interior design reviewer (anthropometry), Summaries of Interior Design

Download interior design reviewer (anthropometry) and more Summaries Interior Design in PDF only on Docsity! INTERIOR DESIGN MIDTERM REVIEWER LESSON 1 Interior Design To create a functional and beautiful living environment. Elements of Design  Space  Shape  Line  Texture  Color  Space The area between objects in a room Shape The solid form or structure of an object. Line The outline of an object 2 points that are connected They give direction and divide space. Types:  Horizontal  Vertical  Diagonal  Curved Vertical lines– feeling of power, dignity and masculinity, height Horizontal lines— sturdy, calm, restful Diagonal lines— create activity and motion Curved lines— soften object Texture The way an object feels and looks. May be rough, smooth, shiny, hard, soft, etc. Formal Smooth texture Informal Rough texture Color One of the most important tools . Influences how people feel and the mood of the room. Principles of Design  Harmony  Proportion Scale  Balance  Rhythm  Emphasis Harmony Combination of variety and unity Unity: The room is tied together with a common denominator Variety: There are different shapes, colors and objects in a room Proportion Scale The way that one part of the object relates to the whole of the design. Golden Mean\The way an object relates to another object. Effective ratios: 2:3, 3:5, 5:8, 4:7 Balance The feeling of rest Equal weight on all parts of the room Formal Both sides are the same. Informal Sides are different Rhythm The feeling of movement in a room. Moves your eye from one point to another. What moves your eye through this room? Rhythm Transition– how one part of the design changes to another part Rhythm Radiation—moves your eye out from a central point Rhythm Gradation—moves you eye from light to dark or from small to large Emphasis The focal point of a room Focuses your attention LESSON 2 Anthropometry (from Greek anthropos, "human", and metron, "measure") refers to the measurement of the human individual. An early tool of physical anthropology, it has been used for identification, for the purposes of understanding human physical variation, in paleoanthropology and in various attempts to correlate physical with racial and psychological traits. Anthropometry involves the systematic measurement of the physical properties of the human body, primarily dimensional descriptors of body size and shape. Today, anthropometry plays an important role in industrial design, clothing design, ergonomics and architecture where statistical data about the distribution of body dimensions in the population are used to optimize products. Changes in lifestyles, nutrition, and ethnic composition of populations lead to changes in the distribution of body dimensions (e.g. the rise in obesity) and require regular updating of anthropometric data collections. Anthropometrics - the measurement of the size and proportions of the human body Ergonomics (from the Greek word “ergon” meaning work, and “nomoi” meaning natural laws), is the science of refining the design of products to optimize them for human use. Proxemics – is the study of the spatial requirements of humans and animals and the effects of population density on behavior, communication, and social interaction. Social distance is something already familiar to architects. It is part of a broad topic in theory of architecture that delves on the study of human use of space and the effects that population density has on behavior, communication, and social interaction. It is a theory by American cultural anthropologist Edward Hall who in 1963 coined the term “proxemics” by combining the words proximity and phonemics. His theory defined the various use of space as a specific amplification of culture. According to Hall, the study of proxemics is significant in how everyday people interact with each other. TYPES OF SPACE Besides needing enough space in order to move about and perform various tasks, people react to space in a variety of ways. Several researchers have defined the space surrounding the individual in terms of the limits within which people categorically respond Intimate space is that area in which a person tends not to allow anyone to intrude unless intimate relationships are expected . Intimate distance is defined as a person’s distance to another person he is intimate with which is from six to 18 inches. Our family interaction spaces designed by architects is based on this parameter such as family room, bedrooms, lanai, lounge and other family-oriented spaces that allow bonding of the family that consider measurement of intimate distance as basis of such designs. Personal space is that area within which a person allows only selected friends or fellow workers with whom personal discussion is mandatory. Personal distance means you are 18 inches to four feet close to another person. Hall describes personal distance as keeping someone at “arm’s length.” A typical classroom design that arranges individual armchairs for 50 students with a gap of two feet from each other is an example of personal distance. For a layman, this distance is best described as “not too close, yet not far” from another person. Social space is that area within