM
 Defining and understanding the nature of the
design problem which will be essential to the
solution
 What to Analyze: factors that affect the
formulation of preliminary solutions
1. What Exists?
 Physical/ cultural context
 Existing architectural/ interior
elements.
 What can be changed/ cannot be
changed
2. What Is Desired?
 Identify users’ needs and preferences
 Set goal- functional aesthetics
3. What Is Possible?
 For alterations
 Permitted/ allowed/ prohibited
 Limits: time, economic, legal,
technical
 Approaches: coming up with ways to
approach the problem:
1. Isolate one or two key issues and develop
solutions around them.
2. Study analogous situations and used them
for developing ideas
3. Develop ideal solutions for parts of the
problem which can be integrated into whole
solutions and be tempered by the reality of
what exists
5. SYNTHESIS
 Conceptualization through graphic solutions,
matrices and diagrams
 Requires knowledge and understanding
gained through experience and research,
the intuition and imagination
 Creativity- the process of coming up with
new ideas.
3 MAIN POINTS OF CREATIVITY
1. Ideation- the mental process which gives
the ability to think or ideate
2. Idea Quantity- the capacity to produce the
largest number of ideas in a given unit of
time
3. Imagineering- the process of letting
imagination soar and then engineering it back
to reality
Causes of Limitation in Creativity
1. Perceptual Blocks- biological or physical
impairment
2. Physiological Blocks- stem from the need
to be accepted by a peer group; may be
conscious or unconscious
3. Self-Satisfaction
Creative Problem-Solving Techniques
1. Alphabetical Listing- begins with listing
all the letters of the alphabet. Then for each
letter, list a word or phrase that begins with
that letter and pertains to the problem you are
attempting to solve or potential solution to it.
2. Functional Visualization- thinking about
what functions the object will perform
instead of thinking how it will look like.
3. Morphological Synthesis- making a list in
a more direct manner to seek alternatives
4. Inversion- instead of thinking of how to
improve the situation, think of how to make
it worse so that you are given a new set of
perspective or concepts
P a g e 5 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
5. Bionics- “back to nature” solutions
6. Description by Association- offering a
description of the object by associating it
with something else.
6. TRANSLATION
 Graphic representation of solutions such a s
sketches, drawings, models
7. EVALUATION
 Critical review of alternatives and careful
weighing of the strengths and weaknesses of
each proposal
 Design Criteria:
1. Function and Purpose - the intended
function of the design must be satisfied and
its purpose must be fulfilled
2. Utility and Economy- a design should
exhibit utility, honesty and economy in its
selection and use of materials.
3. Form and Style- the design should be
aesthetically pleasing to the eye and other
senses.
4. Image and Meaning- the design should
project an image and promote associations
which carry meaning for the people who use
and experience it.
GUIDE FOR ANALYSIS, SYNTHESIS AND
EVALUATION
1. User Requirements
 Identify users
- Individual or group
- If group, how many?
- Specific or anonymous
- Age group
- Economic status, etc.
 Identify needs
- Group needs
- Specific individual needs
 Territorial requirements
- Personal space
- Privacy
- Interaction
- Access
 Preferences
2. Activity Requirements
 Identify primary and secondary
requirements
 Analyze nature of activities
- Active or passive
- Noisy or quiet
- Public, small group or private
- Multi-functional spaces?
- Frequency and duration of use
 Requirements for access, flexibility, light,
acoustics
3. Furnishing requirements
 Determine furnishing and equipment
requirement for each activity
- number, type and style of seating, tables,
work surfaces, storage and display units,
accessories
- other special equipment required for
lighting, electrical, mechanical
 Determine desired qualities of pieces
- requirements for comfort, safety, variety,
flexibility, style, durability, maintenance
 Determine possible arrangements
- functional grouping
- tailored arrangements
- flexible arrangements
4. Space analysis
 document existing proposed space- plans,
sections and elevations
 analyze space
- form, scale and proportion
- locations of points of access and the
circulation paths they suggest
- windows and the light, view and
ventilation they afford
P a g e 6 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS

