Lead Sponsor

INTERIOR
DESIGN
BODY OF
KNOWLEDGE
Book 3
PRODUCTS AND
MATERIALS

JOINTLY RESEARCHED AND PUBLISHED

by Hong Kong Interior Design Association & The Hong Kong Polytechnic University
 Contents

Preface i

Chapter 1 British Standards 1

Chapter 2 Stone 11

Chapter 3 Wood 16

Chapter 4 Glass 21

Chapter 5 Metals 26

Chapter 6 Plastics 31

Chapter 7 Biocomposite and Aerogel materials 35

Chapter 8 Concrete 39

Chapter 9 Fabric 42

Chapter 10 Lighting 45

Chapter 11 Furniture 77

Chapter 12 Nanotechnology in Interior Design – a Driving Force for Sustainable 81

Buildings

Chapter 13 Pre-Modernism 87

End Note

About the Authors

 PREFACE

At present, there are no formal educational materials for Hong Kong interior design
learning, and educators can only rely on ad hoc literature produced overseas (particularly
in the West), or architectural-based materials to learn about interior design. Given that
interior design has already established a unique and well-defined body of professional
knowledge, and is firmly rooted in the cultural and social practices of a place, there
is a need for interior design textbooks to reflect this context and allow interior design
students to keep pace with rapid development of the industry. This series of interior
design textbooks is aimed at satisfying the needs of Hong Kong interior design students
at different academic levels from diploma, higher diploma to bachelor’s degree. Filled with
case studies of award winning works from across the Asia-Pacific region and beyond, as
well as interviews and articles written by well-known professionals and academics from
Hong Kong and around the world, these are the first interior design textbooks researched
and written in Asia.

The series contains six books, related to the 6 body of knowledge areas well-defined in
the Interior Design Professional Guideline, published by the Hong Kong Interior Design
Association (HKIDA) in 2014. Based on research of reputable international standards and
confirmed by surveys of local interior design educators and practitioners, this guideline
sets out in a systematic way the knowledge and skills that Hong Kong interior designers
should possess. The 6 body of knowledge areas covers and follows the typical process
of any interior design project, which includes:

• Human Environment Needs

• Design
• Products and Materials
• Communication
• Interior Construction, Codes and Regulations
• Professional Practice

This book 3, “Products & Materials”, focuses on the key knowledge related to Interior
Designer’s choice of Products and Materials that safeguard sustainable environment,
public safety, health & well-being: topics cover British Standard (BS), Properties &
Applications of key construction materials in interior design projects (Stone, Glass, Metal,
Plastics, Bio-composite & Aerogel Materials, Concrete, Fabric), Lighting Specifications,
Nanotechnology and Future Trend.

Our greatest challenge in compiling this book series was deciding which key content to
select from the vast pool that is relevant to not only global but also local context and turn
them into useful teaching resources and materials for educators’ future elaboration. For
this reason, choosing examples to fit within the physical constraints of a book required
a rigorous edit. We hope it will be of enormous benefit to interior design students,
educators and practitioners and inspire everyone to look for more.

Horace Pan
Project Chief Investigator

i
 CHAPTER 1
British Standards
By Anna Whitehead
1. An Introduction to Standard

The International Federation of Interior Architects and Designers (IFI) states that interior designers
need to practice:

“… with the highest regard for engaging the world’s economic and natural resources in a sustainable
manner. We design for health, safety, well-being and the needs of all...” 1

On built environment projects, approximately 90% of specification decisions relating to interior

product or material choices are made by interior designers,2 making it one of the most significant
areas where the industry can exert influence and impact.

A balanced responsibility however, needs to be applied when specifying products for clients to
ensure they will not only add aesthetic beauty and comfort to the environment but also will not
adversely affect their health, safety and well-being after the project is completed.

Responsibility also extends to the natural environment and its resources. Specification needs to be
managed in a way that does not negatively affect the ecology, biodiversity and use of our planet’s
diminishing resources, both finite and renewable.

One of the ways a balance can be achieved is to consider specifying products that comply with
national and international standards, such as those developed by the British Standards Institute
(BSI).

But what exactly is a Standard? And why are they necessary?

Standards form part of our daily life -- from the standardised A4 paper size used in our printers to
the standard size for a light fitting.

They provide transparency in a global market place, responding to growing consumer demand
for quality products that are safe and reliable, and with an increased concern for the health and
environmental issues that are associated with their manufacture.

A Standard provides design professionals with information, such as product safety, or clarifies
a product’s health or environmental risk. Specifying Standard compliant products gives interior
designers a reliable expectation of a product’s quality, characteristics and assurance that it is fit for
purpose.

Interior design practices can also benefit from implementing Standards that provide operational
business tools and improve business efficiency, as well as reducing waste or potential negative
environmental impact.

Navigating the volume and terminology of Standards however, can be overwhelming. There
are tens of thousands of products and processes across different Standards and international
organisations, with variously attached acronyms such as BS, EN, CE, ISO and Kitemark symbols.

But what do they mean? And which Standards do interior designers need to know about?

1
2. The British Standards Institute (BSI)

The British Standards Institute, or BSI, was the world’s first National Standards body.

Founded in 1901 by Sir John Wolfe-Barry,

civil engineer and designer of Tower Bridge3,
it is now a leading global standards maker
worldwide, and represented in 181 countries.4

Fig. 1.1 British Standards logo

In its simplest terms, a Standard is a For example: ⁸

document that sets out a principle, criteria, a
specification or BS 5385-3:2014
guideline for: 5
BS indicates it is a published British Standard,
⮞ manufacturing a product,
⮞ managing a process, or, 5385 is the unique Standard reference
⮞ delivering a service. number, in this case, referring to one of a
series of Standards for Wall and Floor Tiling
Developing a Standard can take between
one to four years 6 , with BSI Technical 5385-3 refers to Part 3 of the Standard and is
Committees participating in the development titled:
of international standards such as ISO or
European (EN), as well as British Standards Design and installation of internal and external
(BS). ceramic and mosaic wall tiling in normal
conditions
How to Read a British Standard
2014 refers to the year the Standard was
The current BSI catalogue runs to over published and is referenced as the most
30,000 Standards. Each one has a unique current
reference number as follows: 7

BS XXXX [-P]: YYYY

Where:

BS indicates that BSI has developed the

British Standard at a national level in the UK

XXXX is the unique reference number

relating to the Standard

P refers to a part of the Standard, if it is sub-

divided into a series of multiple parts

YYYY refers to the year the Standard was

introduced.

2
To streamline the catalogue, Standards are
separated into the following categories depending
on how they function: 9

• Specification
• Codes of Practice
• Methods
• Guides

Fig. 1.2 Floor and wall tiles

Specification Category

The most common is the Specification Category, where Standards are very prescriptive and detailed,
listing the absolute requirements that must be met and usually apply to products that have an impact
on safety, such as electronic equipment.

Codes of Practice Category

Commonly used on construction and interior design projects, Standards from the Codes of Practice
Category offer best practice advice, ensuring products and their application are of replicable quality
but offer users an element of flexibility depending on the nature of the project. They are less rigorous
than a Specification Category Standard, containing no absolute requirements or prescriptive directives.

Sourcing British Standard Compliant Products

Sourcing Standard compliant products for an interior project is currently not an easy task. The interior
designer needs to find out whether an applicable Standard has been developed for a product intended
for project specification, as well as know the Standard’s unique reference number, and then source a
product compliant manufacturer.

However, if it is not known whether the product has a manufacturing Standard associated with it, or
if the Standard reference number is unknown, the BSI catalogue website can be searched under
different heading types, for example, by:

Subject Matter, such as, Health and Safety10 for products such as electronic equipment,

Or by Industry Sector, for example, Building and Construction¹¹ for products, such as, paints.

However, currently there is no single and direct way of searching the existing catalogue of over 30,000
Standards to see which are particularly applicable for an interiors project, although this may change
in the future.

To source compliant products more efficiently, interior designers may prefer to consult directly with
manufacturers and identify Standards that apply to products they manufacture, or consult specific
trade associations, or refer to tools and websites from professional institute organizations.

3
3. British Standards for Interior Designers: A Case Study

An example of a British Standard, which could be referenced for an interiors project, is the Code
of Practice Category Standard, BS5385. It provides guidance and best practice for Wall and Floor
Tiling and has 5 Parts associated with it as follows: 8

• Part 1: Design and installation of ceramic natural stone and mosaic wall tiling in normal internal
conditions. Code of Practice.
• Part 2: Design and installation of external ceramic and mosaic wall tiling in normal conditions.
Code of Practice.
• Part 3: Design and installation of internal and external ceramic and mosaic floor tiling in normal
conditions. Code of Practice.
• Part 4: Design and installation of ceramic and mosaic tiling in special conditions. Code of Practice.
• Part 5: Design and installation of terrazzo, natural stone and agglomerated stone tile and slab
flooring. Code of Practice.

What does the Standard Provide?

We can look at Part 3 of this Standard in detail 8

BS 5385-3:2014

Design and installation of internal and external ceramic and mosaic floor tiling in normal conditions.

Introduced in 2014, this British Standard offers

guidance on the product’s manufacturing
design and installation, for example, how to fix
the ceramic or mosaic tile to concrete or timber
flooring or other recommended substrates, as
well as recommendations for maintenance and
cleaning.

Fig. 1.3 Mosaic files

The Standard cross-references national and international acts of legislation, such as the Disability
Discrimination Act 2005 and provides a useful reference for:

• Product Designers
• Manufacturers
• Interior Designers
• Architects
• Specifiers
• Main Contractors
• Specialist Tiling Contractors
• Clients /End Users

4
What Information Does The Standard Contain?

The following information is included within the Standard:

• The criteria of the Standard, its scope and associated reference documents.
• Guidance on tile material choice and specification for manufacturers and interior designers.
• Recommended methods and materials for tile installation.
• Guidance on inspection to ensure the tiles can be assessed for conformity and compliance.
• Recommendations on tile maintenance and cleaning for the end user.

What are the Benefits of Specifying BS 5385-3:2014 Compliant Tiles?

There are a number of potential benefits for Interior Designers choosing to specify a BS5385- 3:2014
compliant Ceramic or Mosaic Floor Tile, including assurances that:

• The tiles’ material composition, thickness and size are standardized, are of a consistent grade of
quality. Replicable tile size ensures accurate quantity specification, minimising project cost and
environmental waste.

• The surface of the tile has been tested for potential protection and maintenance issues, such as
chemical stain, abrasion, frost resistance or breaking strength, ensuring it is robust and fit for
purpose, preventing potential future costs for repairs or replacements.

• The Standard provides guidance for tile installers on the recommended type and quantity of
substrate materials as well as adhesives and fixings, ensuring the most compatible and effective
materials are used to provide a durable, quality installation. The quantity of materials can be
accurately specified, minimising product failures, environmental waste and costs.

• By providing detailed installation guidance authored by technical experts, the Standard potentially
enhances the technical knowledge of contractors and installers, minimising the time and cost of
installation.

• It provides guidance on the recommended protocol for cleaning and maintenance giving interior
designers the opportunity of professionally advising clients how best to preserve the life and quality
of tiles post installation.

The full details of this Standard can be purchased from the BSI Shop website.8

5
4. The Benefits of Specifying Standard Compliant Products

The British Standards catalogue may be substantial to navigate but there are significant benefits
to specifying Standard Complaint Products for the built environment industry, and specifically, for
interior designers.

Benefits for the Built Environment Industry 12

• Harmonised Standards enable manufacturers in a global marketplace to offer products and services
that are replicable with consistent characteristics. The design, manufacture and installation of
products are delivered to an agreed specification, compatibility and safety standard.

• Standards reduce manufacturing research development and production costs globally, facilitating
fairer trade and allowing available natural resources to be used more efficiently

• They identify safety issues and promote healthier and safer products, benefitting the lives of
manufacturers, installers and clients.

• Standards promote a culture of sustainable specification, encouraging manufacturers to examine

the energy and resource use of their manufacturing process, reducing operational costs, waste,
and negative environmental impact.

• They promote a culture of continual improvement and vigilance, helping to advance the skills and
expertise of the industry as a whole.

Benefits for the Interior Designer: 12

• Specifying Standard compliant products can reduce project time required for specification, and
potentially financial operating costs as products are assured to be of consistent quality, safety and
sizeand so less likely to incur costs associated with product inconsistency or failure.

• Choosing Standard compliant products may help interior designers demonstrate Best Practice in
specification and procurement 13 on a project and may contribute to meeting obligations under the
Health and Safety Act, showing a Duty of Care to contractors and clients.

• The technical information contained in each Standard is authored by leading global sector experts.
Sharing this knowledge and information with contractors and clients professionalises the interior
design industry, positioning it as “… experts in the built environment” ¹ as aspired to in the IFI
Declaration.

6
Supplementary Information

5. British Standards and the European Union: EN, BS-EN, CE

International and European Standards are

developed in the same way as National
Standards, and in line with World Trade
Organisation principles that include
transparency, effectiveness & relevance. 14
Fig. 1.4 European Standards logo

BSI collaborates with the International Organisation for Standardisation (ISO), to develop
International Standards, and with the European Economic Area (EEA) to develop European only
Standards, through its membership of CEN and CENELEC Committees which, along with ETSI,
form the ESO (European Standardisation Organisations). 15

The policy of the European Commission is to primarily develop Standards at an international level,
through ISO. European only Standards are usually developed if there is a specific European or
National regulatory need. 16

Whether developed at a European level, or adopted from an international Standard, European

Standards are assigned the acronym EN, preceding the unique Standard reference number, and
are released to EU member countries. 17

Each EU member country must adopt the EN Standard after competing national or historic
Standards are withdrawn. Once adopted, the EN Standard is prefixed with a national acronym, so
for the UK, the Standard now reads BS-EN preceding the reference number.

To streamline the vast number of competing Standards across countries and economic regions,
the European Directive’s harmonisation process was introduced. It ensures that products certified
with the same EN Standard will have consistent characteristics and quality across all EEA member
countries.

For example: 18

BS-EN 13748-1:2004

EN indicates it is a European Standard developed

by ESOs Adopted as a UK National Standard
(BS) in the year 2004

The Standard Reference Number 13748 refers

to Terrazzo Tiles

13748-1, refers to Part 1 of the Standard

titled: Terrazzo Tiles for Internal Use Fig. 1.5 Terrazzo tiles

7
6. BCE Product Marking System

The CE symbol is a conformity mark required

for certain products sold within the European
Economic Area (EEA). It does not mean
the product is manufactured in the EU, but
provides assurance that the manufacturer
has tested it at source and that it complies
with the EU’s harmonised, strict, minimum
legislative requirements for health, safety
and the environment. 19
Fig. 1.6 CE symbol

Unlike most BS-EN Standards, which are voluntary, CE marking is mandatory on products that fall
under its directive, such as certain construction products, eco design of energy related products
and electronic equipment. 19

It is important to note however, that the responsibility falls to the manufacturer to ensure that its
CE marked products do meet the legislative requirements and provide full supporting technical
documentation as evidence.

Only certain CE-marked products require independent auditing through an authorized third party
such as the BSI, to verify the manufacturer’s claims. For interior designers requiring independent
verification of a product’s quality & safety, an option may be to specify products with a third party
product certification, such as a the BSI Kitemark, in addition to the CE mark of conformity, or
request further evidence from the manufacturer of independent audit testing or certification of the
manufactured product. 19

To streamline the vast number of competing Standards across countries and economic regions,
the European Directive’s harmonisation process was introduced. It ensures that products certified
with the same EN Standard will have consistent characteristics and quality across all EEA member
countries.

Further references on which products legally require CE markings are available on the European
Commission’s website. 20

8
7. British Standards and the ISO Standard

ISO Organisation

Similar to BSI, the International Organisation

for Standardisation, or ISO, is an independent
non-governmental Standards making body.
Founded in 1947, with the UK as one of
25 founding countries ²¹ it now includes
membership of 163 countries, and over
100,000 world sector experts involved in the
development of global ISO Standards. 22
Fig. 1.7 ISO logo

The catalogue runs to over 21,000 Standards to date, amongst them, the popular process
Standards:

ISO 14001:2015 Environmental Management Systems, and,

ISO 9001: 2015 Quality Management Systems.

Over 1.5 million ISO certificates were issued in 2015 alone. 23

The ISO Standard

The extensive ISO Standards database is
divided into numbered categories, or ICS
numbers (International Classification for
Standards).

For example, the ICS number for Paints &

Colour Industries is ICS 87.

The ICS 87 Category is subdivided into 5

further categories, reflecting the different
types of paint sector industries. For example,
ICS 87.040 includes Standards for Paints
and Varnishes as finished manufactured
products and has 154 associated Standards Fig. 1.8
prescribing requirements for product
safety, quality and durability under various
conditions and applications. 24

The benefit for Interior Designers specifying ISO Standard compliant products, is the assurance
that they will provide world class specification for products as well as processes that are replicable
across international manufacturers and businesses, ensuring their quality, safety and efficiency. 25

Further information on ISO product and process Standards are available on the ISO website. 26

9
8. British Standards and the BSI Kitemark

“A BSI Kitemark is a voluntary certification

system. Those that achieve a BSI Kitemark
have openly stated their intention and
commitment to delivering quality products or
services.” 27

Fig. 1.9

The Kitemark is a registered trademark owned by the BSI, and recognised internationally as a
mark of quality. It is a voluntary scheme with over 450 individual Kitemark schemes listed, such as
for PVC-U windows and doors. 28

It is one of the most recognized and trusted, global trademark symbols, and manufacturers receiving
an accredited Kitemark can enhance their reputation as a company with a strong commitment to
pursuing the highest quality standard of product manufacture.

BSI issues a Kitemark license once it has rigorously and repeatedly tested a product or process
in excess of minimum legislative requirements, and against the relevant British, European or
International Standard, or trade body guideline. 28

The product’s manufacturing process is also audited against an accredited quality management
system, such as ISO 9001, and a BSI Kitemark is only awarded once a tested product and its
manufacturing process demonstrate a continual and reliable level of quality.

Once the Kitemark license is received, the manufacturer is routinely inspected and audited to
ensure continued product and manufacturing compliance.

The rigorous Kitemark accreditation process typically includes 29

• Independent laboratory testing of the product design;

• An accredited assessment of the manufacturing site;
• A commitment to continuing assessments of the product and its manufacturing site to ensure the
quality of design, process and procedures are maintained.

For example, for a window manufacturer to be awarded a BSI Kitemark, its manufacturing process
can be audited and its window tested for product properties such as weather tightness, durability and
security, against core national and international Standards. 30

How do Interior Designers Benefit by Specifying Products Awarded with a BSI Kitemark?

