Introduction To Architectural Interiors and Concept of Design

UNIVERSITY OF NUEVA CACERES COLLEGE OF ENGINEERING AND ARCHITECTURE
Week 1
INTRODUCTION TO ARCHITECTURAL INTERIORS
AND CONCEPT OF DESIGN
I. Introduction
Design is the creation of a plan or convention for the construction of an object or a system It may be
an architectural blueprint, engineering drawings, business processes, circuit diagrams or sewing
patterns. Design has different connotations in different fields. [1]
Design links creativity and innovation. It shapes ideas to become a practical and attractive proposition
for users, clients, or customers. Design may be described as creativity deployed to a specific end. One
of the areas wherein design is entirely seen is in the field of architecture. [2]
Architecture is everywhere. A wider definition of it would include within its scope the design of the
total built environment, from the macrolevel of town planning, urban design, landscape architecture,
to the mesolevel of skyscrapers, hotels, airports, hospitals, houses and other similar structures, to the
microlevel of creating furniture. [3]
Figure 1.1: A skyline sketch Figure 1.2: Furniture design

Source: Adapted from [5] Source: Adapted from [8]
Architecture is the art and science of designing and constructing buildings by taking both aesthetic
and practical factors into account. Being an art, it provides an outlet for creative expression and allows
society to view, create and shape the environment and living space differently, in a unique way. Being
a science, architecture also covers our functional needs, providing us living space and environment that
is practical and comfortable.
Buildings also need architecture to be able to age well,

to adapt to changing requirements and to have
flexibility in accommodating various uses. They also
should be built with sustainability in both the materials
that they use during construction, and in the energy
resources that they require to be functional, which
include the interior spaces or the overall look of
Figure 1.3: Residential building
rooms and spaces of the buildings. [4] Source: Adapted from [10]
II. Objectives
After completion of this week, you should be able to:

A. To explain the concept of architectural interiors & compare with interior design.
B. To outline the principles and elements of design to explore and develop one’s creativity.
ARCHITECTURAL INTERIORS v. 1.0 by ARCHITECT JANINE LIZETTE D. OBIAS 4

III. What is Architectural Interiors?
Architecture does not focus only on the exterior elements of a building but also on its interior
elements. It takes into account the elements of the building. That is why architectural interiors must
be included in the planning and designing of the interiors of spaces and in the rooms in buildings.
Architectural interiors or “interior architecture” means a detailed planning and design of the
indoor/enclosed areas of any proposed building/structure, to include retrofit or renovation work and
which shall cover all architectural and utility
aspects, as well as the architectural lay-
outing of all building engineering systems
found therein.
Interior Architecture bridges the practices of

interior design and architecture so that
professionals working in the field have a
structural and load bearing education with
an emphasis on interior spaces. [5]
Figure 1.4: Interior design sketches

Source: Adapted from [11]
IV. Architectural Interiors VS Interior Design
Every designer has his/her own tasks to do in the field of industry he/she is in. In the field of design,
architects and interior designers have to collaborate with regards to the overall look of interior spaces
of buildings they both work in.
An architect is hired by a client to produce detailed designs of a

concept or idea that the client wants to bring to reality as well as
creative design ideas, that involve a great deal of technical
knowledge and responsibility, for which the client is wanting.
The design, documentation and construction of the project need

to comply with established building and safety regulations, local
planning regulations, local ordinances and zoning restrictions.
Depending on the project, there may be laws that have concerns
Figure 1.5: An architect’s drawing tools for the preservation of the local environment or of any historical
Source: Adapted from [5] structure or parts of a building.
On the other hand, an interior designer creates indoor spaces that

satisfy the client's needs for aesthetics, safety and function.
Through the use of furniture placement, color palettes,
decorations, and functional decor, interior designers can create a
variety of spaces - from living rooms that are beautiful yet
functional, to offices that people want and love to work in.
No matter the size, every interior designer works to create spaces

that are attractive yet functional. Spaces must also be safe while Figure 1.6: An interior designer’s tools
meeting the specific needs of the client. [6] Source: Adapted from [3]
5 ARCHITECTURAL INTERIORS v. 1.0 by ARCHITECT JANINE LIZETTE D. OBIAS

Below is the diagram of some of the services furnished by an architect and by an interior designer.
The parts of their services on which they collaborate in order to meet the concept of a particular
project.
    