- wall floor ceiling materials

- significant architectural details MODULE 4: ENVIRONMENT-BEHAVIOR
- location of electrical and mechanical STUDIES
fixtures and outlets
Environment-Behavior studies in architecture
- what modifications are necessary?
include the systematic examination of
Feasible
relationships between the environment and
human behavior and their application in the
5. Dimensional requirements
design process.
 Determine required dimensions for space and
furniture groupings MAIN COMPONENTS
- space required for access, number of
1.) Environment-Behavior: Phenomena and
people served, appropriate social
Design
distances and interactions
 Determine fit between activity and
a.) Proxemics, Personal Space, Territoriality
dimensions of space
and Defensible Space
- study ways by which activity groupings
People have biological, personality, social and
can be accommodated within the shape
cultural needs that are expressed in the
and proportion of the floor area and the
environment.
vertical dimension of the space
i.) Personal space is a small, invisible,
6. Desired qualities
protective sphere or bubble that an organism
 Determine qualities appropriate to spatial
carries about and maintains between the self
context and compatible with client’s or user’s
and others. It acts as a body buffer zone or
needs or wishes
personal, not shared, space.
- feeling, mood or atmosphere
- image and style
Factors that affect one’s sphere of personal
- degree of spatial enclosure
space include:
- Comfort and security
- Individual characteristics
- Quality of light
(personality, mood, sex, age)
- Focus and orientation of space
- Social norms
- Color and tone
- Cultural rules associated with
- Acoustical environment
certain environments
- Thermal environment
- Flexibility
ii.) Territory and territoriality refer to a
group of behavior settings that a person will
7. Desired Relationships
 Determine desired relationships between. personalize, mark, own, and defend.
- Related activity areas
- Activity areas and space for movement Territories have five defining characteristic:
- Room and adjacent spaces - They contain spatial area.
- Room and the outside - They are possessed, owned or
 Desired zoning and activities controlled by an individual or group.
- Organization of activities into groups or - They satisfy some needs and
sets according to compatibility and use. motives.

P a g e 7 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
- They are marked in either a
concrete or symbolic way.
- People will feel discomfort, or even
defend them if they are in any way
violated by intruders.
iii.) Defensible space aims to restructure the
physical layout of communities to allow
residents to control the areas around their
homes. On a smaller scale in interiors,
defensible space allows the users to exercise
control over their territories and the space
surrounding them.
Four characteristics of space make this
possible:
- Surveillance
- Perceived and defensible territory
- Image and milieu
- Safe zones
b.) Privacy, Intensity, Crowding and Stress
i.) Privacy may be defined as the claim of
individuals, groups or institutions to control
access to themselves and to determine for
themselves when, how and to what extent
information about themselves will be
communicated.
ii.) Density Is a mathematical measure of
the number of people per unit of space.
iii.) Crowding is a psychological or an
environment-behavior concept, which refers
to the experience of being bounded or
blocked or frustrated by the presence of too
many people.
2.) PROGRAMMING ENVIRONMENTS
FOR HUMAN USE
a.) Approaches to Generating User Oriented
Design Requirements
i. The User Characteristic Approach
Develop from the idea that the users of most
environments are diverse and are likely to
have different basic for the same setting.
 BASIC STEPS
- Identify user types.
- Construct user profiles of each
group
-Deductively derive design
requirements for each
 Major Strength. It enhances the
designer’s ability to go beyond
simply all of the characteristics of a
particular type of user, such as
behavior patterns, physiological,
psychological, social, economic,
etc., which might potentially have
an effect on his environmental
needs.
 Major Weakness. It does not
provide for a systematic search
process which would ensure the
consideration of all the possible
environmental requirements of a
user.
ii. The Social Functions Approach
Involves focusing on processes or
functions which are to varying
degrees affected by environment.
 Basic Steps
- Identify the social/ psychological/
physiological, etc. function to be
supported or suppressed e.g.,
Image formation, burglary, stress,
etc.
- Identify the characteristics in the
environment which affect this
process.
- Deductively derive performance
statements or design requirements.
 Major Strength. It enables the
programmer to deal with aspects of
environmental behavior which are
P a g e 8 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
not obvious, such as image
information or stress reduction, etc.
 Major Weakness. It relies on the
theoretical frameworks which
explain how the environment affects
a particular social or psychological
process.
iii. The Behavior Circuit Approach
Focuses on the behavior of typical
individual users of the environment. The
flow of behavior of an individual is broken
into comprehensible segments or sequences
that are related to particular environment
settings.
Identifies the predominant recurring
sequences or chains of behavior of a
particular user type.
 Basic Steps
- Identify predominant behavior
sequences for each user type
- Break each of the circuits into
discrete behavioral units
- Specify level(s) at which the
behavior is to be supported.
o Safety/survival
o Task efficiency
o Comfort
o Pleasure/enjoyment
- Using a checklist to environmental
attributes derive the design
requirements for the setting(s) in
which that behavior is to occur?
o Spatial form
o Communications
o Activities
o Ambiance
- Repeat for each behavior in the
circuit and for each user type
 Major Strengths. It is systematic
and concrete. It focuses on behavior
in such way that design implications
become obvious.
 Major Weaknesses.
- Followed to the smallest detail, this
approach will simply overwhelm the
designer with information. Efforts
must be exerted to organize and
prioritize requirements.
- It tends to focus on explicit physical
behavior and not on internal
processes.
iv. The Behavior Setting Approach
Focuses on areas or settings within which
there are relatively stable patterns of
recurring behaviors.
 Basic Steps
- Identify predominant behavioral
patterns for each setting.
- Break each of the patterns into
discrete behavioral units.
- Decide levels at which behavior is
to be supported
o Safety/survival
o Task efficiency
o Comfort
o Pleasure/enjoyment
- Using a checklist to environmental
attributes derive the design
requirements for the setting(s) in
which that behavior is to occur.
o Spatial form
o Communications
o Activities
o Ambiance
- Repeat for each behavior in the
setting and for each setting in the
environment being programmed.
 Major Strengths. As in the
previous case, this approach is
highly systematic and is focus on
obvious, concrete behaviors.
 Major Weaknesses. It has a
tendency to focus on relatively
stationary patterns of behavior and
on groups. The approach lacks that
P a g e 9 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS

