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Theory of Architecture 3 – Architectural Interiors 1

Arch. Claudette DC. Dela Rosa

Bulacan State University College of Architecture and Fine Arts

1st

Semester SY 2012-2013

MODULE 1

Social Structures

Filipino Culture and its Architectural Manifestations

SOCIAL STRUCTURES

The network of actually existing relations among humans who are connected by a

complex structure of social relations.

- Our understanding and assessment of the world around us is decided socially by the

people and things we come into direct, bodily contact with. Our experience of social

power is transmitted by those with whom we have daily contact – families,

educators, employers. On the whole, the nearer people and things are to us the more

significance we are likely to agree to their effect upon us.

SOCIAL STRUCTURES AND SPATIAL RELATIONS

Spaces have social dimensions. These are expressed in SPATIAL RELATIONS or the

interplay of the organization, distribution and categorization of objects and people in space.

Spatial relations represent the social structures and principles of a society or group.

The study of spatial relations is based on the study of the most commonplace, everyday

actions of everyday people as well as less frequently performed activities.

It tracks the movements and the concrete products which people negotiate in the

performance of these movements. These products consist of mundane physically

bounded locales, such as home, as well as the more extraordinary, such as a religious

edifice. They also include geographical areas – villages and towns – whether or not they

are bounded physically by a wall, and areas less visibly bounded, such as a nation or a

seating arrangement around a table.

It leads to a deeper understanding of the social relations of the society of which they are

an active part.

Material culture objects and their location in space are fundamental to the study of spatial

relations. The major underlying presuppositions about the social dimensions of space are:

Spatiality is socially produced

Objects are neither randomly nor arbitrarily selected or positioned in space

Space, objects and people give meaning to each other

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8. Pointing or shaking a forefinger at someone, especially in his or her face, saying no

or refusing someone outright.

9. Open confrontation, conflict or disagreement. If a subordinate argued or disagreed

openly with a superior, the superior would lose face.

Social Relationship/Etiquette

Pakikisama. Filipinos use pakikisama, or camaraderie in English, to maintain a

harmonious relationship.

Advantages:

1. Pakikisama is a non confrontational way of doing life, business, and interpersonal

group relationships. It is the ability of a person to get along with others to maintain

good and harmonious relationships. It implies camaraderie and togetherness in a

group and the cause of one‟s being socially accepted.

2. Pakikisama reflects the bayanihan spirit, which involves cooperation among fellow

men to come up with a certain idea or accomplish a certain task.

Disadvantages:

1. Pakikisama requires someone yielding to group opinion, pressuring him to do what

he can for the advancement of his group, sacrificing individual welfare for the

general welfare. Consensus takes precedent over individual needs or opinion.

2. Willingness to spend more than they can afford on a party rather than be shamed by

their economic circumstances.

Home

As with any Asian countries, removal of shoes is customary when entering someone‟s

home. By doing this the visitors shows his/her respect for the family and their home, as

well as having basic courtesy.

Filipinos are hospitable and generous. They will readily invite an acquaintance into their

home. If one is invited to a Filipino‟s house, it is best to arrive 15 to 30 minutes later than

invited for a large party. Compliment the hostess on the house.

The houses (bahay) were usually located near people‟s source of livelihood, along the

shore in coastal communities, and closer to the fields in the interior. People lived

together in barangays of thirty to a hundred families, and the social organizations

developed around kinship and neighborhood connections.

Their sense of community, or bayan, is deeply rooted in extended family relationships

and neighborhood bonds.

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Other Customs

It is customary for Filipinos to use a lot of hand and facial gestures to communicate.

Filipinos are flexible and adaptable, and their lifestyles can be altered or modified to fit

conditions.

Filipinos like to ask very personal questions such as your age, your salary or how much

something cost you to buy, or make frank comments to you regarding your weight,

appearance etc. The questions come from pure curiosity and the comments are generally

mean in a light-hearted manner and it should not be taken in a negative way.