 
   

     
        
       
      

  
Figure 1.7: Comparison of services rendered by an Architect and an Interior Designer

Considering all the explanations between the roles of an architect and of an interior designer, should
both be working separately and in collaboration, Architectural Interiors, strictly speaking, is a subject
not a profession.
The Architect and the Interior Designer have each a number of specific concerns as shown above. The
architect has no hand in the concerns of the interior designer and vice versa. Each of these two has to
work out their tasks to the best they can to please their client.
It must be noted that the architect’s main concern is the structure and overall design of the project,
while that of the interior designer is the contents of the project.
To have the best of both worlds --- the interior and the exterior --- that shall meet in full measure the
satisfaction of the client, both the architect and the interior designer shall sit down to collaborate in
furnishing the interior and the exterior of the project, that is, but not limited to: from synchronizing
the furniture elements with the exterior elements of the project, to adopting tile or wood selections
with the window coverings and the window schedules, to the paint selections with the exterior
elevations and exterior materials. In other words, the exterior design and the interior design must
appear as a work of one hand, each enhancing each other’s design.
Learning Activity 1.1 10 points

Write your answers on the separate booklet. Use black ballpens only.
1. In your own words, how does Architectural Interiors differ from Interior Design?
2. Explain briefly in four to five sentences the importance of Architectural Interiors in Architecture.

V. Good and Bad Design
A design may be good in the judgment of the designer, the client, or the people who experience and
use the design for any of several reasons:
› Because it functions well—it works.
› Because it is affordable—it is economical, efficient, and durable.
› Because it looks good—it is aesthetically pleasing.
› Because it is sustainable and accessible.
› Because it recreates a feeling remembered from another time and place—it carries meaning.
At times, people may judge a design to be good because we feel it follows current design trends or
because of the impression it will make on others—it is in fashion, or it enhances our status.
As these reasons suggest, there are several meanings that can be conveyed by a design. Some operate
at a level widely understood and accepted by the general public. Others are more readily discerned
by specific groups of people. Successful designs usually operate at more than one level of meaning
and thus appeal to a wide range of people.
A good design, therefore, should be understandable to its audience. Knowing why something was
done helps to make a design comprehensible. If a design does not express an idea, communicate a
meaning, or elicit a response, either it will be ignored or it will appear to be a bad design.
VI. Design Criteria
These are the explicit goals that a project must achieve in order to be successful. In recommendation
and feasibility reports, especially, the design and decision criteria determine the document's final
recommendation for action.
A. Function and Purpose
The design must satisfy its intended function and fulfill its purpose.
B. Utility, Economy and Sustainability
A design should exhibit utility, honesty, economy, and sustainability in its selection and use of
materials.
C. Form and Style
The design should be aesthetically pleasing to the eye and our other senses.
D. Image and Meaning
The design should project an image and promote associations that carry meaning for the people
who use and experience it. Although technology has made the visual aspect incredibly easy,
designers need to focus more on narrative storytelling. As humans, we need contact. An agile
workforce can work anywhere not because of the agility of the technology, but because of the
needs of creative humans using it. [7]

VII. Elements of Design
A. Form
It denotes the formal structure of a work ---- the manner if arranging and coordinating the
elements and parts of a composition so as to produce a coherent image. The primary of elements
of form are point, line, plane and volume. Form suggests reference to both internal structure and
external outline and the principle that gives unity to the whole. Shape is the principal aspect in
order to identify and categorize forms.
Figures 1.8: (above) A space of ambivalence and uncertainty because of the irregularity and openness of its form;
(below) The contemporary design of the stairwell from the foyer of the residence. Source: Adapted from [13]
B. Lines
The use of lines is well known to help in guiding and navigating the eye through the interiors of
your space. These lines could be:
1. HORIZONTAL LINES – create a great sense of formality, efficiency, and stability. Horizontal lines
make sure a room will look huge.
Figures 1.9: (above) Using horizontal lines for bookshelves to make the living space feel larger; (below) The
continuity of the horizontal lines of the kitchen cabinets make the area look huge. Source: Adapted from [14]