Specifying products awarded with a BSI Kitemark provides assurance that the product not only meets,
but exceeds minimum legal requirements, that it is compliant with relevant national and international
Standards, and not only the product but the company’s manufacturing process is continually audited
and independently verified by BSI for safety, efficiency and quality. 31

In a recent survey, Kitemark was one of the most recognised and respected trademarks in the UK with
93% of respondents believing that Kitemark products were safer, and 91%, believed that the product
would be of better quality than a competitor’s product without a Kitemark. 28 32

Further information on BSI Kitemark, including Directory of Kitemark awarded products, is available on
the BSI website. 33 34

10
 CHAPTER 2
Stone - A natural building material from pre-historic period
by Dr. Tris Kee

Fig. 2.1 Flying buttresses

Stone covers a wide range of earthen materials that have been known to the human civilization since
the Stone Age (2.9 mya – 6500 BCE). Early humans began using this durable material to construct
monumental buildings such as Stonehenge and the Great Pyramids of Egypt. Stone building technology
reached its apex in the Middle Ages with its use in Gothic churches. The vaulting and buttressing
technology in the Gothic churches brought stone architecture to unprecedented soaring heights.

Today, the application of stones in construction and interior design is multi-faceted. From the most
common use of marble, to sandstone, limestone, slate, brick, and coral stone, stone is favored by
many interior designers for its wide variety of types and its natural properties. The unique patterns of
each stone, the origin and various finishes on the stone allow interior designers to express unlimited
imagination to articulate different spaces, offering contemporary interpretations to an ancient material.

Physical Characteristics

Stone is a popular choice in interior design because it is a natural material that can bring warmth to any
setting, both physically and psychologically. Suitable for both indoor and outdoor spaces, stone is
a good material for exterior construction due to its load bearing ability and as an interior surface
decoration such as wall cladding. Stone has an earthy charm that represents a close connection to
nature and is available in many different types, shapes, colours and sizes, making it suitable for a wide
range of applications and ambiance. For example, sandstone imparts a sense of warmth, while the
smoothness of granite or marble can provide a sleek and modern look.

11
Types of Stones: Marble, Travertine and Granite
Marble

Marble is a metamorphic rock that forms when limestone is subjected to the

heat and pressure of metamorphism. Composed primarily of the mineral
calcite (CaCO3), marble usually contains other minerals such as clay
minerals, micas, quartz, pyrite, iron oxides and graphite. Because it is strong,
sturdy, and durable, marble makes an excellent material for flooring, wall and
even furniture.

Travertine

Travertine is a form of limestone deposited by mineral springs, especially hot

springs. Formed by a process of rapid precipitation of calcium carbonate,
travertine often has a fibrous or concentric appearance and comes in white,
tan, cream- coloured, and even rusty varieties.

Considered a luxury material, travertine is often used in luxury homes, hotel

lobbies and spas. The porous nature and colour tones of this stone appeal
to many designers, who also appreciate its earthly and natural appearance.

Fig. 2.2 Marble and travertine

Granite

Chosen for its hardness, toughness and durability, granite has been used
by humans as construction material for buildings and bridges for centuries.
Granite can come in a variety of colours, including white, pink, or gray,
depending on its mineral content. Compared to marble, granite has low
porosity and is also resistant to heat. This makes it an excellent material for
flooring, kitchen countertops and bathroom fixtures.

Hotel lobbies and conference center interiors often utilize granite as a main
material for flooring and wall for the appearance of grandeur and serenity.
Fig. 2.3 Granite When the stone is applied with different finishes, it can create a different
interior atmosphere ranging from contemporary, countrylook, domestic or
fully natural.

Fig. 2.4 The structure of Mies van der Rohe’s Barcelona Pavilion rests on a plinth
of travertine.

12
Stone Finishes

Stone can not only be used in its natural state, but also in a range of finishes to make its surfaces
suitable for different applications such as flooring, walls and decoration.

Polished

Stone surfaces can be buffed to create a polished finish, and the

result is a high shine which gives the stone a very elegant and rich
look.

Fig. 2.5

Split Face

Split face finish is a result of the stone being cut by a guillotine that
fractures the face and turns it to a rocky finish. A good example
of split finish in outdoor application is the split travertine Richard
Meier had used at the Getty Centre in Southern California. Split
along its natural grain, many of the stones bear fossilized leaves,
feathers, and branches.
Fig. 2.6
Natural Cleft

This finish is associated with materials that are layered and thus,
when split, do so on a natural fault creating what is known as a
natural cleft finish. Slates are the most common types of stone that
can be split naturally.

Fig. 2.7

Honed

This finish is created by buffing the stone, leaving a smooth but dull
surface. A honed finish encompasses many levels of dullness.

Fig. 2.8

Flamed

A flamed finish is produced by applying intense flame to the stone,

causing the surface to burst and become rough. This finish is used
primarily for exteriors applications to obtain a slip-resistance
surface.

Fig. 2.9

Flamed and Brushed

This process involves heating the stone surface with a high-

temperature flame and then brushed to create a time-worn look.
This effect is more evident in materials composed of minerals with
various degrees of expansion, (such as granites). The resulting
surface is rough, non-slip and generally faded in colour, thereby
hiding defects and tone variations.
Fig. 2.10

13
 Bush-Hammered

A bush hammer is a specialized stone-working hammer with a

head that resembles a meat tenderizing hammer, which can be
used to create an uneven surface with rich texture on stones. A
bush-hammered finish can be applied to nearly all stones, and the
result is a fairly smooth surface with small indentations.
Fig. 2.11

Tips for designers on the choice of stone.

1) Each piece of stone is unique in texture and pattern - many designers find using natural materials
challenging as they wish to achieve a consistent colour and tone. Therefore, designers need to
respect that stone has its own character and pattern because each quarry produces different
stocks of stone.

2) Stone finishes can bring out an element of surprise to the design – whether it is a split surface
or a honed finish, the treatment will bring forth new colour, texture and dimension. Therefore, if
designers are struggling with the monotonous feeling of one material, they can consider using
different finishes of the same stone to create diversity.

3) Keep up to date with new technologies – for example, traditionally, stones are cut in quarries
usingchainsaws, but nowadays, new technologies such as laser arm can be used to precisely
locate the cutting point of each stone block. Such machines can store data such as the cutting
point, the speed at which the arm is lowered and the chain’s speed, so that the machine can
operate automatically without the presence of an operator.

Case Study 1
Project: Yoo Residence I & II
Firm: Steve Leung Designers’ Ltd

To create a stylish and cozy ambiance for this show flat in Hong Kong, the interior designer made use
of white marble in some of the accented areas, including the bathroom walls and shower walls, the
walls that frame the walk-in closet as well as the coffee bench that separates the living room from the
study room.

Marble becomes a consistent motif throughout the space, giving it a sense of unity, while bright
marble surface provides contrast with the dark wood panels. The overall effect is one of elegance and
sophistication, with the natural patterns of the marble providing a strong design accent.

Fig. 2.12-13 Yoo Residence

14
 Case Study 2
Project: Tuve Hotel
Firm: Design Systems

This Hong Kong hotel is named after a series of

images by Danish architectural and landscape
photographer Kim Høltermand, which features
misty lake-side scenes and half submerged
rocks. Inspired by these images, the interior
designers made use of flecked marble and
textured concrete to create a feeling of quiet
refinement.

Each of the rooms features grey marble,

concrete and timber surfaces, while bathrooms
have walls with swirling grey and white patterns.
The designers enhanced the materials’ natural
beauty by exploring material textures with Fig. 2.14 One of photographer Kim Høltermand’s works.
surface treatment techniques, and by the clever
use of lighting.

Fig. 2.16 Tuve Hotel

Fig. 2.17 Tuve Hotel

Fig. 2.15 Tuve Hotel

15
 CHAPTER 3
Wood - From traditional woodworking to high technology applications
by Dr. Tris Kee
Many interior designers favor natural materials due to their timeless appeal and suitability for all interior
contexts, and among them, wood is probably the most popular. Relatively inexpensive and easily
workable using various kinds of tools, wood is a versatile material that can be made into structural
elements, furniture and ornaments within an interior space. This chapter discusses some properties
of wood and how its use in construction and interior design has evolved from traditional carpentry to
contemporary high technology applications, using parametric technology as a process of fabrication.

Fig 3.1 Various types of wood

Uses for Wood and Timber as Interior Design and Decorating Finishes

Wood or timber has been used for the framing of houses, external cladding and joinery in traditional
construction for many years. Timber products come in a variety of form, including wood flooring, timber
wall paneling, solid or timber veneer doors, skirting, moldings, window joinery, kitchen joinery and
furniture. Wood is known for its toughness and durability, and its strength and elasticity make it easy
to be bent without breaking. As a rule, hardwoods are more resistant to wear than softwoods, while
the moisture content of the wood and the maturity of the timber also affects its hardness. In general,
straight grained timber like cherry and hard maple is stronger than a cross grained or wavy timber like
pine. Defects like cracks, decay or a knot will decrease the strength of the timber.

Different kinds of wood have various density, characteristics and tactile quality. Designers may select a
particular type of wood due to its physical properties such as strength and durability, or even its unique
characteristics such as smell or pattern.

The denser the timber, the longer it takes to ignite. Jarrah, teak and kauri are all dense woods that are
partially fire resistant and can be used in construction. Chemical treatments as well as specialized fire-
resistant paint products are available to provide timber with added fire resistances.

16
Traditional wood working Wood Craftsmanship

Traditional wood working carve out from a Wood’s grain and colour make the material
large log of lumber the component necessary unique and pleasing to the senses. When we
pieces for construction, be they for roof rafter, touch wood, we feel a sense of warmth whether
planks or beams. The art of joinery is a part it is hardwood or softwood. By choosing the
of woodworking that involves joining together correct wood material, designers may deeply
pieces of timber or lumber to produce more affect the overall performance and aesthetic
complex items. Some wood joints employ value of the furniture. Craftsmanship itself is
fasteners, bindings, or adhesives, while others a kind of humanized expression, with artisans
use only wood elements. The characteristics defining every single radius of furniture according
of wooden joints, such as strength, flexibility, to their past experience so that the quality of
toughness and appearance, derive from the each piece is not pre-determined but depends
properties of the materials involved and the on their judgment on wood’s grain and material
purpose of the joint. For example, the joinery property. Joinery represents a visual delight that
used to construct a house is different from that goes beyond structural necessity. Adhesive and
used to make toys. mechanical connections like mortise-and-tenon,
dovetail, rabbet and miter joinery, and more than
eighty types of traditional wood joineries can be
found in handcrafted furniture.

There is no doubt that the finishing on a piece of

furniture is a vital step in the fabrication process.
All finishes will darken the surface of the wood
to some extent. Improper painting and staining
may deeply affect the value of the furniture.
Artisans may apply tung oil to wood surfaces
to create a water-resistant effect, in which the
oil penetrates the wood and becomes hardened
Fig. 3.2. Wooden entrance of a temple in Japan to form an impermeable, effectively waterproof
layer. Since tung oil is flexible, non-toxic and
Chinese and Japanese craftsmen have utilized resistant to fruit acids, it is widely used in the
the art of joinery for centuries in ancient furniture making industry.
architecture and temples. The book, The Art of
Japanese Joinery by Kiyosi Seike, documents
over a hundred of different types of joinery used
in Japanese carpentry, some are for functional
purposes while others are so intricate that they
can be considered pieces of art. This book
is a good reference for any furniture makers
or carpenters if they want to consider using
traditional joinery methods in their work.
Fig 3.3
The Art of
Japanese
Joinery by Fig 3.4 Rabbet and miter
Kiyoshi Seike

17
Wood Timber Veneer

Timber veneer is a thin layer of timber of uniform

thickness. It is formed by either slicing, rotary
cutting or wood being sawn. After gluing to a
board in a sandwich manner, such as plywood,
MDF board or chipboard, wood veneer is
ready to be used in many utilizations, including
cabinets, wall panels and even doors.

Timber veneer is more cost effective than

solid timber, with an equally visually appealing
appearance. It is also more environmentally
friendly as fewer trees are cut down to make
a veneer board than a same size board made Fig. 3.5 Wood veneer boards
of solid timber. Other advantages are that Today, architects, designers and engineers
“matching” veneers can be produced from a are involved in complex projects that utilize
single log as wood grains from that log have new technology such as parametric modelling.
almost identical features, colouring and figuring. Parametric modeling was originally used by
Wood veneers are ideal for curved surfaces as architects to set up complex 3D models with
they are thin and can be glued over the edges computer programs to create structures such
and rounded surfaces. They are mostly seen in as a canopy and a stadium roof with irregular
furniture as designers often use curves, bends curve forms. This technique has been gradually
and irregular forms to produce various pieces. adopted by interior designers and structural
engineers in the past few years.
As with all construction and interior design,
technologies in manufacturing has led to much Parametric design provides great freedom in
more efficient production of timber products that experimental processes since it pushes technical
are also more cost effective. In the old days, boundaries by allowing complex forms to be
solid timber planks were the only form of timber conceived and their building process planned in
available. With new technology, many new order to be taken to an optimal level of structure
milling methods have been introduced, interior and manufacturing. When parametric design is
designers and carpenters have absorbed used in interior planning, it brings a sense of
new knowledge and new craftsmanship, and freshness and minimalist style.
new forms of timber product have become a
prominent trend in interior design. Parametric technology can greatly decrease
design efforts previously wasted because of
The process of digital fabrication allows tools lack of information. This better-connected
to be programmed to produce detailed and process between design and construction not
non-repeated geometries with increased only helps to decrease project time and cost, but
efficiency. Paralleled with an increased interest also increases the potential for performance-
in new ways of using timber with new fabrication driven architecture and lead to more sustainable
methods in interior settings, this has created structures. As a result, timber project utilizing
opportunities for designers to develop new ways parametric technology has become a new trend
of working industrially with wood in order to in many interior projects.
realize geometrically and structurally complex
structures.

Fig. 3.6 A street library in Bulgaria that utilizes the tools of

parametric design to create a wooden structure that is light
and transportable (Photo by Emanuil Albert)

18
On the other hand, CNC (Computer Numerical
Control) technology has also become popular
in the field of woodworking. With CNC routers,
tool paths are controlled via computer numerical
control, which typically produces consistent
and high-quality work and improves factory
productivity. Unlike a jig router, the CNC router
can produce a one-off as effectively as repeated
identical production. Automation and precision
are the keybenefits of CNC router tables, which
can be easily adapted to work with various other
materials such as composites, aluminum, steel
and plastics. CNC routers can perform the tasks
of many carpentry shop machines such as the
Fig. 3.7 A CNC cutter at the Hong Kong Polytechnic
panel saw, the spindle moulder and the boring University
machine, and they can also cut mortises and
tendons, and can create more sophisticated
wood joinery than hand held tools.

Some key consideration in the utilization of wood in interior projects:

1. Understand the nature and characteristics of the natural wood such as contraction, expansion,
colour, scent and other properties
2. Selection on hard wood or soft wood can be the primary consideration in determining the strength
and durability of the interior;
3. MDF, wood veneer, plywood can be good replacement for hard wood due to their sustainability
and reusability;
4. New technology such as laser cut, CNC and parametric modelling can make complex forms and
shapes and create unexpected fabrication methods for the making of interior components;
5. Employ the traditional art of joinery when making wood carpentry or wood interior to add a new
dimension to the use of wood.

Case Study 1
Project: Expo 2000 Pavilion In Hanover, Germany
Firm: Thomas Herzog (architect) and Julius Natterer (structural engineer.)

For the World Expo 2000 in Hannover, Germany, Herzog designed a giant wooden structural
“umbrella” roof that protects a central piazza consisting of a stage area for musicians and artists, small
reconfigurable pavilions and restaurants to provide rest areas for spectators taking time out between
events. The roof comprises timber double-curved lattice shells, each supported on a central structure,
which are manufactured using parametric design techniques.

Fig. 3.8 Roof of the pavilion Fig. 3.9 The roof comprises timber double-curved lattice
shells.

19
 Case Study 2
Project: Reign Restaurant, Dubai
Firm: Shape Architects - Beirut

The project is a fusion restaurant in the financial

center of Dubai featuring a gigantic double
curved wooden wall. The multi-toned walnut
wood finish pops off the all-white furniture and
exposed concrete to create a dramatic and
eye-catching effect. Opposite the restaurant,
a 50-meter-long counter is clad in shiny black
laminate to reflect lights from outside, enhancing
its clean and organic movement.

The feature wall makes use of Wood-Skin®,

a patented composite material composed of a
sandwich wood and high-performance mesh Fig. 3.10 The restaurant features a gigantic double curved
that was created by process of excavation with Wood-Skin® wall
a CNC cutting machine. Using design software
that breaks up forms into small triangles, the
process allows flowing, three-dimensional
shapes to be custom-created.

Fig. 3.11 A 50 meter-long counter is clad in shiny black

laminate.

Fig. 3.12 Reign Restaurant in Dubai

20
 CHAPTER 4
Glass - Versatility and Transparency
by Dr. Tris Kee
Glass is a common material that has been Physical Characteristics of Glass
part of human society since ancient times. It
is a versatile material due to its transparency, Glass is made up of simple ingredients including
reflective surfaces and ability to be used in both sand, soda ash and limestone substances.
commercial and residential contexts. The history The process of making glass is to heat these
of glassmaking can be traced back to as early ingredients altogether at high temperature,
as 3500 BC in ancient north Syria, Mesopotamia bonding the materials together form glass. Its
and ancient Egypt, and glass has been used to special physical properties are its transparency
make a wide range of objects including drinking and fragility.
vessels, beads, windows and jewelry. In
contemporary interiors context, glass is used in The main advantage of glass is that due to the
many lighting fixtures, furniture pieces, windows, strong chemical bonds between the molecules,
wall panels and other decorative parts. it is a stable material and its physical state
does not change easily from solid to liquid. The
The Venetian island of Murano in Italy is one thickness of the glass determines its strength and
of the world’s most renowned centres of glass- durability. For instance, thinner pieces of glass
making. Though just a small island, Murano is usually break easily, while thicker glass such
home to a vast number of glass factories and as those used in aquariums are more sturdy.
individual artists’ studios. Known for its multiple Unlike materials such as metals or plastic, glass
colours and intricate craftsmanship, Murano’s is considered static and is not reactive to other
glassmakers still follow the centuriesold glass materials. Beside concentrated acid, glass is
blowing techniques today, and are constantly generally resistant to chemicals, making it very
developing and refining this technology to suit useful as container materials in laboratories as
modern needs. well as storage for acidic food and drinks.

Glass is used universally in all interior projects

to convey a sense of spaciousness as well as
transforming what could be a dark and gloomy
interior into a bright setting. From windows to
lighting fixtures, furniture to staircases, washing
basins to wall panels, the use of glass is favored
by many interior designers. Using glass as a
material for internal staircases or even flooring
can bring a sense of drama and elegance to
a space. Made of special architectural glass,
such structures are a perfect way to introduce
Fig 4.1 A Murano glass bottle additional light to an otherwise dark interior.

Fig 4.2

21
Types of Glass

There are many types of glass in the market, and some are created to minimize the hazards resulting
from glass breakage.

Tempered Glass

Also known as toughened glass, tempered glass is a type of

safety glass 1 processed with chemical treatments in order to
improve its strength. If broken, tempered glass crumble into
small granular chunks instead of splintering into sharp pieces,
thus lessening the chances of injury. Due to its improved
strength, tempered glass is used in many commercial
Fig. 2.5
applications such as automobile wind screens and glass
balustrades in shopping malls. In domestic interiors, tempered
Fig. 4.3
glass is found in shower doors, cubicles, glass doors and
tables.