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MODULE 2

Filipino Building Traditions and Beliefs

FILIPINO TRADITIONS REGARDING LAND AND SPACE

Public Spaces

The Filipino concept of space is very different from Western ideas. We often express

distance subjectively, using the words malayo (far) or malapit (near) instead of

numerical measurements. This suggests vague boundaries and limits of space.

Traditional Filipino cultures share land communally instead of having private

properties bounded by fences and gates. This suggests that everyone in the village

could share in whatever resources are available from the land. The responsibility for

maintaining the areas which are designated as communal properties (shorelines,

riverbanks, etc.) rests on all the residents of the area.

Even in contemporary Filipino communities where the boundaries of private lots are

clearer, parties, businesses and other activities still spill over to the public areas like

the sidewalks or even the streets.

The Spanish colonial policy of settlement created the plaza complex. The plaza is the

community center surrounded with the imposing structures of the church, the friar‟sconvent, the municipal hall, and the bahay na bato of the ruling elite. Although some

of the structures around the plaza have been converted to commercial uses, its

function as a gathering and meeting place for the community remains.

Private Spaces

The spaces inside the house serve a number of purposes – transforming and adapting

according to the needs of the users at any particular time. This is observable from the

bahay kubo to the bahay na bato, and even in modern houses – from squatter

shanties to condominium units.

The traditional Filipino space is always transparent. The native cultural idea of living

with a group – whether a village or a family – encourages visible spaces where one

can see everyone else. This also allows for the open planning requirements of living

in a tropical climate and keeps the house related with the natural environment.

However, it also means limited privacy.

Traditional ethnic houses express the indigenous way of spatial organization.

Territorial spaces are suggested by symbols, never stated with fences or walls but

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territoriality is still respected by passersby and other residents in the area. Within the

house, even in the absence of walls or partitions, the use of different levels, mats or

fireplace in the corner can distinguish one section from another.

FILIPINO TRADITIONS RAGARDING THE CONSTRUCTION OF HOUSES

Ethnic Filipino Building Traditions

Ethnic houses reflect the wisdom of skilled artisans who intuitively blend aesthetics

and utility into a harmonious whole.

Decoration, while done sparingly often combines aesthetics and socio-political

factors.

The design and construction of houses are affected by animistic beliefs and

assumptions. These govern the choice of site and season for building rituals to be

observed before and during construction, the orientation of the house and the

distribution of interior spaces.

Houses may be used essentially as shelter or may double as a social and cultural

center.

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Building Traditions during the Spanish Period

New structures were built during the Spanish period reflecting the major

preoccupations and values of the Spanish colonial life.

Houses signified the wealth and social rank of the owner.

The bahay kubo retained the features of the traditional house with the addition of

awning windows, the silid where the occupants could change clothes in private, the

altar, and other furniture and furnishings required by the new hispanized manners.

The bahay na bato retained the usual post and lintel construction of the bahay kubo

with some innovations:

a.

A highly flexible interior where rooms may be joined or separated byopening or closing wide doors;

b. The addition of an azotea at the back of the house, the caida or antesala at the

top of the stairs.

c. Details such as the media agua, the ventanllas and the tiled roof which gave

the bahay na bato an elegant appearance without losing the airy and light

qualities of the bahay kubo.

Building Traditions during the American Period

CHALET – indigenous concepts persisted and were embodied by the chalet or tsalet

- The most prominent feature is the front porch which may be extended to the sides of the

house. This is an expression of the unique Filipino concept of “space surrounding space.”

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BUNGALOW – This house brought the American concept of privacy which

encouraged family members to have his/her own room thus introducing hallways

and corridors – spaces that exist solely as distribution points.

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FILIPINO BULIDING BELIEFS

Many Filipino building beliefs are based on the sound planning practices. For instance,

many Filipino prefer that their houses face the east. Facing the house towards the rising sun

allows it to take in the healthful effects of the sun‟s rays in the morning and at the same time,

admits the prevailing southeast breezes.

