PSYCHOLOGICAL ASPECTS OF INTERIOR DESIGN

A DISSERTATION REPORT

Submitted by

MANOJRAJ.M.R.P

in partial fulfillment for the award of the degree

of

BACHELOR OF ARCHITECTURE (INTERIOR DESIGN)

MEASI ACADEMY OF ARCHITECTURE, CHENNAI

ANNA UNIVERSITY: CHENNAI 600 025

OCTOBER 2015

ANNA UNIVERSITY: CHENNAI 600 025

BONAFIDE CERTIFICATE

Certified that this project report “PSYCHOLOGICAL ASPECTS OF INTERIOR

DESIGN” is the bonafide work of “MANOJRAJ M.R.P” who carried out the project

work under my supervision.

SIGNATURE

EXTERNAL EXAMINER

SIGNATURE SIGNATURE

HEAD OF THE DEPARTMENT AR.RAJAKRISHNAN

SUPERVISOR

Measi Academy Of Architecture, (CHIEF ARCHITECT)

87,Association Gardens,

New College Campus,

Peters Road, Royapettah,

Chennai 600014

OFFICE SEAL

Studio XYZ,

(Design division of shanmugam associates)

New no. 3 Singaram Street,

T.Nager,

Chennai – 600 017

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Abstract.

Interior spaces play a huge role in our daily life. No matter what your profession is, your

life constantly revolves around these spaces. The daily interior experience affects our

mood, work and our whole lifestyle. Understanding of the function and the psychology

of the user is the key to a good interior design. From the material selection to upholstery,

colour palette and even furniture design should be according to the function and mood of

the interiors.

Effective interior design can lead to increased productivity and efficiency of the function

and it can even elevate the mood of the space. Any interior space is created to fulfill a

particular function, yet most of them disregard the psychological and experiential needs

of a human. A space will remain an empty void until and unless it is especially designed

for the human presence and the function that will take place in it. Understanding the

human needs and responses in interior spaces can be provided by sensory experience

which can leave a positive impact on the person. As Tadao Ando said:

“Spatial experiences in childhood exert an enormous influences on

one's later life. For that reason, we ought to create spaces that are not

only safe and functional but endowed with aesthetics individuality so

that they leave an imprint on human memory.”

The dissertation aims to focus on exploring how the interior design elements and

principles can be used to provide an sensory experience within the interior spaces and

how they create an impact on the person.

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Table of Contents

Abstract ................................................................................................ Error! Bookmark not defined.

List of Figures…………………………………………………………………………………………………………….4

1. Introduction ........................................................................................................................................ 7

1.1 Interior Design psychology .......................................................................................................... 8

2. Human Pychological needs in the interior surroundings…………………………………………………….10

2.1 Perception of Space .................................................................................................................... 11

2.2 Human Response to the Interior Surroundings .......................................................................... 13

2.3 Sociological Determinants ......................................................................................................... 17

2.3.1 Group Dynamics…………………………………………………………………………………….17

2.3.2 Communication ………………………………………………………………………………………17

2.4 Psychological Determinants………………………………………………………………………………...18

2.4.1 Visual Privacy………………………………………………………………………………………..18

2.4.2 Acoustic Privacy…………………………………………………………………………………….18

2.4.3 Aesthetic………………………………………………………………………………………………19

2.5 Physiological Determinants ....................................................................................................... 19

2.5.1 Functionality…………………………………………………………………………………………19

2.5.2 Ergonomics…………………………………………………………………………………………..20

2.5.3 Life Safety and Health concerns…………………………………………………………………21

3.0 Visual Perception ........................................................................................................................... 21

3.1 Gestalt Principles……………………………………………………………………………………………23

3.1.1 Figure / Ground……………………………………………………………………………………...24

3.1.2 Similarity……………………………………………………………………………………………..26

3.1.3 Proximity…………………………………………………………………………………………….27

3.1.4 Closure………………………………………………………………………………………………..28

3.1.5 Continuation…………………………………………………………………………………………29

3.1.6 Symmetry or Order…………………………………………………………………………………31

4.0 Cognitive Theory ........................................................................................................................... 31

5.0 Sensory Experience in Inetrior Spaces .......................................................................................... 32

6.0 Principles of Interior Design .......................................................................................................... 33

6.1 Balance………………………………………………………………………………………………………...33

6.2 Rhythm…………………………………………………………………………………………………………38

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6.3 Emphasis / Focus…………………………………………………………………………………………….40

6.4 Harmony………………………………………………………………………………………………………42

6.5 Unity and Variety……………………………………………………………………………………………43

6.6 Scale and Proportion……………………………………………………………………………………….44

7.0 Elements of Design ........................................................................................................................ 47

7.1 Form ........................................................................................................................................... 47

7.1.1 Line……………………………………………………………………………………………………..51

7.1.2 Shape…………………………………………………………………………………………………..51

7.1.3 Volume………………………………………………………………………………………………..51

7.2 Space…………………………………………………………………………………………………………..51

7.3 Texture………………………………………………………………………………………………………..52

7.4 Pattern…………………………………………………………………………………………………………54

8.0 Psychological Effects of Light ....................................................................................................... 55

9.0 Psychological Effects of Colour .................................................................................................... 57

10. Case Studies ................................................................................................................................... 64

10.1 Kid’s Republic Bookstore, Beijing-China Designed by SKSK Architects……………………64

10.2 Barbie Flagship Store by Slade Architecture………………………………………………………..67

10.3 Ithaa underwater restaurant by mj murphy ltd :……………………………………………………..69

10.4 Ore-no kappa restaurant by japanese architect ……………………………………………………72

11. Conclusion ..................................................................................................................................... 74

12. Reference ....................................................................................................................................... 75

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LIST OF FIGURES

Figure 1: Levels of space....................................................................................................................12

Figure 2: Visual Privacy.....................................................................................................................18

Figure 3: Invariants, transformations ................................................................................................23

Figure 4: Invariants, transformations ................................................................................................23

Figure 5: Illusions………..................................................................................................................23

Figure 6: Figure and Ground ............................................................................................................24

Figure 7: Figure and Ground.............................................................................................................25

Figure 8: Figure and Ground.............................................................................................................25

Figure 9: Figure and Ground.............................................................................................................26

Figure 10: Similarity............................................................................................................................26

Figure 11: Focal point..........................................................................................................................27

Figure 12: ............................................................................................................................................27

Figure 13: Proximity............................................................................................................................28

Figure 14: Closure................................................................................................................................29

Figure 15: Continuation.......................................................................................................................30

Figure 16: ............................................................................................................................................31

Figure 17: ............................................................................................................................................34

Figure 18: Symmetrical Layout...........................................................................................................35

Figure 19: ……………………………………………..…….……………………………………….36

Figure 20: Asymmetrical …………………………………………………………………………….36

Figure 21: Circular Placement.............................................................................................................37

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Figure 22: .............................................................................................................................................37

Figure 23: Repetition.............................................................................................................................39

Figure 24: Alternation............................................................................................................................39

Figure 25: Progression...........................................................................................................................40

Figure 26: Emphasis.............................................................................................................................. 41

Figure 27: Emphasis...............................................................................................................................41

Figure 28: Emphasis...............................................................................................................................42

Figure 29: Correspondence.....................................................................................................................43

Figure 30: Human Scale..........................................................................................................................44

Figure 31: Scale and Proportion..............................................................................................................45

Figure 32: Proportion..............................................................................................................................46

Figure 33: Out of Scale...........................................................................................................................46

Figure 34: ...............................................................................................................................................48

Figure 35: ................................................................................................................................................49

Figure 36: ................................................................................................................................................49

Figure 37: ................................................................................................................................................50

Figure 38: Curved Lines..........................................................................................................................50

Figure 39: Shapes.................................................................................................................................... 51

Figure 40: Volume....................................................................................................................................51

Figure 41: ................................................................................................................................................53

Figure 42: Brown Colour……………………………………………………………………………….59

Figure 43: White Colour …………………………………………………………….…………………60

Figure 44: Grey Colour ………………………………………………………………………………...60

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Figure 45: Yellow Colour ………………………………………………………………………………61

Figure 46: Red Colour …………………………………………………………………………………62

Figure 47: Pink Colour …………………………………………………...…………………………….62

Figure 48: Purple and Blue Colour ……………………………………………………………………..63

Figure 49: ………………………………………….……………………………………………………64

Figure 50: ……………………………………………………………………………………………….65

Figure 51: Playful Learning……………………………………………………………………………..66

Figure 52: Circular Cutouts……………………………………………………………………………..66

Figure 53: Showroom…………………………………………………………………………………...67

Figure 54: Circular Elements………………………………………………………………...................68

Figure 55: ………………………………………………………………................................................69

Figure 56: Pattern and Shapes………………………………………………………….........................70

Figure 57: Language of elements…………………………………………………………....................71

Figure 58: ………………………………………………………….......................................................72

Figure 59: ………………………………………………………….......................................................72

Figure 60: Themed Elements ………………………………………………………….........................73

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1. Introduction

People can define any field, be it Architecture, Fine Arts, Ceramics or Textiles.

Everyone comes up with nearly the right answer. Architecture: designing and planning

built structure, Fine arts: related to painting or miniature, Textiles: related to fabric

designing. But when it comes to Interior Design, the common answer is changing

wall colour or decor and placement of furniture. Many even ask how is it even related

to the arts.

Interior design is a widely misunderstood profession by the general public. It is

commonly perceived as mere surface treatment of any space. Being frequently question-

ed about my career path and also observing the common perceptions about the profession

, I am writing this dissertation to focus on the importance of interior design in our daily

lives. Even though almost 80% of our time is spend indoors, yet no attention is given to

the design of the space so that it caters to the function.

Interior design psychology is a field within environmental psychology, which concerns

the environmental conditions of the interior. It is a direct study of the relationship between

an environment and how that environment affects the behaviour of its inhabitants, with

the aim of maximizing the positive effects of this relationship. Through interior design

psychology the performance and efficiency of the space and the wellbeing of the

individual are improved. Figures like Walter Benjamin, Sigmund Freud, John B.

Calhoun and Jean Baudrillard have shown that by incorporating this psychology into

design one can control an environment and to an extent, the relationship and behavior of

its inhabitants.

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Usually when we discuss interior design, we talk about the aesthetic aspects – how to

achieve a specific look, which decorating style we should emulate, new design trends that

we should check out. That’s only one piece of the puzzle.