2. VERTICAL LINES – form a major part of a home’s interior as well. They are formed by the
features in the house such as doorways and windows. These lines evoke a sense e of unlimited
strength and freedom in your spaces. At a functional level, these vertical lines lend an illusion
of making the room look taller. Designers must ensure that they don’t overly heavy and all over
the place. That would spoil the look of the place and make the inhabitants feel uneasy.
Figures 1.10: (above) The vertical lines emote free, expansive and make the room taller; (below) The vertical lines
add to the concept of contemporary design which makes the room sleek and elegant. Source: Adapted from [14]
3. DYNAMIC LINES – These comprise of lines of all kinds be it diagonal, curved or zigzag. These
can be used in various parts of the space such as stairs or even a railing. They provide an
appropriate contrast to the interior spaces of a house and to the various other structures.
These are very helpful if the designer wants to catch an eye or grabs some attention from the
visitors or the inhabitants. But again, too much of these can get distracting and your other line
structures would lose their importance.
Figures 1.11: (above) The dynamic lines form its walls, column up to its ceiling show the overall fluidity of the entire
dining space of the restaurant; (below) The different approach of lines grabs attention from the users and matches
the height and area of the entire lobby. Source: Adapted from [14]

C. Color
Colors can set a mood, attract attention, or make a statement. Colors can energize, or cool down
spaces by selecting the right color scheme, a designer can create an ambiance of elegance, warmth
or tranquility, or can convey an image of playful youthfulness.
Figures 1.12: (above) The cool and warm colors set the mood from the furnishings; (below) The lightness and neutral
colors create an ambiance of elegance. Source: Adapted from [15]

D. Light
It is one of the important elements and the basic aspect of any place, whether it is a commercial
or residential space. It may be natural light or light from the man-made sources, but it is the most
critical thing that is required in the building of your spaces and of course to design the interiors.
Without the proper use of lighting, every other element would be of no or little use.
Figures 1.13: (above) An innovative approach on the installation and design of lighting the hallway; (below) The
natural light inside the living area makes the space more open to its outdoors. Source: Adapted from [15]

E. Space
No plan or design would work if it does not have a proper space. To ensure that the designer
makes the most out of the overall look of the interior, making the best use of the available space
is the key.
Space can be conveniently divided into two types:

1. POSITIVE SPACE – includes the space where all the objects, the appliances, the furniture and
everything else in the house lies.
2. NEGATIVE SPACE – is the vacant empty spaces in ones living space which also includes the
empty space between the objects in the positive side.
F. Texture
It defines the surface quality of a material. It is described as the way a three-dimensional work
actually feels when touched, or the visual “feel” of a two-dimensional work.
Categories of texture:
1. TACTILE TEXTURE – It is produced by the physical surface texture (the relief) of a material – a
surface can feel smooth, soft, hard, rough, ridged, grainy or bumpy to the touch. The play of
light on the peaks and valleys of an innately textured surface creates highlights and shadows
which enhance the visual texture.
2. VISUAL TEXTURE – (sometimes called illusionary or simulated texture) can be produced by

color, or by pattern. A particular surface can be made to appear quite different to the way it
feels to the touch: smooth surfaces can have visual textures, small pattern can be ‘read’ as
texture and a faux finish can imitate other materials such as wood, stone, marble, silk or brick.
Figures 1.14: Different textures add sophistication and depth in the interiors. Source: Adapted from [14]