Posts

In Southern Tagalog , posts nearest the east are laid first. The other posts follow, one

after the other in a clockwise direction. In Romblon, this practice is believed to make

the house windproof.

In Cagayan Valley, first post to be raised is the one nearest the northeast. But this is

done only after the footings have been sprinkled with wine.

In Bataan and some Tagalog provinces, a solitary post in the middle of the room is

believed to bring misfortune to the family.

The Tausug equate the building of a house to the development of a fetus. They

believe that the first to appear in a woman‟s womb is the navel. Hence, the first post

to be erected should be the main post in the interior of the house.

The Yakans do not use crooked posts and those with knots as these are believed tosymbolize death.

To prevent termite infestation, the bottom of the post are charred (Pangasinan) or

tarred. In some areas, rock salt is sprinkled generously in all footings.

Old people also caution against cutting old posts for reuse so as not to lose one‟s

wealth.

Stairs

Stairs are generally positioned towards the east. The Ilocanos believe that facing

them towards the west would mean turning one‟s back on face. On the other hand,

some builders in Bulacan prefer west-facing stairs, believing that anything facing the

sun dries up ahead of the others and so, wealth taken into the house will dry up

much faster.

If it is not possible to make the stairs face east, they should face nearby mountains.

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If the lot abuts a river, the stairs should be oriented upstream so that luck will not be

washed away the river‟s flow. For the same reason, if the house is facing the sea, the

stairs should be placed parallel to the shore.

It is not advisable to have a large window on the wall facing the stairs because good

fortune will go out of the window.

The space beneath the stairs should not be used as a passageway or sleeping quarters

(Tagalog) or a place where money is kept (eg. cashier‟s counter). Placing the rice

storage under the stairs is equal to treading on God‟s grace whenever one goes up or

down the stairs.

Stairs should not be located at the center of the structure as this divides the area.

The number of steps is governed with the guidelines of “oro, plata, mata”. Startingwith the first step, the steps are counted using the words oro (gold), plata (silver),

and mata (death). The last step should not end with the mata.

- This belief is not limited to stairs. It also applies to walkways with individual flagstones or

circular or square slabs, or even to a slab of concrete pavement divided into sections by

drawn lines.

The Yakans believe in odd numbering of steps. The Chinese count their steps

by fours.

Doors

One‟s main door should not directly face that of the neighbors to avoid

fighting over the luck that passes in front of both houses.

In most areas of the country, the main door is never positioned opposite the

main gate.

Doors should not face each other. The people in the North believe that doorsfacing each other allow easy passage of a coffin. In some areas in Bulacan,

however, wide doors facing each other are considered lucky, especially if

they lead to the terrace or garden.

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Living Rooms

Sunken rooms are regarded as pockets of caves where evil spirits can hide. It is

balanced off with an exit that is lower than the room.

Old folks in Bulacan advise that the living and dining rooms should be of the same

floor level to allow the “ball of fortune” to roll freely across both areas.

Any ornamentation or style (eg.Mansard roof) that might might remind one of a

coffin is avoided in living aeas.

Dining Rooms

Pampangos locate their dining room in the sunniest and brightest portion of the

house as they consider cooking and eating as festive activities. The Ilocanos, on the

other hand, regard eating as a solemn occasion and so, place the dining rooms in

areas where the lightning is more subdued.

Beds and Bedrooms

Beds should be placed so that when the door is opened, one would not face either the

head or the foot of the bed.

There should be ample space between the door and the bed.

The headboard should not rest against a window opening.

Beds should not be placed under drain pipes (for houses with second floor).

Likewise, they should not be placed over pipes containing unclean fluid as this

would mean that the bad energies may affect the good energy of the people sleeping

over the pipes.

Beds should not be placed under beams. Never position the bed so that the occupantwould be lying perpendicular to the beam.

