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A C T I V I T I E S

Pazartesi, Haziran 29,2015

10:00 ''ankaya niversitesiTantm Gnleri''

Sal, Haziran 30, 2015


aramba, Temmuz 1,2015


LECTURE NOTES

YOU ARE ONLY RESPONSIBLE OFLIGHT AND COLOR FOR THE FINALEXAM!!!!!!! /uploads/files/INAR121%20designelements4%20LIGHTa%202014-15.ppt/uploads/files/INAR121%20designelements4%20LIGHTb%202014-15.ppt/uploads/files/INAR%20121designelements4%20LIGHTc%202014-15.ppt/uploads/files/COLOR%20AND%20COLOR%20PSYCHOLOGY%202015.pptx YOU ARE NOT RESPONSIBLE FOR THE OTHER SUBJECTS IN THE FINAL EXAM!

DESIGN:The term describes all of the decisions that determine how a particular object, space,or building will be. It includes most purposeful changes to the physical environment.Design can also be described as determination of form. Form is understood tomean every aspect of every quality, including size, shape, material, structure, texture,and color, that makes one particular physical reality different from any other. Forexample, when we speak of a house, an office, chair, or vehicle, we refer to certaingeneral characteristics, and the useful purposes they serve; but nothing of thespecifics that make them unique, different, special. It is the design differences thatmake them different, so that we can compare them as better or worse.

Designers represent a variety of approaches and aesthetic attitudes. But

they share an understanding at some basic level of what a good design is:

A Good Design Satisfies 3 Essential Criteria:1. It works well, serving the needs andrequirements of its users,2. It is well made of good and appropriatematerials,3. It is aesthetically successful.So basically, when we analyze and evaluate a design, we view it in terms of

three qualities:

1. FUNCTION

2. STRUCTURE AND MATERIALS

3. AESTHETICS

ARCHITECTURE:Taking the concept of design, we can move on to Architecture. It has been said thatdesign is the purposeful changes made to the environment, architecture is thereforeany construction that deliberately changes the physical environment according tosome ordering system. By order we mean classification, organization anddifferentiation.

PURPOSES OF ARCHITECTURE:- Architecture provides settings for certain activities such as sports, education,leisure activities etc.

- It reminds people of what certain activities are, for example, eating, studying, etc.

- It signifies power, status, or privacy as in government buildings, or wealth andrichness as in residential buildings.

- It expresses and supports beliefs, as mosques and churches do.

INAR121INTRODUCTION TO INTERIORARCHITECTURE

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- It communicates information. For instance, we can talk about the time a buildingwas built by looking at the types of materials used, or the style of the elements usedsuch as columns, or talk about the climate, thickness of the walls, etc.

- It helps establish individual or group identity. Home vs.

classroom, studios.

- And it encodes value systems. Building types are differ among differentcultures. For example Japanese housing is different than Turkish housing)

ARCHITECT:An architect is a person trained in basic building construction, and designs buildingsfrom the foundation up. In many cases, the architects design includes many interiorelements such as room shapes, door and window locations, details and selection ofmaterials, and elements such as lighting, heating, air conditioning, plumbing andrelated fixtures. Note that you will be hearing the abbreviation HVAC many times inthis profession.

INTERIOR ARCHITECTURE:We all know how important it is to create spaces that are comfortable, organized,convenient, and pleasant. Therefore Interior architecture describes a group of relatedprojects that are involved in making any interior space into an effective setting for allhuman activities that take place. Interior architecture is an exploration of the wholespectrum of architecture necessary for human accommodation, comfort, and delight.It focuses on the humanistically conceived space and seeks to synthesize theparallel development of architects, interior designers, and artists. Interior architectureis a combination of all these disciplines.

INTERIOR ARCHITECT:An interior architect is a designer who deals with the basic arrangement of spaces,room arrangements, and manages technical issues such as lighting and acoustics,taking into consideration aesthetic values, and social and emotional needs of theusers.

