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Ch. 8 Elements and Principles of Interior Design, Review and Assess,…

- - - - Is the ceiling too high or too low to make you feel comfortable?
      - Does the light add drama to the space or is it too dim to read a book?
      - Does its shape and size please you?
      - Is the wall color enchanting or do you find it depressing?
      - Is there an intriguing alcove created by a volume of space?
      - Is there a charm created by a mixture of specific textures?
- - - - exist as a single dimension
      - are greater in length than width
      - can create order in a composition
      - shift direction
      - can be thick or thin, segmented or dashed
      - can be straight or curve
      - give the impression of movment
    - - Horizontal lines
        
        Parallel to the horizon, the perceptions of horizontal lines include feelings of calmness, stability, solidness, restfulness, and security.
        
        They direct the eye around a room rather than up
        
        alters the perception of space by visually expanding it
        
        to many horizontal lines
        
        generate boredom due to lack of variety
        
        close in a space and develop a sense of foreboding
        
        enhance the feeling that the ceiling or roof is too low
      - Vertical lines
        
        Perpendicular to the horizon, vertical lines communicate height, strength, and dignity. They are more formal than horizontal lines.
        
        Too many vertical lines
        
        seem stiff or overly formal
        
        lack grounding in the space, or a place for the eye to comfortably land in the space
        
        take the eye up rather than around the room
      - Diagonal lines
        
        Suggesting movement or action, diagonal lines are angled, jagged, or zigzag lines. add a sense of energy.
        
        They move the eye across an interior more quickly than any other type of line.
        
        can camouflage awkward corners by moving the eye swiftly across the space.
        
        Too many diagonal lines
        
        instability and too much motion
        
        unrest and overstimulation
        
        fatigue or restlessness
      - Curved lines
        
        Communicate movement but with a graceful feel, curved lines are wavy and flowing; gentle and sometimes delicate. Curved lines introduce a sense of whimsy or energy to a design.
        
        Tight downward curves generate feelings of sadness
        
        upward curves suggest gentle relaxation
        
        Too many curved lines
        
        become tiresome or too ornate
        
        Make people feel seasick (perceptually)
        
        communicate instability and fussiness
  - - - are two dimensional
      - are angular and sharp or curved and rounded
      - become a pattern when repeated
    - - Organic
        
        amoeba-like curves
        
        meandering and irregular
        
        spirals
        
        symbolize creativity, expansion, and transformation
      - Geometric
        
        Circles
        
        Symbolizing infinity, unity, continuity, femininity, safety, and protection, circles confine what is within them and keep other things out. Their use in design is less common; therefore, they attract attention. Use them sparingly for more impact.
        
        Triangles
        
        Symbolizing stability, action, and masculinity, triangles give the feeling of dynamic energy.
        
        Rectangles & Squares
        
        Symbolizing solidity, order, formality, security, and equality
        
        Squares
        
        Squares are stable, serene, and represent the pure and rational. Repetitive use of square shapes is pleasing to the eye.
        
        Rectangles
        
        rectangle shapes are more pleasing to the eye than square ones. Most Interior spaces are rectangular and, therefore, most construction materials support this shape.
  - - - Every piece of furniture and three-dimensional accessory is a type of form.
    - - Solides
        
        the object itself - a positive in the space
      - Voides
        
        a negative area or hollow space
      - Interior designers use forms to direct the user within the space, thereby manipulating human behavior.
    - - consider the height and width of forms in a space
        
        For example, high-backed chairs visually divide a space
      - incorporate design details. Forms give a space identity, character, charm, and integrity.
      - realize that forms indicate cultural differences
      - understand that forms change the mood and visual interest of any space.
  - - - real surface texture
        
