ELEMENTS OF INTERIOR DESIGN:

• Elements of Interior Design are the most basic visual components of any
composition

• They are the building blocks of a composition.

• The elements of design may vary by individual and category but most
often concern the,

• Line
• Shape
• Form
• Volume
• Space
• Texture
• Colour
• Pattern
• Light
• Direction
• Value

LINE & DIRECTION:

• Line is the extension of a point.

• It can be straight or curved.
• Line can express various feelings & emotions.
• A smooth, delicate line seems serene and soothing while a heavy, frantic
line can signify anger or energy.
• One of the most expressive qualities of line is its direction.
• Horizontal lines express feelings of rest and relaxation.
• Vertical lines evoke aspiration, stability and ascendancy.
• Diagonal lines suggest movement and activity.
• Large upward curves suggest gentle, relaxed movement.
• Downward curves seem serious and sad.
• Small curves denote playfulness and humour.
SHAPE:
• Shape refers to two-dimensional forms created by intersecting lines.
• Shape can be simple geometric forms such as a square, triangle or circle.
• Simple geometric forms tend to evoke stability and completeness.
• Shape can be irregular and amorphous, conforming to no particular
definition.
• Irregular shapes may appear more dynamic and interesting.
VOLUME:
• Volume refers to the extension of shape into three dimensions.
• In an interior environment volume is typified by objects, such as
furniture, and by residual space—that defined by structure & captured
by columns, doors, etc.
• Space defined by walls is the most common volume in interior design.
• Volumes can be either geometric in nature or free flowing or irregular.
• Totally geometric spaces can seem formal or restrictive while free-
flowing spaces can feel open or confusing.
FORM:
• Form encompasses the spatial definition of a thing, its extent in one,
two, or three dimensions.
• In design, form is spoken of in terms of line, shape, and volume.
• The rectangle is the most popular form and is often the dominant shape
in a room.
• A square shape generally suggests a rational, stable form with no
directionality.
• A circle implies unity and completeness.
• Triangle is a stable, but dynamic shape.
• Curved shapes soften the contours of objects.

SPACE:
• Space is the infinite extension of a three-dimensional field.
• Not only is space the realm where shape and volume exist, but it also
determines their aesthetic qualities.
COLOUR AND VALUE:
• Colour evokes such strong emotional responses.
• It is one of the most important elements of design.
• Hues on the colour wheel can be divided into two categories: warm &
cool.
• The warm colours- red, orange & yellow- tend to stimulate & excite.
• Warm colours can elevate the apparent temperature of a room & make
interiors seem cosy & friendly.
• The cool colours—blue, green & violets tend to soothe and relax.
• Cool colours elicit feelings of formality and reserve and can seem
refreshing on a hot day.
• Reds are associated with tension and danger.
• Red colour may add life and cheer to blends of blues and greens; but
they generate unpleasant tensions when used with strong greens.
• Oranges share qualities of reds.
• Oranges may be used to stimulate or modify otherwise neutral or cool
colour schemes.
• Yellows are the mildest of the warm colours and are often associated
with cheerfulness.
• Blues are the coolest of the cool colours, suggesting rest, repose,
calmness, and dignity.
• If overused blue may be perceived as depressing and gloomy.
• Intense blue in small areas can be a helpful accent in warm and warm
neutral colour schemes.
• Greens are the cool colours closest to the warm on the colour wheel.
• Green colours are often perceived as peaceful.
• Violets fall between cool and warm colours.
• Violets are often denotes as a colour to denote luxury.
• They are often perceived as artistic, suggestive, and sensitive but may be
perceived as ambiguous or too strong.
• Whites and near whites suggest clarity, openness, and brightness.
 • Whites are generally safe colours and can be used in large areas to a
highly satisfactory effect if offset with small areas of chromatic colour.
• Too much white can produce glare.
• Neutral colours tend to convey, in milder form, impressions of the hues
that they contain.
• Neutral greys make background colours easy to live with but are subject
to dullness, and sometimes appear monotonous.
• Black is a powerful accent colour.
• Black is often associated with—and suggests—weight, dignity, formality,
and solemnity.
• Light, cool spaces are generally perceived as expansive & dark, warm
spaces as diminishing.
• A strong, warm colour on an end wall will shorten the apparent length of
a room by drawing that wall forward.
• Cooler colours will cause the plane to recede, thereby expanding our
perception of the room.
• Dark ceilings will lower the apparent height of a room whereas light
ceilings will raise the apparent height of a room.
• However, a combination of a dark floor and ceiling can greatly reduce
the apparent height and may seem oppressive.
• Strong-valued ceilings and floors may help to unify a space.
• A brightly coloured wall will appear larger than it actually is.

TEXTURE:
• Texture is essentially a tactile characteristic, but may be perceived by
either touch or sight.
• Texture may be rough, smooth, bumpy, fuzzy, grooved, or prickly.
• Tactile texture is felt, while visual texture is seen imparting impressions
of textures.
• Visual texture is often referred to as pattern.
• A pine cone has a texture one can feel as well a pattern one can see.
 • Texture can be used to create different feelings in an environment—
smooth textures seem cold and impersonal while rough textures seem
warm and natural.
• Scale, viewing distance, and light are important modifying factors in our
perception of texture and the surfaces they articulate.
• The relative scale of texture can affect the apparent shape and position
of a plane in space.

PATTERN:
• Pattern is the repetition of a decorative motif on a surface.
• It is closely related to texture, but individual elements of pattern appear
as individual items and texture appears as an overall tone.
• A pattern may be structural or applied.
• A structural pattern results from the intrinsic nature of a material and
the way it is processed, fabricated, or assembled.
• An applied pattern is added to a surface after it is structurally complete.
• Scale is important in the use of pattern.
• If a large print is used on a small object the pattern will get lost.
• Use patterns that are in proportion to each other.