An area that’s not always taken into consideration is the philological effect of interior

design on your subconscious. Believe it or not, the choices that we make will effect on

our emotions and perceptions.

Aesthetically well-planned interior spaces can result in increased efficiency and mental

stability of the user. My dissertation is focus on the psychological impacts of interior

design and how the elements and principles of design can be used to create positive

interior experience.

1.1 Interior design psychology

Interior design is a creative process of shaping interior spaces, in order to improve the

quality of life, increasing productivity and protecting health, safety, and welfare of the

user. There are numerous myths and misconceptions about Interior Design, even though

it impacts, influences and affects our daily life in so many different ways. Most people

spend a major section of their time indoors, whether it’s a housewife, banker or school-

going child, they all experience interior spaces all the time. But still, most people think

interior design, as a profession, is high-end or expensive. Interior Design is the art of

designing interior spaces according to the needs and requirements of the user and the

function that will take place in it. When a particular space is designed for the function,

it automatically improves the productivity and the quality of life and space.

An interior design doesn’t end in a high-end restaurant or a designer store; it affects

every single interior space that we experience in our daily lives. Whether it’s a public

washroom, office, kitchen, school, or your own bathroom, interior design is experienced

by everyone. Whether it’s good or bad, it affects our life. Interior design has the power to

create an impact on the user, both physically and mentally. It can make a sad person -

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calm or relaxed and a happy person –depressed, just by the way interior has been

designed. Interior spaces are designed to affect the psychology of the user so that the

functions are performed in a more effective manner.

For an Interior Designer, space is a raw material which is moulded and shaped with the

different elements of interior design, like colour, texture, scale, proportion or light.

These elements can be used to create a sensory experience. Each of your senses responds

to the surrounding environment whether the experience is pleasant or not. Your work,

mood, health and well-being can be affected by the rooms you live and work in. Interiors

can be designed to stimulate, calm, relax and enhance your senses and psychological

reactions, so that the impact of space is elevated.

The dissertation aims to focus on creating a better understanding and perception of

interior design as an art form and a profession. It is an analytical research of interior

spaces and how human respond in these environments. It focuses on how interior design

can be effectively used to create a positive sensory experience which enhances the

interior environment. Case studies are included at the end of the dissertation which will

further explains the topic in detail. The aim of this research is to study the importance of

interior design in our lives and change the perception of it being only a decorative art

form.

The visual perception is one of the most powerful factors in the human psyche. From

the early hours, when the child opens his eyes to the world, it’s the visual environment

and surroundings which affects him the most. He discovers and explores the world by

the visual feelings and impressions. Interior Design is a visual art which can be

experienced, creating an overall impact on the physical and psychological well being

of the person.

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2. HUMAN PSYCHOLOGICAL NEEDS IN THE INTERIOR

SURROUNDINGS

Psychology is the study of human mental functions and social behaviours.

Psychologist study the human mind by perceptions, emotions and behaviours, which

are evoked inside the mind. Our built- environment plays a very important role in

creating these perceptions and behaviours, affecting our personalities and even governs

our social interactions.

The physical space affects the human psyche when the characteristics of the space evoke

a reaction and cause us to behaviour in a certain way. Focusing on interior spaces, the

human mind is influenced by different levels of social interactions like privacy,

ownership and social gathering.

Privacy is a basic human need in which a person prefers to have less interaction with

people. For example, in a typical house interior layout, there are separate rooms for

personal privacy, which are also known as intimate spaces. Similarly, in workplace

setting, people prefer to have partitions and screening which provided some level of

privacy for the employees. In restaurant interior layout, there are private booth areas

for personal interaction with friends and family. Different interior functions require

different levels of privacy levels.

User Ownership is also an essential need in which a human claims a dominion of a

space. This ownership helps the human in having complete control of his privacy and

personal interactions. Owning this space, a person can personalize it according to his

personality, style and needs. On a larger outlook, houses are dominion for families

living in it, they have absolute control that space and how they wish to interact and

personalize. Zooming inside houses, each individual room is a dominion of a particular

person owning that room. Similarly, in offices, each workstation provides area ownership

for the employee to personalize the space. This personalization helps human in creating

settings in the interior spaces, which they can feel comfortable, and at ease in.

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Social gatherings also influence human behaviours and interactions. They help in

providing forums for interactions and relationship. Parks, malls, cinemas, theaters,

gym, restaurants and shops are few examples of interior spaces, which provide different

level of social interactions. These spaces help a person built up person relationships as

well as provide a source of entertainment and fun, which positively affects the human

mind. The negative form of social gatherings is crowding. This type occurs when people,

creating unwanted social interactions, intrude personal space. Crowding can create

congested spaces within the interior spaces when the number of people in a space is more

than what was anticipated. This generates negative emotions and behaviour, which can

negatively affect the human mind.

The interior environment consist of two types of experiences: One is the physical

experience and the other is the psychological experience. Elements of an interior space,

which provides the physical experience, include wall planes, ceiling, floor, arches,

windows openings, partitions and circulation paths such as stairs and corridors. Whereas,

the psychological experience is dictated by the interior planning and design which helps

in creating patterns for social behaviour and interactions. These patterns are influenced

by the elements of interior design like light, colour, texture and sound. Combined with

the principles of design like symmetry, axis, rhythm, balance and proportion, the interiors

can provide a positive impact on the human psychology.The impact of these elements

will be discussed later in the chapter in detail.

2.1 Perception of Space

Perception can otherwise be termed as awareness between our bodies and the

awareness of other bodies, organisms and bodies around us. Perceived beauty and

personal involvement within an environment are key factors, which determine our

perception of space. As defined in the Measurement of Meaning by Osgood, Suci and

Tannebaum the factors influencing the perception of space are: 1. Evaluation- including

the aesthetic, affective and symbolic meaning of space 2. Power- the energy requirements

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to adapt to a space 3. Activity- links to the noise within a space and the worker’s

relationship and satisfaction with job and task In “Effects of the self-schema on

perception of space at work” by Gustave Nicolas Fischer, Cyril Tarquinio, Jacqueline C.

Vischer, and the study conducted linking design and psychology in the workplace. In this

study they proposed a theoretical model linking environmental perception, work

satisfaction and sense of self in a feedback loop.

People's perception of their environment influences their social interaction within that

environment. Social interaction can be discussed in terms of four concepts: privacy,

personal interaction levels, territoriality, and crowding.

Privacy is a central regulatory human process by which persons make themselves more

or less accessible to others. In an office environment, privacy may be manipulated

through the use of partitions which protect the individual from physical, visual and

acoustical intrusion. The plan of an office environment establishes the privacy level at

which the office functions. Definition of an individual's interaction levels is one

mechanism used in achieving a desired level of privacy. Besides needing enough space

to move about and perform various tasks, each person moves within a domain that

expands and contracts to meet individual needs and social circumstances. The size of a

space determines perceptions, experiences, and uses of that particular environment.

People inherently discern their relationship with others in terms of distances, or spaces,

between them. Edward T. Hall defines four distinct distances at which interpersonal

transactions normally take place. These are categorized as intimate, personal, social, and

public1 (Fig. 1).

Figure 1: Levels of space: intimate,

personal, social, and public

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· Intimate space is that area immediately surrounding the individual’s body. This area is

the most private and involves both physical and emotional interactions.

· Personal space is that area within which a person allows only select friends, or fellow

workers with whom personal conversation is mandatory.

· Social space is that area within which the individual expects to make purely social

contacts on a temporary basis.

· Public space is that area within which the individual does not expect to have direct

contact with others. The more intimate the spatial relationship, the more people resist

intrusion by others. Personal space factors are important in establishing privacy

requirements for interior design.

Territoriality is a means of achieving a desired level of privacy. It involves the exclusive

control of a space by an individual or group. This control implies privileges and may

involve aggressive actions in its defense. For the individual, territorial control provides

security and identity and is communicated through personalization and definition.

Crowding occurs when personal space and territoriality mechanisms function

ineffectively, resulting in an excess of undesired external social contact. Sociologically,

people respond to crowding in different ways depending upon the situation. Sometimes

humans tolerate crowding, though it may be unpleasant, because they know it is only

temporary. In some situations crowding may be considered desirable, it may even be

sought after if it is perceived as "part of the fun" or the expectation within a social setting.

In either situation, however, psychological discomfort may be experienced if the

crowding is perceived as too confining.

2.2 Human Response to the Interior Surroundings

Responses to the environment are complex and best understood in terms of three

psychological stages of human behaviour: perception, cognition, and spatial behaviour.

Perception of the environment, in its most strict sense, refers to the process of

becoming aware of a space by the acquisition of information through the sensations of

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sight hearing, smell, touch, and taste. Cognition is the mental processing of this sensory

information. This may involve the activities of thinking about, remembering, or

evaluating the information. Spatial behaviour refers to responses and reactions to the

environmental information acquired through perception and cognition.

The designer creates environmental stimuli to direct these psychological stages as well

as the secondary processes of motivation, effect and development. Environmental

expectations, another determining element to be considered by the interior designer, are

developed over time through experience and interaction with the environment.

Sensations, in combination with expectations of the environment, define one’s

perception of a space.

'Senses are the physiological methods of perception'.

Human sense of touch, sight and hearing can be incorporated with the function of the

space to create an experience of the interiors. Whether the experience is good or bad,

it all depends on the interior design of the space. There are numerous examples of

sensory experience in our daily lives. For example, many people must have felt

relaxed or inspired, walking into a particular room. Similarly, people must have also

felt claustrophobic and tired in some room. These human responses are governed by

the interior design elements. Due to lack of knowledge or experience in interior

design, many a time, interior spaces only deal with one sense: the visual experience.

Lighting, colour, texture and spatial experience, if properly planned and design

according to function, can enhance the overall experience and efficiency of the space.

The human response in the interior spaces can be divided into three main sections:

psychologically, functionally and in social context. In psychological context, visual,

acoustic and physical privacy as well as the design elements are important factors, which

govern the human response. Control the amount of privacy level can help restraint

unnecessary interactions. Any type of privacy intrusion can disturb or irritate a person,

if it is not properly controlled. For example, if the no proper acoustic control in an office

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interior spaces, the space can be less effective as people will feel disturbed and annoyed

due high noise value. Similarly, partitions or screens provided visual barriers to help

protect the privacy of each workstation.