which the individual expects to make purely social contacts on a temporary basis. Social distance is four to 12 feet away from another person. According to Hall, social distance is something common for people “who are attending a casual social gathering.” This validates the reminder of the health authorities amid the global pandemic that we need to observe social distancing to prevent the transfer of the virus to another person by keeping a safe distance from each other. And, finally, public space is that area within which the individual does not expect to have direct contact with others . Obviously, the more intimate the spatial relationship becomes, the more people resist intrusion by others . Personal space factors are important in establishing the privacy requirements for architectural design. often Formulate Program continues throughout the design process. From the analysis of the problem and its parts, we can begin to formulate possible solutions. This requires synthesizing—bringing together and integrating— responses to the various issues and aspects of the problem into coherent solutions. Design requires rational thought based on knowledge and arrived at through experience and research. Evidence-based design seeks to create better design outcomes by basing decisions on credible research. Also playing important roles in the design process are intuition and imagination, which add a creative dimension to the otherwise rational design process. There are several approaches one can take to generate ideas and synthesize possible design solutions, including: • Isolate one or more key issues of value or importance, and developing solutions around them. • Study analogous situations that could serve as models for developing possible solutions. • Develop ideal solutions for parts of the problem, which could be integrated into whole solutions and tempered by the reality of what exists. Develop Concept [ ] Brainstorm ideas. • Diagram major functional and spatial relationships. • Assign values to key issues or elements. • Search for ways to combine several good ideas into a single better one. • Manipulate the parts to see how change might affect the whole. • Look at the situation from different points of view. [ ] Draft a concept statement. • Verbalize the principal design ideas in a concise manner. [ ] Develop schematic designs. • Establish major functional and spatial relationships. • Show relative sizes and shapes of important features. • Develop several alternatives for comparative study Design requires a critical view of alternatives and careful weighing of the strengths and weaknesses of each proposal until the best possible fit between problem and solution is achieved. Within a range of possible solutions, each must be evaluated according to the criteria set forth in the problem statement and further clarified in the problem analysis. Successive explorations of the problem and the evaluation of alternative solutions should help narrow the choices for design development. While the initial stages of the design process encourage divergent thinking about the problem, the design development phase requires a convergent focus on a specific design solution. On ce a final decision has been made, the design proposal is developed, refined, and prepared for implementation. This includes the production of construction drawings and specifications and other services related to purchasing, construction, and supervision. No design process is complete until a design that has been implemented is evaluated for its effectiveness in solving a given problem. This critical appraisal of a completed design can build up our knowledge base, sharpen our intuition, and provide valuable lessons that may be applied in future work. One of the idiosyncrasies of the design process is that it does not always lead simply and inevitably to a single, obvious, correct answer. In fact, there is often more than one solution to a design problem. How then can we judge whether a design is good or bad? A design may be good in the judgment of the designer, the client, or the people who experience and use the design for any of several reasons: • Because it functions well—it works. • Because it is affordable—it is economical, efficient, and durable. • Because it looks good—it is aesthetically pleasing. • Because it recreates a feeling remembered from another time and place—it carries meaning. At times, we may judge a design to be good because we feel it follows current design trends or because of the impression it will make on others—it is in fashion, or it enhances our status. As these reasons suggest, there are several meanings that can be conveyed by a design. Some operate at a level generally understood and accepted by the general public. Others are more readily discerned by specific groups of people. Successful designs usually operate at more than one level of meaning and thus appeal to a wide range of people. A good design, therefore, should be understandable to its audience. Knowing why something was done helps to make a design comprehensible. If a design does not express an idea, communicate a meaning, or elicit a response, either it will be ignored or it will appear to be a bad design LESSON 4: TYPES OF FURNITURES