LIGHT:
• Light is the prime animator of interior space.
• Without light, there would be no visible form, colour, or texture, nor any
visible enclosure of interior space.
• The first function of lighting design, therefore, is to illuminate the forms
and space of an interior environment, and allow users to undertake
activities and perform tasks with appropriate speed, accuracy, and
comfort.
• The lighting design should address not only the quantity of light required
but also its quality.
• The layout of luminaries and the pattern of light they radiate should be
coordinated with the architectural features of a space and the pattern of
its use.
 • Since our eyes seek the brightest objects and the strongest tonal
contrasts in their field of vision, this coordination is particularly
important in the planning of localized or task lighting.
• Whether the pattern of light sources is regular or varied, a lighting
design should be balanced in its composition, provide an appropriate
sense of rhythm, and give emphasis to what is important.

CONTRAST OR JUXTAPOSITION:
• A dynamic space with overall balance can be had by providing contrast
between its elements: thick with thin, hard with soft, linear with
curvilinear, horizontal with vertical, open with enclosed, and large with
small.
• Engage the occupants with ornate details or create establishment with
grids and symmetry.
PRINCIPLES OF INTERIOR DESIGN:
• The principles are used in all design fields.
• The principles govern the relationships of the elements used and
organize the composition as a whole.
• Successful design incorporates the use of the principles and elements to
serve the designer's purpose and visual goals.
• The designer's purpose drives the decisions made to achieve appropriate
scale and good proportion, as well as the degree of harmony between all
the elements achieved through the sensitive balance of variety.
• The principles of Interior design are,
• Balance
• Emphasis
• Rhythm
• Proportion
• Scale
• Harmony
• Unity
BALANCE:
• Balance strives for a state of equilibrium in order to create a sense of
tranquillity.
• Symmetrical balance deals with designs whose halves are mirror images
of one another.
• This type of balance usually connotes feelings of formality, security, and
stability due to its predictability.
• Asymmetrical balance deals with designs whose visual weights are
equivalent but not identical.
• This balance is informal and active in nature, it suggests movement and
spontaneity.
• Asymmetrical balance tends to be more interesting than symmetrical
balance and more difficult to achieve.
• Radial balance occurs when elements repeat around a central point.
 • The chief characteristic is a circular movement away from, toward, or
around a focal point.
• Radial balance can sometimes be symmetrical if, when divided along a
line piercing the centre, the halves are identical mirror images.

RHYTHM:
• Rhythm provides an underlying unity and evolving variety.
• Continuity, recurrence, or organized movement constitute rhythm.
• Repetition and progression are two primary ways of developing rhythm.
• Repetition of an identical form, shape, line or colour gives a unifying
characteristic to an environment.
• In progression, ordered systematic change develops movement by
modifying one or more of the spatial elements to create a sequence or
transition. Because it suggests motion, progression can be more dynamic
than simple repetition.

EMPHASIS:
• Emphasis deals in terms of dominance and subordination.
• Properly used, it calls attention to the more important elements of a
space.
• It helps to define focal points, visual rest areas and progressive degrees
of interest.
• Emphasis can be achieved through position, light, shape, or contrast.

PROPORTION:
• Proportion is the desired relationship of parts to the whole.
• Related to size, it deals with magnitude, quantity, or degree.
• The relationship between parts is such that if one part varies, another
varies in a ratio to the first.
 • While a well-proportioned room seems just right, and a poorly-
proportioned room seems too long or too wide.
• No indisputable system for determining proper proportions exists.

SCALE:
• Scale conveys the relative size of an object that has been measured by a
dimension of comparison, such as the human body.
• Oftentimes, scale is used to demonstrate the relationship between man
and his environment.
• Large scale usually denotes power, formality, security, and elegance by
feeding the human ego.
• Smaller scale does just the opposite and can denote child-like
wistfulness.

HARMONY AND UNITY:

• Harmony is marked by a consistent, pleasing interaction of spatial
elements.
• In achieving harmony, the elements and principles working in a space
must relate to each other and to the overall design concept.
• Unity describes elements of a whole which are in accord.
• Unity makes for ease of identification, but proves dull when unrelieved.
• Variety modifies parts of an environment by means other than
progression.
• Without some unifying factor such as colour, shape, pattern, or theme,
variety can be discordant.
INTRODUCTION TO SPACE AND ENCLOSURE:

SPACE:
• Space is one of the elements of design of architecture, as space is
continuously studied for its usage.
• Architectural designs are created by,
• Carving space out of space
• Creating space out of space
• Designing spaces by dividing this space using various tools, such as
geometry, colours, and shapes.
• Space is a prime ingredient in the designer’s palette and the essential
element in Interior design.
• Through the volume of space we not only Move, we see forms, hear
sounds, feel gentle breezes and the warmth of the sun, and smell the
fragrances of flowers in bloom.
• Space inherits the sensual and aesthetic characteristics of the elements
in its field.
• Space is not a material substance like stone and wood.
• It is inherently formless and diffuse.
• Universal space has no defining borders.
• Once an element is placed in its field, however, a visual relationship is
established. Space is formed by our perception of these relationships.

ENCLOSURE:
• ‘Enclosure’ is the term given to any part of a building that physically
separates the external from the interior environment.
• It is often referred to as the ‘building envelope’, although ‘enclosure’ is
considered the more precise term.
• Human physiology is capable of tolerating only a narrow range of
environmental conditions.
• Beyond this range, health and wellbeing are compromised.
 • Through the materialisation of volumes, architecture is able to create
enclosed spaces in the form of structures.
• A building consists of a collection of spaces bounded by separators of
the interior environment, and separators of the
exterior environment (the enclosure).
• Where exactly the enclosure begins and the exterior environment stops
can sometimes be unclear, such as in the case of ‘buffer spaces’ such
as garages, screened porches, attics or vented crawlspaces.

The physical components of the building enclosure include:

• The overhead plane - The roof system.

• The wall planes - The above-grade wall system (including windows and
doors).
• The base plane - The base floor system.

The principles of building enclosure are,

 Strength and rigidity.

 Control of heat flow.
 Control of air flow.
 Control of water vapour flow.
 Control of liquid water movement.
 Stability and durability of materials.
 Fire.
 Aesthetic considerations.
 Cost.