The Interior Architect:

A professional Interior Architect is a person, qualified by education, experience,and recognized skills, who - identifies, researches, and creatively solves problems pertaining to the functionand quality of the interior environment; - performs services relative to interior spaces including programming, designanalyses, space planning, aesthetics, and inspection of work on site, usingspecialized knowledge of interior construction, building systems and components,building regulations, equipment, materials, and furnishings; - and prepares drawings and documents relative to the design of interior space,

in order to enhance the quality of life and protect the health, safety, and welfare ofthe public. ELEMENTS OF DESIGN:

The relationship among the elements of a design give it individuality. In order to lookat a design as a whole, we must consider the pattern or interrelationship amongthem. We should be conscious of the visual characteristics of things and how theyrelate to aesthetic quality of our environment. Each of these elements contribute tothe overall design and its effect.

DESIGN ELEMENTS:

1. LINE

2. FORM

3. SHAPE

4. TEXTURE

5. PATTERN

6. COLOR

7. LIGHT

8. SCALE

9. SPACE

POINT: Is the generator of all forms. It is static and directionless. When point moves itmakes a LINE.


A LINE CAN BE IMPLIED BY: I) POINTS

II) II) SIMILAR ELEMENTS IF CONTINIOUS

III) III) TEXTURE QUALITIES

HORIZONTAL LINES REPRESENT:

1. Stability

2. Strength

3. Plane upon which we stand or move

VERTICAL LINES REPRESENT: State of equilibrium with force of gravity.

DIAGONAL LINES REPRESENT:

1. Rising and Falling

2. Movement

3. Active and Dynamic

CURVED LINES REPRESENT:

1. Movement deflected by lateral forces

2. Gentle movement

3. Uplifting or solidity and attachment to earth

4. Small curves can express playfulness, energy, or pattern of biological growth.

WITHOUT LINE THERE IS NO DEFINITION OF SHAPE.

LINE IS ESSENTIAL IN THE FORMATION OF ANY VISUAL CONSTRUCTION.

LINES ARTICULATE EDGES OF PLANES AND CORNERS OF VOLUMES.

LINES CREATE TEXTURE AND PATTERN

A composition with too much of any one type of LINE may become uninteresting orunpleasant; but emphasizing one type promotes them.

PLANE has 2 dimensions: WIDTH & LENGTH but has NO DEPTH

PLANAR FORM QUALITIES:

I) MATERIAL

II) COLOR

III) TEXTURE

IV) PATTERN

PLANAR FORMS ARE FUNDAMENTAL ELEMENTS OF ARCHITECTURE

VOLUME: Is a plane extended in a direction other than along its surface

Volume can be either SOLID or VOID

SOLID: Space displayed by MASS


VOID: Space enclosed by planar forms

FORM: Describes the contour and overall structure of a volume

Visible form gives space:

I) DIMENSION

II) SCALE

III) COLOR

IV) TEXTURE

SHAPE: Is the primary means by which we distinguish one form from another

SHAPE refers to:

I) The contour of a line

II)The outline of a shape

III)The boundary of a 3 dimensional shape

3 BASIC GEOMETRIC SHAPES ARE

I) CIRCLE

II) SQUARE

III) TRIANGLE

WHEN EXTENDED INTO 3-D, THE PRIMARY SHAPES GENERATE

SPHERE

CYLINDER

PYRAMID CONE

CUBE

CIRCLE: Is a compact shape, it is introverted, the centerpoint represents:

I)UNITY

II)CONTINUITY

III)ECONOMY OF FORM

TRIANGLE: Represents stability

I)It is stable, resting on one of its sides

II)When tipped to stand on one of its points, it becomes DYNAMIC

TRIANGLES COMBINE TO FORM POLYGONAL SHAPES

SQUARE: Represents the pure rational equality of its sides, they expressREGULARITY and VISUAL CLARITY