Human responses are also influenced by the functional needs of any interior space. If the

space is not designed to meet the functional needs of the interior space, it automatically

reduces the efficiency level of the particular space. There are different sub-divisions

which needs to be considered like function, ergonomic and anthropometric requirements

of the space as well as the health and safety factors should also be considered while

designing. Whether it is a restaurant, office or bedroom, every function required specific

spatial layout, which is designed to meet its requirement. A restaurant typically has

private booth system and then an informal bar area, waiting area, reception and kitchen.

Lack of these facilities in the interior spaces will create negative psychological response

by the user.

The use of materials, furniture, furnishings, fabric and upholstery are factors which

influence ergonomics. Anthropometric requires the study of the human body

measurements in accordance with the function of the space. These measurements can be

applied to furniture as well as space planning and design. A kindergarten class will have

different furniture measurement requirement as compared to college lecture room. This,

Proper ergonomic and anthropometric needs should be fulfilled according to the function.

Lastly, Human responses in the social context refers to how human communicate with

each other in the interior spaces. It is very important to keep in mind how the interior

design affects the communication of people in that particular space. For example, looking

at the acoustics problems like echo, noise levels, distance and sound absorption

problems, this may effect communication at different levels. An important part of the

human experience in interiors depends on the acoustics of that space. For example,

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a large auditorium requires sound to reach equally in every direction whereas an open

office layout or a restaurant requires sound to be contained within the workstation or

booth seating so that there is no noise disturbance. Another important factor is the

distance and layout of seating for the possible communication to take place. A very

common observation is that people prefer to sit opposite each other rather the side by

side while conversing. However, every function requires a different seating layout

according to the communication activities of that space. For example, an office

conference room requires a formal seating and distance between seating is farther apart

as compared to a restaurant, which may require a very casual and informal seating layout

in which people sit more closely to each other. Thus, it is important for designers to

understand the mode of interaction in that space and design communication areas

according to the function.

“I can't dictate how people will use these spaces, but I want

them to be aware of the possibility of dialogue. Space cannot

dictate to people, but it can guide people.”

-Tadao ando

Like architecture, interior design is meaningless without human presence. It is just a

container, which only attains its character and life when a human inhabits it. Human

presence and interaction in the space transforms it and gives it a true meaning. In

addition, it is important to understand that not every human will react similarly to

particular interiors. For example, a dark room may be scary and gloomy for one person

whereas the same room may provide peace and calmness to the other person. All these

factors are required to generate effective human response to the interior design. Thus,

proper knowledge and study of these factors is required in created a well- planned

interior design, which address the aesthetic and functional, needs of the interior space.

Each person responds uniquely when confronted with a specific situation or

experience. These responses fall into three categories—sociological, psychological and

physiological—all of which are influenced by factors within the interior environment.

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2.3 Sociological Determinants

Sociological determinants relate to the social needs and problems of the occupants.

Factors that pertain to these sociological responses, including group dynamics and

communication, should be considered during planning.

2.3.1 Group Dynamics

Group dynamics (the interpersonal relationships among members of a small

group) are a result of the personality and cultural backgrounds of the individuals involved,

their task, and the nature of the physical setting. Spatial arrangements in small groups are

functions of environment, task, and personality. Various cultures respond differently to

the amount and arrangement of space. In determining the physical arrangement of an

interior space, the interaction distances between work groups and the tasks to be

performed are very important to successful communication and social relationships. The

study of small group ecology is important not only from the standpoint of understanding

the impact of social relationships, but also from the practical standpoint of designing and

maintaining a variety of functional spaces in which various relationships can be fostered.

2.3.2 Communication

Studies of communication reveal that, in conversation, people prefer to sit across

from one another rather than side by side. If the distance between conversing people

becomes too great however, they will usually choose to sit side by side rather than across

from one another. The scale of a room—it's size relative to the occupants—

also influences conversational distance. As room scale diminishes, people tend to sit

closer together. Likewise, increased noise levels and distractions drive people to sit

closer together.

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2.4 PSYCHOLOGICAL DETERMINANTS

Psychological determinants in the planning of an interior environment relate to the

psychological needs and concerns of the occupants. Visual privacy, acoustic privacy, and

aesthetic factors are key determinants to be considered.

2.4.1 Visual Privacy Figure 2:

Visual privacy addresses the ability to limit other's

view of oneself. Inherent in human behaviour is the

tendency to avoid situations in which one can be watched

without being aware of who is watching. Visual privacy

can be achieved through the use of furnishings, partitions

or walls. In a private space or an office, people will often

orient their desk in order to visually control the doorway

and achieve a visually private space on one side of the desk (Fig. 2). Similarly, people

prefer to sit with a protected back, controlling the area they cannot see directly. In

restaurants, the first seats to be filled are usually those along the walls. In outdoor spaces,

people tend to sit against or beside objects such as trees and bushes rather than in the

open.

2.4.2 Acoustic Privacy

Acoustic privacy in an interior space results from effective treatment of the acoustic

environment as an interrelationship of many components: ceiling, partitions, furniture,

equipment, and floor. A complete acoustic system will generally provide adequate speech

privacy. Speech privacy is achieved when there is sufficient acoustic shielding to allow

conversation to be unheard beyond the participants of the conversation. A high quality of

speech privacy will contribute significantly to a desirable level of communication,

social interaction, and productivity. An appropriate relationship between background

noise and that produced within the activity space is conducive to speech privacy.

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2.4.3 Aesthetic

Aesthetic appreciation is both expressed in and influencedby the environment. To

define aesthetic qualities, the designer needs to understand that the concept of beauty

differs with time and place, purpose and context. Values captured under the label

"aesthetic" can best be understood at a universally comprehensible level. These aspects

of a design go beyond the functional and constructional concerns, and are associated with

the specific way the design presents itself to the human senses. The designer uses an

object to serve some need or want. When we look at an object, its physical appearance

causes a sensory experience in us above and beyond its mere utility. The designer’s

appreciation of this experience helps him to communicate his intent and understanding to

the user.

2.5 PHYSIOLOGICAL DETERMINANTS

Physiological determinants relate to physical needs of the occupants. Factors to be

considered during the planning phase that deal with physiological responses include

functionality, ergonomics, life safety, and health concerns.

2.5.1 Functionality

Functional efficiency relates to the degree to which physiological needs are supported

in the interior space plan. These needs, which are physical in nature, relate to human

body requirements. Interior environments must respond to basic human functional

needs—vision, hearing, stability, and mobility—to achieve both comfort and efficiency.

The ability to comprehend one's environment as well as to perform tasks within it are

strongly dependent upon vision. The critical variables in human vision are visibility,

legibility and recognition. Hearing is critical because it not only affects ability to

communicate but also the general capacity to perform other tasks. The critical variables

in human hearing are audibility, intelligibility, signal-to-noise ratio, and noise annoyance.

Stability refers to elements that support individuals as they walk and move about or

perform functional or manipulative tasks. Some of the elements that need to be

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considered in terms of mobility include slope of floors, width of walkways, depth of stair

treads, location of handrails, and height of door thresholds. All physiological needs affect

how a person perceives and reacts to an environment. When these needs are

appropriately met, the user will perceive the environment as successful. Studies show that

a worker’s productivity increases with an improved environment. Emphasis upon the

following specific environmental conditions contribute to improved worker efficiency.

Proper illumination for each task.

A suitable acoustic environment that allows ease of communication, limited intrusive

noise (and resultant distraction), and protection from ear damage where appropriate.

Human/facility interface features designed to be used within human mobility and

strength limits. (Special attention should be given to the removal of accessibility

barriers for the handicapped worker.)

Physical features of the facility that are compatible with typical human expectations

and comprehension.

A plan that conserves human energy.

An environment that allows workers to function within their most productive range

of motion.

2.5.2 Ergonomics

Ergonomic design recognizes that the environment significantly influences and impacts

human behaviour. Each aspect of the interior design—including space, furnishings, and

environmental variables such as temperature, sound, humidity, and ventilation—needs to

be carefully assessed in terms of its compatibility with the purpose for which it is

intended: to conform to the human body. The challenge is to plan for the intended

activities, furnishings, and finishes that are appropriate for the purpose of the expected

user. Ergonomics combines anthropometrics (human body measurement data),

physiology, and psychology in response to the needs of the user in the environment. This

data is used by the designer to create interior designs which are both humanistic and

functional in nature.

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2.5.3 Life safety and health concerns

Life safety and health concerns are primarily focused on human response to

negative stimuli; the natural responses when an individual sense danger—generally

referred to as fight or flight. Life safety centers on the ability of an individual to vacate a

facility in a timely manner when necessary. Generally this is accomplished through an

assurance of adequate travel path capacity for the occupants of the space, and a clear

indication of a safe means of egress. In a panic or emergency situation, people generally

do not have the opportunity to decipher codes which may indicate safe passage at an

abstract level. It is imperative that the guide mechanisms be highly visible and clearly

stated. Obviously this impacts the designer’s desire to control the visual environment as

completely as possible. It is therefore in the designer’s (as well as the user’s) best interest

to be aware, from the outset, of the regulatory and common sense criteria that

guide the development of egress systems; to work with them to enhance the overall

plan, as opposed to applying them at the end over an executed design concept. Health

concerns are often less obvious than life safety. Ergonomic design is an aspect of health

consciousness. If a space functions properly for the task, it is less apt to cause physical

harm—such as repetitive strain injury (carpal tunnel syndrome) or simple backache.

Health concerns also factor into the selection of materials. Fumes from paints or carpet

adhesives may cause severe bronchial stress or headaches in some individuals. Often,

odors of even non-toxic elements may raise concerns that will foster absence among

workers. The designer cannot control all such contaminants, but must be conscious of the

range of possible impacts of material selections, and avoid such occurrences when

possible.

3.0 Visual Perception

• All visual phenomena can be classified in two large groups, visual perception and

visual cognition.

• Visual perception is detection of present scenes, objects and events (it will be

elaborated later in more details).

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• Visual cognition is mental manipulation ("mentipulation") of absent contents. It

encompasses the different processes and capabilities. Imagery or visualization, that

is, creating mental images or mental representations of absent or unreal objects and

events.

• Visual perception includes the three domains, physical, physiological and

psychological.

• Physical domain encompasses the optical stimulation, that is, the light.

