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INTERIOR DESIGN
INTRODUCTION
• Our ability to focus on and perceive detail is
restricted to a fairly narrow cone of vision.
• To make sense of what we see, the brain
interprets the visual data gathered by our eyes
and assembles the information into visual
patterns that we can recognize.
FORM
• The point is the generator of all form.
• As a point moves, it leaves a trace of a line-the first
dimension.
• As the line shifts in direction, it defines a plane-a two-
dimensional element.
• The plane, extended in a direction oblique or
perpendicular to its surface, forms a three-dimensional
volume.
• Point, line, plane, and volume- these are the primary
elements of form.
Compact. Centre point – natural focus. Represents unity, continuity and economy.
VOLUME
• a plane extended in a direction other than along its surface
forms a volume.
• As the 3D element of an architectural and design element it
can either be a solid or a void.
• It is important to perceive this duality of containment and
displacement.
• The duality of solid forms and spatial voids represents the
essential unity of opposites that shapes the reality of
architecture or design.
VOLUME
IT IS THE THREE-DIMENSIONALITY OF AN OBJECT
COLOR
• Color is the hue, shade or tone of an object.
• Color is the part of light that is reflected by the object
we see.
• Has 3 properties : Hue, Value and Saturation.
HUE
•Primary, Secondary and
Tertiary colors on a color wheel
are hues.
Black - authority
White – innocence and purity
Red – passion, anger, and
appetite
Green –
wealth, nature, relaxing
Blue – peace, royal
Purple –
luxury, wealth, sophistication
HUE
Warm Colors
©iStockphoto.com
Cool Colors
Blues, purples, greens
©iStockphoto.com
VALUE
• Measure of lightness or darkness of a color.
• Contrast of value separates objects in
space, while gradation of value suggests mass
and contour of a contiguous surface.
SATURATION
• The brilliance or dullness of a colour, this depends on
the amount of hue in a colour.
TEXTURE
1. Tactile (real)
spokes on a bicycle
Chairs around a circular
table
Chandeliers
HARMONY
• Harmony can be defined as consonance or the
pleasing agreement of parts or combination of
parts in a composition.
HARMONY
• while the principle of
harmony involves the careful
selection of elements that
share a common trait or
characteristic, such as shape,
color, texture or material.
• it’s the repetition of a
common trait that produces
unity and visual harmony
among the elements in the
setting.
HARMONY (UNITY AND
VARIETY)
Results when two aspects, unity and variety are
combined.
Unity without variety is considered monotonous
and variety without unity is over stimulating and
confusing.
UNITY
Unity is achieved through repetition.
One type of flooring throughout a space can create a unified interior.
One color for walls and trim work.
Matching patterns and textures.
VARIETY
Brings diversity and
stimulation to design.
Can be subtle as in slight
differences in
color, texture and light.
Can be surprising
contrast, such as old
furniture mixed with
contemporary.
Excessive variety without
some unity will be
chaotic, cluttered and
confusing.
RHYTHM
• The design principle of rhythm is based on the repetition of
elements in space and time.
• This not only creates visual unity but also induced a continuity and
movement.
• More intrinsic patterns of rhythm can be produced by taking into
account the tendency for elements to be visually related by
proximity or common trait.
FOUR METHODS TO ACHIEVE
RHYTHM
Repetition
Progression
Transition
Contrast
REPETITION
Simplest method of
rhythm
Repeated use of various
elements (color, pattern,
line, ornament, texture,
etc.)
Can be more interesting if
alternated with other
elements.
Too little repetition lacks
unity and leads to
confusion
Be careful not to repeat
the elements too much.
The room appears over The room appears to be extensively
unified and monotonous. decorated by a particular element and
is balanced.
PROGRESSION/
GRADATION
A sequence produced by
increasing or decreasing
one or more qualities.
Shape/Mass: size large to
small
Color: light to dark
Ordered, systematic
change that suggest
movement toward a goal
More dynamic than
simple repetition.
EXAMPLES OF GRADATION
Flour Canisters
Rugs with
borders from
dark to light
Nesting tables
Stair step
design in
windows
TRANSITION
More subtle form of rhythm
Lead the eye in a gentle,
continuous, uninterrupted
visual flow
Often achieved through
curved lines.
OPPOSITION/ CONTRAST
Deliberate placing of forms or colors to
create opposition by abrupt change
instead of gradual.
Exciting
Old and new
Ornate with plain
Vertical lines meeting horizontal lines
EMPHASIS
• The principle of
accentuation and
masking of two or
more elements in the
design.
• A harmonic rhythm
is created when the
play between two
elements, where one
is dominant and the
other is subdued in a
way where the entire
design is arranged
interestingly.
EMPHASIS
• Deals with focal points
• Considered in terms of dominance and subordination
• Without emphasis, interiors are monotonous
• Avoid too many focal points that compete for attention.
• Limit to 3-4 and vary dominance levels
• View out of window, fireplace, artwork, expensive piece of
furniture etc.
CONCLUSION
The elements and principles of design are
seldom applied self-consciously. It will take
much practice to achieve good design through
the use of the elements and principles. By
studying designs that work for different
situations, we can start to develop a sense of
good design.
THE END
Presented by –
Aishwarya Hari
Khushboo Sood
Shubhra
Sadanand
Michael Joshua
Amarnath