I)It is stable, resting on one side, no direction

II)Standing on one corner, it becomes DYNAMIC


A rectangle is a variation of a square with the addition of: WIDTH & LENGTH

VARIETY to rectangle is achieved by:

1. SIZE

4. TEXTURE

3. COLOR

2. PROPORTION

5.PLACEMENT

6. ORIENTATION

IN DESIGN WE PREFER RECTANGULAR SHAPES BECAUSE THEY ARE:

I)EASILY MEASURED

II)EASILY DRAWN

III)EASILY MANUFACTURED

IV)FIT WELL IN CONSTRUCTION

TEXTURE: Refers to the quality of a surface because of its 3-D structure

Texture describes:

I) Smoothness or roughness of a surface

II) The characteristic surface qualities of familiar materials such as stone, wood,fabric

2 BASIC TYPES OF TEXTURE:

TACTILE: felt by touching

VISUAL: seen by eye

The visual texture of a surface gives information about its tactile quality withouttouching

PHYSICAL REACTIONS GIVEN TO THE TEXTURE QUALITY OF A SURFACEDIFFER ACCORDING TO:

I) SCALE: The finer the scale of a texture, the smoother it becomes

II) VIEWING DISTANCE: From farther distance, texture looks smoother

III) LIGHT: How much light a surface reflects, gives information about itsmoothness

Texture and Light

DIRECT LIGHT ENHANCES TEXTURE

SMOOTH SHINY SURFACES REFLECT LIGHT

MATTE OR MEDIUM ROUGH TEXTURE ABSORBS LIGHT UNEVENLY

Pattern


Is the 2 or 3 dimensional ornamentation of a surface based on therepetition of a design motif (shapes)Pattern can be created by texture, points, lines and formsToo much pattern makes a design look busy or crowded

DAYLIGHT / NATURAL LIGHT - ARTIFICIAL LIGHT

Light is not what we see, but what we see by. Exactly what we perceive dependsupon the kind and quality of light available. The light bouncing off objects reflects backto the eye variations of brightness and color that correspond in a complex geometricway with the size, shape, distance, color and texture of those objects.

NATURAL LIGHT:THE SUN IS THE OLDEST SOURCE OF LIGHT KNOWN TO US. ITS RADIATION NOTONLY PERMITS US TO SEE, BUT ALSO ALLOWS THE LIFE-SUPPORTINGPROCESSES TO TAKE PLACE. ROOMS THAT ARE ILLUMINATED BY SUNLIGHTHAVE A VITALITY ABOUT THEM.

Daylight is highly variable, its angle and brightness changes over the course of theday and the year, and with fluctuations in the weather. Because natural light is bothhorizontal as well as vertical, it helps define the changing contours and textures ofsurfaces. It also provides light from the entire light spectrumeven those frequenciesthat we cannot perceive with our eyes. Some lighting experts argue that the qualitiesof daylight are essential to a sense of well-being in people, and that lack of daylightleads to boredom, fatigue, lack of concentration, and even a reduction of intellectualcapacity.

ORIENTATION

EAST: East-facing openings admit strong sunlight early in the morning and lose thesun sometime before noon. BEDROOMS, KITCHENS, BREAKFAST AREAS, AREASUSED EARLY IN THE DAY

WEST: West-facing windows receive the late afternoon sun, which is sometimes toomuch direct daylight on summer afternoons, or in climates with many days of strongsunlight. WESTERN EXPOSURE CAN CREATE UNCOMFORTABLE GLARE ANDHEAT IN SOME PARTS OF THE COUNTRY. SHADING DEVICES SUCH ASOVERHANGS OR BLINDS CAN PREVENT PROBLEMS CAUSED BY THEHARSHNESS OF DIRECT SUNLIGHT

NORTH: Openings facing north, which never admit direct sun, generally receive coolbut consistent light from the north sky. ARTISTS STUDIOS, DESIGNERSWORKSHOPS, THEY SHOULD NOT HAVE A WIDE VARIATION OF ILLUMINATION

SOUTH: Good orientation, ideally facing south with appropriate shading, makes adifference in winter and summer. FAMILY ROOMS, LIVING ROOMS, SEWING ROOMS

WE CAN USE DECIDUOUS TREES ON SOUTH SIDE TO PREVENT HEAT ANDGLARE.