In addition to Hutcheon’s principles, there are also few considerations that

follow,

 Gravity (i.e. structural loads).

 Climate and weather.
 Seismic forces.
 Noise and vibration.
 Soil type.
 Topography.
 Organic agents (i.e. aerobic life forms such as insects and mould).
 Inorganic agents (i.e. natural and artificial substances such as radon and
methane).

The general functions of the building enclosure may be divided into four areas:

 Support: To support, resist and transfer all structural forms of loading

imposed by the interior and exterior environments.
 Control: To control, air transfer, heat, sound, access and security, privacy,
the provision of views and daylight, and so on.
 Finish: To finish the enclosure surfaces in terms of visual, aesthetic,
durability, and so on.
 Distribute: To distribute services or utilities such as electricity,
communications, water, and so on.

Generally, enclosures are either monolithic or composite assemblies.

Monolithic enclosures involve a single material acting as the structure,
the cladding and interior finish, such as load-bearing masonry. In
composite assemblies, separate materials or combinations are assigned critical
control functions, such as control of heat transfer or air leakage.

In general terms, enclosure types include can be categorised as the following:

 Compact or distributed.
 High rise or low rise.
 Permeable or impermeable.
 Transparent or opaque.
 Passive or active.
 Massive or lightweight.
 Temporary or permanent.
 Single or multiple units.
 Hybrids: Combinations of the above.
SIZE, VOLUME, PROPORTION AND SHAPE OF ENCLOSURES:

SPATIAL FORM:

• Interior spaces are formed first by a building’s structural system, further

defined by wall and ceiling planes, and related to other spaces by
windows and doorways.
• Every building has a recognizable pattern of these elements and
systems.
• Each pattern has an inherent geometry that moulds or carves out a
volume of space into its likeness.
• It is useful to be able to read this figure ground relationship between the
form of space-defining elements and that of the space defined.
• Either the structure or the space can dominate this relationship.
• Whichever appears to dominate, we should be able to perceive the
other as an equal partner in the relationship.
• It is equally useful to see the alternating figure ground dominance
occurring as interior design elements, such as tables and chairs, are
introduced and arranged within an interior space.
• When a chair is placed in a room, it not only occupies space, it also
creates a spatial relationship between itself and the surrounding
enclosure. We should see more than the form of the chair.
• We should also recognize the form of the space surrounding the chair
after it has filled some of the void.
• As more elements are introduced into the pattern, the spatial
relationships multiply.
• The elements begin to organize into sets or a group, each of which not
only occupies space but also defines and articulates the spatial form.
SPATIAL DIMENSIONS – SCALE:

• The dimensions of interior space, like spatial form, are directly related to
the nature of a building’s structural system—the strength of its materials
and the size and spacing of its members.
• The dimensions of a space, in turn, determine a room’s proportion and
scale and influence the way it is used.
• One horizontal dimension of space, its width, has traditionally been
limited by the materials and techniques used to span it.
• Today, given the necessary economic resources, almost any architectural
structure is technically possible.
• Wood or steel beams and concrete slabs can span up to 30 feet (9 m).
• Wood or steel trusses can span even farther, up to 100 feet (30 m) or
more.
• Longer roof spans are possible with space frames and a variety of curved
structures, such as domes, suspension systems, and membranes
supported by air pressure.
• Within the bounds of structural necessity, the width of an interior space
should be established by the requirements of those who use the space
and their need to set boundaries for themselves and their activities.
• Building designers have traditionally developed spatial relationships by
sketching and model building.
• Computer aided design (CAD) and building information management
(BIM) software systems are changing the way that building designers
work.
 • These computer technologies allow designers to build interactive three-
dimensional computer models of buildings, and to coordinate building
systems as they design.

SQUARE SPACES

• The other horizontal dimension of space, its length, is limited by desire

and circumstance.
• Together with width, the length of a space determines the proportion of
a room’s plan shape.
• A square room, where the length of the space equals its width, is static
in quality and often formal in character.
• The equality of the four sides focuses our attention in on the room’s
centre.
• This centrality can be enhanced or emphasized by covering the space
with a pyramidal or dome structure.
• To deemphasize the centrality of a square room, the form of the ceiling
can be made asymmetrical, or one or more of the wall planes can be
treated differently from the others.
• The placement of architectural elements, such as windows and
stairways, can deemphasize the centrality of square spaces.
• Pyramids, domes, and similar roof forms can emphasize the centrality of
square spaces.

RECTANGULAR SPACES

• Square rooms are rare and distinctive.

• More often, a room will have a length greater than its width.
• A rectangular space, normally spanned across its width, is eminently
flexible.
• Its character and usefulness are determined not only by its proportion of
width to length, but also by the configuration of its ceiling, the pattern of
its windows and doorways, and its relationship to adjacent spaces.
• When the length of a space is greater than twice its width, it tends to
dominate and control the room’s layout and use.
• Given sufficient width, the space can be divided into a number of
separate but related areas.
• A space whose length greatly exceeds its width encourages movement
along its long dimension.
 • This characteristic of linear spaces makes them suitable for use as gallery
spaces or as connectors of other spaces.
• Horizontal dimensions alone do not determine the ultimate qualities and
usefulness of a space.
• They only suggest opportunities for development.
• Both square and rectangular spaces can be altered by addition or
subtraction, or by merging with adjacent spaces.

CURVILINEAR SPACES

• The nature of building materials and the techniques used to assemble

them have established rectangular spaces as the norm.
• Curvilinear spaces are exceptional and usually reserved for special
circumstances.
• The simplest curvilinear space is a circular one. It is compact and self-
centring.
• Although it creates a focus on its centre, a circular space also relates to
the surrounding space equally in all directions.
• It has no front, back, or sides, unless these are defined by other
elements.
• An elliptical space is more dynamic, having two centres and unequal
axes.
 • Other curvilinear spaces can be seen as transformations of circular or
elliptical spaces that have been combined in an overlapping manner.
• The use of three-dimensional computer modelling is increasing the ease
of designing complex curves.