It is considered lucky if the bedroom is placed higher than the living room.

Basements are not favored locations for bedrooms.

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MODULE 3

USER REQUIREMENTS AND PERCEPTION, AND SPACE

DESIGNED ENVIRONMENT

A design environment:

Results when a design problem is approached holistically

Uses the designer‟s approach of:

1. Analyzing the client‟s basic needs

2. Translating these needs to architectural terms

Requires that the designer know his role in the project in order to create the best

designed environment.

A holistic design approach should consider:

1. The building‟s structural system

2. The spatial form created by the structure

3. Light and the patterns of light and dark patterns it creates

4. The surface treatment of wall, floor and ceiling planes

5. The acoustic nature of this room‟s surface

6. The activities to be performed in the space

DESIGNING INTERIOR ENVIRONMENTS

ANALYZING USER REQUIREMENTS

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3 CATHEGORIES OF QUESTIONS THAT A DESIGNER SHOULD ASK HIS CLIENT:

1. PRACTICAL QUESTIONS – questions that deal with functional or spatialconsiderations

2. AESTHETIC QUESTIONS – questions concerning taste, style and color preferences

3. BUDGETARY QUESTIONS – questions that deal with financial considerations or

limitations

ASSESSING THE CLIENT‟S PSYCHOLOGICAL NEEDS

It is also important that the designer know the

1. Are the clients satisfied with their chronological age?

2. Are they happy with their occupational/educational level?

3. Do the clients accept stereotype roles?

4. How do the clients project themselves

5. How mobile are the clients?

6. How resistant to change are the clients? Do they want to preserve the past or

anticipate the future?

7. What are the clients‟ goals in undertaking the project?

8. What are clients concerned with prestigious brand names, company/product images

than with intrinsic value or total design?

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THE DESIGN PROCESS

1. PRE-STATEMENT

Statement of the given problem/s; usually states what space is to be designed –

giving very little information regarding the realated requirements

PRE-STATEMENT To design a kitchen

2. INFORMATION GATHERING

Researching information and details related to the problem through review of related

literature, ocular inspection of the space, direct observation, interview/survey with

the users, secondary information

3. PROBLEM STATEMENT

Identification and presentation of the problem based on data gathered

PROBLEM STATEMENT Design a modern kitchen which is

anthropometrically suited to the clients,

with consideration for their activities,

INFO GATHERING Anthropometrics

Cultural background

Family traditions

Aesthetic preferences

Activities, habits and needs

Equipment, amenities

Building beliefs

others

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needs and traditions, and is equipped

with the latest kitchen appliances.

4. ANALYSIS OF THE PROBLEM

Defining and understanding the nature of the design problem which will be

essential to the solution

WHAT TO ANALYZE: factors that affect the formulation of preliminary

solutions

1. WHAT EXISTS

Physical / cultural context

Existing architectural / interior elements

What can be changed / cannot be changed

2. WHAT IS DESIRED

Identify user‟s needs and preferences

Set goals – functional aesthetic

3. WHAT IS POSSIBLE

For alterations

Permitted / allowed / prohibited

Limits: time, economic, legal, technical

APPROACHES: coming up with ways to approach the problem

1. Isolate one or two key issues and develop solutions around them

2. Study analogous situations and use them for developing ideas

3. Develop ideal solutions for parts of the problem which can be integrated

into whole solutions and be tempered by the reality of what exists

ANALYSIS Needs – adequate work space,

auxiliary dining area,

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supervision of children, storage