• Physiological domain encompasses the processing of optical information from eye to

the brain Finally, psychological domain refers to the phenomenological state of

consciousness during the watching particular object. Hence, information about the

object is at least twice encoded/decoded. The first encoding is transformation of light

energy into neural impulses, and the second encoding is transition from neural to

conscious level. Ambient light is reflected from the objects carrying the information

about their surface, texture, color (spectral composition), shape, size, relative

position, motion (direction and velocity of position change), orientation and so on.

One of the central question for vision science is how our visual system processes all

that features and how it binds them again in the coherent, stable and meaningful

perceptual object many people reached to the approaches of using smart materials.

Perception of invariants and transformations

Objects have invariant and variable features. Invariant features are intrinsic properties

of objects, such as size, shape and surface lightness/color. Variable features are

transformational states of objects, such as orientation, position (distance) and ambient

brightness. The transformations physically don’t change the intrinsic features: change

of orientation doesn’t change the shape of object, change of distance doesn’t change the

object size and change of ambient light doesn’t change the surface color.

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Figure4: Invariants and Transformations

Figure 5: illusions: Zölner illusion (horizontal lines are parallel)

and lightness contrast (lightness of rectangle is uniform).

3.1 Gestalt Principles

Gestalt is a psychology term which means "unified whole". It refers to theories of

visual perception developed by German psychologists in the 1920s. These theories

attempt to describe how people tend to organize visual elements into groups or unified

wholes when certain principles are applied.

Gestalt theory discusses how we perceive objects in our environment. It discusses

the difference between figure and ground and examines how various principles help us to

Figure 3: Invariants and

transformations: shape-orientation,

size-distance,illumination (shadow)-

surface lightness We perceive both,

invariant and transformational states

of objects. For example, we see that

our friend going away from us

apparently looks smaller and

smaller, but in the same time we see

that he doesn’t change its size.

Similarly we see that the things

look darker in the night than during

the daylight, but we don’t see that

they change their natural color. In all

that situation we have no problem to

extract the invariant (intrinsic)

features from the transformations.

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decide which is figure and which is ground. Gestalt is also known as the "Law of

Simplicity" or the "Law of Pragnanz" (the entire figure or configuration), which states

that every stimulus is perceived in its most simple form.

Gestalt theorists followed the basic principle that the whole is greater than the sum of its

parts. In other words, the whole (a picture, a car) carried a different and altogether greater

meaning than its individual components (paint, canvas, brush; or tire, paint, metal,

respectively). In viewing the "whole," a cognitive process takes place – the mind makes

a leap from comprehending the parts to realizing the whole, We visually and

psychologically attempt to make order out of chaos, to create harmony or structure from

seemingly disconnected bits of information.

The prominent founders of Gestalt theory are Max Wertheimer, Wolfgang Kohler, and

Kurt Koffka.

3.1.1Figure/Ground

“Elements are perceived as either figure (the element in focus) or ground (the

background on which the figure rests).”

Figure/ground refers to the relationship between positive elements and negative space.

The idea is that the eye will separate whole figures from their background in order to

understand what’s being seen. It’s one of the first things people will do when looking at

any composition.

Figure 6: This is the classic example

of figure/ground. Seeing a black vase on

the white background. One of the first

things people will look in the interior

space is to determine what is figure and

what is ground. This determination will

occur quickly and subconsciously in

most cases.

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The focus at any moment is the figure. Everything that is not figure is ground. As our

attention shifts, the ground also shifts so that an object can go from figure to ground and

then back. Ground is sometimes thought of as background or negative space. Figure-

ground refers to the relationship between an object and its surround. Sometimes the

relationship is stable, meaning that it is easy to pick out the figure from the ground.

Figure 7: M. C. Escher Sky and Water 1 1938

Henri de Toulouse-Lautrec

Other times the relationship is unstable, meaning it is difficult to pick out the

figure from the ground. Rarely, the relationship is ambiguous, meaning that the figure

could be the ground or vice-versa.

Figure 8: figure and ground in the interior

spaces.

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Figure 9: figure and ground in the interior spaces

3.1.2 Similarity

“Elements that share similar characteristics are perceived as more related than elements

that don’t share those characteristics.”

Any number of characteristics can be similar: colour, shape, size, texture, etc. When a

viewer sees these similar characteristics, they perceive the elements as being related due

to the shared characteristics. In the image below, red circles are seen as related to the

other red circles and black circles to black circles due to the similarity in colour. Red and

black circles are seen as dissimilar to each other even though they’re all circles.

Figure 10: Same elements in different colour

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Focal point “Elements with a point of interest, emphasis or difference will capture and hold the viewer’s attention.” This principle suggests that our attention will be drawn toward contrast, toward the

element that is unlike the others in some way. In the image below, your eye should be

drawn to the square. It’s a different shape and colour from the other elements. I’ve also

given it a drop shadow to further emphasize it.

Focal Points.

The principle of focal points likely arises out of our need to quickly identify the unknown

to alert us to potential danger.

The principles of similarity and focal points are connected, and focal points can’t be seen

without the presence of similarity among other elements.

3.1.3 Proximity

“Objects that are closer together are perceived as more related than objects that are

further apart.”

The Gestalt law of proximity states that "objects or shapes that are close to one another

appear to form groups". Even if the shapes, sizes, and objects are radically different, they

will appear as a group if they are close together. Proximity is similar to common regions

but uses space as the enclosure. The objects don’t need to be similar in any other way

beyond being grouped near each other in space in order to be seen as having a proximity

relationship.

Figure 12:

Figure 11:

Focal point :In

a square, a

circular bath tub

is kept in the

center. Bath tub

is the focal

point. It will

draw attention

towards it.

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• Arranging words into sentences or titles is an obvious way to group unrelated elements

to enhance their meaning (it also depends on a

correct order for comprehension).

• Also called grouping, the principle

concerns the effect generated when the

collective presence of the set of elements

becomes more meaningful than their presence

as separate elements. Figure 13: Shows Proximity

• Grouping the words also changes the visual and psychological meaning of the

composition in non-verbal ways unrelated to their meaning.

• Elements which are grouped together create the illusion of shapes or planes in space,

even if the elements are not touching.

Grouping of this sort can be achieved with:

• Tone / value

• Color

• Shape

• Size

• Or other physical attributes

3.1.4 Closure

“When seeing a complex arrangement of elements, we tend to look for a single,

recognizable pattern.”

As with Prägnanz, closure seeks simplicity. With closure, we instead combine parts to

form a simpler whole. Our eye fills in the missing information to form the complete figure.

Closure is the effect of suggesting a visual connection or continuity between sets of

elements which do not actually touch each other in a composition. The principle of

closure applies when we tend to see complete figures even when part of the information

is missing. Closure occurs when elements in a composition are aligned in such a way that

the viewer perceives that "the information could be connected." Imaginary lines called

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vectors, or shapes called counter forms, are generated by these relationships, which the

eye understands as part of the composition even though there is "nothing there. Linear

vectors direct the path of the eye through the composition and determine where the eye

will go once it is attracted by the prominent features of the composition. A vector can be

straight or curved, depending on the relationships that form it.

Figure 14: Shows Closure .

3.1.5 Continuation

“Elements arranged on a line or curve are perceived as more related than elements not

on the line or curve.”

It’s instinct to follow a river, a path or a fence line. Once you look or move in a

particular direction, you continue to look or move in that direction until you see

something significant or you determine there’s nothing significant to see. The edge of

one shape will continue into the space and meet up with other shapes or the edge of the

picture plane.

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Figure 15: Continuation

Zaha hadids Roco London

gallery shows a particular

path or direction to the user

in all the elements of the

buildings including the

materials and lighting.

Graffiti café Restaurant –

Wood is used as a

continuality from column to

the roof and it conceals the

ceiling light .

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3.1.6 Symmetry or Order

“People tend to perceive objects as symmetrical shapes that form around their center.”

Symmetry gives us a feeling of solidity and order, which we tend to seek. It’s our nature

to impose order on chaos. This principle leads us to want balance in composition,

though our compositions don’t need to be perfectly symmetrical to be in balance.

Symmetry states that the viewer should not be given the impression that somethingis

out of balance, or missing, or wrong. If an object is asymmetrical, the viewer will waste

time trying to find the problem instead of concentrating on the instruction.

• Order has connotations of stability, consistency and structure.

• An orderly arrangement of elements has connotations that will be perceived either

positively or negatively by a viewer depending on the purpose of the communication

and the viewer's personality.

Figure 16: Similarity where it provides balances in the composition.

Taj Mahal is the best example for similarity

4.0 Cognitive theory

Cognitive theory is concerned with the development of a person's thought

processes. It also looks at how these thought processes influence how we understand and

interact with the world. The foremost cognitive thinker was Jean Piaget, who proposed

an idea that seems obvious now, but helped revolutionize how we think about child

development: Children think differently than adults. Piaget then proposed a theory of

cognitive development to account for the steps and sequence of children's intellectual

development. Cognitive theories of psychology are focused on internal states, such as

motivation, problem solving, decision-making, thinking, and attention.

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Cognitive psychology is the branch of psychology that studies mental processes

including how people think, perceive, remember, and learn. As part of the larger field of

cognitive science, this branch of psychology is related to other disciplines including

neuroscience, philosophy, and linguistics. Each space in the architecture helps to think

based on the psychological aspects of the interior design.

How is Cognitive Psychology Different?

• Unlike behaviourism, which focuses only on observable behaviours, cognitive

psychology is concerned with internal mental states.

• Unlike psychoanalysis, which relies heavily on subjective perceptions, cognitive

psychology uses scientific research methods to study mental processes.

5.0 SENSORY EXPERIENCE IN INTERIOR SPACES

“ To an extent every place can be remembered partly

because it is unique but partly because it has affected

our bodies and generated enough associations to hold

it in our personal world. ”

Our experience in interior spaces rely on how our senses are affected in that space.

These senses record our experience and transfers it to the brain for interpretation and

understanding. These interpretations are then converted into our mind as memory.

Sensory experience is one of the main reasons we are able to recall memory of a specific

place. For example, Experience inside Hagia Sofia mosque, in turkey, is dictated by the

scale of the mosque, its diffusing light quality, openness and calmness experienced in the

space. Whereas experience inside the temples in south India, is dictated by the scale,

proportion and the minimal light with the use of high decorative ceilings. The colonnades

are common in temples with decorative sculptures, thus people tends to remember the

place easily. These associations remain with our memory of that space and they can be

easily recalled as they have been registered in our mind forever. This sensory experience

is dictated by the elements and principles of interior design used in the space. Thus each

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and every space in the building psychologically affects the human being by using the

elements and principles of interior design in the space, as it tends to guide the people

subconsciously to the particular space.