CONIFEROUS TREES GIVE A GARDEN GUARANTEED COLOUR ALL YEAR ROUND;WHEN PLANTED ON THE NORTH SIDE, THEY CAN BLOCK SOME OF THEPIERCING NORTHERN WINDS IN THE COLDER MONTHS OF THE YEAR.

Finishes. The color and reflectivity of interior finishes are important in use of daylightand control of luminous ratios. Light colored surfaces enlarge the perception ofspace and diffuse the light distribution. The ceiling is the most effective surface forreflecting light and typically, it should be very light in color. The floor is one of the leastsignificant, and it is here that the designer has the greatest opportunity for the use ofdarker colors, such as those found in carpets

Shading Devices. Louvers, overhangs, shades, blinds (with or without draperies), orother devices can be applied creatively to control the excessive illumination andluminance contrast emitted from the sun. This is critical when eyes that areconcentrating on an interior task can view the light source. In such cases, the windowor skylight should be filtered or shielded from view, or the task should be orientedaway from these sources.

Furniture Placement. When placing furniture, it is important to keep bright windowsout of the field of vision of any person doing close up tasks like reading or repairwork. Seated people who are doing visual tasks with their backs to a window cancause problems because of the shadow cast forward on to the work plane. Thetraditional advice of light over the left shoulder is still good, although light from theright is also satisfactory for most tasks and ideal for left-handed people.

Multiple Glazing. Multiple glazing uses two, sometimes three, sheets of glass thatare factory-assembled into a sandwich. The dead air spaces between the layersminimize winter heat loss or summer heat gain. Specialglass tinted to filter out unwanted heat energy while permitting most light to passthrough can also be obtained.

ARTIFICIAL LIGHT:Good lighting supports convenience, efficiency, comfort, safety and favorableemotional reactions. It has been shown that improving the lighting of a space can be


more effective than any other single factor in increasing the overall sense ofsatisfaction. Just switching off a glaring ceiling fixture and substituting a well-placedtask lamp can make a dramatic improvement, often at very little cost. PROPER AMOUNT AND TYPE OF LIGHT ADDS BEAUTY TO THE COLORS ANDFURNISHING OF SPACES. EXCESS BRIGHTNESS DISTURBS THE EYE, ITSHOULD BE CONTROLLED.

LIGHT IS MEASURED IN FOOT CANDLES

GOOD LIGHTING:

CAN INCREASE EFFICIENCY: Direct or concentrate attention. Lighting draws attentionto points of interest and helps guide users through space by influencing the timingand direction of their gaze. A brightly-lit wall or spotlight clearly displays artwork, anddraws the viewer to it. A good light at a desk, with the surroundings at a lower lightlevel, helps to concentrate attention on work. RELEIVES EYE STRAIN

CUTS DOWN ON ACCIDENTS: Proper lighting can enhance visibility and engender afeeling of safety; it also can be used to illuminate potential hazards, such as achange in floor plane or a moving object. HELPS SET THE MOOD/ATMOSPHERE OF A SPACE: Dim light usually makes aspace seem intimate and cozy; bright light, more business-like and energetic. CAN GIVE CHARACTER: Every designer needs to have a basic understanding oflighting mechanics in order to deal with design issues directly, as well as to workeffectively with engineers or lighting specialists when they are involved in a project

WHEN LIGHT HITS A SURFACE:ANGLE OF INCIDENCE (a) IS EQUAL TO ANGLE OF REFLECTION (b) a = b

DIFFUSED LIGHT: IS LIGHT REFLECTED THROUGH GLASS OR PLASTIC. FROSTEDBULB PROVIDES BETTER QUALITY LIGHT THAN CLEAR BULB.