THE VERTICAL DIMENSION OF SPACE:

• The third dimension of interior space, its height, is established by the

ceiling plane.
• This vertical dimension is as influential as the horizontal dimensions of a
space in forming the spatial quality of a room.
• While our perception of a room’s horizontal dimensions is often
distorted by the foreshortening of perspective, we can more accurately
sense the relationship between the height of a space and our own body
height.
• A measurable change in the height of a ceiling seems to have a greater
effect on our impression of a space than a similar change in its width or
length.

CEILINGS:

• High ceilings are often associated with feelings of loftiness or grandeur.

• Low ceilings may connote cave like cosiness and intimacy.
• However, our perception of the scale of a space is affected not by the
height of the ceiling alone, but by its relationship to the width and length
of the space as well.
• A ceiling defined by the floor plane of the room above it is typically flat.
• A ceiling created by a roof structure can reflect its form and the manner
in which it spans the space.
• Shed, gable, and vaulted ceiling forms give direction to space, while
domed and pyramidal ceilings emphasize the centre of a space.
• Lowering part of a ceiling can foster intimacy, modify acoustics, or add
visual texture.
• Interior soffits, canopies, and clouds can be used to partially lower a
ceiling.
• The roof structure can sometimes be left exposed, giving texture,
pattern, and depth to the ceiling plane.
SPATIAL TRANSITIONS:

• How interior spaces are related to one another is determined not only
by their relative position in a building’s spatial pattern, but also by the
nature of the spaces that connect them and the boundaries they have in
common.
• Floor, wall, and ceiling planes serve to define and isolate a portion of
space.
• Of these, the wall plane, being perpendicular to our normal line of sight,
has the greatest effect as a spatial boundary.
• It limits our visual field and serves as a barrier to our movement.
• Openings created within the wall plane for windows and doorways re-
establish contact with the surrounding spaces from which the room was
originally cut.

DOORWAYS:

• Doorways provide physical access from one space to another.

• When closed, they shut a room off from adjacent spaces.
• When open, they establish visual, spatial, and acoustical links between
spaces.
• Large open door ways erode the integrity of a room’s enclosure and
strengthen its connection with adjacent spaces or the outdoors.
• The thickness of the wall separating two spaces is exposed at a doorway.
• This depth determines the degree of separation we sense as we pass
through the doorway from one space to another.
• The scale and treatment of the doorway itself can also provide visual
clues to the nature of the space being entered.
• The number and location of doorways along a room’s perimeter affect
our pattern of movement within the space, and the ways we may
arrange its furnishings and organize our activities.
• The widths of door openings affect the ease of movement.
• The number and location of doorways along a room’s perimeter affect
our pattern of movement within the space, and the ways we may
arrange its furnishings and organize our activities.
• The widths of door openings affect the ease of movement for people
and furnishings.
• A 36-inch (914-mm) wide doorway is reduced to about 32 inches (813
mm) when the thickness of the open door and that of its hardware are
taken into consideration.
 • Clear openings of less than 32 inches (813 mm) become barriers to
standard wheelchairs, affecting accessibility, visitability, and aging-in-
place.

WINDOWS:

• Windows let light and air into the interior spaces of buildings and
provide views of the outdoors, or from one space to another.
• Their size and placement, relative to the wall plane in which they occur,
also affect the degree of separation between an interior space and the
exterior environment.
• Views to the outside and natural ventilation are important elements in
sustainable design.
• Windows framed within a wall plane attract our attention with their
brightness and outlook but maintain the enclosure provided by the wall.
• Large windows and glass walls attempt, at least visually, to merge indoor
and outdoor space.

• The visual treatment of the window frames in each case can either
emphasize or minimize the perceived limits of interior space.
• Interior windows can, in a similar manner, visually expand a room
beyond its physical boundaries and allow it to become an integral part of
the surrounding interior space.

STAIRWAYS:

• Stairways are also important forms of spatial transitions between rooms.

• An exterior set of steps leading to a building’s entrance can serve to
separate private domain from public passage and enhance the act of
entry into a transitional space such as a porch or terrace.
 • Entrances without steps support visitability and aging in- place.

• The manner in which they perform this function shapes our movement
in space— how we approach a stairway, the pace and style of our ascent
and descent, and what we have an opportunity to do along the way.
• Wide, shallow steps can serve as an invitation, while a narrow, steep
stairway may lead to more private places.
• Landings that interrupt a flight of steps can allow a stairway to change
direction and give us room for pause, rest, and outlook.
• The space a stairway occupies can be considerable, but its form can be
fit into an interior in several ways.
• It can fill and provide a focus for a space, run along one of its edges, or
wrap around a room.
• It can be woven into the boundaries of a space or be extended into a
series of terraces.
IDEAL SPACE PROPORTIONS – USE OF SCALE FOR SPACE
PROPORTIONS:

• Scale and proportion are the most important part of achieving great
design.
• Together, they are the essential part of design.
• Scale is the size of things.
• Proportion is the relationship between them.

THE GOLDEN RATIO IN INTERIOR DESIGN

• The golden ratio (also called the golden rectangle) is a proportioning

system that governs the relationship of smaller parts to the whole.
• It has long been believed to produce some of the most aesthetically
pleasing shapes in nature, and as such has been used in many works of
art and architecture.
• The ratio is AB: BC=BC: AC=1:1.618.
• The scale of dining room table to chairs, along with the proportions of
the room, creates a harmonious overall space.
• A properly scaled bench, paired with the right sized artwork, create a
pleasing foyer and open staircase. The proportion of the space is made
harmonious through applied decorative panelling that breaks up the wall
and draws the eye upwards.
• Using the golden ratio properly will result in balanced spaces.

THE RULE OF THIRDS IN INTERIOR DESIGN:

• The rule states that, things arranged in odd numbers are more visually
appealing to the human eye.
• Our brains realise odd numbers because they challenge us mentally.
• Grouping of items in odd numbers tend to look dynamic and more
natural to us.
• Whereas, things that are grouped in even numbers tend to look stale,
staged and cold.
• Three rules is the vital rule for interior designing.
• The rule also applies in grouping five and seven.
ACCESSORIES:

Grouping accessories in threes is a tried and true decorating technique. Here

are some things you can do:

 Group three similar objects (like glass bottles). The objects can be
similar in colour, but different shapes or sizes.
 Group three different objects together to create an interesting vignette
 Group stacks of books in bookshelves in threes.