G. Pattern
These are created by making use of a certain design in a repeated manner in a way that it looks
visually appealing and attractive. These are usually used in designing materials such as wallpapers,
rugs, fabrics, and soft furnishings.
While implementing a pattern there are certain things that you need to consider:
a. THE SIZE AND DIMENSION OF THE ROOM. – Always keep in mind the overall styling of the
space. When it’s a small room the designer needs to ensure that the patterns are not overdone
so that they are all over the place. But can use a mix of patterns to lend an illusion of bigger
heights to smaller rooms.
b. THE COLORS MUST BE APPROPRIATE AND SUITABLE. – The use of some complex patterns that
comprise of colors and lines that produce a contrasting effect can make the room lit up with
life.
c. USED AS FEATURE WALL – This is the wall of the living room where wallpaper or pattern is done
to present a contrast to the rest of the color scheme in the house.
Figures 1.15: (above) The different patterns show the culture of the place and its people; (below) A variety
of patterns combines the softness and hardness of the materials used. Source: Adapted from [16]

VIII. Principles of Design
The principles of design provide an opportunity for a designer. These are the rules a designer must
follow to create an effective and attractive composition in planning and designing buildings or
structures.
A. Balance
A sense of equilibrium. It is a reconciliation of opposing forces in a composition that results in
visual stability. It is the distribution of elements of the design. Balance is a visual interpretation
of gravity in the design. Large, dense elements appear to be heavier while smaller elements
appear to be lighter. Most successful compositions achieve balance in one or two ways:
1. SYMMETRICAL – It may also be referred to as “formal balance.” The elements used on one
side of the design are similar to those on the other side. It can be described as having equal
“weight” on equal sides of a centrally placed fulcrum.
Figures 1.16: (above) Symmetrical layout and elements on both sides of the bedroom interiors; (below)
From floor to ceiling, even the furniture/fixtures, and colors are well-balanced. Source: Adapted from [14]
2. ASYMMETRICAL– It may also be referred to as “informal balance.” It is more complex and

difficult to achieve. It means that there are no mirror images in a composition.
Figures 1.17: (above) The overall look of the living room is unbalanced which makes things a little more interesting;
(below) Asymmetrical design of interiors can make the space/area fell more casual. Source: Adapted from [14]
3. RADIAL BALANCE – It is almost circular – distributed arrangement of items around a central

point either extending outward or inward. Common examples of radial balance translated to
the interior environment include chairs centered around a table, the structure of a circular
rotunda, or even a circular lighting fixture. If a designer wishes to create focus on a central
item, applying radial balance (so that the attention is directed inward) is a great way to
achieve this.
Figures 1.18: (above) The circular elements of the ceiling as well as the shape of the living focus on one side
that opens to the outdoors; (below) The office’s interiors radial balance help shaped different seating areas
which the designers drew inspiration from trees. Source: Adapted from [14]
B. Harmony
It means all parts of the visual image relate to and complement each other. It pulls the pieces of
a visual image together. It can be described as sameness, the belonging of one thing with another.
The repetition of design elements like color, texture, shape, and form is one of the easiest ways
to achieve harmony to create a composition.
a. UNITY – occurs when all the parts of design or composition are related by one idea. A unified
design has consistency and style. It is when the elements in a space combine to make a
balanced, harmonious complete whole. The space feels right and everything works together.
The result is a pleasing feeling, that everything is right with the space.
Figures 1.19: (above) A shoe store illustrates how a unified space can help to make merchandise the focus of
a retail space; (below) Designed this office uses color, pattern and shape as harmonious elements in at least
a couple of floors of open workstations. Source: Adapted from [14]
b. VARIETY – When multiple elements of design are used to add interest to a design. It can be
created using different elements of materials, as long as they are compatible to each other.
Figures 1.20: (above) The ambience of a space is uplifting by a variety not only on colors but also textures on
furnishings as well as in furniture designs; (below) The office spaces have diverse innovations regarding its materials
and function which is sustainable and can increase the productivity of the employees. Source: Adapted from [14]