GLARE: IF THERE IS LUMINANCE DIFFERENCE BETWEEN 2 OBJECTS,SURFACES, GLARE WILL OCCUR.

TYPES OF GLARE:

Direct glare Glare resulting from an unshielded source

Disability glare Glare resulting in reduced visual performance and visibility

Discomfort glare Glare producing discomfort but not necessarily impairing visualperformance or visibility

3 MAJOR TYPES OF ARTIFICIAL LIGHT SOURCES:

INCANDESCENT FLUORESCENT HIGH INTENSITY DISCHARGE (HID) AND COLD CATHODE

INCANDESCENT LIGHT:

THE LIGHT IS PRODUCED FROM THE HEATING OF THE TUNGSTEN FILAMENT INSIDETHE LIGHT BULB WITH AN ELECTRIC CURRENT UNTIL IT GLOWS.*SIZES VARY FROM 15 WATTS TO 200 WATTS*BULBS ARE AVAILABLE IN BLUE, PINK, YELLOW, GREEN.*SHAPES AND FINISHES VARY ADVANTAGES: IT IS LESS EXPENSIVE , MORE FLEXIBLE, EASY TO CHANGE, MAY BERECYCLED INTO CERAMIC TILESDISADVANTAGE: IT TAKES MORE ENERGY AND GENERATES MORE HEAT THANFLUORESCENT LIGHT.TUNGSTEN HALOGEN LAMPA Tungsten Halogen Lamp is a type incandescent lamp with a tungsten filamentcontained within an inert gas and a small amount of a halogen such as iodine orbromine.The filament of the small lamp is surrounded with halogen gas. As the tungstenburns off, the halogen reacts with the tungsten (called Halogen Cycle), creating abright light. Advantages and Disadvantages: Tungsten halogen costs more than common


incandescent lighting but last three times longer, burn 10 percent brighter,and are closer to the natural spectrum. But produce more heat.FLUORESCENT LIGHT: THE TUBE IS FILLED WITH VERY LOW PRESSURE MERCURY VAPOR (OR XENON) AND ASPECIAL POWDER COAT INSIDE THE TUBE. WHEN THE CATHODES AT EACH END OF THETUBE ACTIVATE THE VAPOR, THEY CAUSE THE FLUORESCENT COATING TO PRODUCELIGHT.SHAPES AVAILABLE: STRAIGHT, TUBULAR, CIRCULAR, U SHAPEDADVANTAGES: IT LASTS LONGER, PRODUCES LESS GLARE, LESS HEAT, COSTS LESS.DISADVANTAGE: COLOR QUALITY. DIFFICULT TO MAINTAIN.Fluorescent light is a relatively shadowless, even light, making it ideal for generallighting of environments where tasks are performed but where task lighting wouldbe impractical or undesirable. They are commonly used in luminous ceiling panels, under-the-cabinet lighting overthe counters, in bathroom lighting and over work surfaces in offices.With this type of light, work can take place for hours without lighting-causedfatigue. COMPACT FLOURESCENT LAMPSThese are initially more expensive , yet they consume almost one-fifth ofthe power and last up to sixteen times longer than incandescent lamps.Basically, CFLs use less power and have a longer rated life. METAMERISM:

1. SAME MATERIAL LOOKS DIFFERENT UNDER DAYLIGHT AND ARTIFICIAL LIGHT2. TWO MATERIALS LOOK ALIKE UNDER DAYLIGHT, BUT DIFFERENT UNDER ARTIFICIALLIGHT HIGH INTENSITY DISCHARGE (HID):High Intensity Discharge (HID) HID lighting combines some of the advantages ofincandescent and fluorescent. The lamps give point or near-point light; they arecheap and efficient to run, have a very long life, and some types (especially whenused in combination) have good color characteristics. On the other hand, there isa high initial cost for both the lamp and the specialized fixture, and they require abulky and expensive transformer. There are several types of readily available HIDlamps:LIGHT IS PRODUCED BY DISCHARGING ELECTRIC CURRENT THROUGH HIGH PRESSUREVAPORHID is used for bright interior and exterior lighting. HID lamps establish an arcbetween two vey close electrodes set in opposite ends of small, sealed,transclusent or transparent glass tubes. HID lamps are used to uplight exteriors of large buildings and sometimes ininteriors of nonresidential buildings.Neon. These tubes are familiar to us in illuminated signs, are available in a fullrange of colors, including whites. Neon tube life is very long (several years); it islimited by low efficiency, and usually considered for special, decorativeapplications. Cold Cathode. This type is very similar to neon, and is sometimes useful insituations such as indirect lighting coves of irregular shape. Fiber Optics. Strands of glass fibers, usually bundled, can convey light from anysource to one or more remote locations, where the light then emerges from thefibers. Various experimental applications are under development, but the only usesavailable in interior design are decorative. Laser Light. This is a process in which light is concentrated and emitted inan intense beam. Although laser light can be used in decorative and display


functions, it does not yet have extensive practical application.TYPES OF LIGHTING DEVICES All lighting devices fall into one of two mounting types: architectural or portable.Architectural lighting is fixed by building in or attaching fixtures to the structureof the building. Fixtures are often recessed, and more or less concealed. Correctarchitectural lighting is planned and is installed as a space is built or renovated.Portable lighting includes lamps and other moveable lighting devices that areplugged into outlets and can be moved about or replaced at will. Types of Floor, Table, Desk and Specialty Lamps

Shaded Lamps. This is probably the most familiar and useful, portable fixturetype. The bulb or bulbs are surrounded by a shade,which reduces glare butdisperses direct light up, down or both. They can be fitted withincandescent or the new compact fluorescent lamps for energy efficiency.Because such lamps deliver excellent lighting, they are often selected astask lamps to illuminate small areas in offices and residences.Reflector Lamps. These enclose a regular or reflector bulb, eitherincandescent or halogen, in an opaque reflector that directs light in onedirection. They make good reading or work lights but can produce excessivebrightness contrast unless fill light is provided from another source. Themost familiar version is the cantilever, adjustable neck reflectors that areused as desk lamps. They have become a popular, inexpensive solution tomany home and office lighting problems.Globe Lamps.In these, glass replaces the shade; this reduces the brightness of theenclosed incandescent lamp, and delivers diffused light. Globes are made ofclear, frosted, smoked, or colored glass, and the fixtures are either wall-mounted or chandelier. Globe lamps tend to form a spot of glare and deliverunattractive, flat lighting.Uplights and Torchieres. These are usually floor lamps that aim all lightoutput upward to use the ceiling plane as a reflector, providing indirect,general lighting. The source light is usually incandescent, but halogen andHID versions are becoming increasingly popular.POINTS TO BE CONSIDERED WHEN CHOOSING A LAMP:SHOULD BE STABLE AND WELL BALANCED DIFFUSED LIGHT GIVES LESS GLARE LAMP SHADES SHOULD BE SIMILAR IN COLOR, TEXTURE, OR CONTRAST HEIGHT COULD BE ADJUSTABLE OR TILTABLE A FLOOR LAMP SHOULD BE PLACED SO THAT LIGHT COMES FROM BEHIND THESHOULDER OF THE READER. LEFT OR RIGHT, BUT NOT DIRECTLY BEHIND THEREADER. FOR READING PURPOSES:LOWER EDGE OF SHADE SHOULD BE ABOUT 1 M FROM FLOOR FOR TABLE LAMPLOWER EDGE OF SHADE SHOULD BE ABOUT 1.20 M 1.25 M FROM FLOOR FORFLOOR LAMP Cove Lighting. Lighting by means of sources shielded by a ledge orhorizontal recess that distributes light over the ceiling and upper wall. Thissystem requires a cove, or pocket, to be built into the ceiling or wall. Thelight units, typically fluorescent or cold cathode, are concealed from viewand provide indirect light.


