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

HEAD OF THE DEPARTMENT

Measi Academy Of Architecture,
87,Association Gardens,
New College Campus,
Peters Road, Royapettah,
Chennai 600014

SIGNATURE

AR.RAJAKRISHNAN
SUPERVISOR
(CHIEF ARCHITECT)

OFFICE SEAL
Studio XYZ,
(Design division of shanmugam associates)
New no. 3 Singaram Street,
T.Nager,
Chennai 600 017

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 Aesthetic19
2.5 Physiological Determinants ....................................................................................................... 19
2.5.1 Functionality19
2.5.2 Ergonomics..20
2.5.3 Life Safety and Health concerns21
3.0 Visual Perception ........................................................................................................................... 21
3.1 Gestalt Principles23
3.1.1 Figure / Ground...24
3.1.2 Similarity..26
3.1.3 Proximity.27
3.1.4 Closure..28
3.1.5 Continuation29
3.1.6 Symmetry or Order31
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 Rhythm38
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6.3 Emphasis / Focus.40

6.4 Harmony42
6.5 Unity and Variety43
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 Pattern54
8.0 Psychological Effects of Light ....................................................................................................... 55
9.0 Psychological Effects of Colour .................................................................................................... 57
10. Case Studies ................................................................................................................................... 64
10.1 Kids Republic Bookstore, Beijing-China Designed by SKSK Architects64
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 questioned 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. Thats only one piece of the puzzle.
An area thats 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 its a housewife, banker or schoolgoing 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 doesnt end in a high-end restaurant or a designer store; it affects
every single interior space that we experience in our daily lives. Whether its a public
washroom, office, kitchen, school, or your own bathroom, interior design is experienced
by everyone. Whether its 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 8|P a g e

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, its 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 workers
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 individuals 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 ones
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 categoriessociological, psychological and
physiologicalall 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 roomit'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 designers
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
needsvision, hearing, stability, and mobilityto 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 workers 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 designincluding space, furnishings, and
environmental variables such as temperature, sound, humidity, and ventilationneeds 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 dangergenerally
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 designers desire to control the visual environment as
completely as possible. It is therefore in the designers (as well as the users) 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
harmsuch 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 dont change the intrinsic features: change
of orientation doesnt change the shape of object, change of distance doesnt change the
object size and change of ambient light doesnt change the surface color.

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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 doesnt change its size.
Similarly we see that the things
look darker in the night than during
the daylight, but we dont see that
they change their natural color. In all
that situation we have no problem to
extract the invariant (intrinsic)
features from the transformations.

Figure4: Invariants and Transformations

Figure 5: illusions: Zlner 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
23 | P a g e

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 whats being seen. Its 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. Figureground 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 dont 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 theyre 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
viewers 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. Its a different shape and colour from the other elements. Ive also
given it a drop shadow to further emphasize it.
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.

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 cant 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 dont 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:
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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 Prgnanz, 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.

Its 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 theres 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 caf 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. Its our nature
to impose order on chaos. This principle leads us to want balance in composition,
though our compositions dont 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
32 | P a g e

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

(decoration/arrangements).

interior

design

to

create

good

Compositions

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.
Theres 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.
Its 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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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.

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.
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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 wouldnt guess that the above photo of Microsofts new office, designed is balanced, but it is. This
is because its balanced in an asymmetrical way using variety in the visual weight of objects.

36 | P a g e

 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

repeating

achieved

by

any

the

of

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.
Figure 25:
The Barajas Airport
is an excellent
example of rhythm
achieved through
repetition
and
progression
of

colour

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.

40 | P a g e

create emphasis.

FIGURE 26:

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 wallto-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
its 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 emotionsa 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 spacethat 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 dont 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 arent randomly used when we talk about interior design colours. At first
sight we may think that its 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 dont 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. Ive 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 its 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 doesnt guarantee that
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every person in the house will see and feel exactly as you want. Ill 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 dont 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 dont want to use it on the walls, you can use its 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 KIDS 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 slidesinspired 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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Figure 51:

Creating a playful learning

environment of kids

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 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 worlds 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 womans 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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Figure 55:

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 groupOre-no, means Myown 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.

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Figure 56: Pattern

and
Shapes
are
widely used in the
interior space where
the continuation is
seen
from one material to
the other material.

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 Hinoki, Soil, lacquer, paper and 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.

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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
(en.wikipedia.org/wiki/Gestalt_psychology).
Color

in

Theory. Color Theory. N.p., n.d. Web.

<http://scr.csc.noctrl.edu/multimedia/ColorThe ory.htm>.

Wikipedia

15

Dec.

2013.

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

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