6.0 Principles of interior design

The principles of design are used to organize individual elements into a workable,

aesthetic design concept. The Principles of interior Design are the ways that designers

use the Elements of interior design to create good Compositions

(decoration/arrangement’s). Design principles are ways of arranging or organizing

design elements. These principles evaluate each element in a design (magnificent vs.

mediocre right vs. wrong). The way the elements are arranged to create a feeling of

stability in a work. . They include balance, rhythm, emphasis, harmony, proportion, and

scale.

Paints, brushes and colour palettes are essential tools for fine artist to play with their

canvases, Similarly, the elements and principles of design are like tools for the interior

designers which can help them mold spaces according to their designs. These principles

provide designers the possibility of creating an illusion and play with the perception of

space. It is not necessary that all the principles should be applied in a particular space,

one or two main principles can be used to dictate the interiors and create the overall effect.

It is also important to consider the appropriateness while using any principle of design in

an interior setting, the principles used should respect the functionality and dynamics of

the space. The following is a brief summary of the basic principles of design and how

they can be manipulated to create an environment.

6.1 Balance

• Balance in interior design refers to the proper distribution of objects in a room to create

visual balance.

• Balance refers to the distribution of visual weight within a composition.

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• Lack of balance disturbs the harmony of a composition. A work that is unbalanced

visually creates tension.

• Balance is created when there is an equilibrium of elements that need each other and

together they create Unity.

There’s three different kinds of balance:

symmetrical (formal),

asymmetrical (informal) Figure 17:

radial.

• Symmetrical (formal) Balance

He easiest way to achieve balance is by

using the symmetrical or formal form, objects

are repeated or mirrored along a central axis.

It’s when the space is evenly split into two

sides that mirror each other.

Symmetry is created by dividing a space and

the elements within it equally.

Symmetry can create order, formality,

calmness and stillness.

Symmetry Makes Design Simple

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• Asymmetrical (informal) Balance

Asymmetrical design is typically created with an odd

number of disparate elements.

Lines, colours, forms and textures are balanced in a space

without duplication.

The two sides of a work of art are not exactly the same,

but are still visually balanced.

Asymmetry can look informal, natural and energetic.

A design effect in which elements on either side of an imaginary central line are

unmatched but appear to be in balance.

Asymmetrical balance makes for a more relaxed and lively interior space.

This balance scheme uses a central line but relies more on the eye's sense of balance to

complete the design.

Rather than having identical objects on either side of the central axis, asymmetrically

balanced spaces have different objects of equal visual weight on either side of the line.

Asymmetrical interiors tend to feel more dynamic and less rigid because in these spaces

a variety of objects types are working together to create balance.

Figure 18:

Although it's primarily a

practical space, a bathroom

works its best when it's

beautiful as well as

functional. In this

symmetrical layout, custom

his-and-her vanities on either

side of the central bathtub

divide the space. The dark

wood pops beautifully against

the neutral bathtub and tiles.

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This form of balance can be more difficult to achieve it often requires an “eye for

design”.

Figure 19:

In this living room, the left

side of the fireplace serves as

the central line. The height

and weight of the sofa and

cushions on the right balance

the console on the left. The

height of the fireplace

surround also balances out

the tall bookshelves.

Figure 20:

You wouldn’t guess that the above photo of Microsoft’s new office, designed is balanced, but it is. This

is because it’s balanced in an asymmetrical way using variety in the visual weight of objects.

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• Radial Balance

When there is a central focal point with other elements radiating from it or around it,

this is radial balance.

Radial balance is almost circular –distributed arrangement of items around a central

point either extending outward or inward.

You see radial balance less often in traditional

homes; round rooms are difficult to link to other

spaces. But the result can be stunning. The central

elements of a radially balanced room —like the dining

table and light fixture in this dining space —become

the immediate focal points.

this central point.

Figure 21:

The circular furniture placement

radiates from the central round coffee

table and makes the arrangement look

comfy and relaxed.

Figure 22:

The central elements of a radially balanced room —

like the dining table and light fixture in this dining

space —become the immediate focal points. The

chairs, sculpture and print all radiate out from this

central point.

This circular staircase creates a feeling of grandeur and focus. The hall table embraces

the radial balance of the space, and the circular planter attracts the eye. The dark color

of the table is an eye-pleasing link to the black metal railing.

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6.2 Rhythm

The design principle that suggests connected movement between different parts of a

design by using colours, lines, forms, or textures; also referred to as continuity

Rhythm is visual flow: the eye should be able to ‘flow’ smoothly across the room.

Regular repetition of lines, shapes, or colours that create a movement.

Patterns have rhythm.

Rhythm refers to a way of utilizing the art elements to produce the look and feel of

rhythmic movement with a visual tempo or beat.

Rhythm is a feeling of structured movement created by the repetition of elements.

Rhythm can be used to create a sense of movement in, through or around a design.

Repeated elements and the spaces between them make patterns that we experience as

rhythm.

This helps to give a composition visual harmony by creating unity in a layout.

Examples include the repetition of similar shapes, colours or textures.

Rhythm can be accomplished through the following means:

1. Repetition

2. Alternation

3. Progression

1. Repetition

The repeated use of certain objects or physical attributes of decor elements.

For example: chevron patterns on both your sofa and wall tapestry, a series of similar

vases lining a mantle or a stack of books on a shelf.

Similarly-themed homeware and arts will also contribute to the theme of your interior

design.

Repetition is the simplest way to attain rhythm and can be achieved by repeating any

of the elements of design (line ,colour, texture and pattern, light, and scale and proportion)

or other design concepts in an organized and regular way.

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Figure 23: He repeating wood slats on the

wall of this pizza shop creates a

playful rhythm and draws your

eye through the space.

Repetition is the simplest

way to attain rhythm and

can be achieved by

repeating any of the

elements of design (line,

colour, texture and pattern,

light, and scale and

proportion)

2. Alternations

Alternation is used to create rhythm by alternating two or more elements in a regular

pattern.

The pattern may be ABCABC or ABBABB, but always repeating in the same order

a modular sofa with alternating colours of white and green, placing a small roundtable

between two armchairs, or

even differently-shaped wall

recesses can achieve this

effect, as seen below.

Figure 24:

This restaurant displays both

repetitive rhythm, in the booths and

chairs, as well as alternation which

can be seen in the pendant lights that

hang in groupings with an

ABAAAABA rhythm.

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3. Progression

Interior design elements placed according to size from smaller to bigger ones, or

perhaps according to the gradient of their colours.

Rhythm can also be achieved through progression. Examples are a gradation of colour

or a series of objects that start small and become large in a very regular manner.

6.3 Emphasis / Focus

attract attention.

has a focal point, whether it is architectural or an object.

ece of furniture can also be a focal point in a room.

point.

Figure 25: The Barajas Airport

is an excellent

example of rhythm

achieved through

repetition and

progression of

colour.

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create emphasis.

FIGURE 26: A B

A. The single element of emphasis in this bathroom is the sink structure. The sink draws your eye to it

because of the bold gold and brown color, the shape and size of the element in the room. The shape

provides movement in the space and the colours complement the wall colour behind it. In this small

area, the sink dominates the space.

B. The ceiling in this kitchen is amazing, its the first thing my eyes went to when I saw the image. The

placement, color, shape, and size of the lighting makes this kitchen different and exciting.

Figure 27:

The sofas frame the

painting as the focal

point of this room,

with a white wall-

to-ceiling construct

juxtaposed against

the wall and ceiling

for further contrast.

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6.4 Harmony

Harmony can be defined as consonance or the pleasing arrangement of parts or

combination of parts in a composition. While balance achieves unity through the careful

arrangement of both similar & dissimilar elements, the principle of harmony involves the

careful selection of elements that share a common quality or characteristic such as shape,

colour, texture or material. It is the repetition of a common trait that produces unity and

visual harmony among the elements in an interior setting.

Harmony, when carried too far in the use of elements with similar traits, can result in a

unified but uninteresting composition. Variety, on the other hand, when carried to an

extreme for the sake of interest, can result in visual chaos. It is the careful and artistic

tension between order and disorder – between unity and variety – that enlivens harmony

and creates interest in an interior setting.

Figure 28:

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6.5 Unity and Variety

The basic aim of every interior designer should be to create spaces as a holistic

design. Every element should be considered in totality where everything relates to one

another. Nothing should be arbitrary to the interior design. The principle of unity brings

harmony and order to the interior space. This principle brings order and discipline of the

space. Every element should complement the other, creating a sense of wholeness in

terms of design. The principle of rhythm and repetition go hand in hand with unity.

Repetition of material, form, color, texture and fabric are used by designers to create that

sense of unity within the space. The principle of balance is also used to compose these

elements in an aesthetically pleasant design. The principle of unity is used throughout the

design process so that all the elements and principles used are in sync with each other.

When unity is achieved:

• a composition does not become cluttered or confusing.

• a concept can be communicated more clearly.

• a design evokes a sense of quality and organization.

Some of the ways to

achieve unity include:

1. Alignment

2. Similarity

3. Proximity

4. Repetition

5. Continuation

6. Overlapping

Figure 29: Repeating colors, shapes, values, textures, or lines

creates a visual relationship between elements, called correspondence.

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6.6 Scale and Proportion

Scale is a common medium of comparison. Scale is the measure of one size

compared to another. In interior design, human scale is most commonly used as the

comparing factor. For example, we determine the scale of the space in terms of height

when we compare it to the human scale. By this comparison, we are able to deduce

whether a particular space is too height or too low for the human use. Even in furniture

designing, the scale of the seating is usually compared with the human scale so that it is

not uncomfortable in use. Thus, anthropometric is an essential area to consider while

designing interiors. If not consider properly, the design can result in being ineffective and

unusable. For example, if the scale of door knob is bigger than the scale of the human

hand, then the person will not be able to open the door. Or if the scale of furniture in a

kindergarten is not designed according to anthropometric of the children, then furniture

will be uncomfortable and ineffective. Scale can also be used to intimate a person in an

interior setting. The scale of a Gothic cathedral compared to scale of person standing

inside, is overwhelming which creates an pro-founding impact on the person. Proportion

refers to how elements within an interior space relate to each other as a whole. Proportion

is affected by the function and aesthetics of the space. Proportion is always in relation

with another thing. For example, space allocation in interior spaces should be in

proportion to the square footage required by each function. Japanese interiors provide a

perfect example of proportion, where the whole interiors planning is based on one module

as proportion - the

tatami mat.