Traditions – whole family cooks

during special occasions

Amenities – easy maintenance;

modern appliances; special

lightning

5. SYNTHESIS

Conceptualization through graphic solutions, matrices and diagrams

Requires knowledge and understanding gained through experience and research,

intuition and imagination

CREATIVITY – the process of coming up with new ideas

3 MAIN POINTS OF CREATIVITY

1. IDEATION – the mental process which gives the ability to think or ideate

2. IDEA QUANTITY – the capacity to produce the largest number of ideas in a given unit

of time

3. IMAGINEERING – the process of letting imagination soar and then engineering it back

to reality

CAUSES OF LIMITATION IN CREATIVITY

1. PERCEPTUAL BLOCKS – biological or physical impairment

2. PHYCHOLOGICAL BLOCKS - stem from the need to be accepted by a peer groups may

be conscious or unconscious

3. SELF-SATISFACTION

CREATIVE PROBLEM-SOLVING TECHNIQUES

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1. ALPHABETICAL LISTING – begins with listing all the letters of the alphabet. Then for

each letter, list a word or phrase that begins with that letter and pertains to the problem

you are attempting to solve or a potential solution to it.

2. FUNCTIONAL VISUALIZATION – thinking about what function the object will

perform instead of thinking how it will look like.

3. MORPHOLOGICAL SYTHESIS – making a list in a more direct manner to seek

alternatives.

4. INVERSION – instead of thinking of how to improve the situation, think of how to make

it worse so that you are given a new set of perspective or concepts.

5. BIONICS – “back-to-nature” solutions

6. DESCRIPTION BY ASSOCIATION – offering a description of the object by associating it

with something else.

SYNTHESIS CONCEPT/PARTIAL

SOLUTIONS “A kitchen

equipped with modern

appliances and amenities, suited

to the family activities and ideal

for food preparation and other

functions”

ACTIVITY FLOW

WORK TRIANGLE

ACCESSIBILITY & PROXIMITY

MATRICES

6. TRANSLATION

Graphic representations of solutions such as sketches, drawings, models

TRANSLATION FLOOR PLAN

SECTION

DETAILS

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COLOR and MATERIAL

BOARDS

PERPECTIVES

7. EVALUATION

Critical review of alternatives and careful weighing of the strengths and

weaknesses of each proposal

DESIGN CRITERIA

1. FUNCTION AND PURPOSE

- the intended function of the design must be satisfied and its purpose must be

fulfilled

2. UTILITY and ECONOMY

- a design should exhibit utility, honesty and economy in its selection and use of

materials

3. FORM and STYLE

- the design should be aesthetically pleasing to the eye and other senses.

4. IMAGE and MEANING

- the design should project an image and promote associations which carry meaning

for the people who use and experience it.

EVALUATION ALTERNATIVE SOLUTIONS

GUIDE FOR ANALYSIS, SYNTHESIS AND EVALUATION

1. USER REQUIREMENTS

INDENTIFY USERS

Individual or group

If group, how many?

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Specific or anonymous

Age group

Economic status, etc.

IDENTIFY NEEDS

Group needs

Specific individual needs

TERRITORIAL REQUIREMENTS

Personal space

Privacy

Interaction

Access

PREFERENCES

2. ACTIVITY REQUIREMENTS

DETERMINE PRIMARY AND SECONDARY REQUIREMENTS

ANALYZE NATURE OF ACTIVITIES

Active or passive

Noisy or quiet

Public, small group or private

Multi-functional space?

Frequency and duration of use

REQUIREMENTS for access, flexibility, light, acoustics

3. FURNISHING REQUIREMENTS

DETERMINE FURNISHING AND EQUIPMENT REQUIREMENT for each activity

Number, type and style of seating, tables, work surfaces, storage anddisplay units, accessories

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Image and style

Degree of spatial enclosure

Comfort and security

Quality of light

Focus and orientation of space

Color and tone

Acoustical environment

Thermal environment

Flexibility

7. DESIRED RELATIONSHIPS

DETERMINE DESIRED RELATIONSHIPS BETWEEN:

Related activity areas

Activity areas and space fr movement

Room and adjacent spaces

Room and the outside

DESIRED ZONING AND ACTIVITIES

Organization of activities into groups or set according to compatibility

and use.