capacity of enhancing the empathy  Basic Steps

of the designer for the user. - Client assemblage.
- Individual assessment of the
v. Post Occupancy Evaluation problems and assets.
Aims to provide programmatic information - Group agreement on a prioritization
to designers. It identifies what might be of problems and assets.
termed “the problems and assets of the - Individual identification of ideal
design.; Problems- features of the design qualities.
which through oversight or error does not - Group agreement on ideal.
meet the needs of its users and consequently - Group agreement on problems,
should be modified; Assets- features of the assets, and ideals or “the program.”
design which work especially well and are  Strength and Weakness. The
highly valued by users. involvement of the users in an active
 Basic Steps rather than a passive role. The client or
- Do literature search for post user may be:
occupancy evaluations which deal - Present
with: - Absent but reachable
o Similar settings (e.g. elementary - Homogeneous/Diverse
school), or elements which make up - Vocal/silent
the setting (classroom, playground). - Not reachable but known
o Similar populations. - Unknown
- Judgmentally translate the findings
to the specific problem. MODULE 5: THE EFFECT OF
 Major Strength. It assesses the ARCHITECTURAL DESIGN ON
performance of a real setting rather SPECIFIC BEHAVIORS
than on predictions derived from
theory. 1.) Distance
 Major Weakness. It is probably too a.) Physical Distance - measured linear
costly to do a post occupancy distance traversed in walking between two
evaluation as a means of developing points.
the program for a new project, and b.) Functional Distance- includes the
yet it is often difficult to find an variables of design and relative position as
evaluation which deals with the they affect the number of involuntary, casual
particular client/user group and type contacts between people.
of environment needed.
2.) Design and Spatial Arrangement
vi. The User Participation Approach a.) Sociofugal Environments - discourage
Does not rely for the most part on experts to social contacts and the formation of
develop the information. Relies instead on friendships.
methods which enable the direct user b.) Sociopetal Environments - encourage
participation in the process of developing design social contacts and the development of
requirements, perhaps even to the extent of friendships.
controlling the process. 3.) Motivating Factors That Are Affected by
The Environment
P a g e 10 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
a.) Friendship Formation - Friendships are
formed on the basis of shared interests and
backgrounds.
b.) Group Membership - being or not being
a part of a definite social group is one-way
people define themselves and is thus a matter
of importance to most people.
c.) Personal Space - Strong feelings people
have about controlling access to their persons
manifests in the spacing or separation that
people maintain when dealing with other
people.
 Intimate Distance- ranges from actual
contact to a distance of 18” (ex. reserved
for lovers, small children or very close
friends).
 Personal Distance- ranges from 1.5 to 4
feet (“arm’s length”) (protected area
where strangers would not be welcome).
 Social Distance- ranges from 4 to 12 feet
(range of public interactions).
 Public Distance- ranges from 12 to 25
feet (range where noninvolvement
begins).
d.) Personal Status - People use different
techniques to establish their own self-
definitions, and for defining themselves to
others. They seek an architectural expression
that reflects their self-image.
e.) Territoriality - Territorial feelings of human
merge with other feelings about personal space
and concern for personal status.
 Territoriality can be divided into these
principal categories:
o Personal Property and Possessions
o Group Property and Possessions
o Temporary Territory
 In dealing with different manifestations of
territoriality, designers can reduce territorial
friction or attempt to encourage feelings of
ownership.
o Person to Person - territorial friction
arising over personal belongings
o Boundaries -disputes over territorial
boundaries can often be traced to
ambiguity lines.
o Group Territory -the feeling of sharing
“ownership” through membership in a
group.
o No one’s Territory - places for which no
one or no group develops territorial
feelings and are subject to misuse and
abuse
 Recommendations about territorial
considerations
o Individual Possessions - mark them in