{C} {C}cornice lighting Lighting by means of light sources shielded bya panel parallel to the wall and attached to the ceiling

{C} {C}soffit lighting The underside of a structural component, suchas a beam, arch, staircase, or cornice.A light built into a soffit.

{C}

{C} {C}valance Longitudinal shielding member mounted across the topof a window or high on a wall to conceal light sources

{C}

{C} {C}POINTS TO BE CONSIDERED WHEN CHOOSING A FIXTURE:

{C} {C}ADJUSTABILITY, MULTIFUNCTIONALITY (DIMMER CONTROL,HEIGHT, SWING){C} {C}DIFFUSED LIGHT IS MORE PLEASANT, EXPOSED BULB ISIRRITATING{C} {C}DESIGN OF A FIXTURE SHOULD BE IN HARMONY WITH THECHARACTER OF THE SPACE


TYPES OF LIGHT DISTRIBUTION: DIRECT: SHARPEST CONTRAST BETWEEN LIGHT AND DARK. USED TO EMPHASIZEOBJECTS

INDIRECT: SOURCE IS HIDDEN, LIGHT IS DIRECTED TO CEILING, A COVE OR ANOTHERSURFACE FROM WHICH IT IS REFLECTED.


DIRECT INDIRECT: LIGHT IS DISTRIBUTED EVENLY IN ALL DIRECTIONS. THE FIXTUREHAS A BULB ON BOTH SIDES,INSIDE AND OUTSIDE THE REFLECTOR.

{C} SEMI DIRECT:MORE LIGHT IS DIRECTED TOWARDS WORK PLANE

{C} SEMI INDIRECT: MORE LIGHT IS DIRECTED TOWARDS CEILING OR UPPERWALL

METHODS OF ILLUMINATING SPACE:

{C} {C}AMBIENT / GENERAL LIGHTING: The overall level of light in a space:COVE, VALANCE, CORNICE, SOFFIT, PANEL LIGHTING{C} LOCAL: PORTABLE LAMPS AND FIXTURE{C} ACCENT LIGHTING: Directional lighting to emphasize a particularobject or draw attention to a part of the field of view (SPOT LIGHTING THATEMPHASIZE THE CENTER OF INTEREST)

3 ASPECTS OF LIGHTING:

1. FUNCTION: QUALITY AND QUANTITY IS IMPORTANT{C} READING/WRITING, SHAVING, MAKE-UP

2. SAFETY: CERTAIN SPACES NEED MORE CARE{C} STAIRWAY, PATIO, DOORWAY, DRIVEWAY

3. BEAUTY: GOOD LIGHTING MAKES INTERIOR LAYOUT MORE BEAUTIFUL LIGHT AFFECTS PEOPLES:


{C} MOOD OR EMOTION{C} PRODUCTIVITY{C} AWARENESS

{C} Several general design strategies can be used to update the thinkingon how lighting and energy are used.

Keep it Low. Contrary to the older school of thinking, working inadequate yet dim light will not harm the eyes, anymore than listening to music atlower volumes will hurt the ears. Brighter light is not necessarily better.Uniform Overhead Fixtures Cannot Provide the Only Source of Light. This isespecially true for offices now that computers are the focus of many peoples jobs.Additional and appropriate lighting should accompany each individual task in a workarea.Make Lighting Specific. Tasks need to be identified carefully and lighting chosenfor each based on the task itself. It is important to take into consideration thetasks size, importance, the duration of time it needs to be performed, its priorityin relation to other tasks, general lighting in the area, and the physical condition,age, and expectations of the person performing the task.Let the User Control Lighting Options Whenever Practical. Because comfortfactors will vary dramatically from task to task and person to person, the best tasklight is one that gives the user the most control over position and intensity. It isalso important for the same person to be able to alter light levels to match his orher changing needs over the course of the day or season.Consider the fixtures as a design element. Select fixtures that complement theover-all design objective. They should be a compatible scale, color, finish andgeometry. Plan placement so that it coordinates with the structure from everyview, and does not destroy the harmony of the design.Prepare for the Aging Population. As peoples eyes age, the lenses grow largerand more rigid, requiring more effort for the eye muscles to focus at close range.