FURNITURE ARRANGING:

• Often times the living room furniture sofas are arranged in sets of three.
• A sofa and two chairs, for example is a rule of three.
• When it comes to furniture, your best option is to choose pieces that are
similar in size and shape, although the colours can be different.

COLOURS:

• The Rule of Three also applies to choosing colours for a room.

• There is even an “equation” for choosing the colours.
• The equation says that when choosing colours for a room, you should
select:

 a main colour for the space that makes up 60%

 a secondary colour that makes up 30%
 and an accent colour that makes up 10%

OTHER WAYS TO APPLY RULE OF THREE:

 Lighting – three pendent lights hanging over a kitchen island

 Fabrics – combining different patterns that have similar colours (like
paisley, flowers, and stripes)
 Architectural Details – highlight a grouping of three windows
 Artwork – Create a grouping of three similar framed pieces of art, or
three decorative items (like plates) on the wall.
PSYCHOLOGICAL EFFECT OF SPACE:

• Space is an important factor in interior design.

• It has an immense influence on our mood, behaviour and physical
activity: in short, the human psychology.
• Every element that we choose for an interior or exterior area is driven by
the psychology of space.
• When we refer to space, it’s mostly the aesthetic appeal many of us
concern ourselves with, rather than the functionality.
• Functionality is one factor that is often overlooked but greatly impacts
the inhabitants.
• However, in a practical subject such as interior designing, space
psychology plays a major role in defining the look and feel of a place.
• Psychology of space is a subject in itself.

PERCEPTION OF SPACE THROUGH HOME DECORATION:

• Perception of space is something that an interior designer is well-versed
with.
• It all depends on how, where and what kind of objects are placed in an
area that gives it a neat look.
• These approaches and techniques are collectively known as “visual
tricks”.
• Right from the furniture you choose to the wall colour, every detail
matters in bringing some effect to a space.
• Therefore, space is perceived as the whole of free space, objects and
their placement.

USE OF FENG SHUI:

• Sometimes adopting the best practices from another culture can bring in
lots of positivity.
• Feng Shui is an ancient Chinese art that is all about suggesting the
optimal setting for an interior.
• If rightly followed, it can bring success, good luck and positive energy.
• Certain rules in Feng Shui such as maintaining a clear passage, keeping
an uncluttered home and placing of certain objects can completely
change the look and feel of a place.
• This psychology when applied to a home makes the space more inviting
and vibrant.
PRINCIPLES OF DESIGN:
• Psychology of space is also greatly driven by principles of design such as
balance, proportion, symmetry and rhythm.
• When these principles are followed correctly, it improves the emotional
quality of life by bringing harmony in space.
• One can achieve a calm and peaceful ambience by implementing best
practices in all the elements of design.
• Make sure that the furniture you choose suits the size of the room and
that other elements also complement it.

PSYCHOLOGY OF COLOUR:
• Psychology of space is also affected by colours.
• The logic is simple. Warm colours create a close and compact
environment.
• Bright colours boost the mood. Here are few colours and their emotional
effects on human minds.
• Yellow, Orange, Green – They encourage communication and socializing.
• Purple, Deep Blue, Red and Dark Green – They reflect a gloomy mood
but if applied in a minimal amount, can evoke a feeling of comfort.
• Blue and Green – They evoke calmness. Therefore, a room may feel big,
small, gloomy, vibrant, etc. depending on the colour palette chosen.

PSYCHOLOGY OF LIGHT:
• Light is another element that affects the psychology of space.
• A dim light may give the appearance of a sad and gloomy room while
bright light brings in high energy and makes the room look spacious.
• It is for this very reason that in interior designing, designers pay keen
attention to natural light in the plan.
• When it comes to lighting, every place has its own lighting specifications.
• The lighting of a restaurant would differ from that of an office or home.
• It all depends on what kind of vibe you want to create.
• Apart from the above, there are many other elements such as texture
and shape that influence the emotional and psychological aspect of a
space.
ARCHITECTURAL SPACE AND ITS CHARACTERISTICS:

• The geometric elements—point, line, plane, and volume—can be

arranged to articulate and define space.
• In architecture, these fundamental elements become linear columns
and beams, planar walls, floors, and roofs.
• A column marks a point in space and makes it visible in three
dimensions.
• Two columns define a spatial membrane through which we can pass.
• When supporting a beam, the columns delineate the edges of a
transparent plane.
• A wall, an opaque plane, marks off a portion of amorphous space and
separates here from there.
• A floor defines a field of space with territorial boundaries.
• A roof provides shelter for the volume of space beneath it.
• In architectural design, these elements are organized to give a building
form, differentiate between inside and outside, and define the
boundaries of interior space.
TYPES OF SPACES:

Spaces can be categorized majorly into two types:

• Indoor Space, which involves all the interior spaces.
• Outdoor Space, which involves the entire outdoor environment.

OUTDOOR AND INDOOR SPACES:

• The indoor spaces are spaces that are formed by the built environment
that creates an enclosure. Some examples of Indoor spaces are,
• Kitchen
• Living Room
• Bedroom
• Restaurants
• Classrooms, etc.

