PRINCIPLES

OF

INTERIOR

DESIGN

2

Submitted to-

Ar Rimaljeet Kaur

Submitted by-

Sumit Ranjan

College of architecture,

Bhaddal, Ropar

6th sem

AR/12/834

What is meant by “Principles of Interior Design”?3

The Principles of interior Design are the

ways that designers use the Elements of

interior design to create good

Compositions

(decoration/arragements).

Design principles are ways of

arranging or organising 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.

Principles of Interior Design

1.Balance 2.Space3.Focus/Emph

asis4.Rhythm 5.unity

4

BALENCE

5

Balancei n t r o d u c t i o n6

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.

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.

7

BalanceT y p e s

There’s three different kinds of

balance:

symmetrical (formal),

asymmetrical (informal)

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

8

9

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.

10symmetrical

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.

11 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.

Asymmetry Helps Us Stay Interested

Asymmetrical/informal balance

12

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.

This form of balance can be more difficult to achieve it often

requires an “eye for design”.

13

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.

14

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.

15

Asymmetrical

elements can be as big as

statement

furniture or as

small as table decorations

16

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.

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.

17

D-CRAIN Design and Construction

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.

18

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.

The placement chairs and other furnishings in the room are

based on the table as a central focal point.

19

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.

Visual Balance20

There are instances when this is the

desired effect, but for the majority

of spaces one goal is visual balance.

This is achieved by distributing the

visual weight of objects within a

space to achieve a feeling of

equilibrium.

The size, color, texture, shape of an

element can change its visual weight.

For example, larger, darker, brighter,

highly textured, complexly shaped

objects typically feel heavier and

require balance through the

placement equally “heavy” items or

multiple less heavy items.

21

Very dark or saturated areas

of color demand attention

within a composition.

An area of high contrast,

even at a small size, will

automatically draw the

viewerʼ s eye.

Forms placed near the edge

of a page can also draw

more

visual attention than forms

placed directly in the center

of a page.

The Rule of Thirds22

The Rule of Thirds refers to the idea of dividing a

composition into thirds based on a grid.

The most important elements of the composition fall on

the lines in between to create a strong composition.

A slightly off center balance is more visually interesting

and harmonious than an evenly centered composition.

A rectangle has been divided horizontally and vertically

by four lines.

The rule of thirds states that the centers of interest for

any rectangle lie somewhere along those lines.

The Golden Mean23

Golden Mean: Relationship between sizes that is pleasing to the

human eye.

This concept was first formally recognized by the ancient Greeks,

and examples of the golden mean can be observed through

Greek artwork and architecture.

The golden mean appears in everything from atomic

structures to galaxies.

Graphic designers can use these proportions to create work that

instinctively looks “right.”

There’s a mathematical ratio commonly found in nature—the ratio

of 1 to 1.618—that has many names.

Most often we call it the Golden Section, Golden Ratio, or Golden

Mean, but it’s also occasionally referred to as the Golden Number,

Divine Proportion, Golden Proportion, Fibonacci Number, and Phi.

Fibonacci sequence24

The Fibonacci Sequence is also one of the most

elemental building blocks found in nature.

This principle is based on the Fibonacci sequence, which is a

series if numbers to denote proportions:

2,3,5,8,13,21,34,55,89,144,233, etc. The each number in this

series is the sum of the two numbers proceeding it.

Proportions are based on the number Pi, in which

measurements are approximately1.618 times one another in

a layout.

In the example above, segment A is 1.618 times the size of

segment B, and segment B is

1.618 times the size of segment C.

25

26

SPACE

Spacei n t r o d u c t i o n

27

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

and occupy space.

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29

FOCUS/

EMPHASIS

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Focus/Emphasisi n t r o d u c t i o n

Accent, stress, or importance placed on a part of

a piece of artwork.

Focus is used to centre attention.

Focus can be created by contrasting elements so

that they attract attention.

Emphasis is something we all know about. It simply

means that every room or space has a focal point,

whether it is architectural or an object.

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.

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.

31

Movie posters creating focus of interest

32

33

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 colors

complement the wall color behind it. In this

small area, the sink dominates the space.

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.

34

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.

35

36

37

RHYTHM

38

The design principle that suggests connected movement between different parts of

a design by using colors, 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 colors 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, colors or textures.

Rhythmi n t r o d u c t i o n

39

Rhythm

40

Rhythm can be accomplished through the

following means:1. Repetition

2. Alternation

3. Progression

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.

41

He repeating wood slats on the wall of this pizza

shop creates a playful rhythm and draws your eye

through the space.

42

Repetition is the

simplest way to

attain rhythm

and can be

achieved by

repeating any

of the elements

of design

(line, colour, tex

ture and

pattern, light,

and scale and

proportion)

43

Alternation

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.

44

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.

45

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.

46

The Barajas

Airport is an

excellent

example of

rhythm

achieved

through

repetition

and

progression

of colour.

47

UNITY

Unityi n t r o d u c t i o n48

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 put, 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.

49Some of the ways to achieve unity include:

1. Alignment

2. Similarity

3. Proximity

4. Repetition

5. Continuation

6. Overlapping

Alignment consists of arranging elements so that

their edges are lined up.

The common alignment allows the eye to group

those elements together.

A grid is often used to create unity through

alignment, not just in a single design but also

between related designs (the pages of a

magazine or book, for example).

1.Alignment

502. Similarity

Repeating colors,

shapes, values,

textures, or lines

creates a visual

relationship

between elements,

called correspond

ence.

51

3.Proximity

Proximity is based 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.

52

4. 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.

53

5. Continuation

Continuation means 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.

54

6.Overlapping

Overlapping

design

elements can

contribute to

unity by

creating a

relationship

between

separate

elements.

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Sumit RanjanArchitecture student

at College of Architecture, Bhaddal,

Ropar , Email-ar.sumitranjan@gmail.comFb-www.facebook.com/sumiran46.muz