Figure 30: Human Scale

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Figure 31:

The classic Barcelona

chair is an icon, but because

it’s so low it often appears as

though it is not sized

appropriately for our

modern human scale.

In the room pictured above

by Design Partners

International for Kuper,

vertical line has been

applied to the ceiling and

wall to draw the eye down

and add a sense of

proportion to the space.

Without this consideration

for scale and proportion, this

room may not be so well

balanced simply due to the

low horizontal nature of the

seating.

Human Scale

Human scale refers to the feeling of bigness something gives us. If the dimensions of an

interior space or the sizes of elements within it make us feel small, we can say they lack

human scale. If, on the other hand, the space does not dwarf us or if the elements offer a

comfortable fit without dimensional requirements of reach, clearance, or movement, we

can say they are human in scale. Most of the elements we us to ascertain human scale are

those whose dimensions we have become accustomed to through contact and use. These

include doorways, stairs, tables and counters, and various types of seating. These

elements can be used to humanize a space that would otherwise lack human scale.

The issue of scale in an interior space is not limited to one set of relationships. Interior

elements can be related simultaneously to the whole space, to each other, and to those

people who use the space. It is not usual for some elements to have a normal, orderly

scale relationship but have an exceptional scale when compared to other elements.

Usually scaled elements can be used to attract attention or create and emphasize a focal

point.

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Figure 32:

Often interior

designers will

apply proportion

in contrasting

ways to

emphasize a

particular area.

This design by

LemayMichaud

Architecture

Design is a great

example of this;

note how the

oversized fixtures

really call

attention to the

bar.

Figure 33:

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 this room feeling out of scale; however, DAP Studio masterfully

counterbalanced this effect by repeating and lowing the horizontal light fixtures.

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7.0 Elements of design

The Elements form the vocabulary of the design. They play an important role

in the creation & success of a piece of art. The elements are your raw materials much like

paints are to an artists and include space, form, color, texture, pattern, and light. The

elements of a design plays an important role in the interior design as it guides the user to

reach the particular place. Human beings spend most of their time in the interior and

hence the elements will remain as memory to them. Even it can create a mood, and make

the people to think. Emotions also plays in the elements of the design. Thus the elements

of the design is very important in the psychological aspects of the interior design.

7.1 Form

Form encompasses the spatial definition of a thing, its extent in one, two, or three

dimensions. In mathematics, form is spoken of in terms of point, line, and plane. In

design, we speak of line, shape, and volume.

7.1.1 Line

Lines can actually have a psychological effect on a room. Designers use different kinds

of lines all the time in order to create a particular mood or ambiance in the room they are

designing. Most interiors use a combination of lines, but often times one line will be

planned to dominate in order to accomplish a desired effect. Line can express various

feelings and 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.

Straight lines

1. Horizontal lines suggest a solid, harmonious relationship with the earth, and offer a

sense of tranquility. Long horizontal lines can visually expand space, making rooms

appear wider or longer. Lest you go overboard, remember that a room with too many

horizontal lines may become boring and lack interest.

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Figure 34:

Horizontal stripes painted on a wall can help achieve the same effect.

2. Vertical lines lift the eye, mind, and spirit upward. They convey strength, stability,

and security. They inspire awe and tend to diminish the significance of human scale.

(This is why historically churches have always used vertical lines- to lift your eyes

heavenward.) The use of vertical lines tend to make interiors seem higher. They are

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perfect in formal dining rooms, entryways, and formal living areas. Too many vertical

lines may cause feelings of uneasiness or confinement.

Figure 35:

Angular lines:

1. Diagonal lines suggest movement, energy, and action! There is always something

going on! Human interest is usually sustained longer with diagonal lines than with

straight lines, probably due to the fact that the eye and mind are so stimulated. However,

too many diagonal lines, particularly on a wall, can be overstimulating and tiresome.

Figure36

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2. Zigzag lines are lines that proceed by sharp turns in alternating directions, forming a

regular or irregular pattern. A set of regular zigzag lines is called a chevron or

herringbone pattern. These lines can add energy, life and excitement to an

interior. Too many zigzag lines might make viewers feel distraught or agitated.

Figure 37:

Curved Lines:

1. Curved or circular lines provide relief,

softness, and balance. They can give an

elegant, human quality to interiors. A series of

curved lines may give a rhythmic cadence to the

room, suggesting graceful movement. Too

many curved lines might be viewed as too

feminine. Figure 38:

2. Flowing Lines are irregularly curved lines that move gently

in a random manner. They provide a great deal of interest

because the viewer is never certain where the line will end.

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7.1.2 Shape

Shape refers to two-dimensional forms created by

intersecting lines. Shape can be simple geometric forms

such as a square, triangle or circle, or they can be

irregular and amorphous, conforming to no particular

definition. Simple geometric forms tend to evoke

stability and completeness while irregular shapes may

appear more dynamic and interesting (Fig. 2). Either,

used in excess, may create boredom or unease. Figure 39: A composition of irregular

shapes becomes a landmark

7.1.3 Volume

Volume refers to the extension of shape into three dimensions (Fig. 3). In an interior

environment volume is typified by objects, such as

furniture, and by residual space—that defined by

structure and captured by columns, doors, etc. Space

defined by walls is the most common volume in

interior design. As with shape, volumes can be either

geometric in nature or free flowing and irregular.

Totally geometric spaces can seem formal or

restrictive while free-flowing spaces can feel open or

confusing. Figure 40: Volume extruded, rotated,

And mapped.

7.2 Space

Space is the most essential element of design. It provides the shell for interior

designers to mold and transform it according to their designs. Form is what gives

character and identity to any interior space. What makes any space recognizable is the

form of that space. The interior layout and arrangement creates a form for the space.

For example, a restaurant has a particular kind of interior layout like dining area, bar

area and the kitchen. These different areas give character to the space and let us know

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that the space is a restaurant. Similarly, an office layout will be completely different

from the restaurant and its zones and layout will be placed according to the office

requirements. Thus, the form of one function will be different from another function.

Space can also be used to provide a certain type of experience. A double-height space

with huge windows, can be used to give a grand and spacious feel. Whereas a space can

generate distressing and claustrophobic feeling if low-height ceiling is introduced with

small windows and narrow spaces in between. Other important factors to consider is a

space are communication, accessibility and mobility. Effective communication facilities

and options should be planned according to the function and requirements of the space.

A classroom mode of communication will be different from a restaurant or office

requirements. Accessibility is also an important factor in space planning. Activities and

placement of different things should be planned according to the flow of the function. For

example, a dentist office will require easy access of his equipment and tools so that the

flow of his practice is not effective . Similarly, storage and file cabinet should be in reach

of the employee in an office setting so that time is not wasted. Mobility is another factor

that should be considered while space planning. This includes providing easy flow of

movement and circulation between spaces and comfortable design of staircase and ramp.

7.3 Texture

Texture is another element which effects our sense of touch. Very material in interior

space has some sort of texture. By texture, it means the characteristics of the surface of

the material. Materials such as upholstery, furniture, flooring, wall and ceiling finishes,

all have certain texture. Like colour, every texture can its own character which gives a

particular kind of feeling. Like smooth, polished wood flooring will give a different

sensation as compared to a rough stone flooring. In places where colour usage is

inappropriate, change in texture can be used to highlight or emphasis a section. Use of

texture also portrays the image, identity and class of the space designed. Many offices

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use texture to create an impressive image of their company while designing their

reception area. For example, Leather paneling, wood flooring and textured wall

finishes used in an reception area gives a classy, high-end feel to the interior design,

creating an overall good impression on clients.

There are 2 basic types of texture, namely, tactile texture &

visual texture.Tactile texture is real & can be felt by touch.

Visual texture is seen by the eye. All tactile textures provide

visual texture as well. Visual texture on the other hand,

may be, illusionary or real.

Figure 41:

Texture and Light

Light influences our perception of texture and, in turn, is affected by the texture it

illuminates. Direct light falling across a surface with physical texture will enhance its

visual texture. Diffused lighting de-emphasizes physical texture and can even obscure its

three-dimensional structure.

Smooth, shiny surfaces reflect light brilliantly, appear sharply in focus, and attract

our attention. Surfaces with a matte or medium-rough texture absorb and diffuse light

unevenly and therefore appear less than a similarly colored but smoother surface. Very

rough surfaces, when illuminated with direct lighting, cast distinct shadow patterns of

light and dark.

Contrast influences how strong or subtle a texture will appear to be. A texture seen

against a uniformly smooth background will appear more obvious than when placed in

juxtaposition with a similar texture. When seen against a coarser background, the texture

will appear to be finer and reduced in scale.

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Finally, texture is a factor in the maintenance of the materials and surfaces of a space.

Smooth surfaces show dirt and wear but are relatively easy to clean, while rough surfaces

may conceal dirt but are difficult to maintain.

Texture is an intrinsic characteristic of the materials we use to define, furnish, and

embellish interior space. How we combine and compose differing textures is just as

important as the composition of color and light, and should suit the desired character and

use of a space.

The scale of a textural pattern should be related to the scale of a space and its major

surfaces, as well as to the size of secondary elements within the space. Since texture tends

to visually fill space, any textures used in a small room should be subtle or used sparingly.

In a large room, texture can be used to reduce the scale of the space or to define a more

intimate area within it.

A room with little textural variation can be bland. Combinations of hard and soft,

even and uneven, and shiny and dull textures can be used to create variety and interest.

In the selection and distribution of textures, moderation should be exercised and attention

paid to their ordering and sequence. Harmony among contrasting textures can be

sustained if they share a common trait, such as degree of light reflectance or visual weight.