• Outdoor spaces are spaces that adjoin the interior spaces. Some
examples of Outdoor spaces are,

• Courtyards
• Garden
• Recreational Park
• Outdoor Cafeteria
• Playground
• Pool Deck
• Entrance Foyer / Veranda

• A building’s form, scale, and spatial organization are the designer’s

response to a number of conditions—functional planning requirements,
technical aspects of structure and construction, economic realities, and
expressive qualities of image and style.
• In addition, the architecture of a building should address the physical
context of its site and the exterior space.
 • A building can be related to its site in several ways.
• It can merge with its setting or dominate it.
• It can surround and capture a portion of exterior space.
• One of its faces can be made to address a feature of its site or define an
edge of exterior space.
• In each case, due consideration should be given to the potential
relationship between interior and exterior space, as defined by the
nature of a building’s exterior walls.
• Selecting and developing sites to reduce site disturbance, storm water
runoff, heat island effects, and light pollution contribute to sustainable
design.
• When we create an interior space, the conjoining exterior space formed
automatically.
• The interior space aims to create physical security and safety from the
nature’s elements and also establish a sense of identity for the person or
group within the space.
• The exterior space aims to connect human to nature, removing the
individual identity and providing a common one.
• This relationship shared between the interiority and the exteriority of a
space can be translate into environmental and architectural experience
in four ways:

INBETWEEN:
• In-between, involves a place neither inside nor out.
• It incorporates a threshold whereby a strong dialogue between the
inside and outside occurs with a unique in-between experience as the
result.
INTERPENETRATION OF THE INTERIOR AND EXTERIOR:
• Interpenetration is another way in which the continuity between inside
and outside can be expressed and works in two ways as shown in the
drawings, below, depending on the relative strength of inside or outside.
• On one hand, the inside can project itself into the outside—we call this
situation the interpenetration of the inside.
• On the other hand, outside can be brought inside through some sort of
enclosure shaped by the building—for example, building wrapping
 around an inner courtyard, we call this situation the interpenetration of
the outside.
• In both situations, inside and outside are brought together in a more
intimate relationship—in the first instance, through an architectural
element that becomes a physical link with outside; in the second
instance, through a spatial link whereby outside space is cradled and
contained.

INTERMINGLING:
• In intermingling, architectural and environmental elements are used
metaphorically to bring the meaning of outside in, and inside out.
• For example, the presence inside of natural outside elements can
remind us of the outside, which we then experience vicariously. By
echoing features of the natural site, intermingling enables us to be
aware of the outside as we remain inside.
• In the opposite way, inside elements brought outside invite the safety,
comfort, and culture of the inside out. Intermingling allows one domain
to assert itself in the other, thereby establishing another kind of kinship
and linkage between inside and outside.

ARCHITECTURAL EXAMPLES FOR INDOOR OUTDOOR CONNECTIVITY

House of Pavilions, Bangalore

Architects: Architecture Paradigm
• In this architecture, the idea of the landscape becomes a part of the
structure and not only just about the experience.
• The experience of moving through the structure is heightened by the
tactility of the spaces and the overlapping sequences of built and
unbuilt.
• One is greeted by the water body which continues through the house
flanking the central spine defined by an exposed concrete wall.
• The spine is a space that forms the back bone of the experience where
one has to pass through it to get to any other space.
• The indoor outdoor experience is further heightened by interim spaces
connecting the various pavilions.
INTERIORITY OF SPACE:
• Most architectural space will make use of exterior to echo with the
interior.
• However, there is some architecture type which doesn’t make use of its
exterior space.
• Common examples of these buildings are religion building, theatre,
opera house and clubs.
• The reason is because that the purpose of the building is to make sure its
occupants focus on what’s happening inside rather than the outside.
• Hence, the nature elements from the exterior are largely or even
completely eliminated from the design.
• Even if they are exterior design, they are normally not relating or
echoing with the interior of the space.
• Opera house, theatre and religious buildings tend to have grand ceilings,
and we refer to these interior spaces as spiritual space.
TRANSITION - WINDOWS AND JALI WORKS:
• Wide windows and Jali works act as a transition space of the interiors to
the exteriors.
• One could feel the essence of the exterior even being in the indoor and
the vice-versa.
CHARACTERISTICS OF INDOOR SPACE:

• Upon entering a building, we sense shelter and enclosure.

• This perception is due to the bounding floor, wall, and ceiling planes of
interior space.
• These are the architectural elements that define the physical limits of
rooms.
• They enclose space, articulate its boundaries, and separate it from
adjoining interior spaces and the outside.
• Floors, walls, and ceilings do more than mark off a simple quantity of
space.
• Their form, configuration, and pattern of window and door openings
also improve the defined space with certain spatial or architectural
qualities.
• We use terms such as grand hall, loft space, sun room, and alcove not
simply to describe how large or small a space is, but also to characterize
its scale and proportion, its quality of light, the nature of its enclosing
surfaces, and the way it relates to adjacent spaces.
SPACE PERCEPTION:

SPATIAL QUALITIES OF ANY INDOOR SPACE ARE:

• Form
• Scale
• Light
• Outlook

FORM:

• The design of interior spaces requires, therefore, an understanding of

how they are formed by the building systems of structure and enclosure.
• With this understanding, the interior designer can effectively elect to
work with, continue, or even offer a counterpoint to the essential
qualities of an architectural space.
STRUCTURAL SYSTEMS:

• A building’s structural system is formed according to the geometry of its

materials and the way they react to the forces applied to them.
• This structural form and geometry, in turn, influence the dimensions,
proportion, and arrangement of the interior spaces within the building
volume.
• Superstructure is the vertical extension of the foundation system and
consists of the columns, beams, and load-bearing walls that support the
floor and roof structures.
• The foundation system is the substructure that forms the base of a
building, anchors it firmly to the ground, and supports the building
elements and spaces above.

TYPES:

• Linear Structural Systems

• Planar Structural Systems
• Volumetric Structural Systems
• Composite Structural System
SPACE MODULATION:

• Within a large space, the form and arrangement of furnishings can divide
areas, provide a sense of enclosure, and define spatial patterns.
• Lighting, and the light and dark patterns it creates, can call our attention
to one area of a room, deemphasize others, and thereby create divisions
of space.
• Even the acoustic nature of a room’s surfaces can affect the apparent
boundaries of a space.
• Soft, absorbent surfaces muffle sounds and can diminish our awareness
of the physical dimensions of a room.
• Hard surfaces that reflect sounds within a room help to define its
physical boundaries.
• Echoes can suggest a large volume.
• Finally, space is structured by the way we use it.
• The nature of our activities and the rituals we develop in performing
them influence how we plan, arrange, and organize interior space.

