FOUNDATION TO DESIGN NOTES INT DESIGN .pptx

ITS ABOUT PRINCIPLES AND ELEMNTS OF DESIGN

1. FOUNDATION TO DESIGN I PYM I BANGALORE PRINCIPLES OF INTERIOR DESIGN FUNDAMENTALS OF INTERIOR DESIGN

2. PRINCIPLES OF INTERIOR DESIGN The Principles of interior Design are the ways that designers use the Elements of interior design to create good Compositions (decoration/arrangements). 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. I nterior design is achieved through the application of the elements of design. It also help us to achieve our objectives of Interior Design . Principles Of Interior Design are: 1 . BALANCE 2.SPACE 3.UNITY 4.RYTHM 5 .EMPHASIS S YMMETRICAL (FORMAL ) A SYMMETRICAL (INFORMAL ) RADIAL REPETITION ALINGMENT SIMILARITY PROXIMITY CONTINUATION ALTERNATION PROGRESSION

3. PRINCIPLES OF INTERIOR DESIGN 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. Lack of balance disturbs the harmony of a composition . Balance is created when there is an equilibrium of elements that need each other and together they create Unity. BALANCE TYPES : There’s three different kinds of balance: S YMMETRICAL (FORMAL), A SYMMETRICAL (INFORMAL) R ADIAL SYMMETRICAL (FORMAL) BALANCE: The 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. 1. SYMMETRICAL 2. ASYMETRICAL 3.RADIAL

4. PRINCIPLES OF INTERIOR DESIGN BALANCE 1. SYMMETRICAL 2. ASYMETRICAL 3.RADIAL SYMMETRICAL CUSTOM CABINETRY ALLOWS THE TUFTED HEAD OF  the bed to act as the focal point in this bedroom, since it serves as the cabinetry's center axis. Objects repeated on the shelving bring an additional calmness. 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.

5. PRINCIPLES OF INTERIOR DESIGN BALANCE 1. SYMMETRICAL 2. ASYMMETRICAL 3.RADIAL D esign is typically created with an odd number of disparate elements. Lines, colors, 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. ASYMMETRICAL (INFORMAL) BALANCE:

6. PRINCIPLES OF INTERIOR DESIGN BALANCE 1. SYMMETRICAL 2. ASYMMETRICAL 3.RADIAL 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. Asymmetrical elements can be as big as statement furniture or as small as table decorations

7. PRINCIPLES OF INTERIOR DESIGN BALANCE 1. SYMMETRICAL 2. ASYMMETRICAL 3.RADIAL RADIAL BALANCE: T here 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. The chairs, sculpture and print all radiate out from this central point. The circular furniture placement radiates from the central round coffee table and makes the arrangement look comfy and relaxed.

8. PRINCIPLES OF INTERIOR DESIGN BALANCE 1. SYMMETRICAL 2. ASYMMETRICAL 3.RADIAL We can use radial symmetry in the landscape not only to create a focal point, but also as a practical approach to design. This swimming pool is offset into a circular retaining wall; the circular stepping stones show people the way to the pool and add balance and stability. This circular staircase  creates a feeling of grandeur and focus. 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.

9. PRINCIPLES OF INTERIOR DESIGN Unity is achieved when all of the different elements in a design work together to create a unified whole. Designers use unity to make elements in a composition appear to belong together. When each elements has a clear visual relationship to one or more other elements, the composition is unified. Unity is what draws the whole design together. Simply but, every single item in your home should contribute to the overall interior design concept, not draw away from it. All Parts of a work of art are interrelated, balanced, and organized to achieve a quality of oneness . A unified design is greater than the sum of its parts ; the design is seen as a whole first, before the individual elements are noticed . Unity can be compared to harmony, integrity or wholeness . 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 UNITY :

10. PRINCIPLES OF INTERIOR DESIGN UNITY SOME OF THE WAYS TO ACHIEVE UNITY INCLUDE: ALIGNMENT SIMILARITY PROXIMITY REPETITION CONTINUATION OVERLAPPING ALIGNMENT : Alignment consists of arranging elements so that their edges are lined up. The common alignment allows the eye to group those elements together.  SIMILARITY: Similarity repeating textures V alues, textures, or lines creates a visual relationship between elements, called correspondence.

