Interior Design 30

Module One
Lesson Four Principles of Design

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Objectives
When you have finished working through Lesson Four in Interior Design 30 you will be able to: understand how the principles and elements of design work together in the interior design process. recognize the principles of design. understand how balance contributes to interior design. recognize how formal balance is achieved in interior design. know when to use informal balance in interior design. use radial balance to create a focal point. recognize how rhythm is used to create continuity in interior design. define and recognize the six types of rhythm used in interior design. recognize how emphasis is created in a room. analyze how scale and proportion contribute to interior design. understand how harmony is achieved in successful interior design.

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Lesson Four Introduction to Lesson Four

Interior design is an art not a science. !rtists manipulate the elements and principles of design in order to create particular results. "imilarly creating a plan for an interior design pro#ect involves the use of the elements and the application of the principles of design. Learning how to arrange furnishings create a focal point and utilize accessories for specific effects is the essence of the interior design process. !sking several $uestions will give ideas on where and how to start a plan for the design. What type of balance is desirable% Which accessories will add to the emphasis or focal point% &ow will the furniture arrangement enhance the use of the room% Which design ideas make the room visually stimulating and pleasing% &ow will the room contain both unity and variety%

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o! "re t#e principles of design involved in t#e interior design process$

If the elements of design are thought of as the ingredients of a recipe then the principles can be seen as the organizer of how those ingredients should be combined. In interior design we use the elements of design and "ppl% the principles of design to create rooms that are interesting and comfortable. 'ood design based on the principles of design is not restricted to any one style. (rinciples of )esign balance rhythm emphasis scale proportion harmony

*lements of )esign line shape form space texture pattern colour

&#"t "re t#e principles of design$

+he principles of design are a guide for using the elements of design. When we understand the principles of design we can use the elements of design to successfully achieve the goals of beauty appropriateness and unity with variety. +here are several principles of design. balance rhythm emphasis scale proportion harmony

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o! does b"l"nce contribute to interior design$

,alance is about creating e$uilibrium or giving a feeling of steadiness. In interior design balance is evident in two ways: the overall look of a room and the look of various groupings of accessories such as pictures plants and candles in the room. +he items that are grouped together should look as if they belong where they are. ,alance can be for'"l infor'"l or r"di"l. +he following designs illustrate the three types of balance.

formal

informal

radial

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o! is for'"l b"l"nce "c#ieved in interior design$

For'"l b"l"nce is achieved when one side of something is the exact mirror image of the other side. !n arrangement using formal balance is symmetrical. (%''etric"l means e$ual or mirrored images according to a centre axis. Formal balance seems to stress a centre. +he effect is restful and orderly. If overdone however formal balance can be monotonous. When one large picture in the centre serves as a focal point with matched pairs of pictures on either side that is an example of formal balance. In furniture arrangement formal balance re$uires matched pairs of chairs tables lamps and pictures. Formal balance is the easiest kind of arrangement. What is the focal point or centre of interest in the illustration below% In this room the fireplace is featured. Formal balance lends dignity elegance and formality to a setting. (eople who choose to arrange a room using formal balance usually have a large room decorated in a more traditional style. "ymmetrical or formal balance is best in the following design situations. formal elegant effects are desired the use of the room needs order there is a focus of attention

&#en is infor'"l b"l"nce "ppropri"te in interior design$

Infor'"l b"l"nce is preferred in a room that has a casual atmosphere with some activity. )s%''etric"l refers to an uneven arrangement of ob#ects. !n asymmetrical arrangement suggests movement spontaneity and informality. -isual e$uilibrium is achieved by balancing uneven shapes that are similar but not identical. +exture contrast tone and size contribute to visu"l !eig#t and are used to create an arrangement that is asymmetrical.

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.olour is balanced in a room by distributing accent colours around the room in furniture coverings pillows and accessories. !n example of informal balance in furniture arrangement is a sofa on one side of a room balanced with a pair of ob#ects on the other side. +here are no rules for asymmetrical balance/ the balance must be 0felt1 2visual weight3. !symmetrical or informal balance is appropriate in the following design situations. flexibility and informality are desired a spacious feeling is the goal harmony with nature is desired

&#en is r"di"l b"l"nce used in interior design$

! chief characteristic of r"di"l b"l"nce is a circular movement out from toward or around a focal point. When all parts of a design are balanced and repeated around a centre the result is radial balance. ! cluster seating arrangement works best in rooms where people gather to visit to dine or to share a relaxing moment. 4adial balance may also be found in ob#ects in a room such as rugs 2i.e. braided round rug3 in lighting fixtures that radiate outwards 2fan lighting3 clocks flower arrangements or mirrors. 4adial balance works well in the following design situations. movement from or toward a focal point is desired conversation is invited the centre is accessible by everyone for some type of sharing i.e. dining playing games