        becomes a maintenance factor
        
        brings character & visual interest
        
        impacts light reflection & absorption
        
        absorbs sound
        
        provides comfort or irritation
      - smooth textures communicate formality, sleekness
      - coarse textures communicate warmth, nature
    - - Visual texture is a perception--it is an illusion of physical texture. When the eye sees visual texture, the brain interprets it as three dimensional
      - In interiors, visual textures add excitement, interest, and can camouflage dirt,
  - - - make people more aware of a surface and enhance visual interest of an object
      - convey a specific mood or theme (childlike, cheerful, or homey)
      - communicate a period of time or style (country or traditional)
      - give variety to a space (too many patterns used in same space, however, can give chaotic feel)
      - camouflage awkward corners or disguise a boundary
      - hide architectural defects through distraction (hiding cracked wall plaster with patterned wallpaper)
      - make an object look larger or smaller
      - add visual interest to a space if the room's patterns are not all the same size (same-size patterns fight for attention and conflict)
      - add order to a space and interest to planes that are otherwise ignored, such as a ceiling
  - - - establish territory and ownership
      - cand be restricting or confining
      - become places for solitude that are personalized
      - provides feelings of comfort and security
- - - - height, width, and depth of one element within an object (or composition) to another
      - size of one area to the size of another area
      - amount of space between two or more elements within an object
    - - floor plan length and width (golden-section dimensions result in easier furniture arrangements)
      - relationship of an architectural element (fireplace) to the space as a whole
      - relationship of a chair seat to the whole chair (Is it too wide?)
      - relationship of a base to the tabletop (Is it too slim?)
      - height of a chair rail to the height of the wall
      - width of crown molding, baseboard, or door casing to a wall or room
  - - - The known constant is typically the human body.
    - - place the right-size furniture in a room. Is king size bed too large for space?
      - determine if pattern motifs are appropriately sized for the object they cover.
      - select the accessories. Is the art piece too large for the fireplace surround?
      - determine if a chair is the appropriate size for the person using it.
  - - - Dominant.
        
        A breathtaking view, a massive fireplace, or architectural feature such as a large, built-in bookshelf can achieve this high level of dramatic emphasis.
      - Subdominant
        
        This level supports the dominant emphasis and is of secondary importance. For example, designers may use the subdominant level when centering large pieces of furniture on the fireplace.
      - Subordinate
        
        This level supports the subdominant level and has the least visual weight. Accessories that sit on tables, fireplace mantels, small furnishings, or bookshelves are examples of this level.
  - - - Symmetrical balance is the arrangement of objects on both sides of a center point or line (either vertical axis or horizontal axis) that results in a mirror image.
      - Symmetrical interiors are often exact mirror images that form when using identical elements on either side of the center point, or visual axis. Designers use symmetrical balance to emphasize a focal point
    - - Asymmetrical balance occurs when objects on both sides of the central visual axis are dissimilar yet appear to have identical visual weight. Asymmetrical interiors incorporate dissimilar furnishings and objects on either side of the center point that provide balance in visual weight.
      - People perceive asymmetrical interiors as more informal, flexible, creative, exciting, and vigorous. It is a subtle balance that requires more thought and imagination than symmetrical balance, and is more interesting to view over a longer period of time.
    - - Radial balance occurs when all elements radiate out from one center point in a circular fashion similar to spokes on a wheel.
  - - - This type of rhythm uses a repeated pair of contrasting elements such as the dash and dot of Morse code. You can see it in such design elements as a parquet floor (a wood pattern laid two different, alternating ways) or a checkerboard floor (black and white color tiles). Alternation moves a viewer's eye around the room and adds variety and interest. Alternating warm (red, orange) and cool colors (blue, green) around the room also creates rhythm.
    - - Also known as gradation, progression is a gradual increase or decrease in size of a design element, typically as an identical form, color, or shape but in a different scale. For example, a designer may create this effect on a sofa table with a series of vases in a succession of increasing or decreasing sizes or as a series of small to large stacked boxes. You can also observe progression when using one color, from dark to light, in a room.
    - - As the simplest type of rhythm, it controls the eye movement by repeating a single element again and again. Typically, the elements are in similar size and length.
    - - This type of rhythm uses a line that carries the eye easily and without interruption from one point to another. An architectural element such as an arched window or doorway is an example.
  - - - Repetition
        
        Repeating the same color, texture, pattern, or shape throughout a space or building creates harmony through unity. Repeating a geometric pattern, such as a square, is an example.
      - Continuation
        
        Used as a line or edge to transition from one form to another, continuation moves the eye through the visual composition or space. This is the most difficult way to achieve harmony.
      - Alignment
        
        Lining up forms or images to organize and create groups involves using alignment. For example, creating clusters of furniture around a focal point creates alignment.
      - Proximity
        
        By organizing distinct elements into groups that are near each other, the designer uses the concept of proximity. Placing elements next to each other, such as accessories on a sofa table or pictures on a wall, develops a relationship between objects and is the easiest way to achieve unity.
      - related to visual perception and psychology--concerns how the human brain perceives and organizes visual information into categories or groups.