Coated Glass

One of the most common usage of coated glass in Hong

Kong is the low-emissivity glass used in most curtain walls of
skyscrapers. Low emissivity (low-e or low thermal emissivity)
glass emits low levels of radiant thermal (heat) energy. The
use of low emissivity glass in buildings reduces the use of air
conditioning and is thus a good alternative to conventional
glass panes.

Laminated Glass

Laminated glass is made of two or more layers of glass

with one or more inter-layers of polymeric material bonded
between the glass layers, which allow the glass pieces to
be held together in case of breakage. The interlayer also
provides a way to apply other properties such as colouring,
sound proofing, and resistance to fire, ultraviolet filtering.

Fig. 4.4 Laminated glass

Patterned Glass

Patterned glass can provide endless possibility in interior

applications, and is particularly common in commercial
settings. Once flat glass surfaces are imprinted with patterns,
different textures and degrees of transparency can be created.
The method for producing patterned glass is to pass heated
glass during manufacturing process with rollers whose
surfaces contain the negative relief of the desired pattern.

Fig. 4.5 Patterned glass

22
Tips for Designers

With new technologies for glass-making as well as coating and treatment, interior designers are now
given more options regarding choices and selection. When selecting glass, one ought to consider the
context and desirable effect. The following are some general tips for deciding which type of glass to
use in an interior project.

1. SAFETY

Since safety is a major concern for all interior projects, tempered glass is almost never the right
choice, since it will break and shatter, splintering into many small pieces and posing serious threat.
By contrast, laminated glass will crack upon impact, but will remain in place as one piece, offering
increased protection for interior settings such as conference rooms and meeting areas.

2. SOUND

Bent and curved glass is often used for automotive glass and marine glass installations. In both these
cases, sound proofing is often a high-priority, since vehicles produce a great deal of noise. Laminated
glass is also a good option for any situation in which sound proofing is of concern.

3. SECURITY

If security is a concern, laminated glass is the preferred choice since it does not shatter. By contrast,
if used for store-fronts or window displays, tempered glass can be easily smashed into thumb-sized
pieces, giving thieves a safe and easy entry-point.

4. MALLEABILITY

For projects requiring bent or curved glass, there are many additional benefits with using laminated
glass, which is very flexible and thus suitable for bending and curving into shape.

5. UV PROTECTION

PVB interlayer (polyvinyl butyral) is a type of plastic film that holds the layers of glass together, and can
block out 99% of UV rays. This characteristic makes it excellent for window and skylight applications.
Valuable art work, carpets and furniture that are exposed to significant levels of sunlight can be
protected from damaging UVA and UVB rays.

23
 Case Study 1
Project: City In Love
Firm: TAOA Taolei Archiects
This chain store specializing in diamonds and
other gemstones is located in Beijing. The
interior design firm makes extensive use of
patterned glass and mirrors along with clever
lighting to represent the shimmering nature of
the store’s merchandise.

The company’s logo is silk-screened

oxnto patterned glass and cut into angled-
arrangements that echo the cuts of diamonds.
The tilting angle of the glass wall allows it
to capture the ceiling lights well as the light
reflected off the glass mirrors. Fig. 4.6

Fig. 4.7-8

Case Study 2
Project: On-Off Plus
Firm: Inspiration Group

This exhibition space for Guangzhou Design

Week attempts to explore “phenomenal and
physical transparency through building the
spatial dimension contradictions”. The pavilion
is enclosed by white, grey and transparent
colour soft membrane. Fuzzy image is produced
by the means of coated glass.

The pavilion’s steel frame, mostly welded on

site, juts out at extreme angles both at ground Fig. 4.9
level and overhead. A translucent plastic
membrane stretches over certain segments,
while other panels are made of silvery glass that
simultaneously reflected and revealed. Inside,
photographs and video of the firm’s projects,
from tropical resorts to urban workplaces, play
on a bank of monitors. Another wall, this one
mirrored, catches the reflection of Chinese
characters stenciled on the floor to convey a
philosophical enigma: “Everything is nothing.
Nothing is everything.”

Fig. 4.10
24
 Case Study 3
Project: Ports 1961 Shanghai
Firm: UUfie

This store façade for a clothing store in

Shanghai is composed of two types of glass
blocks. The combinations of the two types of
glass block create a sculpted three-dimensional
façade exhibiting cantilevered structures. By
incorporating innovative structural engineering
and inventing a new joining system in the block
itself, an elaborate ornamental stepping canopy
is achieved that naturally angles to the flow of
pedestrian and allows for four bow windows to
be visible from all directions.

During the day, the facade subtly reflects

sunlight, while in the evening, the view is icy
and crisp, and the surface illuminates with
embedded LED lights integrated into the joints
of the masonry. The differing geometries and
changing perspectives of the facade expresses
the transformative nature of the city and the
people of Shanghai.

Fig. 4.11

Fig. 4.12

25
 CHAPTER 5
Metals - Strength and Durability
by Dr. Tris Kee
Metal and metal alloys have overall strength and durability that most other building materials lack,
and are thus useful for many interior applications. Many types of metals and alloys are available in
the market, and metal alloys can be used in a wide range of capacities such as wall panels, furniture,
ceilings and decorative elements.
Aluminum

Due to its lightweight and corrosion-resistant properties, aluminum is one of the most widely used
metals. Commonly used for making of airplanes components, eye wear and exterior façade cladding,
aluminum is also seen in wall cladding and ceiling panels. Some interior designers have gone beyond
the standard ceiling panel forms and have utilized the malleability of aluminum to create fluid forms,
creating fabric-like ceiling panels.

Another aluminum product is the Alucobond® aluminum composite material, which is a composite panel
consisting of two aluminum cover sheets and a plastic core. We see many Alucobond applications in
transit stations interior as well as exterior storefront cladding. The sandwiched layers in Alucobond or
similar products like Megabone possess durability and rust resisting properties, and they are suitable
for exterior and interior applications. The widespread application of Alucobond has helped expand the
designers’ selection of interior cladding in recent years.

Fig 5.1 Fig 5.2

Copper

Copper has a long tradition of being used in interior design. The distinctive colours of copper and
copper alloys make them prized for interior and product design use, such as copper lighting fixtures.
Their natural metallic tones that range from reddish to silvery and a number of other colours can be
obtained by chemical or electrochemical processing. Furniture and lighting designers David Derksen
and Tom Dixon are known for their uniquely shaped copper lighting fixtures.

Although copper and its alloys are extremely

resistant to corrosion, a discolouring tarnish
will eventually form with prolonged exposure to
moisture and air. Copper weathers naturally to a
blue-green colour, or patina over time, but clear
coatings can be applied to copper products
to prevent tarnishing. These coatings consist
of organic chemicals which harden at room
temperature or with baking and are usually
applied in a solvent vehicle.
Fig. 5.3 Copper lights by David Derksen

26
Corten Steel and Stainless Steel

Those who prefer the feel and texture of rust may consider corten steel – a metal that is known for
its rusty texture if exposed to the elements over time. Richard Serra, an American minimalist sculptor
whose works have been collected by major art galleries and museums, uses large pieces of welded
corten steel to weave interesting internal spaces in his full-scale sculpture, playing with light and
darkness, flow and folds architectonically.

Stainless steel is also a very common interior

product, mostly used for ironmongery and
kitchen counters. There are many grades of
stainless steel, and the higher the numeric
grade, the more rust resistant it is. Therefore,
stainless steel 316 is better than stainless
steel 314 in terms of corrosion resistance. The
difference is that 316 stainless steel incorporates
about 2 to 3 percent molybdenum, which
increases corrosion resistance—particularly
against chlorides and other industrial solvents.
It is this unique corrosion resistance property
that earned stainless steel its wide applications Fig 5.4 One of Richard Serra’s steel sculptures
in surgical tables in hospitals, pharmaceutical
products used in nursing or surgery rooms and
kitchens counters.

Researchers at the University of Birmingham

have successfully created antibacterial stainless
steel. By introducing silver, nitrogen, and carbon
to the surface of the metal, it not only wards off
germs but is resistant to wear and tear. Such
advance technology in material research can
help broaden future interior applications, too.

Fig 5.5

27
Tips for interior designers in the use of metal

1) Anodizing metal for cladding

Anodizing is an electrochemical process that

converts the metal surface into an anodic oxide
finish to make it more durable and corrosion
resistant. Aluminum is ideally suited to anodizing,
although other nonferrous metals, such as
magnesium and titanium, also can be anodized.
Since aluminum oxide is not applied to the
surface like paint or plating but is fully integrated
with the underlying aluminum substrate, it
will not chip or peel. Anodized metal has a
highly ordered, porous structure that allows for
secondary processes such as colouring.

2) New Trends in Material Application Metal Fig 5.6

New technologies such as 3D printing and new

assembly methods can enhance how metal
can be fabricated, twisted, rolled and be used
in interior settings in the most innovative ways.
Starting from form building, many 3D printers can
now make free flowing forms that are not limited
to geometric shapes. With advanced software
such as Rhino, Solid Works and Grasshopper
plug-ins, interior designers can easily formulate
any shapes and forms that were impossible in
the past. This has helped designers to bridge
many technical elements, such as structure,
connections and details to make fluid and artistic
expressions.

3D printing, also known as additive

manufacturing, is gaining popularly in the design Fig 5.7
field and is transforming the way designers
create, produce and manufacture furniture. The
technique – which “prints” objects from digital
files by depositing material in layers – also
signals an exciting change for consumers: from
increasing the choices of available products to
enhancing the ways they can customize their
furniture. 3D printing can be used with various
metals, including steel, stainless steel, titanium,
gold and silver.

Laser cutting and 3D printing has also enabled

designers to make prototypes much more
easily. What was once a labour intensive and
time-consuming task now can be executed
in a matter of minutes. The ease of making
prototypes allows more testing and research,
thus permitting designers to have better means Fig 5.8
to understand the performance and outcome of
their designs.

28
3) Parametric design in metal

Parametric design is a process based on

algorithmic thinking. With new parametric
software such as Rivet, interior designers are
now better equipped with tools and software to
help create conceptual and prototype models.
This kind of software allows designers to have
more command on dimensions such as width,
depth and height, and other parameters. We see
how this technology is applied to more advanced
fabrication techniques to create a more versatile
platform for future interior design thinking. Fig. 5.9 Shenzhen Bao An International Airport
Shenzhen Bao An International Airport’s
new Terminal 3, designed by Italian architect
Massimiliano Fuksas, offers an example of the
use of parametric design in interior spaces.
The cladding is made of alveolus-shaped metal
and glass panels of different sizes that can be
partially opened.

Case Study 1
Project: Nana Tea Room
Firm: KAMITOPEN

Traditional Japanese tea rooms were usually

constructed of wood logs, but the designer
decided to reinterpret this concept and used
metal logs as the main design element.

The metal logs were custom made and welded

together without using bolts. These metallic logs
give the tea room a clean, modern feel while
maintaining a connection with tradition.

Fig. 5.10

Fig. 5.11

29
 Case Study 2
Project: Issey Mikake Store, Tamagawa, Tokyo
Firm: MOMENT

The main theme of the store is to provide

t-shirts for the 21st century. Interior designers
designed metal screens that display the t-shirts.
The screens consist of a simple system using
just metal hooks so that the products can be
displayed everywhere. This system functions as
both hooks and walls, and creates a unique and
intimate transparency to welcome customers.

Hooks are placed in the required position and

joined with thin steel bars to make a big screen.
Even though each single steel strand is weak,
when joined together the structure gains strength
and becomes self-sustaining. Steels strands are Fig. 5.12
welded at points to make lightness stand out,
while the surface is coated with powder coating
with high strength.

Fig. 5.13 Fig. 5.14

30
 CHAPTER 6
Plastics
by Alex King
The invention of plastic began in 1905 with the successful synthesis of a material which can bind
powders to each other, forming thermosetting plastic. In 1916, the vehicle manufacturer Rolls Royce
began to adopt phenol formaldehyde in the interior decoration of cars, creating multi-colour patterns
that enhanced the user experience of driving. More inventions appeared in the commercial industry
in the 1930s. For example, 3M Company brought the first transparent adhesive tape to the market as
a result of the invention of new plastic. Other formation of new plastic materials included polyethylene
(PE) and polystyrene (PS), which appeared in the next two decades. More sophisticated applications
of plastics include silicone gel-filled breast implants and plastic beverage bottles made by polyethylene
terephthalate that are now ubiquitous in the market place.

The development of plastics allows many products made by various large corporations. For example,
Swatch watches are made of more than 50 high performance plastic components, while Smart Car
is made of polycarbonate (PC) panels to create a lightweight and flexible outer appearance. Further
innovation on polymer and plastic composites improved material properties in terms of strength and
stiffness. In 2008, a double-deck four-engine jet airliner was made using carbon-fibre reinforced plastic.
These are just some examples of the extensive application of plastic in contemporary society.

Fig. 6.1 Fig. 6.2

Main Plastic Materials

1. PVC

Polyvinyl Chloride (PVC) is synthetic plastic polymer that is oil-resistant and provides an excellent
protective layer against gases. PVC was first introduced in 1929; because of its chemical stability
and fire resistance, it has been used in many commercial applications. It is a thermoplastic that can
be molded using simple techniques to produce clock cases, food containers, dolls and bottles in all
kinds of shapes and sizes through injection-molding, blow-molding and extrusion. Because of its high
resistance to adverse weather condition, public furniture such as fences, litter bins and road- signs
are usually coated with PVC as protective layer. The first inflatable armchair, designed in 1967, was
commercially produced thanks to PVC.

By 2020, it is expected that over 800,000 tons of products manufactured using PVC will be recycled
every year across Europe. In the near future, super reflective PVC fabric with triangulated profile would
be applied to create a stadium with zero carbon emission that provides comfortable playing condition
for sports players

31
2. ABS

Derived from natural gas and petroleum, Acrylonitrile-Butadiene-Styrene (ABS) appears in a wide
range of products in day-to-day living, including household appliances, camera bodies, cell phone
cases and luggage. Due to its light weight, high impact resistance, stiffness as well as ease of surface
painting and gluing, ABS materials have become ubiquitous in our daily lives. They can be molded
into many sophisticated forms with excellent aesthetic qualities, and their costs are comparatively low,
relative to Polycarbonate (PC). ABS has become popular with toy manufacturers due to its natural
white colour, providing an excellent platform for artificial dyeing.

With the development of advanced injection

molding, the first one-piece injection
molded chair, Universale, was born in 1967.
Manufactured by Kartell and designed by Italian
designer Joe Columbo, this stacking side chair
with an unfussy design is adaptable and durable,
and can even be used outdoors.

Fig. 6.3 Universale chairs

3. PU

Flexible polyurethane (PU) is mostly applied

as an insulating and cushioning material in
furniture and bedding as its material property is
more resilient than other plastic materials. PU
foam can be molded into sculptural shapes,
such as the Pratone seating unit, produced by
the Italian company Gufram in 1972, aims at
providing interactive and unconventional user
experiences. Its form recalls oversized stalks of
Fig. 6.4 Pratone seating unit
grass, and allows for various seating positions.

4. Corian

Developed by the American company DuPont in

1967, Corian is an acrylic polymer widely used in
interior design. Due to its material consistency,
stain resistance and nonporous nature, Corian
is widely used for kitchen countertops, bathroom
sinks and bathtubs. Because it is flexible when
heated, Corain can be molded into a variety of
shapes and forms, as well as custom-made to fit
any interior space.
Fig. 6.5
In the manufacturing process, parts are
clamped tightly together after applying acrylic
epoxy adhesive, and when dried, the joints
are sanded and polished to create a seamless
appearance. Since it is non-porous stains can
be easily removed with soapy water, ammonia-
based household cleaner while scratches can
be repaired with a sander.

32
Intelligent Plastics

Intelligent plastic materials have the ability to perceive different information from the external
environment, such as temperature, light and external force, and can automatically change its shape
corresponding to the change in environment. Intelligent plastics itself has intelligent sensing abilities
to control and issue commands and complete actions. It can effectively achieve self-diagnosis, self-
control and self-correction, and can even modify function by itself to cope with different purposes
and potential barriers. Shape-memory plastics deform by responding to different parameters such as
heating and electric field, and restore to its original form after the deformation and stimulation period is
over. Furniture designers can now make use of these qualities to revisit their previous designs to see
if they could apply such innovation to enhance the overall look and feel, functionality and ergonomics
of the furniture.

Application of Plastics in Interior Design

Decorating our homes nowadays has become easier thanks to the numerous possible solutions made
by vinyl or PVC, such as wallpaper and flooring with multiple colours and fine patterns that are durable
and easy to install. Vinyl or PVC wallpaper is washable when it becomes dirty, leading to longer life
cycles. Vinyl and PVC can also be used for ceilings in the form of panels. Since the materials are light
for easy transport, fire resistant and sturdy enough for interior use, plastic panels offer replaceable,
flexible and unique designs to fit different tastes and preferences of users. Vinyl has become a popular
choice as flooring materials for high-traffic areas such as schools and hospitals due to its cleanability
and durability. Vinyl composition tiles (VCT) are resistant to noise transmission and impact damage,
and can be refurbished and replaced to maintain their attractive and glossy appearance, while vinyl
upholstery fabric is well developed at affordable prices with high performance.

Recycling of Plastics

Environmental impact has become an important issue, and product designers are aware that they
should minimize the emissions of hazardous substances. Plastic recycling mainly includes polyethylene
terephthalate (PET) and high-density polyethylene (HDPE) from detergent bottles makes up a gigantic
portion of plastic recycling market. Residential collection program of consumer electronics has been in
place for the past decades in Western countries. About 20% of the solid waste now come from plastics,
while over 90% of plastics are made of polyphenylene ether (PPE) and ABS, which are contained in
many household appliances such as washing machines, air conditioners and refrigerators. These
products are typically used for 10 to 18 years before being discarded. An increase in plastics recycling
is needed to conserve the environment.

New Plastics Economy

Currently, around 30% of plastic packaging materials cannot be reused or effectively recycled. In
addition, fewer than 4% of typically used plastic bags are recycled. Governments should take a leading
role by proposing progressive policies in support of eco-friendly manufacturers and recyclers, and
by simply imposing penalty on improper applications. The redevelopment of global plastics network
will capture the true value of the material and contribute to favorable economic and environmental
outcomes. Yet owing to the fact that consumption of plastic bags is estimated be up to 1 trillion per year
across the world, recycling and reusing are not enough to solve this complex problem. Educating the
masses to consume less is fundamental.

33
Emerging plastic materials – Bioplastics

Bioplastics are plastic materials designed to biodegrade, and are usually composed of starch, cellulose
and biopolymers, as opposed to the commonly used fossil-fuel plastics derived from petroleum. Many
disposable items such as cutlery, plastic packaging films, straws, fruit containers and egg cartons are
already developed using bioplastics. The most commonly used in commercial market is starch-based
plastics, which constitute more than a half of the bioplastics market. Bioplastics are either manufactured
with native or slightly modified starches that are blended with natural or synthetic particles.

Polylactic acid (PLA), made from corn, is a good biodegradable replacement for plastic bags. One of
the key benefits of PLA over other petroleum-based plastics is that no toxic fumes are emitted during
the process of incineration. Its performance is similar to conventional plastics, having good colourability
and antistatic behavior. However, its limited moisture resistance and mechanical properties narrow the
application of starch-based plastics in food design and packaging.