MODULATION OF INDOOR SPACE WITH DESIGN ELEMENTS:

• Although a building’s structural system sets up the basic form and

pattern of its interior spaces, these spaces are ultimately structured by
the elements of interior design.
• The term ―structure is not used here in the sense of physical support.
• It refers to the selection and arrangement of interior elements such that
their visual relationships define and organize the interior space of a
room.
• Non-load-bearing partitions and suspended ceilings are often used to
define or modify space within the structural framework or shell of a
building.
• The colour, texture, and pattern of wall, floor, and ceiling surfaces affect
our perception of their relative positions in space and our awareness of
the room’s dimensions, scale, and proportion.

SPACE MODULATION WITH INTERIOR DESIGN ELEMENTS:

DESIGN CONSIDERATIONS FOR CATEGORIES OF INTERIOR SPACES:

• There are generally three types of spaces in architecture under which

any architectural building or interior designed space falls in. They are,
• Residential Space
• Commercial Space
• Retail Space

RESIDENTIAL SPACE:

• Residential design is the design of the interior of private residences.

• As this type design is very specific for individual situations, the needs
and wants of the individual are paramount in this area of interior design.
• The interior designer may work on the project from the initial planning
stage or may work on the remodelling of an existing structure.
• It is often a very involved process that takes months to fine tune and
creates a space with the vision of the client.
• There are three sub-types under a residential space,
• Apartments
• Houses
• Villas

COMMERCIAL SPACE:

• The sub-types under a commercial space are,

• Corporate: Office design for any kind of business such as banks
etc.
• Healthcare: The design of hospitals, assisted living facilities,
medical offices, dental clinics, psychiatric facilities, laboratories,
medical specialist facilities.
• Hospitality and Recreation: Includes hotels, motels, resorts, cafes,
bars, restaurants, health clubs, spas, etc,.
• Institutional: Government offices, financial institutions (banks and
credit unions), schools and universities, religious facilities, etc.
 • Industrial facilities: Manufacturing and training facilities as well as
import and export facilities.
• Teaching in a private institute that offer classes of Interior
Design.
• Self-Employment: Employment in private sector firms

RETAIL DESIGN:

• Retail design encompasses a wide range of sub specialities.

• Retail includes,
• Malls
• Shopping centres
• Department stores
• Speciality stores
• Visual merchandising
• Showrooms.

• There are two ways in the use of space as a media to express the
corporate brands,
• Visual Branding
• Spatial Branding

• The Visual Branding and Spatial Branding are done through,

• Visual Merchandising
• Store front
• Window Display
• Signage
• Exterior Lighting
OTHER AREAS OF DESIGN SPECIALISATION:

• Other areas of specialisation include,

• Museum
• Exhibition design
• Event design (including ceremonies, parties, conventions and
concerts)
• Theatre and performance design
• Production design for film and television,
• Beyond those, Interior designers, particularly those with graduate
education, can specialize in healthcare design, gerontological design,
educational facility design, and other areas that require specialized
knowledge.

DESIGN CONSIDERATIONS FOR INTERIOR SPACES:

• Kitchens are focusing much on the interior accessories.

• Hardware and fittings acquire much more prominence.

• Open plan dominance should be reflected in design.

• Focus on more natural light.

• Glass is being used in many innovative ways.

• Mirrors have rekindled their appeal.

• In offices, the focus is on creating low panels, reducing the cubicle

environment to incorporate more flexibility.

• Square foot area is being kept low, and management is contemplating

the new mobility and giving up huge private offices in favour of a more
open environment.

• In homes, with the dominance of the open plan, the trend is to remove
isolated areas and boundaries and create a place where one area flows
into another and there aren't that many rigid definitions.
THEMES AND CONCEPTS IN INTERIOR DESIGNING:

CONTEMPORARY STYLE
• Simple and clean spaces.
• Minimal ornamentation.
• Contrast in terms of materials.
• Volume of space maximized.
• Use of natural light to maximum.

KERALA STYLE
• Use of courtyards.
• Columned areas
• Traditional feel of spaces.
• Use of local natural materials.
• Timber maximized Ornamentation emphasized.

FENESTRATION, COLOUR AND LIGHTING ON SPACE PERCEPTION:

ROLE OF FENESTRATION ON SPACE PERCEPTION:

• Windows are communication links between external and internal spaces

as they facilitate one way or two way visual interfaces.

• This is guarded by the type of glazing used, location and scale influence,
the type of visual communication and link to the surrounding.

• For example, various types of traditional Indian fenestrations are

mentioned below:

 Jalis or perforations: It is just an obstructed vision

 Normal glazed opening: clear vision
 Bay window or Jharokhas: It is a transitional space between
the exterior and the interior which results in a beautiful
combination of space + light + visual link + exterior view.

 Windows as a punctured element help in illuminating and enlightening

the space within.
  Its varying size and capability dramatizes space.

WINDOWS AS A SCALING ELEMENT:

• Windows becomes the external scaling reference for monumental

buildings to assess the height and width of the buildings and to arrive at
a proportion for all other elements with its surroundings

WINDOWS AS A FACADE MODULATOR:

• Depending on the size, form, number, placement and articulation,

windows alter the perception of a building, bringing in aspects of
lightness, rhythm and sculptural quality.

ROLE OF COLOUR ON SPACE PERCEPTION:

• We experience colour as a fundamental quality in our visual perception.

• Based on an overall impression, the eyes receive information regarding

the aesthetics, material characteristics, and utility of a particular object.

• Since colour selection itself has a great impact on the way we perceive
our interior environment, it contributes to the psychological and physical
well-being of the occupants in a particular room.

• Therefore, designers have the responsibility to create harmony between

the possible colour and the intended function of an object in a particular
space.

• Three functions of colour can fulfil the following functions:

• Indicative function: Colour clarifies the invitational character,

utility, and function of an object by indicating visual validity,
condition, material, purpose, or functional structure to observers.
Colour thus suggests the real qualities and functions of an object.2
one example is the use of red and blue on faucet handles to
indicate the source of hot and cold water.
 • Symbolic function: Colour communicates imaginary object
qualities. While colour projects values, it can also take on random
symbolic meaning. One example of this function is the use of red
for sports cars to convey a sense of speed and power.