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o! does r#%t#' cre"te continuit% in interior design$

,#%t#' leads the eye in an orderly manner from one ob#ect to another in a design because it is organized movement. 5ust as rhythm is a part of music so it is a part of design. 4hythm helps the individual parts of an accessory a wall or a room fit together to form a complete whole. 4hythm can be created through repetition alternation progression or gradation opposition transition or radiation. ,epetition is achieved by repeating lines colours shapes textures or patterns in several areas of a room. 4epetition as in 66666 creates a simple rhythm in the design giving it continuity. +oo much repetition however can easily result in monotony and dullness.

)ltern"tion is another way of achieving rhythm. ! rhythm of 67676767 or black white black white in a checkerboard design is a more interesting way of achieving rhythm than plain repetition. For example solid colour chairs alternated with patterned chairs add interest to a room.

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Opposition is formed by using lines in opposition or at right angles to each other. In a home in the corners of bookshelves windows Progression or opposition gr"d"tion is seen a gradual change from one picture frames or tailored draperies with element to the other as in 679:; <. a straight8edged cornice. ! cornice is (rogression a molding at is the top of wallsforms or windows. shown when change in a regular method as from large to small s$uare to round or bright to dull. (rogression is the most dynamic and flexible method of achieving rhythm. In a home progression is most often seen in the gradual progression in size such as a canister set or a group of pictures.

.r"nsition occurs when a straight line connects with a curved line. In interiors this is seen in the curved legs of tables curved cornices accessories or draperies.

,"di"tion is when many lines radiate from a central point. +ie back curtains a bou$uet of flowers a sunburst mirror or the leg supports of a pedestal table all show radiation. 4adiation is similar to radial balance but the two concepts are not the same. 4adial balance refers to the overall look a type of steadiness. 4adiation on the other hand describes a type of rhythm or movement. We talk about a room having radial balance and ob#ects in the room creating movement through radiation.

.an you identify different types of rhythm in a room% *xercise your skills in !ctivity ! which follows.

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Activity A Balance and Rhyth m

.omplete the $uestions in the spaces provided. 293 6. *xamine an illustration of a living room. Look closely at the overall arrangement of the furniture and decide which type of balance it exhibits: radial formal or informal. 4espond to the following 0e sure to sub'it %our illustr"tion !it# %our !or12 a. Indicate the overall type of balance in the room.

$uestions.

b.

(rovide t!o reasons for your choice.

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2673

7.

*xamine the same room illustration for the use of rhythm. Find an ob#ect that illustrates e"c# type of rhythm in the room. .omplete the chart by stating the type of rhythm and its example in the room. In the third column explain how it fits the type.
34"'ple 34pl"n"tion

.%pe of ,#%t#' a.

b.

c.

d.

e.

f.

==== 26;3

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&#"t is e'p#"sis in interior design$

3'p#"sis in design refers to that which draws the viewer>s attention. +he main interest or focal point creates emphasis. In interior design the foc"l point is the part of the room that the observer sees first and to which the eye continually returns. *mphasis is not created simply by a marked contrast between ob#ects or through use of space and arrangement of furniture around a centre/ it is about degrees of visual dominance and subordination. "ome components seem to do'in"te and have a greater visual importance. ?ther components are found to be of lesser importance/ they are subdo'in"nt. "till other aspects seem to draw very little attention yet continue to add to the overall visual effect/ they create subordin"te e'p#"sis2 *mphasis is created by using forms shapes spaces lines colours textures sizes intensity or contrast. *xamine the -an 'ogh painting below for emphasis.

What immediately draws your attention% +he bed has the most interesting shape form and size. "o the bed is do'in"nt2 @ote that the bed is dominant even though it is not right in the centre. What supports the bed or points to the bed% +he paintings on both walls around the bed are colourful add intensity and provide a line of sight to the bed. +he paintings are subdo'in"nt2 What adds spice or detail to the picture% +he window frame and the small table and chairs has line shape and form. +he window and the table and chairs are subordin"te.

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!sk the following $uestions to analyze the emphasis and the effectiveness of a room design. Does t#e roo' #"ve " do'in"nt t#e'e5 " do'in"nt colour6p"ttern5 or " do'in"nt for'$ For example a room may be described as a "panish8style room a blue room or a modern8country room. !n example of dominant emphasis may be a fireplace.