However, there is some controversy regarding

Polylactic acid use as corn is a foodstuff, and
large-scale production of PLA may lead to a rise
in food prices. There is also concern that the
breakdown of biodegradable plastics will release
harmful greenhouse gases like methane into the
environment, while the carbon in conventional
plastics stays inert and locked up in landfills.
Fig. 6.6

Towards Sustainability: Future of Plastics

Developing innovative technologies in order to achieve a strategic shift towards new plastics economy
will be a key development in future. This includes rethinking plastic usage, packaging and improving
design, increase the percentage of plastics that are recycled or reused, as well as exploring alternatives
such as biodegradable plastics and bio-based growing materials as alternatives to plastic.

34
 CHAPTER 7
Biocomposite and Aerogel materials
by Sonny Choy
The development of advanced materials is a field of science and engineering that creates new and
wonderful materials to meet a vast array of challenges. The innovations involved are usually concerned
with improving a material’s physical and chemical properties to provide solutions to practical problems.
New materials are created to deal with extreme environmental situations, enhance sustainability and
create new and advanced material behavior.

In this chapter, a number of new materials with innovative and advanced properties are explored.
These materials, including biocomposites, aerogels and organic materials, have been developed to
serve some very practical and novel applications, and benefit society in their own unique ways.

Hemp and Polypropylene Composite (Biocomposite)

Polymers have had a varied history since it was invented in the mid 19th century. The first synthetic
polymer created was called ‘styrolene’ (Styrene) by the French chemist Marcelin Berthelot in 1866.

Early incarnations of synthetic polymers were preferred over their natural counterparts because of the
new and improved performance properties. Synthetic polymers took precedence after the industrial
revolution when mass production led to the increased demand and the opening of new markets around
the world.

Today, petroleum-based polymers are being applied in excessive and frivolous ways to produce
consumer products. Attempts to rein in this excess have led to innovations in composites that revisit
natural and sustainably produced constituents.

Hemp and polypropylene composite is a strong,

light weight and durable material composed
of hemp pulp that is integrated into melted
polypropylene during the molding process.
The composite was developed as a response
to the challenge of making more sustainable
materials for large scale applications. It is now
used in the automotive industry where this
material’s light weight and strength lends itself
to use as interior molded panels and other
car interior components. When compared to
existing composite materials using glass fibres,
hemppolymer combinations are much more
sustainable.
Fig. 7.1 Car panel made of hemp composite

35
Various proportions of ‘hemp to polypropylene’ have been experimented with to achieve the best
strength to weight ratio. For example, scholars looking into hemp composition found that the optimal
percentage for best physical performance lies somewhere between 40-50% hemp fibers in the
composite. They have also confirmed that laying the fibers in a direction that aligns with the direction
of anticipated physical stress increases its strength and toughness performance.

More recently, designers have applied this

polymer and plant fibre concept to other
applications. Studio Aisslinger, a famous
German design house, with the support of
German chemical company BASF, developed
a chair made of a composite with hemp, kenaf
(Hibiscus cannabinus) and a water-based
thermoset binder to produce the Hemp Chair.
Fig. 7.2 Chairs made of hemp composite

Borrowing the production process used in the auto industry, this chair is compression molded as a
‘monobloc’ part, and is the first stackable chair of its type to be produced this way. Sustainably planted
hemp and kenaf are combined with BASF’s water-based acrylic resin ‘Acrodur’, in a process which
releases no harmful chemicals like phenol and formaldehyde during the polymer cross-linking process.
In fact, the only by-product of the curing process is water, making the production process clean and
environmentally friendly. Colouration is completed with eco-friendly pigments while the form stems
from structural reinforcement through its curved and beaded design.

Aerogels – The Lightest Material on Earth

Invented in the 1930s by American scientist and chemical engineer Samuel Stephen Kistler, aerogels
boasts some incredible properties that deserves a closer look. Aerogel is a category of material
which typically is extremely low in density and exhibits no less than 50% porosity. The material is
mesoporous, which means that its pores are so small that they range from between 2 to 50 nm in
diameter. This category of material can be made from a number of different chemical compositions
including silica, lanthanides and actinide metal oxides, organic polymers, biological polymers,
semi-conductor nanostructures and carbon. However, their structure is basically similar across all
compositions. Typically, aerogels are composed of 95-99% air, with the world’s lightest aerogels made
up of 99.98% air, making them extremely light in weight.

Contrary to what the name suggests, aerogels are not moist or gel like at all. They are dry and solid.
However, their solid-like cohesive structure is derived from gels from which all liquid within its pores is
vacated. As a result of this structure, an aerogel of a given material demonstrates physical properties
that are very different from that of the material in its normal state.

The density of aerogels is very close to that of air and this gives the material some fascinating physical
properties. Aerogels can be made even lighter than air itself by extracting the air out of the pores
completely!

Aerogels have many different applications, and can be used in a variety of fields.

Fig. 7.3

36
Many aerogels are not strong. However, scientists
at NASA have found innovative modifications to
aerogels that can increase its strength while
retaining its light weight. They created polymer
coated aerogels that are stronger, and have
even developed flexible aerogels that can be
made into thin films.

Another property of aerogels is that it is an

extremely good thermal insulator. The high air
content means that if it is combined with flame
resistant metal oxide or ceramic (silica), the
physical form of the aerogel can take on a thin
cross section and still offer excellent thermal
insulation. Fig. 7.4

As seen in Fig. 7.4, the thin layer of silica aerogel can protect the matches from the fierce flames of
a Bunsen burner. Another application may be found for passive fire protection of industrial machinery
where there is risk of flame damage. Temperatures of over 600 degrees Celsius is within the safe
operating temperature of some aerogels like Pyrogel XTE. Finally, aerogel insulation products can
even be used on personal applications in jackets and insoles to protect wearers from extremes in
temperatures such as in high altitude mountains.

Mushroom® Packaging

Another excellent material that is totally bio-degradable is derived from mycelium of mushrooms.
“Mushroom Packaging” is 100% renewable & compostable. It is a light weight packaging material
which can be used for packaging anything from small consumer products to pumps and compressors.
This material has a number of appealing properties which make it ideal for use as packaging material.

• High performing
• Has a premium, natural aesthetic
• Price competitive with most fabricated plastic foams
• Environmentally sustainable
• Home-compostable
• Non-abrasive
• Custom designed to fit any shape or thickness
• Not derived from petroleum or food

Some companies which have taken this bio-material on board as part of their product packaging
include the US computer giant Dell, which uses it to package its high-end servers. Home furnishing
company Crate and Barrel has also used it for some of the packaging on their selected product line. The
advantage of producing mushroom packaging is that it does not compete with human food sources.
The process of making it is simple and clean with little to no by-products of emissions or pollutants.

The production process of mushroom packaging involves securing agricultural waste products for the
mushrooms to feed on. Such agricultural waste, including corn husks, for example, can be taken from a
farm or a food processing plant where the organic material is of no further use to the food industry. The
material is cleaned and prepared for the introduction of mycelium, and the mixture is left for a few days
to allow the mycelium fibres to grow and digest the agricultural waste material. Afterwards, the mixture
is taken and crushed into smaller loose particles, which are then placed into a mold and shaped into its
final form. Finally, the piece is taken out of the mold and dried to achieve the final packaging product.

37
Mushroom material can also be applied to custom-made furniture. Below is a picture of the Tafl Table
by Ecovative Designs. The table and chair set is completely made of mushroom material and is totally
compostable.

Aside from furniture, mushroom material can be used to produce Myco-board, which addresses the
need for a more sustainable building material for general usage.

Myco-board is an environmentally sustainable building material available in several dimensions: 3’

x 6’, 4’ x 8’ and 5’ x 10’. It is free from urea-formaldehyde and VOC, and it is class B fire rated.
Mycoboard’s applications are endless. It has a pleasing all-natural surface finish which can be coated
using conventional finishing systems or laminated.

Fig 7.6 Myco-board

Fig. 7.5 Tafl Table

All of these materials are examples of environmentally friendly materials. They are innovative materials
that address both performance as well as sustainability. Through better use of limited resources and
the smart application of technology, scientists pave the way for advanced materials that create a
positive impact on the world.

38
 CHAPTER 8
Concrete
by Dr. Tris Kee
Concrete is a composite material composed of coarse aggregate bonded with fluid cement which
hardens over time. Prized for its strength and durability, it is a common material used in the building
industry, both as structural support and interior decoration. Concrete is a versatile material that can be
used in many constructions such as buildings, pavements and other structures. Although concrete is
excellent in compressive strength, it has little tensile ability. The fact that concrete constructions are so
durable is the combination with steel reinforcement bars (often called rebars) which are embedded in
the material to provide tensile strength, yielding reinforced concrete.
Since ancient Roman period, engineers have
used concrete technology in major infrastructural
projects, such as the Colosseum and the
world’s largest unreinforced concrete dome at
the Pantheon. In contemporary times, many
interior designers opt for the bare and industrial
look of concrete and have utilized the material
for making wall panels, floor surfaces, and even
office partitions. Concrete surface can be either
fair faced or textured, and can bring dramatic
shadow effects and a uniquely raw appearances
to an interior space.
Fig. 8.1 The Pantheon in Rome.
For instance, Japanese architect Tado Ando’s
signature fair-faced concrete treatment is an
effect that requires skillful craftsmanship to
achieve. Plain concrete is used directly for its
natural finishes, providing a smooth surface
which is uniform in colour, producing a pure,
solemn and Zen-like feel. Although the look may
seem simple, in fact a great deal of skills went
into making this flawless fair-face effect. The
outcome is one that is true to the materials and
a serene simplicity.

Fig. 8.2 Tado Ando’s interior of Church of Light, in which

concrete brings a sense of simplicity and solemnity

39
Concrete need not be plain and austere, but can New Technologies in Concrete
also be highly decorative. For instance, casting
molding, printed concrete and concrete blocks To give an overview of the evolution of concrete,
can come in various colours, patterns, shapes one can start with Pier Luigi Nervi, an Italian
and forms. In addition, concrete surfaces can architect and constructor who blended the
be scored, folded and curved, yielding endless art and science of building using reinforced
possibilities with regards to surface treatment. concrete in his design. Nervi based his work
With the availability of new technology, indoor on sound design and construction experience,
and outdoor application of concrete can achieve with an intense attention to the relationships
dynamic and fluid forms. between structure and shape. This design
philosophy is clearly demonstrated in a stadium
built in Florence in 1930 and a series of hangars
built between 1935 and 1940.

Since then, many designers have also explored

different possibilities of this material. Zaha
Hadid became known for her skill in working
with various concrete forms, often combined
with the use of new technology. With her earlier
work such as Vitra Fire Station to her masterful
experimentation with curves and shells in the
Roca London Gallery and ME Dubai Hotel
atrium, Zaha Hadid pushes the limit to morph
and bend a material that is not known to behave
well in tension. The fluidity and dynamism of
her forms are so outstanding that ceilings melt
into walls which melt into the floors, and visitors
feel completely enveloped by the material. Zaha
Hadid was a trailblazer in many respects and
serves as an inspiration to design.

Fig. 8.3 Use of fair-face concrete in the interior

Fig. 8.5 ME Dubai Hotel

Fig. 8.6 ME Dubai Hotel

Fig. 8.4 Hall B, Turin Exhibition, Turin, 1947-1954

40
Zaha’s design was realized with the help of new technologies. New software such as Rivet and its
supporting plug-ins can now make designing fluid forms a possibility. Such computer software is able to
translate complex geometry into fabrication codes, making the construction and fabrication of concrete
pre-cast available, allowing architects like Zaha Hadid to experiment with many innovative designs.

Recycled-content products can address the needs of architects and designers working on LEED®
certified projects, and contribute to sustainable design and reduce life-cycle building costs. In addition,
energy reduction and waste recycling efforts employed in concrete production can reduce the impact
on the environment.

Tips for designers when using concrete

1) Designers using concrete for interior cladding should pay special attention to surface treatment
and to ensure the surface of the concrete receives sufficient curing time.
2) Knowing the limit of concrete in terms of compression and tensile strength can help with the
design of form for the interior. Reinforcement bars can be added to strengthen the tensile ability
of concrete.
3) If curved forms and bent concrete is desired, designers can use new technologies to make curves
possible and to add to the fluidity of forms.
4) Aside from poured concrete, concrete also comes in other forms such as blocks and other masonry
products, and designers can consider utilizing recycled concrete to ensure the sustainability of
their design.

Case Study 1
Project: Super Tomato Office
Firm: Super Tomato
Concrete is chosen as the main component of
the space, providing it with texture and colour.
The concrete gives the space a modern, airy
feel. The office furniture is made out of old ship
planks, bringing a sense of history to the space.
The cool feeling of the concrete is balanced out
by the textured wooden furnishings. All cabinets
are built using wheat-straw board, an excellent
sustainable material.

Fig. 8.7

Fig. 8.8 Fig. 8.9

41
 CHAPTER 9
Fabric
by Dr. Tris Kee

Fig. 9.2

Fig. 9.1
Often forgotten as a material for interior design, fabric exists in almost every corner of an interior setting.
From curtains and drapes to leather upholstery and cushion covers, fabric brings character to the hard
surfaces in an interior. It is a very versatile material that can be cut and sewn to different shapes. Used
smartly, fabric becomes the accent of the interior, adding colour and texture to the space.

Types of Fabric

Curtain

For most domestic or commercial interior, curtain is an essential element to block excess sunlight and
to act as a screen for privacy. Although curtains come in many forms including blinds and drapery, the
latter is more common in domestic settings and hotel interiors. Drapery fabric used for curtains should
be selected for length, ability to shield off sunlight, as well as colour matched with other elements in
the interior.

For instance, patterned drapery fabrics are

best suited for window treatments, pillows,
bedding and table skirts. There are millions of
patterns from dots, checks, stripes, plaids and
contemporary printing available, and interior
designers can choose drapery based on the
personality of the house residents or to match
the overall theme of the design. For instance,
in many hotels, heavy drapery such as velvet
as both curtain and beddings are used to create
privacy and shading from sunlight. To make sure
the colour and pattern are long lasting and to
minimize maintenance, designers often opt for
simple and subdued patterns and avoid bold
or aggressive colours as they tend to go out of
style very quickly.

Fig. 9.3

42
To match the drapery with the bed covers, designers often choose either the same fabric or the same
tone to create a holistic look. The same strategy can be applied to selected upholstery for the furniture
inside the room setting, such as chairs, sofas or accent pillows. In the case of pillows and cushions,
designers can adopt colour theory to play with contrast and select complementary colours to create
a bold statement. Pillows or cushions are seen as decorative elements and therefore can come in
different colours from the main furniture.

Carpet

Carpets often cover more interior space than other fabrics. Particularly in temperate climates, carpet is
also chosen for its insulation property. Carpet design comes with various colours, patterns, synthetic
and natural materials, as well as different weaves that can inspire endless imagination.

There are many carpet styles, including Plush, Saxony, Berber, textured and frieze. These terms refer
to its pile, which is the surface you see, created from yarn tufts that are either folded over into loops,
cut straight across or both. While each style has a distinctive look, designers should consider both the
lifestyles of users and how it fits into the interior setting. Plush carpeting, for example, is made from
tightly twisted pile, and is thick, soft and inviting and very suitable for hotel floors. However, it often
shows footprints and vacuum tracks, and can have patches which are called “pooling”--areas that
appear shaded because the normal direction of the carpet fibers has been reversed.

Saxony is the most common type of carpeting.

For areas which are low-traffic areas like formal
living rooms and master bedrooms, Saxony is
often the preferred choice.

Berber carpeting is crafted from continuous

fiber loops and is flat and dense. Varying from
level loop, cut-and-loop or multi-level loop
design, Berber is extremely durable and does
not show tracks, soil and stains. It can be used
for high traffic areas or places such as children’s
play room. Some interior designers like to use
textured carpet as it is made from fibers cut to
different heights, which causes them to reflect
light. Since it is difficult to show tracks and dirt,
textured carpet is good for high traffic areas too.

Fig. 9.4 Plush carpet

Fig. 9.5 Berber carpeting

43
Leather

Fabric also includes upholstery such as leather or other covers that provide furniture with padding,
springs, webbing, and fabric. Similar to other fabric treatment in the interior setting, upholstery selection
can be of complementary colour with the overall tone of the interior, or be of a contrasting factor. There
is a wide range of synthetic or natural leather in the market. Some designers prefer to use natural
leather, but for humane reasons, synthetic leather, which can have the same texture and appearance
as natural leather, can be chosen.

Fabrics not only give an extra touch to the otherwise hard surfaces of the interior, but can also act as
an acoustic moderator. Many restaurant interiors that lack soft surfaces that fabrics can provide often
have acoustic resonance issues, making the environment noisy. Therefore, for most interior settings
where noise is an issue, fabric becomes an essential element.
To conclude, fabric comes in a wide range
of materials that can be applicable to the
interior. From the most common fabric such
as curtain drape, pillow covers, bedding, to the
extensive coverage of carpet flooring, leather
or upholstery for furniture, fabric functions as
a colour moderator and a sound absorber. If
designers are tactful with the selection of fabric,
very interesting effects can be created.

Fig. 9.6

44
 CHAPTER 10
Lighting Design
by Louisa Young
What is lighting?

Lighting is an important aspect of interior design as it enhances the aesthetic appeal of a design and
creates the mood and ambiance of a living, working, dining and relaxing space. Lighting fixtures that
illuminate a space create a safe and comfortable environment as well as add style to the interior décor.
Light is the main element that gives the spatial design a special look and transforms it into a seamless
combination of functionality and style. Besides playing a practical role, it also contributes to a visually
dynamic space, and lighting can make or break the ambiance of a space.

Importance of lighting in interior design

Without proper lighting, interior design cannot be experienced to the fullest. Good lighting assures
a warm, inviting and functional atmosphere in the design. The way in which designers incorporate
lighting into the interiors defines the mood for the user of the space. Selection of proper lighting is
the key element in interior design as it augments everything in a space - from the furniture, flooring,
fittings to the finishes and textures. Creative use of different types of lighting can give the space uplift
and focus, and the light fittings and lamps chosen to compliment the style provides stimulation to the
space. In many interior design projects, specially trained interior lighting designers are employed to
enhance the space and create ideal mood sets.

Fig. 10.1 A brief history of lighting

45
Designing with Light

Design is as much a process of intellect and intuition as it is the product delivered at the end of that
process. Also, design is exploratory and iterative. Some iterations lead to dead ends or undesirable
outcomes. Others lead to refining the design and moving toward a beautiful solution to a problem.

There is not a one-size-fit-all lighting design process. Some designs require careful attention to technical
aspects of a lighting system, some designs have very strict illumination or energy consumption criteria,
while other designs are exclusively about creating an evocative mood, atmosphere, or environment.
Designers should understand a variety of design methods and apply the most appropriate method or
approach to each project.

Finally, the goal of every design is to create, in collaboration with the rest of the design team, an
environment that is appropriate to the use and the user, and meets the clients’ requirement of cost,
project timeline, efficiency, etc.