11. PRINCIPLES OF INTERIOR DESIGN UNITY REPETITION: Repetition is based on grouping by similarity ; elements that are similar visually are perceived to be related. Any element can be repeated - line, shape, color, value or texture - as well other things such as direction, angle or size. Repetition helps unify a design by creating similar elements and is one of the most effective ways to unify a design. PROXIMITY : B ased on grouping by closeness; the closer elements are to each other, the more likely we will see them as a group. Proximity is one of the easiest ways to achieve unity. SOME OF THE WAYS TO ACHIEVE UNITY INCLUDE: ALIGNMENT SIMILARITY PROXIMITY REPETITION CONTINUATION OVERLAPPING

12. PRINCIPLES OF INTERIOR DESIGN UNITY OVERLAPPING: Design elements can contribute to unity by creating a relationship between separate elements. CONTINUATION: It m eans that something (a line, an edge, a curve, a direction) continues from one element to another. The viewer’s eye will follow the continuing line or edge smoothly from one element to other and the mind will group the elements because of this connection. Implied lines are one example of continuation SOME OF THE WAYS TO ACHIEVE UNITY INCLUDE: ALIGNMENT SIMILARITY PROXIMITY REPETITION CONTINUATION OVERLAPPING

13. PRINCIPLES OF INTERIOR DESIGN SPACE SPACE: Space is the area in and around something. Designing involves arranging design elements in space. The distance or area between, around, above, below, or within things. Three-dimensional designs have: • form • length • width • height Space can be split into two categories: positive and negative space . Positive space is space containing objects, whilst negative space is the open/empty space. It is also crucial to consider the scale and size of the furniture and objects placed in a room, as this can be used to make the space appear larger or smaller. Example - A tall object such as a book case can give the illusion of height.

14. PRINCIPLES OF INTERIOR DESIGN EMPHASIS EMPHASIS / FOCUS : Accent, stress , or importance placed on a part of a piece of artwork. Focus is used to center attention. Focus can be created by contrasting elements so that they attract attention. It simply means that every room or space has a focal point, whether it is architectural or an object. Interior design elements like color, texture and form are used to add emphasis to a focal point. If you refaced your fireplace with bronze glass tiles, you have used color and texture to create emphasis. The fireplace and mirror collection exemplifies emphasis in a room. A fireplace is the most common architectural focal point. Oversized artwork or a large piece of furniture can also be a focal point in a room.

15. PRINCIPLES OF INTERIOR DESIGN EMPHASIS Movie posters creating  focus of interest 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 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. 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.

16. PRINCIPLES OF INTERIOR DESIGN RHYTHM SOME OF THE WAYS TO ACHIEVE RHYTHM INCLUDE: REPETITION ALTERNATION PROGRESSION RHYTHM: Rhythm accomplished through the following means: 1. Repetition 2. Alternation 3. Progression REPETITION : The repeated use of certain objects or physical attributes of decor elements . Repetition is the simplest way to attain rhythm and can be achieved by repeating any of the elements of design (line, color, texture and pattern, light, and scale and proportion) or other design concepts in an organized and regular way.

17. PRINCIPLES OF INTERIOR DESIGN RHYTHM SOME OF THE WAYS TO ACHIEVE RHYTHM INCLUDE: REPETITION ALTERNATION PROGRESSION 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, color, texture and pattern, light, and scale and proportion)

18. PRINCIPLES OF INTERIOR DESIGN RHYTHM SOME OF THE WAYS TO ACHIEVE RHYTHM INCLUDE: REPETITION ALTERNATION PROGRESSION ALTERNATION : U sed 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 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 . A modular sofa with alternating colors of white and green, placing a small roundtable between two armchairs, or even differently-shaped wall recesses can achieve this effect, as seen below.