• Aesthetic function: Colour can serve as a decorative element or as

a part of a formal composition. It is evaluated according to its
affectivity and expression. The decisive aspect here is the formal
aesthetic relationship between different colours as judged by
contrast, harmony, field size, and colour distribution.

• These three functions of colour moderate the relationship between the

colours’ effect and the sense of visual comfort.

• The value of interior colour is not only determined by the function of the
room but also by the needs and preferences of its users.

• Colour and its psychological impact one common belief associated with
colour is that colour has a direct emotional impact on individuals.

• Warm colours, such as red, orange, and yellow, are associated with
active emotional states, while cool colours, such as blue, green, and
purple, are associated with restful emotional states.

• Warm colours are supposed to be stimulating and make people feel

excited and happy.

• In contrast, cool colours are believed to be calming and make people

feel secure and relaxed.

• In addition, there is also a common belief that the colour of a room is

associated with a certain temperature, which scholars term the “hue-
warmth hypothesis.”

• According to this hypothesis, a red room would require less heating than
a blue room because the red room is perceived to be warmer than the
blue room.

• However, studies show that while the perception of warm and cool
colours influences people’s subjective assessment of an interior space, it
seems to have no impact on occupants’ actual thermal comfort.

• Therefore, the interior colour has more psychological than physiological

effects on occupants in terms of thermal comfort.
ROLE OF LIGHT ON SPACE PERCEPTION:

• The role that light plays in an interior space is not simply to brighten a
room to enable people to see, but also to create atmospheres and
define spaces.

• The quality of light affects our perception of space.

• Light has the power to enhance our experience of spaces by increasing

pleasure and comfort.

• Conversely, light can make spaces uncomfortable for users.

• By considering light in design, architects can turn light into a design

feature and use it to create a variety of spatial perceptions.

• Light can define a room’s characteristics and create atmosphere so that

people feel connected to the space through association with natural
lighting phenomena.

QUALITY OF SPACE THROUGH SCALE AND PROPORTION:

SCALE:

• Scale refers to the relationship between two or more objects, one that
has a commonly known size.

• In most cases, the size of objects is compared to our own human scale.

• In homes and workplaces, for instance, standardized heights have been

create for countertops, chairs have been scaled to fit our bodies, the
widths of hallways allow for people to comfortably pass one another.

• A built environment is created through anthropometric data of human

scale.

• The application of contrasting colour and texture on the ceiling, walls,

and floor, as well as the incorporation of low horizontal furniture could
lead to a room feeling out of scale.

PROPORTION:

• Proportion relates to the general size of two objects without information

regarding their actual sizes.
• There is no right or wrong when it comes to this application of
proportion.

• As it can alter the way our spaces look and feel, getting proportion
“right” all depends on the intent of the designer.

• Interior designing involves applying proportion in contrasting ways to

emphasize a particular area.

• One way to create emphasis in a space is to introduce oversized items in

a way that is disproportionate for the space.
BACKGROUND FOR APPLIED DECORATION:

 Any Interior space would be emphasized if the background of the focal

element is distinguished.
 Considering a living room, the wall behind the TV unit would be different
from the rest of the walls.
 Considering a bedroom, the bed head position is always distinguished
from the rest of the surfaces for emphasizing the focus towards the
particular activity of a space.
 Some of the common background techniques used are,
• Wallpapers
• Wall murals
• Wall paintings
• Stone cladding
• Gypsum boards

MODULATION OF INTERIOR SPACE WITH ART OBJECTS:

ACCESSORIES

 Accessories in interior design refer to those items that provide a space

with aesthetic enrichment and embellishment and are the inevitable
evidence of habitation.
 Accessories individually or collectively provide delight for the eye,
textural interest for the hand or stimulation for the mind.
 Accessories relate architectural interiors to human scale and
differentiate personal, social and public zones.
 They identify the intended use of space and character of its users.
 Accessories should be selected to support the design concept of the
space and reinforce design principles such as rhythm, balance, texture,
pattern and colour.
 They serve to tie design elements together or function as a focal point
and add visual and tactile richness to an interior setting.
 Types –
• Utilitarian – Useful tools and objects.
• Incidental – Architectural elements and furnishings.
• Decorative – Artwork, collective and plants.
UTILITARIAN ACCESSORIES

 They come in a range of designs and their selection is a reflection of the

personality of those who inhabit the space.
 In work settings, office accessories are specified in standardised sets for
uniformity and hierarchy.

INCIDENTAL ACCESSORIES

 They enrich a space and simultaneously serve other functions.

 Architectural elements and details, the way materials are joined are an
example of a dual purpose accessory.
 Other examples are forms, colours and textiles of interior furnishings.

DECORATIVE ACCESSORIES

 They delight the eye, hand or the intellect without being utilitarian in
purpose.
 Decorative accessories and artwork should have provisions made for
display and lighting.
 Decorative accessories include;

ARTWORK:

 Many utilitarian and incidental items can be considered art.

 Artwork may be selected from a client’s collection, acquired to start a
collection or commissioned for a given project.
 The selection and placement of artwork can emphasize strong design
elements or alter the proportion of the space.
 Art consultants help designers and clients to find and acquire the
appropriate pieces which include paintings, prints, photos, sculpture and
crafts as ceramics, glass, metal and textiles.

COLLECTION:

 Collection of objects always has personal meaning whether serious or

not so serious.
 Collections often create an opportunity for repetition of form, colour,
texture or pattern.
 Individual pieces may be featured as focal elements.
EMPHASIZING SPACE THROUGH CHANGE OF LEVELS:

 Space is also emphasised through change of levels.

 Spaces with the major activities are zoned on a higher level and
decreasing from there forth to the least used space.
 Through change of levels the spaces are articulated.
 The space with the major focus is emphasised even with the different
levels in furniture inside the space.
 In case of a living room, a grand couch is levelled compared to the side
table and emphasized when we enter into the particular space.