To achieve a design’s goals, architectural and interior designers must have a thorough understanding
of both the art of design and the technology used to create and control light. Some aspects of the
design process can be organized into checklists, making them easy to address. Others aspects require
a lighting designer to understand architecture, interior design, and/or electrical engineering to integrate
the lighting with the work of the rest of the team.

The biggest challenge a designer faces is to connect a variety of elements into a comprehensive
whole: to see beyond what is to what can be or to connect abstract ideas to real world conditions and,
in the process, add layers of intention or meaning to a design. In doing so, we transition from being
illumination engineers to lighting designers and artists working with light.

There are many paths that a design may take. Each new project begins with exploring and understanding
the requirements and expectations for the project and then adopting an appropriate strategy to develop
and execute the design.

A good tip to help in any design process is to gather relevant information so we can understand the
requirement of the design. General questions will lead to more specific ones until we have a thorough
knowledge of those aspects of the design that are required, including those that are expected and
those that are desirable but optional.

Thinking about Light

A lighting designer selects lighting fixtures and lamps, and determines luminaire placement and
quantity so as to control the light in each space to achieve the desired effects. In order to achieve the
results, designer needs to evaluate the “Controllable Principles and Elements of Light”.

Lighting Principles and Elements

Human needs

We experience our environment first and foremost through our eyes. 80% of the sensory impressions
we receive are visual. Too much or too little light, glare or distorted colours impact on what we perceive,
distract our attention and cause visual fatigue.

In all areas of life and throughout the working environment, good and appropriate lighting is a prime
requirement that enabes us to see clearly, enjoy a sense of well-being, perform concentrated fatigue-
free work and perceiveand interpret important information and our surroundings correctly.

46
Illuminance

The brightness of an object is the strength of the light reflected from it. The greater the luminance, the
stronger the visual stimulation, and the easier the object is to see.

In daylight, the illuminance of an illuminated surface is between 10,000 lux (overcast sky) and 100,000
lux (bright sunlight). Indoors, we need to make do with much less light. For writing and reading, it
is generally enough if artificial lighting provides 500 lux illuminance; for drawing or other visually
demanding tasks, illuminance should be at least 750 lux.

Brightness Distribution

Brightness is a complex factor that can be defined as an illuminance of a surface as perceived by

a human eye. Such a definition of brightness can be expressed as a ratio of luminous intensity of a
surface under certain angle to the surface area of its projection. Brightness is a directional unit and is
determined by luminous intensity in different directions and directional reflectiveness of a surface and
the projected area of a surface in a given direction.

Harmonious distribution of brightness is important for sharpness of vision and sensitivity to contrast,
contrast being relatively small differences in brightness. Setting the brightness too low can cause
strain, decrease visual stimulation and therefore work performance. Darker surfaces in the room can
work against the harmonious distribution of brightness and can cause feelings of oppression and
anxiety.
Glare

Glare is one of the most disturbing side-effects of lighting. Direct glare caused by marked contrast
differences between very bright and very dark surfaces or due to unshielded lamps in our line of vision
place strain on people’s eyes and lead to fatigue and mistakes through loss of concentration. To avoid
direct glare from lamps, attention should be placed on glare limitation and shadowing.

Glare limitation

Being dazzled by a general-diffuse lamp or the reflection of a window on a computer screen can affect
visual acuity and impedes work performance. Direct and reflected glare can be largely avoided by
good room and lighting design.

Shadowing

Where there is light, there is also shadow. To ensure that shadows do not impede people’s view when
writing, the light should fall, for a right-handed person, from the left and vice versa for a left-handed
person.

Reflected
Direct

Direct
Reflected

Fig. 10.2 Possible sources of direct & reflected sources of glare

47
Light and colour

The way people perceive colours under artificial light depends on the colour rendering properties of
the lamps. Lamps with good colour rendering properties produce natural colours while lamps with poor
colour rendering properties cause colour distortion.

For human vision performance and revealing the world around us, we are usually concerned with
“white” light, but white is a subjective experience (like all “colour”) and our definition is constantly
changing. Two issues are of note, namely, the completeness of spectrum and the balance of spectrum.

1. Completeness of Spectrum:

The completeness of spectrum / CRI means that the more wavelengths come out of a light source,
there are more opportunities for surfaces to reflect light. We measure the complexity / completeness of
a light source by the COLOUR RENDERING INDEX or CRI. It is a numeric value ranging from 0-100,
with the value of 100 being a light source identical to standardized daylight. CRI is an indication of the
average shift of eight standard colours. Two different light sources may have identical CRI values, but
colours may appear quite different under these two sources.

Fig. 10.3 Fig. 10.4

48
2. BALANCE OF SPECTRUM / COLOUR TEMPERATURE
If a light source gives of more of one wavelength
than another, our brains’ translation of the light
is a slight colour experience. We have devised
a numeric description of the colour produced by
the imbalance called CORELATED COLOUR
TEMPERATURE or CCT. Expressed as a
temperature in degrees Kelvin K or “Kelvins”.

By convention, we think of yellow-red colours

(like the flames of a fire) as warm, and blue-
green colours (like light from an overcast sky)
are considered cool. However, lights with
higher Kelvin temperatures (3600–5500 K) are
blue-green lights while those with lower colour
temperatures (2700–3000 K) are yellow-red
lights. Cool light is preferred for visual tasks
because it produces higher contrast than warm
light. Warm light is preferred for living spaces
because it is more flattering to skin tones and
clothing. A colour temperature of 2700–3600
K is generally recommended for most indoor
general and task lighting applications.

Fig. 10.5

Direct/Indirect lighting

Luminaries with direct and indirect lighting components permit free arrangements of furniture, reduce
the risk of reflected glare and create a more agreeable lighting atmosphere.

Direct lighting casts an illumination from the fixture onto a desired subject or area. As a straightforward
radiation, it acts as task lighting that functions to help daily tasks (e.g., reading, cooking, drawing and
studying). Because it radiates powerful illumination, it is best used for detailed tasks and productive
activities and providing light to a subject that needs more focus. However, when using an overly
powerful fixture, the light may appear too harsh and designers can consider dimmers for adjustability.

Indirect lighting utilizes a fixture as a source to spread light outside just one target object. This is to
create ambient lighting, also known as general lighting, which helps people navigate their ways around
a space. It also accentuates a space or provides reflective light. Designers should opt for indirect
lighting so as to illuminate a room without casting a harsh light beam. Commonly used to create
ambiance, indirect lighting usually adds overall brightness of a space or used in areas to create softer
light and to set a mood.

The primary factors affecting the distribution of illumination are the shape of the luminaire, its materials
and finishes, the location and size of the aperture, as well as the mounting position. The location of
the aperture, materials, and mounting position determine the primary ways in which light is distributed:
(a) direct, (b) indirect, (c) semi-direct, (d) semi-indirect, (e) direct-indirect and (f) diffused.

49
a. Direct Lighting: d. Semi-indirect lighting:

Lighting in which luminaires distribute 90% Lighting in which luminaires distribute 60% to
to 100% of the emitted light downward on the 90% of the emitted light upward.
surface or area to be illuminated.

Fig. 10.9

e. Direct-indirect lighting:
Fig. 10.6

b. Indirect lighting: General diffused lighting in which little light is

emitted in the horizontal plane of the luminaires.
Lighting in which luminaires distribute 90% to
f. Diffused lighting:
100% of the emitted light upward, especially to
avoid glare or prevent shadows.
Lighting from luminaires that emit an
approximately equal distribution of light upward
and downward.

Fig. 10.7
Fig. 10.10
c. Semi-direct lighting:

Lighting in which luminaires distribute 60% to

90% of the emitted light downward

Fig. 10.8

50
Visual Hierarchy

During the day, it is easy to think that the natural

world has one principal light source in the shape
of the sun. However, our surroundings are
always illuminated by a combination of direct
light from the sun and sky and light that comes
from a multitude of directions and reflected by
clouds, plants, ground, water and rocks. Each
light source or source of reflected light has
its own qualities of intensity, direction, colour
and diffusion, and each source and reflection
adds something, however small, to our visual
environment. Fig. 10.11 Morning: warm tones and low light intensity

Light can be a powerful medium to establish

visual hierarchy in interior spaces. The simple
choice of whether to illuminate a surface or
object directly affects the way it is perceived by
the viewer. Designers can choose to conceal
less attractive areas by concentrating light
where they want people to look and make an
area advance or retreat visually with the subtle
use of colour. Intensity and direction of light can
also provide subtle signals about what is most
visually important in a space.

To be able to use the visual hierarchy of light

Fig. 10.12 Midday: bright white light, high intensity
successfully, designers need to get into the
minds of the users of different kinds of space.
Imagining or visualizing the scene from both
the users’ point of view and their mindset that
makes it possible to create the most appropriate
lighting solution.

Fig. 10.13 Late evening: warm tones and low light intensity

51
Understanding Qualities of Daylight Understanding Layers of Light

To create a space with a legible and familiar Light in the natural world is all about the
feel, designers can work with the qualities of layering of light from multiple directions - strong
natural daylight. By endeavoring to replicate directional light mingling with softer diffuse
or reinforce the direction, colour, intensity and light, white light with subtle tints picked up from
variation of natural light, designers can shape the sky and reflecting surfaces. This mixture
an environment that has the familiar quality of changes constantly, providing a new pattern of
the exterior world. light and shade every time people look.

On the other hand, it is easy to produce surprising However, most artificially lit working environments
and discordant environments by working against have uniform lighting; the light tends to come
the patterns of light and colour that people may from only one direction and any reflected light
expect to see in the outside world. This can be is accidental and dependent on the furniture
used to attract people’s attention, or to subtly and fittings in the space below the lights. This
discourage them from entering a space by is in sharp contrast to the lighting conditions of
lighting it in an uninviting manner. the natural world, so it is no wonder that many
workplaces still feel uninspiring, cold and clinical.

Day

Fig. 10.15-16
Evening

Night

Fig. 10.14 Museum at Prairiefire, architecture by Verner

Johnson

52
Change and Variation

When designing lighting for interior environments, designers need to remember that change
andvariation in light are expected. They may not always have to involve sophisticated control systems
to achieve suitable changes in artificial worlds. In most types of building these may be unnecessary
because people move from one space to another within a building. Designers should never
underestimate the richness of experience this adds to the visual world.

Creating areas with subtly differing qualities of light adds a visual richness to the experience of being
within a space. Small and deliberate changes in light colour, colour temperature, intensity, direction
and focus in different parts of the space are easy to implement and can transform an otherwise drab
experience. To achieve the best possible design outcome, designers should use light and colour to
carefully plan the visual experience for the user rather than simply using light to illuminate ‘task areas’.

Fig. 10.17 InterContinental Shanghai Wonderland Hotel- Fig. 10.18 Woobar at W Kuala Lumpur
Martin Jochman by JADE+QA architect

Creating Drama through Lighting

Creating drama means avoiding the ordinary, the common place and the predictable. It means being
striking, unusual and completely unexpected. By this definition, what people experience on a daily basis
is not dramatic. Designers can make conscious decisions about what should be visually important and
what should recede into the background and design the lighting accordingly. To make an object or
surface stand out does not necessitate using very bright light sources - all that is needed is a good
control of contrast. Creating a hierarchy of visual importance and working with layers of light ensures
that the significant features of a space are not lost among uniformly illuminated surroundings.

Dramatic lighting can come from the choice of lighting directions, colour combinations, the patterns of
light and shade or the changing nature of any of these elements. Drama requires novelty, so the more
an effect is used the more commonplace it becomes. Spectacular lighting demands innovation and
careful choreography to maintain the element of surprise.

Fig. 10.19 First Sunset in the Pacific, Madrid – Clavel Fig. 10.20 The W Beijing Chang’an
Architects

53
Fig. 10.21-22- AMMO Restaurant, interior design by Joyce Wang, is Inspired by Jean-Luc Godard’s classic science
fiction film noir Alphaville.

Light on Surfaces and Texture

Materials add interest to a project, but achieving the right effect depends on how lighting is applied.
Many architects and interior designers believe that the selection of materials and finishes is among
the most important decisions made during a project. Without illumination, people cannot perceive
the aesthetic characteristics of any material, so it stands to reason that the appropriate lighting is
essential to maximize the impact of architectural finishes. Several characteristics of materials should
be understood when determining the lighting approach.

Characteristics to consider - Texture shadows caused by variation in surface texture create contrast
that allows the viewer to perceive depth in a material. The position of the light source determines the
length of shadow, rendering the surface with varying degrees of definition.

a. Surface Reflectance: How an opaque material reflects light determines the viewer’s perception
of the illumination present at its surface. While a mirrored, or highly specular, surface is most able to
reflect, it will appear dark if the environment seen in reflection is not illuminated, even if light is present
on the surface. Matte or diffuse materials reflect light equally in many directions, resulting in a similar
light quality from many points of view.

Fig. 10.23-24

54
Reflection occurs when light strikes a shiny
opaque surface, or any shiny surface, at an
angle. Reflection can be classified in three
general categories:
⮞ Specular reflection
⮞ Spread reflection
⮞ Diffuse

Specular Reflection occurs when light strikes

a highly polished or mirror surface. The ray of
light is reflected or bounced off the surface at an
angle equal to that at which it arrives. Very little
of the light is absorbed, and almost the entire
incident light leaves the surface at the reflected
angle.

Spread Reflection occurs when a ray of light

strikes a polished but granular surface. The
reflected rays are spread in diverging angles
due to reflection from the facets of the granular
surface.

Diffuse Reflection occurs when the ray of light

strikes a reflective opaque but non-polished
surface, such as flat white paint.

Absorption occurs when the object struck by

the light ray retains the energy of the ray in the
form of heat. Some surfaces, like flat black paint,
Fig. 10.25 Types of Light Reflectance (F. H. Jones)
absorb nearly all of the incident light rays. These
surfaces, such as those of a solar collector
panel, tend to get very hot when placed in the
sunlight.

b. Colour

Every object absorbs some of the light that strikes it. The pigment within a surface determines how
much and which components of the visible spectrum reach the eye. Generally speaking, dark colours
absorb more illumination than their lighter counterparts.

Fig. 10.26-27

55
c. Light Transmission

Transparent and translucent materials allow light to pass through them. The internal composition of
these materials influences the amount and quality of light transmitted.

Fig. 10.28-29

Physical factors of Light

In addition to colour, the four factors which determine the visibility of an object are size, contrast,
luminance, and time. Of the four, luminance, that is, the brightness or the strength of the light falling on
the rods and cones cells in the eye, is the underlying dominant factor.

Size is considered because the larger or nearer an object, the easier it is to see. A larger object, of
course, reflects more total light, and offers a stronger stimulation of the rods and cones cells.

Contrast is the difference in brightness of an object and its background. Distinct contrast allows the
brain to differentiate easily between areas of strong and mild visual stimulation.

Luminance is the brightness of an object, or the strength of the light reflected from it. The greater the
luminance, the stronger the visual stimulation, and the easier the object is to see.

Time: refers to how long it takes to see an object clearly. Under the best conditions, it takes slightly
less than one-sixteenth of a second for the eye to register an image.

Quality Of Light

Good quality illumination is that which provides

a high level of visual comfort, and allows people
to view tasks clearly and easily. This affects
people’s psyche in a positive way. On the
other hand, poor visual comfort Illumination is
irritating.

Illumination

The distribution of light on a horizontal surface. Fig. 10.30

The purpose of all lighting is to produce
illumination.

Efficacy

The ratio of light produced to energy consumed.

It is measured as the number of lumens produced
divided by the rate of electricity consumption
(lumens per watt).

56
LUMINAIRE TYPES

While it may be possible to categorize all luminaires as either dispersive or directional, there are many
useful subcategories. There are thousands of lighting manufacturers worldwide, each of whom may
have hundreds or thousands of products. At some point in the design process, it is necessary to decide
exactly which products will be used for a project, but at the early stages it is much more helpful to set
aside specifics and focus on general principles. At concept and schematic design stage, designers will
often work with generic luminaire types rather than any specific product.

This allows the design to evolve, with the final product selected to fit the completed design proposal
rather than the other way around. Any project designed around a particular product is unlikely to be as
successful as one where the product is selected to match the particular requirements of the project.

There is no real limit to the number of categories of luminaire, but the following generic list is a useful
start.

Incandescent lamp: Fluorescent Batten: Compact fluorescent:

A luminaire can be as basic as a A linear fluorescent lamp also has A compact fluorescent lamp, basically
lamp in a lamp holder suspended a 360- degree distribution of light. a bent and folded linear fluorescent.
from a ceiling with rods or wires. Most of the light is produced at right Domestic compact fluorescent lamps
In this illustration, this luminaire angles to the tube, with less light are designed as retrofit replacements
does not affect the spread of directed parallel to the length of for incandescent lamps and come as a
light from the lamp. A bare lamp the tube. The back box containing complete package with the control gear
such as a domestic incandescent the control gear blocks some of housed in the large lamp-holder end of the
produces a fairly equal distribution the light coming from the back of lamp. This shape means most compact
of light in the lamp, but modern fluorescent fluorescent lamps do not produce light in all
all directions. gearboxes are slim enough to directions as an incandescent lamp does.
occlude only a little light. With little light getting past the control
gear housing, their use as replacements
in some small domestic table lamps can
produce very unsatisfactory spread of
light, possibly significantly reduces the
light output ratio of the luminaire.

Dispersive pendant: Downlight pendant: Uplight Pendant:

A simple frosted or oval glass globe The light source used for the Suspending the kind of reflector
luminaire produces a very soft light that is dispersive pendant can be fitted used for the downlight pendant
fairly equally spread in all directions. This into a simple metal shade that the other way round creates an
kind of luminaire can help to disguise tine redirects the light in one direction, uplight, which illuminates the soffit
lack of upward light from a suspended, giving control over which surfaces to produce a very soft, indirect
compact fluorescent lamp. With this kind of receive most light. qualify of light.
dispersive luminaire, how brightly a surface
Is illuminated depends on how far away the
surface is from the light source and whether
it is facing towards the luminaire.

57
Floodlights and spotlights:

A directional luminaire can use any combination of simple shades, polished reflectors or lenses to control the light, and the
available range of beam spreads is almost infinite; some luminaires even have an adjustable beam spread. In basic terms,
it is enough to describe directional luminaires as wide-beam (also known as floodlights) or narrow-beam (spotlights). The
terms ‘floodlight’ and ‘spotlight’ are generally applied to discrete, surface mounted luminaires. A floodlight may be used
to evenly illuminate a large area; the narrower spread of light from a spotlight allows small areas and objects to be picked
out from their surroundings. Although there is no definition of how wide a spotlight beam has to be before it becomes
a floodlight, in normal usage anything above 40 degrees would be too wide to highlight small areas effectively. One
definition of beam spread would describe a narrow-beam luminaire as being less than 20 degrees and a medium beam
between 20 and 40 degrees. Anything above 40 degrees would be described as a wide beam.