&#"t supports t#e do'in"nt t#e'e in t#e roo'$ Which elements of the design are subdominant and enhance the dominant emphasis% Look closely at form colour line space texture contrast intensity and detail. For example a mirror over a fireplace may create subdominate emphasis. )re t#ere s'"ll "ccents5 s'"ll det"ils5 'otifs5 or p"rts t#"t "dd spice to t#e design$ +hese are the subordinate elements. +hey can be changed moved or added to without altering the dominant emphasis. For example a wrought iron sculpture blue and white striped pillows and red candles are subordinate accessories in a "panish style room.

*mphasis is very important in interior design. Aeep the following guidelines in mind when arranging furnishings to create emphasis. 6. Focus attention on an area of the room that is seen as one enters the room. 7. +he centre of interest should look like it belongs in the room. It should be dominant but should not overpower everything else in the room. 9. )ecide on one focal point/ too many areas of emphasis in a room can be confusing and sometimes irritating. :. ?veremphasis which gives an impression of clutter is far less desirable than underemphasis which often conveys a feeling of simplicity.

*xercise your understanding of emphasis in interior design by completing !ctivity ,.

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Activity B Emphasis
Complete the following questions in the spaces provided. 1. the questions that follow. Examine the living room illustrated below. Then, respond to

(3

a.

!tate the overall t"pe of balance shown in this room. #ive one reason for "our response.

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(3 b. statements

$nal"%e the room for emphasis b" completing the below. i. $ number of dar& solid coloured ob'ects (couch, beams, table, and fireplace creates a (((((((((((((((( emphasis in this living room. )" contrast, a (((((((((((((((((( emphasis is created b" the textured carpet, colourful paintings, patterned cla" pots, and patterned pillows on the couch. (((((((((((((((((( emphasis is created b" the ob'ects on the table and in the corner.

ii.

iii.

(3 *. room room

+iscuss "our response to the design of the room. ,ould this suit "our lifest"le- ,h" or wh" not- .s there an ob'ect in the that "ou would change- /ow- ,h"-

(0

3.

1ind an illustration of an interior and anal"%e it for emphasis. #lue "our illustration to separate paper and attach it to the activit" pages for submission. .n the space below explain how each level of emphasis has been achieved in the illustration. 2abel "our illustration 3$ctivit" ).4 dominant emphasis

subdominant emphasis

subordinate emphasis

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((((( (15

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&#"t "re sc"le "nd proportion$

Proportion is the relationship of one part to the whole one part to another part and one ob#ect to another. (c"le refers to the relationship in size of one ob#ect to another. "cale also relates to style the use of the ob#ect and its appropriateness to the design. ! pleasing relationship between all parts of a design or within a grouping of ob#ects as they relate to each other is the basis of interior design.

o! is good proportion "c#ieved in interior design$

'ood proportion in interior design looks at the relationship between the number of pieces in the room/ between the amount the value and the intensity of colours/ and between the $uality and kind of textures used. We speak of proportion in terms of the ratio of one ob#ect to another. size 8 bigger or smaller shape 8 wider or narrower amount 8 more or less than $uality 8 textured or smooth

In ancient 'reece the proportion which dominated design was called the 7olden Me"n. +his guideline for proportion is still used today to create interest and give pleasing effects. +he proportions of two parts to three parts 27:93 three parts to five parts 29:;3 or five parts to eight parts 2;:B3 are more interesting than e$ual divisions of halves or $uarters. For example a lamp that is comparable will look better than a lamp that is too small for the table. (oor proportion 'ood proportion

good proportion

proportion

bad

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If proportion seems complicated imagine this example. ! painting of a boat on the water is more interesting if the line between ocean and sky is part way down on the paper rather than exactly halfway down. ! picture where the boat is dead centre and the waterline is halfway down on the paper does not pi$ue the viewer>s interest as much as a picture where the boat is off8centre and the waterline exhibits a proportion based on the 'olden mean 27:9 in the example3.

uninteresting proportion 27:73

interesting proportion 27:93

o! is sc"le different fro' proportion$

"cale is generally described as being large or small in relation to something else i.e. the size of furnishings to each other to the room and to the human figure. In pictures of buildings or tall trees a human figure is often included to help #udge the scale of the building or tree. "cale is the size of one thing relative to the size of another. (roportion refers to ratio and the appearance of length and width. "cale refers specifically to size and appropriate style. For example the lamp and table that we talked about earlier may be in proportion to each other. &owever if this furniture were placed in a very small bedroom they would make the room appear much smaller than it really is. +his same furniture would be in scale in a large bedroom. +he term gr"nd sc"le is often used to describe an interior where everything is rather oversized. .hurches government buildings monuments foyers in grand hotels and corporate board rooms are often built on a grand scale 8 making us feel rather small.