As a result, low light makes it harder to see clearly, color identification isdecreased, and intolerance for both direct and reflected glare increases.

All these vision changes and their accompanying lighting needs will increase thechallenge for the designer as our population ages. FINAL EXAM (8.1.2013) WILL BEGIN AT 10:00 am!!!!!!!!!! IFI DFIE INTERIORS DECLARATION

It is the nature of Humankind not only to use spaces, but to fill them with beauty andmeaning.Skilfully designed spaces can arouse in us a sense of purpose, or a sense of theprofound.In the spaces that are important to us, we experience not only a sense of place, but asense of who we are, and of what we can be.Thoughtfully designed spaces help us learn, reflect, imagine, discover and create.Great spaces are indispensable for great creative cultures. They encourageconnections between people, ideas and entire fields of thought.As design professionals, our knowledge enables us to form spaces that respond tohuman needs. These human spaces are the domain of our competence, our passionand our work.We use space responsibly. We practice our profession with highest regard forengaging the worlds economic and natural resources in a sustainable manner.We design for health, safety, well-being and the needs of all.It is, after all, for Humanity, our ultimate client, that we design.We shape the spaces that shape the human experience.This is what we do, what we create, what we give.It is how we earn our place at the human table.It is why our work is important to our clients, to our societies and to ourselves.It is the difference we make and why we choose this noble profession. VALUE"The profession provides leadership and utilizes an iterative and interactive processthat includes discovery, translation and validation, producing measurable outcomesand improvements in interiorspaces and in the lives of the people who use them.This process delivers economic, functional, aesthetic and social advantage that helps


clients understand the value of their decisions and enables better decisions that arebeneficial to users and to society.It is recommended that the profession become a trusted voice and develop multipleresearch models in the context of physical, emotional and behavioural patterns ofusers."RELEVANCE"The profession defines projects at their commencement, and champions humanexperience at all levels.Interior designers and interior architects synthesize human and environmentalecologies and translate science to beauty addressing all the senses.The practitioner listens, observes, analyzes, improves and creates original ideas,visions and spaces that have measurable value."RESPONSIBILITY"The responsibility of interior designers and interior architects is to define the practiceand the required expertise, educate ourselves and the public, and to positionourselves in the public realm as experts inthe built environment.The responsibility of interior designers and interior architects is to advance theprofession and advocate for social well-being."CULTURE"As a creative enterprise, interior design and interior architecture are a mode ofcultural production. They are a place-maker that interprets, translates, and editscultural capital.In a global world, interior design and interior architecture must play a role infacilitating the retention of cultural diversity."BUSINESS"The profession of interior design and interior architecture provides value to thestakeholders.It improves well-being as a factor of economic development.It provides strategic thought leadership resulting in multifaceted return on investment.Interior designers and interior architects advocate education for the ongoing benefitand awareness of the profession."KNOWLEDGE"Theoretical, applied, and innate knowledge are fundamental to the practice of interiordesign and interior architecture.The confluence of environmental psychology and the science of anthropometrics arecritical to the quantitative and qualitative knowledge that form the practice of interiordesign and interior architecture."IDENTITY"Interior designers and interior architects determine the relationship of people tospaces based on psychological and physical parameters, to improve the quality oflife." IFI 2011 This document is copyrighted IFI material and may not be distributedwithout the permission of IFI.

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