Uplights: Downlights:
As with downlights and downlight pendants, uplights can be used One of the most common uses of directional
in different locations for specific purposes, Floor standing ones can luminaires in architectural situations is as
uplight a soffit where suspended luminaires are not suitable (perhaps downlights recessed into ceiling surfaces.
because ceiling height is too low). Wall-mounted uplights allow soffits Properly known as ceiling-recessed downlights,
to be illuminated without cluttering the ceiling with pendants. Ground- this is usually shortened to just downlights.
recessed (or in ground) uplights can be used with a diffusing glass Endless options exist for different light sources,
as a low brightness marker or can be used with precision reflectors luminaire sizes, shapes and light distributions.
to illuminate columns or walls from the ground up. Given our natural The terms ‘spotlight’ and ‘floodlight’ are not
tendency to look down slightly as we walk, it is good practice to generally used for recessed luminaires; rather,
ensure that inground uplights are not in locations where people are they tend to be described as medium-, wide- or
likely to walk over them, as they can easily dazzle people. narrow-beam.

Reflector shape Ceiling planes:

Floodlight reflectors are usually designed to produce a Concealed fluorescent battens mounted above a suspended
symmetrical spread of light, but special reflector shapes soffit can create a visual separation between the ceiling
can produce different spreads of light. Asymmetrical planes and make the lowered soffit appear to float below the
floodlights direct more light to one side than the other. main ceiling plane. Turn this whole arrangement through 90
This can be useful where a design calls tor wall- degrees and the backlight will make vertical panels float off
mounted uplights to evenly illuminate a soffit from the the wail surface behind.
edges of a room. Asymmetrical reflectors can also
be used in groundrecessed uplights to help to evenly
illuminate vertical surfaces.

Concealed ceiling coves Ceiling slots

a fluorescent batten concealed in a ceiling cove can produce A concealed fluorescent batten mounted in a ceiling slot
a very soft, indirect light that can help to make a low space uses the architecture as a luminaire to produce controlled
feel much higher. and directional light.

Source: www.laurenceking.com
58
Luminaires

Source: www.energy-efficiency.gov.uk
Typical luminary types and characterizes:
An indication prototype, actual manufacturers’ data should be used for design purposes

59
Lamps

Source: www.energy-efficiency.gov.uk

Typical Luminaires types and characterizes: Chart 2

An indication prototype, actual manufacturers’ data should be used for design purposes

Source: www.energy-efficiency.gov.uk

60
Lamp Colour Performance

All about Lighting

We need light to see the world around us, and the advent of a wide range of electric light sources
means people are now less dependent upon light from the sun and flames from combustible fuels.
The quality, quantity and intensity of light around us greatly affect people’s visual appreciation of their
surroundings. It is important to understand the relationship between light, colour, what we see and how
we see it.

Artificial lighting would not be required if buildings were not occupied or visited by human beings.
The sole purpose of lighting installations is to allow people to adequately perform physical or visual
tasks, and the effectiveness of performing these tasks correlates to the quantity and the quality of the
lit environment.

• Lighting installations should be designed primarily for the comfort of the occupants within. The
task efficiency, energy efficiency and aesthetic value of the lighting installation a secondary
consideration. However, the importance of energy efficiency is greatly increased with issues such
as climate change and energy pricing, which have become more pressing with each passing year.

• The major aim of lighting is to provide correct lighting solution for the installation to attain the
highest quality results whilst realizing the need for energy efficiency. The quality of the lighting
system is paramount - the quality of output, morale of the employees and perceived working
conditions are all directly related to the lighting system installed.

• The most important thing to remember is that lighting is based on 50% fact and 50% psychology.
The needs of the site and the occupants, or potential customers, are critical.

Fitness for Purpose

It is important that any lighting system is fit for purpose: it should provide a quality and quantity of
light that is appropriate for the environment in which it is being used; enable tasks to be performed
efficiently and effectively; be perceived as comfortable and give people a high level of satisfaction. The
aim is to achieve this whilst providing a good balance of cost and energy consumption through good
design and optimum selection of products.

Energy Efficiency

Energy efficiency is defined as optimization of energy consumption with no sacrifice in lighting quality.
It is a combination of thoughtful design and selection of appropriate lamp, luminaire and control system
selection, made in conjunction with informed choices of the illumination level, requiring integration and
awareness of the environment or space which is being lit.
• It is very easy to produce an inefficient lighting installation with efficient equipment.
• The most common cause of an inefficient lighting system in the home is the excessive use of low
voltage tungsten halogen downlights that produce extremely high lighting levels in some sections
of the residence.

61
Categories of Lighting 1. Recessed Luminaires

There are 6 major categories of luminaires Recessed downlight luminaires are fixtures that
designed to distribute light. These luminaires are installed above a sheetrock or suspended-
are designed primarily for incandescent, grid ceiling. New developments in the design of
fluorescent, and HID lamps, and are available in recessed allow a flangeless installation so that
variety of sizes, shapes, and materials, and most the ceiling surface is flush with the aperture
of them can be used for general, task, accent, or of the recessed fixtures. The installation has
decorative lighting. The 6 categories are: a clean appearance and helps to conceal the
fixtures.
1. Recessed
2. Surface-mounted Characteristics
3. Suspended
4. Track • The most common shapes for recessed
5. Structural downlights are round and square;
6. Furniture-integrated units • The finish applied to the rim affects the
efficiency of the luminaires, with white and
aluminum finishes providing the highest
luminaire efficiency;
• The type of device used at the aperture
affects the photometric distribution from
downlights.

Fig. 10.31-32 Recessed ceiling-mounted luminaire

Fig. 10.33 Recessed downlight Fig 10.34 High Hat

62
Fig. 10.35
c
Recessed Accent/ Spot Downlight

Emits a narrow beam of light with an aiming angle of 30∘to 45∘, and are either fixed or adjustable.
Common directional trims for recessed accent downlights include: a) Slotted, b) Eyeball, and c) Baffle
pinhole.

Fig. 10.36

Multiple recessed downlight has two to six spots in one rectangular opening, enabling them to
spotlight three different points of emphasis with only one opening in the ceiling, and is able to provide
a washer effect or spotlight objects.
2. Surface-Mounted Luminaires

Surface-mount luminaires are fixtures that are installed on a ceiling, wall, floor and under a shelf or
cabinet. They are designed for direct, indirect, semi-direct, and diffused lighting. The most common
surface mount luminaires for ceiling are troffers, downlights, wraparound lens luminaires, and HID
high-bays.

Characteristics

• A decorative luminaire that also provides illumination;

• Offers direct and diffuse light that provides flexibility in addressing the multiple lighting requirements
in an environment;
• Easy to install;
• Revamping at the ceiling level can be difficult.

Fig. 10.37-38
Fig 10.39 HID high-bay Fig. 10.40 Scone: Decorative
luminaire includes metal halide light sources that provide
and high-pressure sodium direct, indirect, semi-direct,
lamps. Aluminum reflector has semi-indirect and diffused
optical controls and is often lighting. To help prevent
used in commercial locations glare, some scones need
with high ceilings. to have diffusers, louvers,
baffles or lenses, especially
if illumination level is high.

63
3. Suspended Luminaires

Suspended luminaires are fixtures that are installed on the ceiling and extended by cords, chains,
poles, or wires. Some luminaires have a mechanism that allows for easy cord length adjustments.
Suspended luminaires can emit direct, indirect, semi-direct and diffused lighting. Most common types
include pendants, chandeliers, ceiling fans, and linear fluorescent fixtures (indirect and bidirectional).

Characteristics

• Mostly decorative purpose;

• An appropriate distance is determined by the height of the ceiling and the scale of the room and
the luminaire;
• Can serve as focal points in an interior and can visually divided the space;
• Reflect the design concept of the space and adhere to the principles of design;
• The mounting should avoid glare and prevent collision with people moving through the space.

Fig. 10.41

Fig. 10.42 Suspended Luminaire: light fixtures suspended

from ceiling

Fig. 10.44 Chandelier: A decorative lighting fixture suspended Fig. 10.43 Droplight: a light fixture suspended from a ceiling
from a ceiling, usually having branched supports for a number or wall by a flexible cord that can be raised or lowered
of lamps.
64
4. Track Luminaires

Track luminaires are fixtures that have multiple heads and are mounted on an electrical raceway,
which are available in a variety of lengths, and connectors are used to create shapes. Generally, one
end of the track connects to the main circuit wiring while the other end is dead. Track systems can
be suspended from the ceiling by cables, recessed into the ceiling plane or surface-mounted on the
ceiling or wall. Track-mounted luminaires, known as track heads, are available in a variety of styles,
colours, sizes, lamp types, and materials; they come with built-in transformers and low-voltage cable
and rail systems. Some track heads are connected to the long flexible cable that enable them to aim
light in numerous directions.

Characteristics

• The primary advantage of track system is flexibility, in that it is relatively simple to re-aim and
reposition the heads;
• Excellent for highlight items on display;
• Flexibility of having different types of illumination from one fixture;
• Difficulty to reach the track heads, seldom re-aimed or repositioned;
• Have potential for glare, therefore avoid track locations where users can see the lamps, or add a
shielding device to the head;
• Rated specifically for one manufacturer and one product line;
• Adding heads to a track increases the likelihood of exceeding sum wattage for the system.

Fig. 10.45

Fig. 10.46 Monopoint luminaire with a flexible cable Fig. 10.47 Track luminaires with multiple heads mounted on
an electrical raceway

65
5. Structural-Integrated Luminaries

Structural luminaries are those that form an element of the architectural interior. The major types of
structural luminaries include: 1. Cove, 2. Valance, 3. Cornice, 4. Soffit, 5. Wall Brackets and 6. Wall
slot. The most common materials used for structural luminaries are wood, metal and gypsum board.
To achieve the maximum amount of light from structural luminaries, the interior surfaces should be
painted white and the Fascia board (the board shielding the light source) should have angled cut-off.
Generally, linear fluorescent lamps are used to ensure consistency in colour and intensity level, all
lamps installed in a unit should be from the same manufacturer. To reduce glare, a device may be
included to shield the light source, such as baffle, lens or louver.

Characteristics

• The size of the unit and its location are vital factors for achieving successful ambience;
• Improper placement of luminaries will create reflectance, inappropriate illumination levels and the
potential for glare;
• Basic dimension criteria for some structural luminaires are:
45cm from the ceiling, 15cm to 30cm from the wall, with lamps at least 10cm from the wall and 5cm
from the Fascia;
• Well integrated with the interior architecture;
• Outlining the shape and size of an interior, and can make a space appear larger as well as following
the rhythm of the structure;
• Even distribution of light and excellent general lighting purposes;
• Be aware of the potential for glare and difficulties associated with cleaning as well as re-lamping.

Fig. 10.48-49

Cove Lighting Valance Lighting Cornice Lighting

Luminaire mounted on a wall or Luminaire mounted above a Luminaire mounted on a wall or
ceiling, directing the lighting up window, directing the lighting up above a window, directing the
towards the ceiling and down lighting down

Soffit Lighting Wall Bracket Lighting Wallslot

Luminaire that is a built-in wall Luminaire is mounted on a wall A structural lighting system
element close or next to the and directing the light up and integrated in the ceiling and
ceiling; directs the lighting down down distributing light down onto
onto a task vertical surfaces

66
6. Furniture-Integrated Luminaires

Furniture-integrated luminaires are mounted in a cabinet and generally hidden from view. The most
common furniture pieces that have integrated lighting are office systems, curio cabinets, bathroom
cabinets, kitchen cabinets and bookcases.

Characteristics

• Provide excellent light for intended purpose;

• Mainly used as task lighting and create an ambient atmosphere;
• Highlighting objects as downlights or spot lights;
• Be aware of the amount of heat that collect in the cabinets;
• Difficulties associated with re-lamping.

Fig. 10.50-51 Furniture-integrated Luminaire:

Fixture mounted in a cabinet and generally hidden from
view

67
Specifying Luminaires

To specify luminaires, an interior designer must be knowledgeable about the products offered by
various manufacturers such as luminaires, lamps, and devices used to control fixtures.

Fig. 10.52-53 Lighting specification

68
Manufacturers’ Specifications

The process of specification is product categories driven, and involves searching current products and
seeking resources for identifying and comparing products. Specification details list several product
categories, such as type of fixture, lamps, and application.

Characteristics

• Data supplied by the manufacturer are critical for designers and contractors when selecting and
installing products. Such data includes installation instructions and costs;
• Also includes photometric data such as spacing criterion and tables;
• Designers need this information in order to select and specify luminaires and lamps;
• Data is used to perform calculations and provide maintenance recommendations to clients.

Fig. 10.54-56 Lighting specification sheets for various lamps

69
Lighting Terminology

70
71
72
73
74
6975
Glossary - Lighting Research Center
https://www.lrc.rpi.edu/resources/publications/lpbh/091Glossary.pdf

76
 CHAPTER 11
Furniture
by Alex King
Furniture design has been a part of the human experience since the beginning of history. Evidence
of furniture survives from as far back as the Neolithic Period in the form of paintings, wall murals
discovered at Pompeii and in sculptures. Furniture has also been excavated inside Egyptian Pyramids
and have been found in tombs in Ghiordes (modern day Turkey). The furniture design timeline below
outlines just some of the different periods of furniture design in the West, and includes the following
periods:

• Ancient Egyptian Furniture (3000 - 2000 BC) • Rococo Furniture (1725- 1775)
• Ancient Greek Furniture (2000 - 300 BC) • Revival Furniture (1800 - 1900)
• Medieval Furniture (500 - 1450 AD) • Art Nouveau Furniture (1890 - 1914)
• Renaissance Furniture (1350 - 1550) • Bauhaus Furniture (1919 - 1933)
• Jacobean Furniture (1567 -1625) - 1775) • Art Deco Furniture (1925 - 1940)
• Colonial Furniture (1500 - 1754) • Modern Furniture (1930 - 1945)
• Contemporary Furniture (1980 - 2000)

Fig. 11.1 Timeline of furniture development in the West

77
Modern Movement
Beginning in the 19th century, there came to be
fundamental changes in the style of design of
furniture and home accessories in the Western
world. The Belgium architect Victor Horta first
introduced the decorative arts into the style
of architecture in 1892. The Hotel Tassel,
commissioned by Prof. Emile Tassel, and
Maison Horta, the architect’s private residence,
included stained glass mosaic patterns with
serpentine shapes of furniture and door handles
developed down to the last detail. Fig, 11.2 Joseph Hoffman’s geometric design

The Viennese architect and designer Josef

Hoffmann embodied the progressive attitudes
of the 20th century, using simple geometry as
the foundation of design. His signature design
included applying apparent grid pattern with
leather cushions instead of traditional upholstery
to embody modern expression. In 1917, the
American architect Philip Johnson initiated
what became known as the international style
of design, which shifted from solely decorative
to machine-like minimalist principles. Johnson’s
work with Marcel Breuer and Mies van der Rohe
came to be seen as proponents of modern
architecture and furniture design.
Fig, 11.3 Chairs designed by Joseph Hoffman

In the 1920s, the Swiss-French architect Le

Corbusier, together with Charlotte Perriand,
designed a luxurious lounge using tubular steel,
which became part of their unique style. The first
president and the founder of Bauhaus School,
Walter Gropius, expressed the theory of “form
follows function” to his students in furniture
through endless experimentation with materials.
Modern furniture pieces like Marcel Breuer’s
Cesca chair, designed in 1928, celebrated the
beauty of tubular steel, which became one of the
most successful pieces of machine-produced
Fig, 11.4 Interior of Philip Johnson’s Glass House
furniture of its time, and is still commercially
available today.

With the tremendous technological advancement

in the 20th century, high quality furniture including
lounges, working tables and couches became
mass-produced. Geometric and minimalist
structure prevailed over the expressive
curvilinear styles found in Art Nouveau.

Fig 11.5 Chaise Longue designed by Le Corbusier, Pierre

Jeanneret and Charlotte Perriand

78
Functional Flexibility

In the contemporary world, flexibility plays a

significant role in daily living, in particular for
people who live in small living spaces and
working in SOHO (small office, home office.)
Flexible design allows people to change
their furniture types in terms of composition,
supporting structure, volume and overall
expression to fit the needs of individuals. In
today’s furniture industry, designers should
possess the ability to research and understand
the changes in the functional and emotional
requirements of modern furniture. Typical
furniture pieces such as office tables should be
as flexible as possible and with a high degree of Fig. 11.6 Home office
inclusivity so that it can accommodate a greater
variety of requirements, as different users may
have different size appropriateness.
For instance, a well-developed wooden chair should be stackable for easy storage and put to use when
necessary to enhance users’ quality of life. Nowadays, consumers demand a sense of modularity as
they require furniture to serve multiple purposes.

Universal design principles require furniture designers to pay attention to movable components,
handles and foldable hinges that need low physical effort to operate. In universal design, the overall
design language aims to be simple and intuitive, maximizing the flexibility in use.

Sustainability Consciousness

The term “sustainability”, which emerged over

the past two decades, has become overused
and may be misinterpreted in the process of
design development. Many consumers are now
more conscious in material selection and are
aware of the concept of carbon footprint, and
make efforts towards sustainability and eco-
living when making their choices. Sustainable
furniture design process involves the
consideration of re-use and recyclability, design
for disassembly, utilization of recycled materials,
weight reduction and durability. Fig 11.7 Elemento Diseno Bi Chairs can be stacked one
upside-down on the other to produce a table and storage
system

National strategies for promoting sustainable living are key to nurturing eco-consciousness. In
Hong Kong, the Environmental Protection Department (EPD) offers sustainable development funds
for “Making Hong Kong an Ideal Home” by promoting public participation in the discussion and
implementation of long-term sustainable development of the city. The cultivation of Cradle to Cradle
(C2C) design approach in the past decade has brought us a total concept in choosing sustainable
furniture. This approach advocates the removal of dangerous substances such as certain synthetic
materials and harmful chemical dyes, and also considers clever design for disassembly so that every
single component can be easily separated for future use.

Designers in the twenty-first century should pay more attention to the environmental performance of
materials. For example, in terms of manufacturing energy usage, titanium consumes more than five
times the energy needed to produce an equivalent amount of stainless steel. Another consideration
is the choice of paint finishes free of volatile organic compounds (VOCs) and using water-based paint
finishes to minimize negative environmental effects.

79
Aesthetics, Emotion and Individuality

Aesthetics is an abstract concept and relates to judgments about beauty, taste, culture and the nature of
art. A sense of aesthetics in itself is a foundation for the formation of human personality. We appreciate
the beauty of furniture according to our ability to judge sentiments and tastes. Taste is the awareness
of cultural values learned through exposure to mass culture and differs among people according to
their education backgrounds. In contemporary interior design, furniture forms an immediate connection
between people, carrying emotional depth and narratives. In addition, consumers expect the furniture
they choose to express what they want and feel, as well as embody their individuality. Individuality is
the key to enhancing customer satisfaction by tailoring a product, furniture or solution to accommodate
specific personalities. It provides opportunities for users to discover and express their unique qualities.

Ergonomic Considerations

There is no doubt that ergonomic factors in furniture design that give a sense of comfort to end users
have become an essential part of furniture design. For example, in designing a handle for a drawer,
designers may need to collect data on the average sizes of the human hand and pay attention to the
difference between various ethnic and racial groups. The judgment of human factors is an assessment
of usability and how successfully human beings interact with an object.