7.4 PATTERN

Technically pattern is not a design element because it equals line, space, and shape

but we will treat it as one in practice because it has its own visual effects and independent

life with psychological and physical effects

Visual Effects of Pattern

1. Pattern accents and enlarges the part where used

2. The larger the motif size, the more enlarging the pattern

3. Extremes of pattern size emphasize extremes of object size

4. Directional patterns emphasize that direction

5. Extreme contrasts of color and line enlarge

6. Pattern adds visual interest to plain textures that might otherwise be boring

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7. Pattern attracts attention away from object and can help distract viewer and hide flaws

8. Sharply edged motifs are more emphatic and enlarging than fuzzy-edged motifs

making figure-ground distinction easier

9. Patterns susceptible to directional, figure-ground reversal, spontaneous change of

position, or autokinetic illusions soon become distracting

Psychological Effects of Pattern

1. patterns combine the psychological effects of the elements of design that make up the

pattern

2. Closely spaced motifs can create a crowded, pressured feeling

3. Widely spaced motifs may seem spotty and loosely organized

4. Flattened motifs suggest simplicity and casualness

5. Motifs suggesting depth seem more complex and sophisticated

6. Plant, flower, flowing or shadowy abstracts may seem feminine and lighthearted

7. Animal, geometric, man-made objects (not all) may have masculine associations

8. Recognizable motifs suggest specific places, e.g. gardening tools, vegetables

9. Large motifs and spacing are vigorous and bold

10. Tiny motifs seem dainty

11. All-over arrangements seem stead

12. Directional arrangements carry the psychological effect of their dominant direction.

8.0 PSYCHOLOGICAL EFFECTS OF LIGHT

The following is a brief analysis of the effects of lighting in interior spaces because

lighting is in itself such a vast topic which requires a separate comprehensive study.

Lighting is a very important element of design which can be used to play with the

perception of space. It can be manipulated to create an ambiance and environment which

can directly effect our sense of sight. Too little or excess of lighting in an interior space

can create a very disturbing experience. Thus, intelligent use of this element is required

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to highlight and emphasis the important elements in a space and provide effective lighting

according to the function.

Lighting has two types: natural and artificial. Natural lighting in an interior space is

dominated by the existing architectural structure and the possible window opening

options in the space. It is important to understand the quality and quantity of daylight

required in an interior space. The exposure of light required is directly related to the

function of the space. For example, A classroom may requires even distribution of light

for effective visibility whereas an art gallery requires less daylight because paintings can

be damaged by daylight. There are also orientation factors which effect the quality of

light entering a space, for example, a window on the south side will bring harsh, bright

light whereas a window on the west side will bring a more diffused light quality. Thus, a

frosted glass on the south side can diffuse the light whereas a white wall next to the west

facing window can increase the sharpen and intensity of light.

Other problems related to natural light should also be considered while planning like

glare, uneven distribution and shadow. These problems can be easily overcome by

introducing artificial lighting in interior spaces. There are numerous types of artificial

lighting available which provide different effects. Fluorescent lighting gives a colder

white light whereas Incandescent light like halogens provide a much warmer and

yellowish light. Light can also effect the colour of the space. For example, red will appear

brighter in tube-light and it will appear warm reddish orange under a halogen. Thus,

appropriate lighting is required according to the function. For example, dim lighting in a

counsellor office will create a more relaxing and calming atmosphere. Similarly, in most

fast food joints, bright lights are used in interiors to encourage people to eat quickly

whereas in restaurants, dim lighting is used to provide a more relaxed formal dining

experience. Effective lighting design according the space and functional requirements can

help create a pleasant interior experience.

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Our moods and sense of well-being are affected by the qualities of light.

A. Lightness is associated with openness, clarity, awareness, alertness, and

knowledge

1. Expressions of lightness include “seeing the light”

“the age of enlightenment”

“ a light went off in my head” “ and I have a bright

idea”

2. Too much light is tiring a. Too bright/high intensity

b. Illuminates too large of a surface

c. Illuminates too evenly, causes objects to look flat or 2D

B. Darkness is associated with gloom, mystery, quietness, seriousness, depression,

threat, fear of the unknown, ignorance, age, sophistication, and experience

1. Expressions of darkness include “the dark ages” “don’t leave me in the dark”

2. Not enough light is tiring and make the viewer work too hard to see. The older the

viewer the more light is required to see as the eyes age. Hearing clearly can also be

affected by the ability to see what is making the noise or who is talking.

9.0 PSYCHOLOGICAL EFFECTS OF COLOUR

“ Seldom, surely, is the psychological part of an appearance in

nature so great as it is in the case of colour. No one can encounter it

and stay neutral. We are immediately, instinctively, and

emotionally moved. We have sympathy or antipathy, pleasure or

disapproval within us as soon as we perceive colours.”

-Psychologist Ulrich Beer.

Colours aren’t randomly used when we talk about interior design colours. At first

sight we may think that it’s very easy to choose colours for a living room for example or

for our entire home because we choose what we love and what we would like to have. In

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many cases the results are very good, but in most of the cases if you don’t know anything

about colours and what combinations would look great for your home style, the results

might have nothing in common with a professional appearance

In most of the cases those who are interior designers have solid knowledge about

colors, know very well which category belong certain color, what colors are suitable for

combinations and most of all which are the psychological effects of one color or another

and what fits better in order to obtain desired result. I’ve always liked the idea that by

adding a certain color or a combinations of colors, you can simply change your mood,

your room by creating optical illusion and making it smaller or bigger and so on. So, first

we have to know that we have three primary colors: yellow, red and blue. When we

combine these primary colors together, we get the secondary colors: yellow and blue is

green, yellow and red is orange, blue and red is purple. Mixing primary colors with

secondary ones we get different color shades which are called tertiary colors.

Complementary colors are opposite each other in the graph. Each pair of colors

complement each other and produce a neutral color. Each person perceives colors as cool

or warm. If you see the color chart, usually the cool colors are in the blue and green colors

side and the warm colors are in the yellow and orange side. Colors give us a certain state

of mind, can energize us, can cheer us, can make us feel safe, calm, relax, can increase

the ability to concentrate or remember us pleasant things. There are also colors that

depress us, let us remember the sad things, to be tiring or become irritating after a while.

We must take this into account when we choose our colors. Eventually we are the ones

who stand in the house and it’s more important to feel good about it.

People perceive colors differently. Generally, they respond to colors in the same way, but

the effects will not be the same for every person. For example, one certain color can

unconsciously awakens you some memories or feelings, this can happen with someone

else but sensations and memories being different. Another example would be black color

which many associate it with mourning or something sad, while others may like and feel

good surrounded by it. Using color psychology in interior design doesn’t guarantee that

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every person in the house will see and feel exactly as you want. I’ll describe some

psychological effects of colors like brown, white, grey, black, yellow, orange, red, pink,

purple, blue and green.

Brown color

With the brown color, you can induce a feeling of naturalness and comfort to your

home. Brown is usually composed of the following colors and shades: black, yellow,

gray, green, red or orange and even purple. Because it is made of a mixture of several

colors, brown is not found anywhere else in the color chart and is often considered a

neutral color. Brown color can be very pleasant if we think of chocolate, coffee and cakes.

This color is found very often in nature. Almost every plant we find, it has the brown

color. In many places, brown is the color of earth. So brown can give us a sense of security

and stability. In interior arrangements, brown can add depth and warmth. The neutral

color schemes you can add a bit of brown to make them more welcoming. Furniture

finishes and a beautiful parquet floor or natural colors can be very fine and good taste.

Or, if you use unpolished wood or wool textiles in natural shades of brown create a

pleasant rustic effect.

Figure 42: Brown colour interior.

White colour

Use the psychological effects of color of white to create a refreshing and clean look in

your home. People associate different things in white. White is used to create an airy

appearance, quiet and pure. If in a room is used on walls, furniture or floor, white may

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give the impression that it is much higher than it is and can give an invigorating freshness.

If you don’t want to have very colorful room but no excess white, you can use white in

combination with other neutral colors. Black, brown or gray with white fit very well. To

take advantage of psychological effects of the white color, you should not use it much,

just to emphasize certain things, such as windows and doors frames from.

Figure 43: White colour interior.

Grey colour

Grey interior give a formality that is subtle elegance without being too conservative. Grey

colour effect depends very much on the colour shade that you will use. For example, if

grey has a yellow tint may be depressed, especially if you have things in the room in

various shades of brown. But a beautiful shade of grey, in combination with not very

bright white colour, can create a clean and refreshing appearance. If you have too many

grey areas will become predominant and create a boring environment.

Figure 44: Grey colour interior

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Black color

Use psychological effects of black color to create an elegant and bold aspect for your

home. If you use it in a smart way, black gives an elegant and sophisticated air to interior

design. If it is put on a light or neutral background color, everything which is black will

stand out. Black color is ideal to bring out certain things in a room. Most people associate

black with death, mourning, widowhood, and generally with formal and serious

occasions. In conclusion, do not use too much black, but only to highlight certain things

like picture frames, small tables, etc.

Yellow colour

Use yellow colour effects to give a bright and optimistic air for your home. Effects of

yellow colour varies with its nuances. A pale yellow applied on walls or ceiling can bring

a little sunshine in your home, while a darker yellow you may be damper after a while. If

you don’t want to use it on the walls, you can use it’s psychological effects in other ways.

For example, yellow is great for standing things out. You can use smaller amounts of

yellow accessories, flowers or pictures. Figure 45: yellow colour interior

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Red colour

Use red to give a resonant and stimulating aspect for your rooms. The color red often

indicate a threat, it can increase heart rate and blood but with a warmer shade you can

feel very good. A room with much red can increase the level of passion. Like orange, red

is known to increase appetite and thus is widely used in kitchens. Red is the colour of

passion, power, energy, and strength. And a dramatic and aggressive colour. As it could

promote restlessness, and stimulate the appetite. It is good for a dining room – or any

room where you want to stimulate activity and socialize in – use it for a study or aan

exercise room.

Figure 46: Red colour interior space for kitchen and bathroom

Pink color

You can use pink color to create a fresh and fine atmosphere in the house. In most

countries, the color pink color is seen as a feminin color and it is often associated with

everything related to girls. In general, used in interior design, the psychological effects of

color pink is soothing and comfortable. Some pink shades are fresh and sweetness in

them that can be associated with sweets.

Figure 47:

pink colour

interior

spaces

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Purple colour

Use the psychological effects of colour purple to create a luxurious and expensive

environment to your home. If it has a bluish shade, it can be serene and calm and gives

an air of mystery. Reddish shades attract more attention and dominate the room. Purple

color has a long reputation of royalty and power.

Figure 48: purple colour interior ( left ) blue colour

interior ( right )

Blue colour

With the blue colour you can create a cool and clear look. In the interior design, you can

use blue to create an atmosphere of work and meditation. The colour blue has been shown

to lower blood pressure and heart rate. It is used to design the interior space to enlarge

the room by a very light shade of blue. You can use blue to cool a room with much sun

and heat. If used in kitchen, paint, furniture or dishes, blue colour is said to decrease

appetite and you can lose weight.