C. Rhythm
A visual tempo or beat. The principle of design that refers to a regular repetition of elements of art
to produce the look and feeling of movement. It is often achieved through the careful placement
of repeated components which invite the viewer’s eye to jump rapidly or glide smoothly from one
to the next.
Figures 1.21: (above) Hypostyle hall, Great Mosque at Cordoba, Spain, enlivened by the rhythm created not only by
the arches but also the striped pattern on them; (below) This restaurant by Soma Architects displays both repetitive
rhythms, in the booths and chairs as well as alternation which can be seen in the pendant lights that hang in
groupings. Source: Adapted from [14]
D. Emphasis
It is the feature that commands attention and makes a design visually interesting. The part of the
design that catches the viewer’s attention. Usually the artist/designer will make one area stand
out by contrasting it with other areas. The area could be different in size, color, texture, shape, et
Figures 1.22: (above) The lighting fixture is instantly caught by your eyes because of its figure/form and even
though it’s big, it is proportioned to the dining area with elegance and sophistication; (below) A portion of the
waiting area of an office has been emphasized by the use of different colors and with its irregularity in form which
give the entire space fascinating. Source: Adapted from [12]
E. Movement
It is a visual flow through the composition. It can be the suggestion of motion in a design as one
moves from object to object by way of placement and position.
Figures 1.23: (above) The repetitive and flow of the designs on walls, column and ceiling make the restaurant
unique. The elements add the characteristic of fluidity; (below) The shape of the walls and ceilings creates a more
open, creative space as people pass this hallway. Source: Adapted from [8]
F. Contrast
Simply defined as difference. Difference between elements or subjects within a work of art or
composition. It can be created through variety within the elements of art. It is when two elements
with opposing characteristics are placed together. It is not as simple as fine lines versus solid shapes
or green versus red. Even with the combinations of geometric and organic shapes, contrast is more
complicated than it sounds.
Figures 1.24: (above) The contrast of colors in the elements of this living area giving a striking impression;
(below) The combination of metals and softness of the seats make the entire space inviting, especially with
the integration of plants around. Source: Adapted from [3]
G. Proportion
It refers to the relative size of objects in relation to each other. It is the unity created when all parts
(sizes, amount, or number) relate well with each other. When drawing the human figure,
proportion can refer to the size of the head compared to the rest of the body.
Figures 1.25: (above) Though the dining lighting fixture is bigger than the droplights at the countertop of the kitchen,
still it is proportioned to the dining area; (below) All of the dining elements are proportioned with each other. Source:
Adapted from [15]
H. Scale
It is the sizing of elements or a standard of measurement. It can be used in combination with
other principles like emphasis to draw the viewer into a focal point, and helps make sense of
designs or imagery. [8]
Figures 1.26: (above) The entire room gives a different vibe because of the sizes of the lighting fixtures compared
to the furniture; (below) The contemporary design of walls and ceilings is proportioned to the large dining area.
Learning Activity 1.2 10 points

Write your answers on the separate booklet. Use black ballpens only.
1. Explain briefly how the principles and elements of Design are the foundations of design.
2. Do you think a designer must follow all the rules on the principles and elements of design? Develop
and defend your answer in not more than 5 sentences. You may cite examples to support your
answers.
IX. Summary
The elements and the principles of design in architecture as well as in architectural interiors are the
product of many hands and ages ------ one generation of architects and interior designers handing
down to the next generation their experiences and observations continually refined by time and by
their taste for beauty---- which in turn were considered standard elements and principles of
architectural interiors and interior design.
Each generation of architects and interior designers have contributed their own little measure to what
are now known as the elements and principles of architectural interiors and of interior design. Since
both are concerned with the bringing out of a project that pleases the client, both are considered to
be supplementary to each other, though each has its own field of concern.
Both architectural design and interior design have rooms for improvement just as people have various
concerns and innovations about their environment and how they live in such an environment. After all,
architectural design and interior design are made to make lives of people more comfortable. To
paraphrase, a Facebook hashtag: #PeopleLivesMatter. What may be good today may not be good for
people a century from today but since the world undergoes changes, it is expected that architectural
design and interior design will reflect these changes, yet their principles and elements will stay as good
as ever.
Architecture has the ability to materially affect outcomes: it can affect the way we relate to each other,
increase business productivity, support communities/neighborhoods and can even improve health.
Since design in architecture is the art behind the depiction of buildings and structures, it describes the
physical aspect of a building, the construction method and the unifying aspects of a structure which
include its interior spaces.
Architectural interiors simply require designers to consider pretty much everything to do with the
building of an interior space that will affect human habitation. As long as every designer gets
him/herself involved in a project, he/she must have an effective collaboration with others to meet
the needs and wants of the clients.
X. Studio/Minor Plate
N/A