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u'"n sc"le is a vital consideration in home planning. In terms of size people average between 6.; and 6.B meters 2; and < feet3 tall and weigh between :; and CD kg 26DD 8 7DD lb3. +hese figures act as a guide for the sizes of rooms furniture and e$uipment. Well8 scaled homes make us look and feel like human beings not like little people or giants. (c"led do!n is a term that refers to any ob#ect that has been deliberately made smaller. For example children>s furniture is made smaller for 0small human1 size. Furnishings are low and shallow spaces between things are relatively narrow and in general placed in a room the whole room would make a child feel comfortable and at home. ,ecause both children and adults use a child>s room ample seating and walking space for full8 sized adults should be included in a child>s room.

4eview the following areas when analyzing the effectiveness of scale in interior design. Furniture used together should be similar in scale to achieve harmony. For example a small delicate end table with spindles looks out of place beside a large contemporary sofa.

+he scale of the furniture must suit the room. For example a huge canopy bed in a very small bedroom would be out of scale and make the room look even smaller. +he size of the furniture must be right for the comfort of those who use it most. For example some tables do not have enough knee height for long8legged people. ! small elderly couple may not feel comfortable in a dining8room setting where the table is very large and the chairs are overstuffed. Lamps should be large enough for the tables and chairs with which they are used.

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"cale also refers to style and appropriateness. For example a lamp may be the right size for a table but it also must relate to the style of the table and the use of the room.

(ictures and mirrors should be large enough for the furniture under them or the wall on which they hang. 'rouping smaller pictures helps.

)raperies and curtains should be long and full enough for the height and width of the window.

4ugs should be large enough for the floor area. Wall8to8wall carpets often unify a room making it look more spacious.

!ctivity . invites you to test your understanding of the difference between proportion and scale.

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Activity C Proportion and Scale

6nowing the difference between proportion and scale is ver" important to good interior design. 7espond to the following questions in the spaces provided. (8 the 1. Fill in the Blank: Complete each of the statements b" using words listed below. left proportion a. right scale

The lamp in the picture on the ((((((((((((((((((( is in proportion to the table it is on.

b.

$n example of grand scale is evident in the picture on the (((((((((((((((((((.

c.

,hen we sa" that a lamp does not match in si%e or st"le the sofa beside it, we are tal&ing about (((((((((((((((((((.

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d.

,hen spea&ing of (((((((((((((((, a pleasing

relationship would be *93. (3 *. Examine the picture below and discuss how it relates to the concept of scale in interior design.

(3

3.

Consider a boo&shelf with man" shelves. Explain how it might be built according to proportion using the #olden :ean. Then, indicate how a shelf with accessories is arranged according to proportion using the #olden :ean.

((((( (1;

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&#% is #"r'on% i'port"nt to successful interior designs$

! room that is successfully designed is harmonious or unified. &armony is achieved when a room looks #ust right E not too much or too little of anything. "r'on% is the end result of using the design elements of line shape space texture and colour while applying the principles of balance rhythm emphasis proportion and scale. &armony includes both unit% and v"riet%. Fnity refers to oneness and consistancy in the style and design. -ariety is also needed to create interest and avoid monotony. For example in a living room the dominant force may be a flowered pattern on the couch. Fnity is accomplished when the same motif is repeated in the draperies and in the pictures of flowers on the wall. -ariety is achieved when a chair is upholstered in a plain fabric that matches a colour found in the couch. Anowing the elements and principles of design is necessary to the interior design process. In the assignment section of Lesson Four you are given opportunity to complete a crossword puzzle to help you review the ele'ents and principles of design discussed in this lesson and in the previous lessons.

line shape form space texture pattern colour

balance rhythm emphasis scale proportion harmony

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&ow are unity and variety used to create harmony in each of the above illustrations%

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Lesson Four (u''"r%

t#e principles of design balance rhythm emphasis scale proportion harmony

e'p#"sis dominant subdominant subordinate

i'port"nt rel"tions#ips in design proportion scale

b"l"nce formal informal radial

#"r'on% in successful design unity variety

r#%t#' repetition alternation progression or gradation opposition transition radiation

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Key Words and Phrases in Lesson Fo r

Can "ou find each of the following terms in 2esson 1our+o "ou &now what each term meansalternation as"mmetrical balance dominant emphasis emphasis focal point formal balance #olden :ean grand scale harmon" human scale informal balance opposition progression or gradation proportion radial balance radiation repetition rh"thm scale scaled down subdominant emphasis subordinate emphasis s"mmetrical transition unit" variet" visual weight

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