distinctive ways or give them individual
names.
o Group Territory - establish clear
boundaries and a clear identity.
o Transient Territory - it is helpful if objects
claimed as transient territories can be designed
and arranged so that the area assigned to each
individual is clearly delimited (dividers
between urinals, individual seats in bus
terminals, etc.)
o Territorial Responsibility - to ensure that
a sense of territorial responsibility
develops among users in those projects
that actually belong to someone else, the
designer should make an effort to include
the users in the planning process to create
a bond between them and the project.
f.) Communications - Architects and
planners can create places where
communication occurs.
i. Personal Communications
- To facilitate communications between
people, designers must recognize that
conversations take place wherever people
meet.
P a g e 11 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
ii. Communicating with Design
- Design characteristics of a building are
capable of communicating any message.
Users may be divided into two groups
with distinct responses:
 People who know the building ̶ response is
largely a result of how well they feel the
building suits their purposes.
 People who are not familiar with the
building ̶ response is related to the
interests and needs more than to the
nature of the building.
g.) Cue Searching
- The need to know what is going on in the
world to conduct personal affairs safely,
expeditiously and with a minimum of wasted
effort or embarrassment.
The nature of the search takes on different
forms at different times with different people:
 Exploratory mode
 Habitual mode
h.) Personal Safety
- People need help in identifying those aspects
of their environment that may be hazardous even
though the hazard is not obvious.
Principal categories of hazards that are
frequently encountered in interior
environments:
 Clearance hazard
 Object hazard
 Collision hazard
 Stability hazard
i.) Space Articulation
i. Real Space - is always inhabited and
situated. Can be acquire characteristics as
a result of a complex interplay of social,
aesthetics, and physical factors of the
setting.
ii. Configurability - refers to the
meaningful re-arrangement of object,
giving the user control over the
environment, enhancing engagement,
supporting explorative behavior or
providing thinking aids.
iii. Space Articulation - is often used in
architecture to define a zone of space
within a larger spatial context.
MODULE 6 (2A): COLORS IN INTERIOR
DESIGN
COLOR ENVIRONMENT
Color – an inherent visual property of all forms.
- The most immediately noticeable and the most
adaptable and variable element in decorating.
Color Theory – aims to predict or specify the
color combinations that would work well
together or appear harmonious.
Color Systems – has been adopted as a tool for
defining these basic relationships.
Color Wheel – offers the easiest way to
visualize how hues relate to each other. Primary
Colors: red, yellow and blue
Pure Hues of Colors: red, blue and green
Tints (lighter values)
Tones (also known as shades, darker values)
Complementary – colors that lie opposite each
other on the wheel;
- when paired, each makes the other appear more
vivid.
Analogous Colors – colors next to each other
on the color wheel
P a g e 12 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS

- Tend to produce a single-hued or a dominant

color experience.
COLOR SCHEMES
Split Complementary – color scheme employs
 Chromatic Schemes – schemes where
a range of analogous hues, “split” from a basic
colors are present
key color, with the complementary color as
contrast.  Achromatic Schemes – schemes that
use only white, gray and black.
Triadic – color scheme adopts any three colors
approximately equidistant around the hue circle. CLASSIFICATION OF COLOR
SCHEMES:
- This yields a lively yet balanced combination,
but the scheme may feel a little glaring unless 1. Related Colors – are generally harmonious
one color is allowed to dominate and the other and restful, and are used for rooms wherein a
two are used in lesser amounts or as accents. considerable span time is spent (monochromatic
scheme, analogous)
Warm Colors: half of the color wheel, from red
to yellow-green, stimulating and advancing. 2. Contrasting Schemes – use opposing rather
than related hues are combined; - Tend to be
Cool Colors: other half of the wheel, with stimulating (complementary, double
colors that generally appear to recede. complementary, split complementary, triads)