Green colour

Use the psychological effects of green colour to create a calm and relaxing atmosphere

in your home. The psychological effects of colour green colour are similar to those of

blue, green is perceived as calm and clear. Green is very soothing to the eye and nature

gives us a lot of nuances. The best way to use green in the interior design is to combine

several colours, or green combined with other colours.

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10. CASE STUDIES

10.1 KID’S REPUBLIC BOOKSTORE, BEIJING-CHINA DESIGNED BY SKSK

ARCHITECTS:

Kids Republic is an interactive bookstore dedicated to children. The concept of

this unique bookstore interior is focused on developing curiosity in children. The store

layout consists of an activity room on the first floor and bo okstore on the second floor.

The colorful activity room is an interactive fun space in which rainbow inspired ribbons

run through the whole space. Encouraging the book culture in children, the interior of this

activity room created different spaces to promote activities like individual reading, group

story-telling and animation shows. The activities are

Figure 49:

planned keeping in mind the psyche of children so that it appeals to them .The colorful

ribbon twists and turns in the hallway, across the stairs and over the display, shelving,

seating and counter, adding a fun element in the entire space. In order to create a playful

environment which attracts kids mind, The designers incorporate fun elements like slides-

inspired shelving, geometric cut-outs and ribbon theme to give a playground-like feel to

the store.

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First, let look into the space dynamics of the shop. The space is designed to

according to kids anthropometric, meaning all the low-height shelving, seating and other

activities are designed keeping in mind the scale of children. The space has be molded

according to the requirements of the children and provide an overall ambiance for them.

Colourful free flowing curves create interesting shelving and reading areas for kids.

Figure 50:

Understanding the psychology of children, the space has been transformed into a

playground-like interiors which kids can relate to and feel at ease in. Thus, playful

slides, staircase and geometric openings within shelving have been introduced to

make the interiors more interactive and fun.

The principle of focal point is used in the form of a colorful rainbow-like ribbons which

dominates the space. It acts as the datum which runs through the whole space,

transforming itself according to the requirements like staircase, slides, book shelves and

even counter. These ribbon creates rhythm and repetition within the space, adding

movement and flow in the interiors. Color is the main element of design that has been

used to create this repetition. Introducing the 12-color rainbow ribbons helps in creating

a fantasy like space in which kids can enjoy. Multiple reading area options have also been

provided in between shelves and circulation with carpeted flooring, so that kids can relax

in the environment and read wherever they like.

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The designers have understood the psychology of kids and have successfully

created an playful learning environment which is dedicated to kids. From colourful

rainbow element to low height seating to playful cut outs in the shelving, everything is

designed keeping in mind the psychological thinking of kids and how they react to

different spaces.

Figure 51:

Creating a playful learning

environment of kids

Figure 52:

Circular cut-outs make fun

reading spaces for kids

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10.2 BARBIE FLAGSHIP STORE BY SLADE ARCHITECTURE:

This is the first ever Barbie flagship store which offers the world’s largest

collection of Barbie dolls and other Barbie related products. The client wanted the

interiors to focus on Barbie as a lifestyle label, celebrating its impact on fashion trends

throughout history. Slade Architects gave a very chic, stylish and feminine look

to the interiors which compliments the revolutionary brand. Designers have played with

the principle of scale with the central 3-storey spiral staircase which immediately makes

it the focal point. It is encircled by almost 800 Barbie dolls. This acts as the core of the

whole design which literally make people revolve around Barbie. The whole circulation

around these Barbie creates an amazing experience giving a nostalgic feeling of

childhood.

Figure 53: Pink coloured showroom.

The staircase links the three floors: The first floor is the woman’s fashion, second floor

is doll floor, third is the girls Barbie design section and the last floor is a cafe.

The designers wanted a fantasy-like youthful environment in which females from

different generations can reinforce their relationship with the brand. Understanding

the psychology of the female consumers, The space offer a variety of interactive

spaces within the store to re-connect with Barbie at different levels. The space caters from

little girls to women, thus, understanding the psychology of them was an important factor

in designing. Every section is designed according to the

age requirements like children doll area is designed with colourful low-height seating

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and shelving. Different activities are designed keeping in mind the different age groups

visiting the store : like cafe, design center, doll house and clothing boutique. Pink is

usually associated with femininity and Barbie. Thus, Pink was used as the dominating

colour which is repeated everywhere, creating repetition and rhythm which helps in

uniting the whole space. The principle of unity is reinforced in the repetition

Figure 54: Circular elements

of this element. Playful circular openings are repeated at different areas to create a

playful environment. Youthful and girlish environment is creates a fantasy-like space

which brings out the inner child within the customer.

The designers have successfully played with the principle of scale in the form of the

spiral staircase which immediately creates an impact on the person. This impact continues

throughout the space as the staircase connect the multiple levels of the store. The principle

of repetition and unity in the form of color, texture and shape bring harmony to the space.

This project is an excellent example of design which understands and is catered to the

product as well as the clientele coming to the store.

There are some areas within the design which are overdone but the overall concept

and understanding of the brand and its customers is what really brings out the

character, style and glamour to the whole interior experience.

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10.3 Ore-No Kappa Restaurant by Japanese architect Hiroshi

Kanazawa

Architects: Hiroshi Kanazawa / Yo

Location: Lan Kwai Fong, Central, Hong Kong

Designer: Hiroshi Kanazawa

Area: 350.0 sqm

Project Year: 2015

Photographs: Courtesy of YO CO.

Ore-no group（“Ore-no”, means “My”）own many restaurants in Japan they are

very famous and popular among Japanese. They have restaurants such as “Ore-no

French“, “Ore-no Italian“ and “Ore-no Kappou“.

They chose Hong Kong to set up their first restaurant outside Japan, this is their

first time to expand business outside Japan. In order to establish the brand image of

“Ore-no”, I always think that the most important point is to express a new generation of

Japanese “Wa” style that are stepping forward into the world.

Figure 55:

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To make the concept into real, they tried to create a new Japanese style space with new

pattern and shape. The overall design including 5 traditional Japanese materials,

including “檜 Hinoki“, “土 Soil“, “漆 lacquer“, “紙paper“ and“墨 ink“. These five

elements appear intermittently with a surprising pattern and shape that show a good

balance between implicit Japanese “Wa” space and innovative spirit.

Figure 56: Pattern

and Shapes are

widely used in the

interior space where

the continuation is

seen

from one material to

the other material.

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In Japan, they usually use “Contrast” and “Shadow” to express beauty. In this project,

“Japanese traditional material” and “Surprising pattern and shape” are the biggest contrast

point. I also express the feeling of gorgeous in terms of contrast of light and shadow too.

This is how I pursue the beauty of Japanese style in this project.

Figure 57:

The designers have

tried to follow one

language throughout

the outlet, transforming

it into different

elements of interior

design.

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Figure 58:

10.4 ITHAA UNDERWATER RESTAURANT BY MJ MURPHY

LTD: Figure 59:

This unique restaurant is located 5 meters

below sea level in Maldives. The restaurant

provides a 180 degrees panoramic view of the

sea and the coral reef surrounding the restaurant.

The whole interior is inspired by the sea itself,

providing a unique ambiance for dining. This

restaurant is an example of themed interiors which has been implemented in every

element of the design.

The principle of focal point is the experience is the underwater life, thus, the whole

space is dedicated to the celebration of sea life. The inspiration has been taken forward

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in every aspect of the interiors including columns, windows, seating, furniture and even

lighting.

Figure 60: Themed elements in the interior.

The columns and the lighting fixtures are inspired by the coral reef whereas the

windows are treated in an organic way to give that aquarium feel. The seating and

other decorative elements are also inspired by fishes and reef. The principle of unity is

thus, applied in design, such that every element is designed in totality to the concept of

the interior space. The principle of repetition is applied in the form of red columns

around which seating is arranged. The red color adds warmth and balance in the cool

bluish underwater surroundings. The columns also highlight the coral reef inspired

ceiling design which is also repeated throughout the space. Red is also used to make the

space more dramatic and provide necessary contrast which balances with the cool colors.

Yellow is also added in some elements like lighting fixtures and wood table, which

brighten ups the space. This repeating element creates harmony and order in the space.

There is also play of the principle of scale in the main dining area where the transparent

ceiling is made lower than usual so that the space can provide feeling of containment.

Thus, the feeling of being underwater is enhanced which positively

affects the diners. The overall experience is breath-taking as every aspect of the

interiors interacts and people are able to relax in this cool underwater environment.

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11. Conclusion

Interior spaces interact with the human beings in two layers: one is the physical

state and the other is the spiritual state. Positive balanced connection of an interior space

with these two layers is what you call a good design. In this age of commercialization,

interior design has been come a necessity rather than a luxury for public spaces where

good design can attract consumers and dull design can even repulse them. A sensory

experience in these commercial interior spaces can elevate the whole ambiance which

can leave a positive imprint on the consumer mind.

This can eventually increase the consumer turnover for the business. This sensory

experience can be applied by intelligently combing the elements and principles of

design accordingly to the concept, mood and function of the interiors. Unfortunately,

nowadays interior design is perceived as mere decorative art where designers only focus

on the aesthetic appeal of the space and not so much on the spiritual one. Along with the

aesthetic value of the space, it has become important to acknowledge and respect the

human response in these interior space so that it can positive effect the spiritual as well

as physical well-being of the user.

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12. References

• The Handbook of Interior Design

edited by Jo Ann Asher Thompson, Nancy Blossom.

• http://freshome.com/2014/09/25/the-psychology-of-achieving-balance-in-interior-

design/

• Principles of Design, Revised and Updated by William Lidwell, Kritina Holden and

Jill Butler (2010).

• Gestalt psychology” article in Wikipedia

(en.wikipedia.org/wiki/Gestalt_psychology).

• Color Theory.” Color Theory. N.p., n.d. Web. 15 Dec. 2013.

<http://scr.csc.noctrl.edu/multimedia/ColorThe ory.htm>.

• “Understanding Color.” Understanding Color. N.p., n.d. Web. 15 Dec. 2013.

<http://www.rgbworld.com/ color>.

• Interior design principles.

• Designing for Emotion by AARRON WALTER