Quality ergonomic design aims at improving

physical experience of users, eliminating any
fatigue or injury induced by improper design.
Furniture should be well designed and developed,
ergonomically correct and functionally fit for
its purposes for all people. When designing a
tasking chair, for example, the size and location
of control knobs, the curvature of backrest and
armrest as well as the softness of upholstery
should be taken into account in the process
of development testing. Human gestures like
sitting, moving around, gripping and even the
degree of legibility on graphics over the control
knobs are key ergonomic indicators.

Fig. 11.8 Universal design

Furniture of the Future

Designers should explore the latent needs of people rather than their expressed needs, and try to look
for bigger living patterns on how people with different cultural backgrounds interact with furniture. The
beauty of co-creation in furniture design allows users to work with creative people in developing the
future possible solution for all. The process of design is now shifting from “design for people” to “design
with people”. Future designers should have the ability to drive the force of change towards social and
environmental issues, making our world a better place to live.

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 CHAPTER 12
Nanotechnology in Interior Design - a Driving Force for Sustainable Buildings
by Sylvia Leydecker
Nanotechnology is a quiet revolution. Regarded as one of the key technologies of the 21st century,
nanotechnology plays a role not only in construction but also in fields ranging from aerospace to
medicine and automotive to architecture and interior design. In the design of interiors, however, its
potential has yet to be fully exploited. Interior designers are in the special position of being able to
contribute inspiration as well as develop initial ideas for new product developments in this field due to
their ability to connect product development with specific usage requirements.
But why “nano” anyway? Nanotechnology as
an innovation is neither an aim in itself nor a
flagship topic for political backing; it offers a
variety of concrete and practical uses. Whether
optimisations or entirely new creations, nano
products and nano materials consume fewer
resources, have a smaller CO2 footprint and
make things more comfortable to use. In
both the field of new construction as well as
the renovation and modernisation of existing
buildings, a traditional domain of interior design,
the days in which investment costs were the
sole concern are behind us.
Fig. 12.1

Today, the life-cycle costs (LCC) are gaining greater focus. So why is the pace of development of nano
materials and nano products from the laboratory to the market so difficult and slow? Aside from the
cost, a primary reason would seem to be the lack of communication between the realms of science,
industry, design and architecture. For this reason, this chapter takes a look at nanotechnology and
interiors-related products and materials.

What is nanotechnology?

The word “nano” derives from the Greek word nanos (νάνος) meaning “dwarf”. A nanometre (nm) is a
millionth of a millimetre and 1 metre is a billion nanometres (1,000,000,000 nm). Generally speaking,
nanotechnology describes the analysis and manipulation of materials with particles where at least one
dimension is smaller than 100 nm. This threshold reflects the fact that at this point there is a “kink in
nature” where the properties of materials begin to change, for example their colour or conductivity.
Compared to their volume, nano-particles have a very large surface area, which makes them potentially
highly reactive.

The specific exploitation of these properties

began long before these phenomena were
explained by nanotechnology: nano-particles
are responsible, for example, for the ruby-red
colouring of stained glass in historical church
windows and for the extreme hardness of
Damascene blades. Nano-technology applies to
all manner of materials. The term refers not to
a specific material but to the size of its particles
and the properties they have at this scale as well
as how these can be used.

Fig. 12.2

81
Nano-particles are invisible to the human eye because they are smaller than the wavelength of visible
light. A good example of how the dimensions of particles affects visibility can be seen by looking at
two solutions each with a 50% proportion of suspended solids. When the particle size measures just
a few nanometres, the solution looks transparent despite containing the same percentage of solids. 1

The ability to impart specific functional qualities to surfaces with the help of nanotechnology can
make materials exhibit properties that are quite different to their own. Surfaces can also be given
multifunctional properties.
So, what is available on the market? The majority
of the many currently available applications are
surface coatings that make surfaces easy to
clean or reduce soiling. Other functional coatings
used to optimise materials include scratch-
resistant coatings, thermochromic surfaces,
tribological coatings for reducing friction, or
antibacterial coatings. Insulation materials are
Fig. 12.3 a further interesting area of application with
much potential in the context of green building.
Similarly, nanotechnology-optimised concrete
has the potential to become the lightweight
building material of the future. Because the value
chain in the construction industry is long, it can
take a correspondingly long time for the finished
Fig. 12.4 Water-repellent nano coating product to reach the market, and eventually the
consumer or client. Many applications, such
as fire-retardant hemp-straw insulation boards,
are already possible but not yet in production.
Some materials and products that are already
available do not achieve market penetration due
to a lack of appropriate marketing and market
visibility.

(Almost) self-cleaning

Nano-materials can be used to make materials easy to clean and reduce the frequency of cleaning.
This in turn lowers maintenance costs, minimises the use of environmentally harmful cleaning agents,
which conserves resources and reduces staffing costs and material wear and tear.

The most popular nano-related function is the Lotus Effect® , a term often used synonymously to
mean “nanotechnology” although it is actually only licensed for a select group of applications on the
market. This effect is used on surfaces, such as the painted facades of buildings, so that rainwater
simply runs off the surface due to the hydrophobic (water-repellent) properties of the coating, taking
any dirt deposits with it. At a microscopic scale, the surface is not smooth but rough and covered with
tiny protuberances so that there is little contact surface for droplets of water to settle on. However, if
the nano coating is damaged by mechanical abrasion, it may lose its effectiveness. As a result, they
are not suitable for many uses and are rarely used in interiors.
Water-repellent surfaces are also often used
for sanitary facilities such as shower screens,
toilets, washbasins or similar, although these
are called Easy-to-Clean (ETC) surfaces. These
have a diminished surface attraction and exhibit
both hydrophobic (water-repellent) as well as
oleophobic (oil-repellent) properties. They are
more resilient than artificial lotus surfaces, but
only to a limited degree and can be damaged
by abrasive cleaning agents. Easy-to-Clean
surfaces are relatively widespread, easy to
maintain and help to ensure general cleanliness. Fig. 12.5

82
Photocatalytic self-cleaning is another variant already in use around the world, and especially in
Japan. Water falling on one of these surfaces spreads to form a film of water that washes off loose
dirt deposits, cleaning the surface in the process. While this does not replace the need for cleaning,
it reduces the cleaning interval significantly. This variant is most commonly used for smooth surfaces
such as membranes, glass and ceramics in outdoor areas. Self-cleaning tiles are, however, also used
in interiors, for example for bathrooms or operating theatres. In contrast to hydrophobic surfaces,
photocatalytic surfaces have hydrophilic (water-attracting) properties: rather than running off, water
falling on such surfaces spreads out in a fine film. In combination with UV light, a catalyst is activated
that decomposes organic dirt on the surface allowing it be washed off by the film of water. In most
cases the active compound is titanium dioxide (TiO2).
Tiles with photocatalytic properties are also
available in combination with additional
antibacterial properties that are particularly
effective at improving hygiene. Silver has
historically been prized for its antibacterial
properties, and nanoscale silver particles are
that much more effective in preventing bacteria
due to their large surface area. Silver ions
have a triple effect, destabilising the bacteria’s
cell walls, inhibiting their reproduction and
halting their metabolism. This antibacterial
function can be used for surfaces and textiles
– curtains, upholstery, work surfaces, light
Fig. 12.6
switches and door handles – in kitchens or in
healthcare environments, such as hospitals
and care homes, where hygiene is especially
important. To prevent the build-up of resistance,
antibacterial silver nano-applications should not
be used for end consumers but rather only in
healthcare environments.

Fingerprints are generally regarded as unsightly.

With the help of nanotechnology, their visibility
can now be inhibited using surfaces with anti-
fingerprint coatings that alter the refraction of
light, rendering them invisible to the eye. As
such, building material concepts using glass
and steel can also be employed in the interior of
buildings without fear of aesthetic or functional
impairments. In the same way, anti-fingerprint
coatings can be applied to especially smudge-
prone materials in interiors, such as stainless
Fig. 12.7
steel and frosted or coloured glass, to achieve
a consistently lasting appearance and also to
integrate these materials in a holistic interior
design concept.

83
Improved indoor air quality

How comfortable we feel in an interior also depends more and more on the quality of the indoor air,
both in terms of smell as well as freedom from pollutants. The quality of indoor air can be improved
by using airpurifying materials, which can range from plasters and building boards to textiles such
as curtains and carpets. To be effective, there must be sufficient unobstructed material surface for
the volume of air in the room. In a catalytic process, unpleasant odours as well as pollutants in the
air such as formaldehyde or nicotine are broken down into their constituent parts and destroyed.
This represents an especially interesting option for tackling the widespread sick building syndrome
(SBS), although it only combats the resulting conditions and not the root causes. This method does
not obviate the need for adequate ventilation with fresh air and cannot remedy high levels of relative
humidity and related problems such as mould formation. The products of the catalysis, such as carbon
dioxide (CO2) also need to be extracted from the interior.

Air quality has long been the focus of environmental protection initiatives. More recently, various pilot
projects have examined the use of nanotechnology-enhanced road surfaces and facade paints in
inner cities areas subject to heavy traffic, as the process of catalysis is reportedly even more effective
outdoors.

High-performance low-thickness thermal insulation

In the context of energy conservation initiatives and building certification by organisations such as the
DGNB, LEED or BREEAM, the use of nano-technologically optimised thermal insulation materials
offers very promising results. These include vacuum insulation panels (VIP), renders or plasterboard
panels with integrated latent heat accumulators or phase change materials (PCM) as well as insulation
panels and glazing filled with aerogels.

Vacuum insulation panels exhibit extremely efficient thermal insulation properties and are very thin,
making it possible to build very compact constructions. VIPs achieve the same insulation effect as
normal insulation materials at a tenth of the material thickness. Put another way: the effect of VIPs
is ten times greater than traditional insulation materials. For new construction, VIPs are especially
attractive as they maximise the amount of lettable space. In the renovation of existing buildings, they
enable the insertion of narrow constructions that would not be possible in the available space when
using conventional materials.

Thermal nanomaterials for reducing heating and cooling requirements

Indoor room temperature can be maintained at a comfortable level with the help of phase change
materials (PCM) as a means of latent heat storage. Using PCMs, a room stays cool or warm for longer
without the need for additional energy input in the form of cooling or heating – offering a further means
of saving energy. The PCM consists of minute paraffin-filled globules, each encapsulated in a sealed
plastic sheathing, that change their state from solid to liquid or from liquid to solid at a predefined
switching temperature, for example 24°C. During this phase change period warmth is given off or
absorbed and the wax stores this “latent heat” until the material changes its state again. The paraffin
PCM therefore acts as a temperature buffer. PCMs are available as additives for plasterboard panels
or plasters and even out temperature fluctuations. The material is easy to work with and can be sawn
and drilled without damaging it.

Aerogel is another thermal material that is

as visually fascinating as it is functionally
impressive. It consists of 99% of air, is ultra-
lightweight, appears to float with a cloud-like
quality and has a translucent quality that seems
out of this world. This association is not as far
flung as it might sound, as aerogel was originally
developed by NASA to protect people and
equipment from the extreme temperatures of Fig. 12.8
outer space.

84
The pores are so small that molecules are
unable to pass between them and therefore to
conduct or give off heat. The excellent insulation
properties of aerogel are not limited to heat: it
is an equally effective acoustic insulator and
can be used for noise insulation. Aerogel-based
products include glass panels with aerogel filling
or innovative insulation panels, both of which
have mass market potential.

Fig. 12.9 Aerogel has a wide variety of applications.

New architectural forms for spatial enclosures are now possible using especially lightweight and slender
concrete constructions made of Ultra High Performance Concrete (UHPC). This nanotechnologically
optimised high-density concrete also offers other means of construction. It can be glued, which makes
it much easier to handle. UHPC concrete enable the realisation of complex 3D geometries, including
decorative perforations, and has the potential to change both the aesthetics and construction systems
of buildings.

In this context, UHPC represents a perfect material for parametric design. In the realm of interiors,
UHPC is used for flooring, wall panelling or other fittings or furnishings such as tables or planting
containers. Compared with conventional concrete, UHPC is more environmentally friendly as it
reduces the quantity of material needed and therefore the CO2 footprint of its production, as well as
the lifecycle costs due to reduced need for maintenance and repair.

Energy-efficient light: super flat and flexible

Light emitting diodes (LED) are today a widely used modern source of artificial light and are extremely
energy efficient. The next generation – organic light emitting diodes (OLED) – is, however, already in
sight and has the potential to give rise to completely new products. Using OLEDs, light can acquire
another dimension: lighting will not come from a single tangible light source but from large surfaces
made of lightweight, flexible illuminated foils. Paper-thin, super-flat, large format OLED foils can, for
example, function as screens in conference rooms. While this vision is still a little way off, it is no longer
science fiction: OLED displays are within reach and are able to interact with the help of sensors. These
thin foils give off a warm light strong enough to illuminate a room. The materialisation of light in the
form of surface leads to the dissolution of the boundaries of spaces. Light is fused with the boundaries
of spaces, lending architecture a new quality. In future, light may also be used in three dimensions:
three-dimensional OLEDs have already been created in laboratories. Currently the available formats
are still small – more suitable for a mobile phone or TV than an entire façade or wall. Different lighting
manufacturers are currently experimenting with OLEDs for relatively traditional uses such as desk,
floor or ceiling lamps.

Fig. 12.10 Paints and light

85
Without light there is no colour. Light is essential for us to perceive colour but it can also have a
detrimental effect: UV light can accelerate degrading, which is why many wood surfaces, for example,
are coated with a transparent UV protection varnish. Conventional varnishes consist of organic
particles that sooner or later degrade of their own accord. With the help of nanotechnology, transparent
varnishes can be made of inorganic particles that do not degrade and provide lasting protection.

Paints can be given new qualities using inspiring

effect pigments. So-called flip-flop effect paints
employ special effect pigments to create new
variants or painted surfaces. The colour changes
with the angle of view, shifting from pink to green
and blue. Thermochromic paints, on the other
hand, respond to changes in temperature and
were originally developed for military purposes
– in the realm of interiors there are as yet no
specific areas of application.

Fig. 12.9 Aerogel has a wide variety of applications.

Information technology

Information technology (IT) and interior design are becoming more and more intertwined. IT systems
and components are increasingly miniaturised, which would not be possible without nanotechnology.
Their sensors are being integrated into textiles, RFID (Radio Frequency Identification) systems are
used to allow access to particular rooms and track operating processes, computers make it possible
for the user to control energy consumption and IT is increasingly being used to communicate with the
building as well as with the outside world. IT is changing the design of interiors, whether they are in
office workspaces, healthcare environments, restaurants and hotels or private houses.

True progress consists of useful innovations that improve on what we already have. Today and in the
future, we will need to carefully weigh up the benefits and risks of such progress. Interdisciplinary
teams of scientists, industry, architecture and interior design are called upon to push forward the
development of energy-efficient buildings, and politicians need to create the necessary conditions to
make this possible. Good interior design should likewise address the challenges facing society and
help to conceive new solutions for the future. The application of smart nanomaterials will no doubt shift
the interior world of innovation into a sustainable future.

Fig 12.12 Myto Chair for Plank in collaboration with BASF,

Konstanin Grcic. The use of nano technology means the
moulding process can be conducted at a lower temperature,
saving energy.

86
 CHAPTER 13
Pre-Modernism
by Eisuke Tachikawa (Nosigner)
Please close your eyes and image the most beautiful place you have been. It does not matter where,
as long as it makes you feel soothing and relaxed. It can be a café in the city, a seaside hotel or a small
chapel in the woods. Now, try to picture the detailed furnishings of that place.

Now you are ready to answer the next question, which has to do with that place.

“Does it have any plastics?”

I believe you will answer “no”. If I were to ask you further questions, I believe that extruded aluminum,
stainless steel, flashing LEDs, plywood and artificial leather will also not be present. These kinds of
new materials that surround us are not things that make us feel soothing and relaxed.

On the other hand, the place you imagined will probably contain the following materials: wood, glass,
iron, brass, leather, tiles, stone and paper, as well as natural surroundings. These timeless materials
have been with us for hundreds and thousands of years. Even though we live in the post-modern age,
we long to return to pre-modern times. That’s why I will name the current sense of aesthetics as Pre-
modernism.

Pre-modern design is not limited to space design.

In the realm of graphic design, such fonts as Plantin, Cochin, Baskerville are all influenced by late
19th century movable type publishing. The newly popular minimalist Geometric Sans-serif font is
descended from the Bauhaus school. On the other hand, fonts that emerged in the latter part of
the 20th century, such as Bank Gothic, has been increasingly abandoned and seen as being old
fashioned. In publishing, people are switching back to traditional methods such as movable type, flat-
bed press and silk screen.

These changes are also seen in industrial design. These changes are also seen in industrial design.
In automobile design, for example, the market is In automobile design, for example, the market is
already weary of sleek, super-fast sports cars, already weary of sleek, super-fast sports cars,
while reengineered classic models such as while reengineered classic models such as
MiniCooper and Ford Mustangs have made a MiniCooper and Ford Mustangs have made a
resurgence. Even electric car powerhouse Tesla resurgence. Even electric car powerhouse Tesla
trades on an anti-fossil fuel primitive image, trades on an anti-fossil fuel primitive image,
which has resonated with consumers. which has resonated with consumers.

Fig. 13.1

Pre-modern aesthetics has also become lifestyle choices. For example, in culinary culture, sales of
McDonald’s has been declining as people favor pesticide-free organic foods. Also, micro-brewed craft
beer and home-roasted craft coffee are all the rage these days. These trends indicate that we now
desire things that were taken for granted 100 years ago.

Modernism and its design philosophy of simplicity is still being upheld today, but the cheap imitations
that it bred, along with the aesthetic flaws of economic essentialism, led to a deep skepticism of
modernism and the rise of pre-modernist aesthetics.

87
The past few decades of economic essentialism had stressed market monopoly, unequal trade,
disregard of environmental consequences, low-cost production, instant gratification, constant
development, planned obsolescence, disposable culture and buying the same item repeatedly. Over
the past few decades, these marketing trends have left us feeling strongly skeptical, and engendered
a deep-seated sense of disgust for these kinds of material. That is why Pre-modernism, which seeks
to revive the aesthetic sense of 100 years ago, has found an audience.

In the realm of design and society, Pre-modernism can bring about many changes. Below, I would like
to share some of my treasured viewpoints:

Minimalism and Real Materials

In the information age, the relationship between information and material will become more distant.
Decorations that contained information in the past, such as church paintings, will lose their value,
while simple geometric aesthetics will gain in importance. At the same time, as mentioned previously,
artificial materials will be abandoned in favour of primitive materials formerly associated with church
buildings such as stone and wood. One example of this pre-modernist aesthetics is the minimalist
Barcelona Pavilion, designed by Ludwig Mies van der Rohe, which uses marble as the main material.

From the Individual to the Community

In this irrational and unsettled age, people chase after convenience, but in the end they become lonely.
Yet people long to return to the community. How to make small community become more important
and to connect with like-minded individuals will become an important issue in the future.

From Ownership to Sharing

People’s mindsets have gone from “gaining satisfaction from ownership” to “owning as little as possible
yet feeling content”. Co-sharing culture such as renting out one’s home, co-working spaces and car-
pooling are becoming increasingly popular.

Repair and recycle

In a pre-modern world, old things and natural

materials are valued, and there is a growing
trend for repairing. The repairing trade will be
more popular in the future, and recycling will be
an important issue. Even waste categorization
and management will become more innovative.