 Achromatic Colors – any color that

lacks strong chromatic content is said to
DIMENSIONS OF COLOR
be unsaturated, achromatic, or near
1. Hue – the attribute by which we recognize or neutral.
describe a color (ex. Red, yellow); designation
Pure Achromatic colors: black, white and all
of the color in the color wheel.
grays
2. Brilliance or Intensity – the degree of purity
White – can contain or be combined with any
or saturation of a color when compared to a gray
color
of the same value; also brightness of dullness
Black – absorbs color
 shade – color plus black or
complementary color Gray – a true neutral shade
 tone – color plus gray
Neutral Colors – neutrals are obtained by
 tint – color plus white
mixing pure colors with either white or black, or
 pure hue - represents the most intense
by mixing two complementary colors.
or most saturated expression of a color.

3. Value – the degree of lightness or darkness of

a color in relation to white or black; also
vividness.
- Refers to how light or dark a color is
COLOR CHARACTERISTICS
- Yellow – is the lightest/highest value
Red, Orange, Yellow
- Purple – darkest/lowest

P a g e 13 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS

 Red: has been shown to raise blood minimize details to make a room look higher or
pressure and speed respiration and heart bigger.
rate.
5. Orientation. Areas that receive direct
 Orange: like red, stimulates appetites.
sunlight should have duller colors if they are
May be difficult color to live with.
used for relaxation.
Terra-cotta, salmon, peach, coral, and
shrimp are more popular expressions of 6. Climate. Interiors in tropical settings are
the hue. usually rich and bright in colors.
 Yellow: captures the joy of sunshine and
communicates happiness.
COLOR SOURCES FOR INTERIORS
Green, Blue, Purple
a) Natural schemes
 Green: considered the most restful color
b) Patterns and prints
of the eye. Combining the refreshing
c) Local/regional climate
quality of the blue and the cheerfulness
d) Color wheel
of yellow, green is situated to almost
e) Personal preferences
any room in the house.
 Blue: brings down blood pressure and Color Boards – are useful in indicating the
slows respiration and heart rate. colors chosen for a specific interior
Considered calming, relaxing, and environment. They are collections of swatches
serene, and is often recommended for mounted on a board to show the color which are
bedrooms and bathrooms. to be used for particular interior elements.
 Purple: its darkest value (eggplant, for
example) is rich, dramatic, and
sophisticated. Associated with luxury as MODULE 6 (2B): INTERIOR LIGHTING
well as creativity, and as an accent or
secondary color, it gives a scheme
depth.

GUIDELINES for DEVELOPMENT OF Lighting - Can be considerably change the

COLOR ENVIRONMENT atmosphere of the room. Because of the huge
impact of the choice of lighting effects in the
1. Personal taste of the client. Personalities are interior, lighting plan and design must be
supposed to be revealed by color preferences. determined based on the following factors:
2. Use of space. Different color schemes are a. Activities
applied for homes, offices and commercial b. Highlights
spaces. c. Deficits
3. Character of Interior. Traditional interiors d. Ambience
require a color scheme that is different from that e. Balance
of contemporary. Also for formal and informal f. Flexibility
interiors. g. Variety
h. Decorative style
4. Color as background. Advancing or
receding colors may be used to accentuate or
P a g e 14 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS
TYPES OF LIGHTING
1. General or Background Lighting:
essentially acts as a replacement for daylight and
provides good, general visibility. Typically,
supplied by a ceiling-mounted fitting or a
pendant, but best achieved with a mix sources,
such as central ceiling-mounted fixture and
recessed spotlights around the perimeter.
Alternatives include wall lights, uplights or table
lights.
2. Task or Local Lighting: an extra level of
light provided in areas where specific task is to
be performed. Task lighting focuses on a
specific spot, and makes working much more
comfortable. This type if lighting needs to be
well-positioned and directed to be used
effectively, and is best achieved with a mix of
sources, such as ceiling- or wall mounted
fixtures augment with more directional lighting.
3. Accent or Decorative Lighting: creates a
sense of drama by conjuring up color, texture
and form, and is designed to spotlight the room’s
best features. Effects are best achieved with
track lights, recessed lights, and wall-mounted
fixtures. A dimmer may be corporate to create a
multitude of moods.
4. Utility or Information Lighting: practical
rather than aesthetic, used to illuminate dark and
potentially dangerous areas such as stairways
and paths.
TYPES OF LIGHT SOURCE
1. Tungsten/Incandescent: consists of a
tungsten filament that glows inside a
clear glass bulb that is filled with inert
gas in low concentration.
 Cast a warm, peasant light and shows fabrics
and paints in their true colors but can make the
room uncomfortably warm if too many are
used.
2. Tungsten Halogen: emits a cool and
crisp light that is whiter and brighter
than ordinary tungsten; suggests
spaciousness.
3. Fluorescent: available in a variety of
tones that can significantly affect the
color and the atmosphere of the room.
FLUORESCENT LIGHT EFFECTS
Light Fixtures
Fixtures are chosen based upon:
1. Appearance – fixtures can be
displayed, blended with the other
interior elements or concealed
2. Types of Light Produced – diffusers,
shades, globes and even lamp bases can
cast lighting effects that vary from those
of bare lights and lamps.
WALL LIGHTING
Up-lighting enhances the room; down-lighting
brightens specific areas.
1. Direct-wire sconces: these sconces
have no exposed cords and are
permanently wired into an outlet in the
wall.
2. Plug-in sconces: these hook to the wall
with brackets and are plugged into an
existing outlet. Although these are easier
and less expensive to install than direct-
wire sconces, the exposed cord from the
fixture to the outlet can be unsightly.
Plug-in sconces are operated by a switch
on the lamp.
3. Hinged arm or swing-arm wall lamp:
a swinging bar allows these lights to be
P a g e 15 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS

positioned against the wall or to extend  Cutaway Wallwasher – for

away from the wall. These work well lighting the wall and the floor
when there is no room for a side table  Soft Light – diffuse light that
and lamp but additional light is needed produces little contrast and
for certain tasks. poorly defined shadows on the
subject.
 Hard Light – direct light that
CONCEALED LIGHT FIXTURES produces high contrast and
distinct shadows on the subject.
1. Strip Light
2. Light behind vertical or horizontal
baffles
3. Floor light MODULE 6 (2C): INTERIOR
4. Concealed spotlights PLANTSCAPING USING PLANTS IN
INTERIORS
COMMON LIGHT TERMS
Factors to Consider in Selection
 Baffle – a device for shielding a
1. Growing conditions
light source from view at certain
2. Plant growth
angles.
3. Relation to the interior
 Baffle Downlight – recessed;
 Color
baffles also serve to eliminate
 Patterns
glare by absorbing all
extraneous light rays reaching  Amount of warmth and light
the surface. 4. Foliage
 Eyeballs – adjustable spotlight  Shape – leaf shape, leaf edges
used for accent lighting; may be  Texture and form –
rotated 360 deg., or tilted off the smooth/glossy, corrugated;
vertical for directional lighting. broad/flat, thin/curling over
 Diffuser – any of a variety of  Pattern of leaves – heightens
translucent materials for and dramatizes the effect of
filtering glare from a light foliage; variegation
source and distributing the light
over an extended area.
 Louver – a finned or vanned 6 BASIC GROWTH PATTERNS OF
device for controlling the PLANTS
radiation from a light source. 1. ROSETTE – a roughly circular cluster
 Eggcrate – a louvered of leaves radiating from a central
construction divided into cell- growing point.
like areas and used for - Best when used with upright plants,
redirecting the light from an trailing plants
overhead source. 2. BUSHY – have several stems growing
 Scoop Wallwasher – produces from potting level, giving the plant a
an offset beam for illumination spread almost equal to its height
close to the ceiling.
P a g e 16 | 17
 ARCHITECTURAL CORRELATIONS 513: ARCHITECTURAL INTERIORS

- Often used alone rather than in group

displays, or as background for trailing
plants.
3. GRASSY - have slender but tough and
wiry stems sheathed with narrow
pointed leaves
- Provide graceful contrast in texture
and outline to all other foliage plants -
Can be upright, trailing or arching 4.

4. UPRIGHT – plants that extend their

growth vertically rather than
horizontally
- Often composed of non-woody stems
that bear leaves along its length; single
stemmed plants shed lower leaves
- Some are stemless while others are
leafless
- Perfect with low-growing, spreading
rosettes and trailers
5. TREELIKE – has a single, upright
trunk topped by a crown of branches or
foliage
- Effective when used as isolated focal
points in spacious surroundings
6. CLIMBING and TRAILING –
normally grows in any direction that
provides support to which it can cling -
Ideal for framing archways and
windows, screens, or as hanging plants.

P a g e 17 | 17