XI. Exercises
Do not write your answers on this module. Use separate sheets of paper for your answers.
Exercise 1.1 – Multiple Choice

Instruction: Choose the correct answer.
1. It relates to two objects’ general size without knowing any information about their actual
measurements.
a. Scale
b. Proportion
c. Form
2. “Texture adds liveliness to any space.”

a. Yes
b. No
c. Sometimes
3. To achieve the symmetrical balance in an interior space, the designer must divide the space into
two equal halves; each half is compensated equally as the other half; and after ____ items or ____
them along an axis centrally.
a. use; mirror
b. use; reflect
c. repeat; mirror
4. It is the difference between two or more objects in a design. The difference in objects could be
light and dark, thin and thick, small and large, bright and dull, etc.
a. Contrast
b. Emphasis
c. Balance
5. Architectural interiors is a profession just like an interior designer.

3. True
4. False
5. It depends.
6. It bridges the practices of interior design and architecture so that professionals working in the field
have a structural and load bearing education with an emphasis on interior spaces.
6. Interior Design
7. Architecture
8. Interior Architecture

Exercise 1.2 – Matching type

Instruction: Match the correct principle shown on each picture.
SYMMETRICAL BALANCE CONTRAST
RHYTHYM EMPHASIS
a b
c d
XII. Major Plate

Separate booklet or handout will be given to you and must be returned to EA Department.
Refer to the syllabus for the rubrics of design plates and for grading system.

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UNIVERSITY OF NUEVA CACERES COLLEGE OF ENGINEERING AND ARCHITECTURE

Figure 1.1: A skyline sketch Figure 1.2: Furniture design

Buildings also need architecture to be able to age well,

After completion of this week, you should be able to:

ARCHITECTURAL INTERIORS v. 1.0 by ARCHITECT JANINE LIZETTE D. OBIAS 4

III. What is Architectural Interiors?

Interior Architecture bridges the practices of

Figure 1.4: Interior design sketches

IV. Architectural Interiors VS Interior Design

An architect is hired by a client to produce detailed designs of a

The design, documentation and construction of the project need

On the other hand, an interior designer creates indoor spaces that

No matter the size, every interior designer works to create spaces

5 ARCHITECTURAL INTERIORS v. 1.0 by ARCHITECT JANINE LIZETTE D. OBIAS

    

   

        

       

      

Figure 1.7: Comparison of services rendered by an Architect and an Interior Designer

Learning Activity 1.1 10 points

ARCHITECTURAL INTERIORS v. 1.0 by ARCHITECT JANINE LIZETTE D. OBIAS 6

V. Good and Bad Design

VI. Design Criteria

A. Function and Purpose

B. Utility, Economy and Sustainability

C. Form and Style

D. Image and Meaning

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VII. Elements of Design

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Space can be conveniently divided into two types:

2. VISUAL TEXTURE – (sometimes called illusionary or simulated texture) can be produced by

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VIII. Principles of Design

2. ASYMMETRICAL– It may also be referred to as “informal balance.” It is more complex and

3. RADIAL BALANCE – It is almost circular – distributed arrangement of items around a central

ARCHITECTURAL INTERIORS v. 1.0 by ARCHITECT JANINE LIZETTE D. OBIAS 20

Learning Activity 1.2 10 points

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Exercise 1.1 – Multiple Choice

2. “Texture adds liveliness to any space.”

5. Architectural interiors is a profession just like an interior designer.

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Exercise 1.2 – Matching type

SYMMETRICAL BALANCE CONTRAST

XII. Major Plate

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