19. PRINCIPLES OF INTERIOR DESIGN RHYTHM SOME OF THE WAYS TO ACHIEVE RHYTHM INCLUDE: REPETITION ALTERNATION PROGRESSION PROGRESSION: E lements placed according to size from smaller to bigger ones, or perhaps according to the gradient of their colors. Rhythm can also be achieved through progression. Examples : are a gradation of color or a series of objects that start small and become large in a very regular manner . The Banjaras Airport is an excellent example of rhythm achieved through repetition and progression of color.

20. THANK YOU FOUNDATION TO DESIGN I PYM I BANGALORE PRINCIPLES OF INTERIOR DESIGN

21. UNIT – 3 FUNDAMENTALS OF INTERIOR DESIGN FOUNDATION TO DESIGN PYM I BANGALORE STRUCTURAL MEMBERS -TERMINOLOGIES

22. STRUCTURAL MEMBERS-TERMINOLOGIES CONTENTS FOUNDATION BEAM AND SLABS COLUMNS SILL LINTEL PLINTH LOAD BEARING STRUCTURES NON LOAD BEARING STRUCTURES ARCH FACADE VAULT

23. STRUCTURAL MEMBERS-TERMINOLOGIES FOUNDATION/FOOTING : The enlarged base of a foundation that spreads the load over a larger area and transmits it to the soil below. Footings provide stability and prevent settling.

24. STRUCTURAL MEMBERS-TERMINOLOGIES TYPES OF FOUNDATION/FOOTING :

25. STRUCTURAL MEMBERS-TERMINOLOGIES A horizontal structural member that is subjected to bending forces . Beams are used to support floors, ceilings, and roofs. BEAM: Horizontal structural elements that transmit load to beams and columns . Slabs can be load bearing or non-load bearing. SLAB:

26. STRUCTURAL MEMBERS-TERMINOLOGIES COLUMN: A vertical structural member that transmits load from above into the ground below. Columns provide compressive strength and stiffness to a building.

27. STRUCTURAL MEMBERS-TERMINOLOGIES SILL: SILL-A horizontal structural element at the bottom of a window or door opening . Serves as a ledge to support the vertical window or door frame. Transfers loads from the opening to the walls. SILL LEVEL -The height or elevation of the sill above the floor or ground . Defines the bottom edge of the window or door opening.

28. STRUCTURAL MEMBERS-TERMINOLOGIES LINTEL LEVEL: LINTEL-A horizontal structural member placed over openings like windows and doors to carry loads from above. Transfers weight to walls. LINTEL LEVEL-The height or elevation at which the lintel is positioned above an opening. Defines the top edge.

29. STRUCTURAL MEMBERS-TERMINOLOGIES PLINTH: The base or platform upon which a column, pedestal, wall or structure rests. Distributes loads over a larger area.

30. STRUCTURAL MEMBERS-TERMINOLOGIES LOAD BEARING STRUCTURES: Structural members like walls, columns, beams that transfer loads from above down to the foundation. Structural elements like partitions that do not carry significant vertical loads. NON-LOAD BEARING STRUCTURES:

31. STRUCTURAL MEMBERS-TERMINOLOGIES LIVE LOADS AND DEAD LOADS : DEAD LOADS Weight of all permanent structural and non-structural components Include weight of walls, floors, roofs, partitions, cladding. LIVE LOADS Temporary weights from building occupancy and use.

32. STRUCTURAL MEMBERS-TERMINOLOGIES ARCH : A curved structural member that is loaded in compression and provides spanning capability. Arches transfer loads outward along the curve to the supports. An arched structure forming a ceiling or roof. Vaults are composed of short arch segments that assemble into interesting curved forms. VAULT :

33. STRUCTURAL MEMBERS-TERMINOLOGIES FACADE: The exterior face of a building, including materials, openings, and architectural details . The facade helps define the visual aesthetic.

34. UNIT – 3 THANK YOU FOUNDATION TO DESIGN PYM I BANGALORE STRUCTURAL MEMBERS -TERMINOLOGIES