Fig. 13.2 A co-working space in Hong Kong

88
Live a life of necessity

Living in small homes or transforming old busses into living spaces is a growing trend, and people will
live with fewer material possessions. At the end of his life, the world-renowned architect Le Corbusier
lived in a log cabin by the sea at Cap Martin, leading a life of quiet meditation. Only by reducing life to
the bare essentials can we truly enjoy a rich life.

Fig. 13.3-4 Le Corbusier’s log cabin at Cap Martin

A Lifestyle based on Hippie Ideas

With the rise of the small house movement, one can expect to see the revival of a lifestyle based on a
hippie sense of exploration. This kind of mindset is closely akin to IT startups, which can become the
giant corporations of tomorrow. After all, it was a former hippie who started the Apple brand.

What the pre-modern aesthetics seeks is a kind of lifestyle that had been forgotten in the age of
post-war economic miracle. I call on designers not to focus on superficial stylistic considerations and
forget the true meaning of design. We have to explore ways to situate ourselves in the 21st century and
elevate design to the next level.

89
 Notes

Chapter 1

Citations and References

1. ifi IDA. IFI Interiors Declaration, IFI DFIE Global Symposium, 17-18 February 2011, New York, USA.
² ASID. 2. Indoor Air Quality. Interior Design and Global Impacts 2007. White Paper. Attributes of Materials,
p.10.
³ https://www.bsigroup.com/en-GB/about-bsi/our-history/
⁴ https://www.bsigroup.com/en-GB/about-bsi/media-centre/Facts-and-figures/
⁵ https://www.bsigroup.com/en-GB/standards/Information-about-standards/what-is-astandard/ What is a
standard? & What does it do?
⁶ https://www.bsigroup.com/en-GB/standards/Information-about-standards/how-arestandards-made/
⁷ https://en.wikipedia.org/wiki/British_Standards. The Standards
⁸ BSI. British Standard. BS 5385-3:2014. Wall and floor tiling. Design and installation of internal and external
ceramic and mosaic floor tiling in normal conditions. Code of practice.
http://shop.bsigroup.com/ProductDetail/?pid=000000000030283604
⁹ https://www.bsigroup.com/en-GB/standards/Information-about-standards/different-typesof-standards/
¹⁰ http://shop.bsigroup.com/en/Browse-by-Subject/Health--Safety/?t=r
¹¹ http://shop.bsigroup.com/en/Browse-by-Sector/Building--Construction/?t=r
¹² https://www.iso.org/files/live/sites/isoorg/files/archive/pdf/en/isoinbrief_2015.pdf Page 5.
¹³ https://www.bsigroup.com/en-GB/kitemark/Specifier/
¹⁴ pdf European standards and the UK. Page5. Bsi.
¹⁵ https://ec.europa.eu/growth/single-market/european-standards/key-players_en
¹⁶ pdf European standards and the UK. Page7. Bsi.
¹⁷http://standardsforum.com/what-is-the-difference-between-an-iso-en-iso-and-bs-en-isostandard/.
Claudia Bach. 09.09.2011
¹⁸ BS-EN 13748-1:2004. British & European Standard. Terrazzo Tiles for Internal Use
http://shop.bsigroup.com/ProductDetail?pid=000000000030141575
¹⁹ https://www.gov.uk/guidance/ce-marking
²° https://ec.europa.eu/growth/single-market/ce-marking_en
²¹ https://www.iso.org/the-iso-story.html
²² https://www.iso.org/files/live/sites/isoorg/files/archive/pdf/en/isoinbrief_2015.pdf. Page 6.
²³ https://www.iso.org/the-iso-survey.html
²⁴ ISO. Standards Catalogue. ICS 87.040 Paints and Varnishes. https://www.iso.org/ics/87.040/x/
²⁵ https://www.iso.org/benefits-of-standards.html
²⁶ http://www.iso.org
²⁷ https://www.bsigroup.com/en-GB/kitemark/Specifier/#Specifier10.
“Showing Your Commitment to Quality.”
²⁸ https://en.wikipedia.org/wiki/Kitemark
²⁹ https://www.bsigroup.com/en-GB/kitemark/Business/#Business1
³°https://www.bsigroup.com/en-GB/our-services/product-certification/industry-sectorschemes/
construction/windows-and-doors/What-do-we-test-for/
³¹https://www.bsigroup.com/Documents/product-certification/BSI-Kitemark-brochure-UKEN.pdf
³²https://www.bsigroup.com/en-GB/our-services/product-certification/kitemark/why-choosekitemark/.
Source: GfK NOP Consumer Survey - July 2006
³³ https://www.bsigroup.com/en-GB/kitemark/product-testing/
³⁴ https://www.bsigroup.com/en-GB/Product-Directory/
Chapter 2

2.1 http://www.stonesurfaces.ca/images/4_finishes_polished.jpg
2.2 http://www.stonesurfaces.ca/images/4_finishes_split_face.jpg
2.3 http://www.stonesurfaces.ca/images/4_finishes_honed.jpg
2.4 http://www.stonesurfaces.ca/images/4_finishes_flamed.jpg
2.5 http://www.stonesurfaces.ca/images/4_finishes_flamed_brushed.jpg
2.6 http://www.stonesurfaces.ca/images/4_finishes_bush_hammered.jpg

Chapter 3

1 https://en.wikipedia.org/wiki/Safety_glass
2 http://www.guardian-russia.ru/en/about-glass/glass-in-architecture/technicalguidelines/types-of glass
tinted-glass-vs-coated-glass/

Figures & Charts

Fig.3.1 http://www.bonitaglassshoppe.com/wp-content/uploads/2014/08/ShatteredTempered
Glass-1295963.jpg

Fig. 3.2 http://www.google.com.hk/url?sa=i&rct=j&q=&esrc=s&source=images&cd=

&cad=rja&uact=8&ved=0ahUKEwjSubnZ2qvNAhXGlZQKHW15BuwQjRwIBw&url=http://
www garlightglass.com/products_details.asp?id=7&psig=AFQjCN
HUSScpcLBJS0E9wcZW8tWZI6eFSA&ust=1466137703102103

Fig 3.3 http://www.morexplast.com/figured-patterned-glass/

Chapter 5

1. https://www.ft.com/content/b2a9fa26-19f3-11e2-a179-00144feabdc0

Figures & Charts

Fig 5.1 https://www.alucobondusa.com/blog/wpcontent/uploads/2014/06/ARKHE_Beauty_Salon

Moriyuki_Ochiai_Architects_ Atsushi_Ishida_2.jpg
Photography courtesy of © Atsushi Ishida
Information courtesy of © Moriyuki Ochiai Architects

Fig 5.2
http://www.weiku.com/products/14932087/alucobond_price_aluminium_com posite_panel_aluminum_
composite_panel.html

Fig 5.3 http://www.friedmanbenda.com/exhibitions/joris-laarman-lab-bits-and-crafts/11

Chapter 7

References

Ahmadi, H., 2016. Cellulose-Mycelia foam: novel bio-composite material (Doctoral dissertation, University
of British Columbia).

Baldinoa, L., Cardea, S. and Reverchona, E., 2016. Loaded Silk Fibroin Aerogel Production by Supercritical
Gel Drying Process for Nanomedicine Applications. CHEMICAL ENGINEERING, 49.

Berthon-Fabry, S., Hildenbrand, C. and Ilbizian, P., 2016. Lightweight superinsulating Resorcinol-
Formaldehyde-APTES benzoxazine aerogel blankets for space applications. European Polymer Journal,
78, pp.25-37.

Elkhaoulani, A., Arrakhiz, F.Z., Benmoussa, K., Bouhfid, R. and Qaiss, A., 2013. Mechanical and thermal
properties of polymer composite based on natural fibers: Moroccan hemp fibers/polypropylene. Materials
& Design, 49, pp.203-208.
Espinach, F.X., Julian, F., Verdaguer, N., Torres, L., Pelach, M.A., Vilaseca, F. and Mutje, P., 2013. Analysis
of tensile and flexural modulus in hemp strands/polypropylene composites. Composites Part B: Engineering,
47, pp.339-343.

Etaati, A., Pather, S., Fang, Z. and Wang, H., 2014. The study of fibre/matrix bond strength in short hemp
polypropylene composites from dynamic mechanical analysis. Composites Part B: Engineering, 62, pp.19-
28.

Jiang, L., Walczyk, D., McIntyre, G. and Bucinell, R., 2016, June. A new approach to manufacturing
biocomposite sandwich structures: mycelium-based cores. In ASME 2016 11th International Manufacturing
Science and Engineering Conference (pp. V001T02A025-V001T02A025). American Society of Mechanical
Engineers.

Lelivelt, R.J.J., Lindner, G., Teuffel, P. and Lamers, H., 2015. The production process and compressive
strength of Mycelium-based materials.

Meador, M.A., Miranda, F. and Van Keuls, F., The United States of America as Represented by the
Administrator of National Aeronautics, 2016. Aerogel-based antennas for aerospace and terrestrial
applications. U.S. Patent 9,356,341.

Mujeebu, M.A., Ashraf, N. and Alsuwayigh, A., 2016. Energy performance and economic viability of nano
aerogel glazing and nano vacuum insulation panel in multi-story office building. Energy, 113, pp.949-956.

Pracella, M., Chionna, D., Anguillesi, I., Kulinski, Z. and Piorkowska, E., 2006. Functionalization,
compatibilization and properties of polypropylene composites with hemp fibres. Composites Science and
Technology, 66(13), pp.2218-2230.

Rognoli, V., Bianchini, M., Maffei, S. and Karana, E., 2015. DIY materials. Materials & Design, 86, pp.692-
702.

Zampaloni, M., Pourboghrat, F., Yankovich, S.A., Rodgers, B.N., Moore, J., Drzal, L.T., Mohanty, A.K. and
Misra, M., 2007. Kenaf natural fiber reinforced polypropylene composites: a discussion on manufacturing
problems and solutions. Composites Part A: Applied Science and Manufacturing, 38(6), pp.1569-1580.

Ziegler, A., Bajwa, S., Holt, G., McIntyre, G. and Bajwa, D., 2016. Evaluation of Physicomechanical
Properties of Mycelium Reinforced Green Biocomposites made from Cellulosic Fibers). Applied Engineering
in Agriculture, 32(6), pp.931-938.

Figures & Charts

Fig 7.1 Journal of Sol-Gel Science and Technology, 77(3), pp.738-752 https://static-content.springer.com
image/art:10.1007/s10971-016-3968- 5/MediaObjects/10971_2016_3968_Figa_HTML.gif

Fig 7.2 NASA Stardust Website

Fig 7.3 http://www.ecovativedesign.com/press-releases/157

Fig 7.4 http://www.ecovativedesign.com/myco-board

Chapter 11

References:

1. Sage, Russell: The Architecture of Light (2nd edition)., Conceptnine. 2017

2. Mills, Samuel: Fundamental of Architectural Lighting., Library of Congress Cataloging in Publication
Data. 2018
3. Pile, John. F. : Interior Design (4th edition)., Pearson Education, Inc. 2007
4. Livingston, Jason: Designing with Light,. John Wiley & Sons, Inc. 2014
5. Gordon, Gary: Interior Lighting for Designers (5th edition) ,. John Wiley & Sons, Inc. 2015
6. Cuttle, Christoper: Lighting Design: A Perception-Based Approach., Routledge. 2015

Websites:

1. https://www.techhive.com/author/Christopher-Null/
2. Reza Babakhanl: Journal of Architectural Engineering Technology: Colour and Light in Architecture
and its Effects on Spirits of Space Users in Psychology View; 2017
3. The Installer’s Guild to Lighting Design: Good Practice Guild 300.
  WWW.energy-efficiency.gov.uk
4. Ole-Johan Skrede: Colour Images, Colour spaces and Colour image Processing; Department of
Informatics, The Faculty of Mathematics and Natural Sciences. University of Oslo
5. The Basics of Efficient Lighting: A Reference Manual for Training in Efficient Lighting Principles First
Edition, 2009
  en.webb@environment.gov.au.
6. Glossary - Lighting Research Center
7. https://www.lrc.rpi.edu/resources/publications/lpbh/091Glossary.pdf

Chapter 12

1. Leydecker, Sylvia, Nanomaterials in Architecture, Interior Architecture and Design (Basel, Boston,
Berlin: Birkhauser Publishers, 2008).

This text before taken from: Leydecker, Sylvia, Designing Interior Architecture;
(Basel, Boston, Berlin: Birkhauser Publishers, 2013)
 About the Authors

Sonny Choy
Mr. Choy graduated from University of South Australia, Adelaide, with a Bachelor of Design, Industrial
Design. He proceeded to complete a Graduate Diploma in Business Enterprise from University of
Adelaide. In 2016, he received an MBA from University of Strathclyde. With industrial experience in
fields including product, toy, retail design; he specializes in taking innovative and socially conscious
approaches to design. Mr. Choy’s research interests focuses on Industrial Design and cross-over
between design and business. He is interested in enhancing the contribution of Industrial Design in a
small to medium enterprise context and is active in producing research in this area. He engages Asian
business partners to bring about synergies between education and public/private business sectors,
and works with NGOs to bring about socially conscious and sustainable design in Hong Kong.

Tris Kee
Dr. Kee is a Registered Architect in Hong Kong and an Associate Professor at the Faculty of Design
and Environment, Technological and Higher Education Institute of Hong Kong. Tris researches the
fields of Architecture, Design, Design Practices, and Community Engagement. She has lectured in
Amsterdam, Rome, Venice, Japan, Taiwan, and Singapore on the topic of participatory approaches in
design practices. She is a recipient of the ‘40 under 40 Architectural Design Award’ in 2012 and a Green
Building Award 2012 from the Hong Kong Green Building Council. She was a curator for the 2012 Hong
Kong / Shenzhen Bi-City Biennale Exhibition for Urbanism and Architecture, an invited speaker at the
International Design Alliance Congress in Taiwan in 2011, a lecturer at the Workshop Architettura
Venezia 2012 at the University of Venice and a keynote speaker at the Crossover Comprehensive
Conference in the China Academy of Art 2012. Tris has also been the Chief Editor for the Hong Kong
Institute of Architects Journal since 2011.

Alex King
Alex King is a professional designer who has worked extensively in China. He holds a bachelor’s
degree in Product Design and MBA from the Hong Kong Polytechnic University. He specializes in
inclusive design, universal design, elderly research and dementia studies, and has received numerous
international design awards in the past decade. In 2010, he obtained a Silver Prize from International
OPUS Optical Design competition among more than two thousand pieces of works from fifty countries.
Mr. King also teaches bachelor and higher diploma courses in tertiary institutions including the
Technological and Higher Education Institute of Hong Kong (THEi) and the Hong Kong Design Institute
(HKDI), and is committed to contributing and promoting creative industry in Hong Kong. He is currently
pursuing a PhD in product design, and his research focuses on adopting universal design to enhance
the living quality with older persons through qualitative approach.

Sylvia Leydecker
Ms. Leydecker is an interior architect and Director of the Cologne based studio 100% Interior. She
studied interior architecture in Wiesbaden/Germany and Jakarta/Indonesia and today she develops
future orientated room concepts for companies. Her key areas of specialization include healthcare and
office as well as product and exhibition design. Author of the book Designing Interior Architecture, she
is also regarded as an expert on nano materials.
Eisuke Tachikawa (Nosigner)
Mr. Tachikawa obtained his Master’s of Architecture degree from Keio University’s Department of
Science and Technology, where he focused his studies on architecture, product design, and revitalizing
local communities through design. In 2006, while still in school, he established NOSIGNER, a design
firm aimed at “designing the invisible.” Specializing in a multi-disciplinary approach that traverses
two-dimensional, three-dimensional, and spatial design, his conceptual planning, innovative product
development and branding has been recognized through global awards like Design for Asia Award
2011, NY ADC Young Guns 7, PENTAWARDS PLATINUM, Good Design Awards, and many others.
His activities extend beyond commercial work to encompass science and technology, education, local
industries, and support for developing nations. Mr.Tachikawa is also the founder of “OLIVE PROJECT,”
an initiative to provide meaningful design during times of disaster.

Anna Whitehead (The Interior Design School)

The Interior Design School, London invited Anna Whitehead to prepare the chapter on the British
Standards as she informs the sustainable research at the school. Anna is a sustainable interior design
consultant based in Buckinghamshire, UK, providing design and consultancy for interior environments
that are resource, energy & water efficient using ethically sourced sustainable materials & products.
As a qualified LEED-AP ID&C and with a BSc (Hons.) degree in Human Physiology, her specialty
is designing holistically healthy interior environments to enhance clients’ health and wellbeing. Ms.
Whitehead is a founding head of the environment committee for the BIID, and had organised the
inaugural BIID Retrofit Conference. She is a USGBC Educational Session Reviewer for Health and
Wellbeing seminars and educational sessions for USGBC’s annual Greenbuild Conferences, and
writes and presents Sustainability Module lectures for Interior Design Students in the UK. She has
published articles and delivered industry presentations on designing for health & wellbeing including
at Ecobuild, Grand Designs Live, RIBA Guerilla Tactics and Green Sky Thinking.

Louisa Young
Louisa Young has been the Program Leader of Interior Architecture at the Faculty of Design of Caritas
Bianchi College of Careers since 1995. Her extensive experience in the industry and her years-long
service at the Hong Kong Interior Design Association (HKIDA) are a synergy to her teaching. Louisa
has been actively involved in HKIDA since 2003 and is presently the Vice Chairman. Louisa holds a
bachelor degree in Interior Design at Southern Illinois University at Carbondale, U.S.A. in 1985, a post
graduate diploma in Education in The Chinese University of Hong Kong in 1997, and a master degree
in Lighting in Queensland University of Technology, Australia in 2011. In 2019, she was appointed
a Specialist by the Hong Kong Council for Accreditation of Academic & Vocational Qualification
(HKCAAVQ).
PROJECT TEAM

PROJECT-IN-CHARGE
Horace Pan

RESEARCH ASSOCIATE
Simon Chung

EDITOR
Jackie Cheung
Cheung Man-yi
Wendy Lee

RESEARCH INSTITUTION
School of Design, The Hong Kong Polytechnic University

PROJECT PUBLISHER
Hong Kong Interior Design Association

LEAD SPONSOR
Create Hong Kong of the Government of the Hong Kong Special Administrative Region

ACKNOWLEDGEMENT
Design Systems
Iris Dunbar, The Interior Design School
Inspiration Group
KAMITOPEN
MOMENT
Steve Leung Design Group
Super Tomato
TAOA Taolei Architects
UUfie
Technological and Higher Education Institute of Hong Kong (THEi)

Disclaimer:

The Government of the Hong Kong Special Administrative Region provides funding support to the project only, and
does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed
in these materials/events (or by members of the project team) are those of the project organizers only and do
not reflect the views of the Government of the Hong Kong Special Administrative Region, the Communications
and Creative Industries Branch of the Commerce and Economic Development Bureau, Create Hong Kong, the
CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee.

ISBN 978-988-18618-9-4
©2020 Hong Kong Interior Design Association &The Hong Kong Polytechnic University. All rights reserved