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MODULE 4

ENVIRONMENT- BEHAVIOR STUDIES

Definition

Environment-Behavior Studies in architecture includes the systematic examination of

relationships between the environment and human behavior and their application in the

design process. The basic questions to be asked are:

How do people interact with the built environment?

What are their needs?

How do we apply such understanding in the design process?

Scope

Environment-behavior studies encompass more than just function. It involves careful study

of the psychology of the user, how he or she perceives the building form, social interaction

needs, subcultural differences in lifestyle, and the meaning and symbolism of buildings. Italso includes aesthetics, combining formal theories with user-based experiential aesthetics.

THREE MAIN COMPONENTS

1. ENVIRONMENT-BEHAVIOR PHENOMENA. Each of these phenomena is a

different aspect of human behavior in relation to everyday physical environments.

Common examples include:

a. Proxemics and privacy. Proxemics are the different distances between peoplethat are considered comfortable for social interaction. Privacy is an interpersonal

control mechanism that paces and regulates interaction with others.

b. Environmental meaning and symbolism. These include the ways in which

people use the environment in the presentation of self. These phenomena refer to

important culturally based determinants of design.

2. USER GROUPS. Different user groups have different needs. The importance of

studying behavioral factor from a user standpoint is that it provides understanding

that can be applied in any design project involving their users.

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b. Perceived and defensible territory

c. Image and milieu

d. Safe zones

PRIVACY, DENSITY, CROWDING and STRESS

Privacy may be defined as the claim of individuals, groups or institution to control access to

themselves and to determine for themselves when, how and to what extent information

about themselves will be communicated.

Density is a mathematical measure of the number of people per unit of space.

Crowding is a psychological or an environment-behavior concept, which refers to the

experience of being bounded or blocked, or frustrated by the presence of too many people.

The feeling of being crowded depends on the person‟s perception of density which may be

affected by moods, personality, and physical context.

Defending personal space and showing territorial behavior are two mechanisms people use

to achieve the desired levels of privacy in crowded situations in order to avoid undue stress.

PROGRAMMING ENVIRONMENTS FOR HUMAN USE

APPROACHES TO GENERATING USER ORIENTED DESIGN REQUIREMENTS

1. THE USER CHARACTERISTICS APPROACH

Developed from the idea that the users of most environments are diverse and

are likely to have different basic needs for the same setting.

It presumes that it is possible to group these users in some way and that

environmental needs are basically consistent within those groupings.

BASIC STEPS

1. Identify user types.

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2. Construct user profiles of each group

3. Deductively derive design requirements for each

MAJOR STRENGTH. It enhances the designer‟s ability to go beyond simplysatisfying the requirements of the program because it deals holistically with

all of the characteristics of a particular type of user, such as behavior patterns,

physiological, psychological, social, economic, etc., which might potentially

have an effect on his environmental needs.

MAJOR WEAKNESS. It does not provide for a systematic search process

which would ensure the consideration of all the possible environmental

requirements of a user. It is dependent on good data organization that is

accessible to the designer.

2. THE SOCIAL FUNCTIONS APPROACH

Involves focusing on particular processes or functions which are to varying

degrees affected by the environment.

Concerned with specifying form characteristics which would facilitate or

support ( or in certain instances prevent) a particular

social/psychological/physiological process such as social interaction, image

formation, crime, or stress, etc.

BASIC STEPS

1. Identify the social/psychological/physiological, etc. function to be

supported or suppressed. eg. Image formation, burglary, stress, etc.

2. Identify the characteristics in the environment which affect this process.

3. Deductively derive performance statements or design requirements.

MAJOR STENGTH. It enables the programmer to deal with aspects of

environmental behavior which are not obvious, such as image formation or

stress reduction, etc

MAJOR WEAKNESS. It relies on theoretical frameworks which explain how

the environment affects a particular social or psychological process. Other

attributes of environmental behavior for which there is no orderly theorytend to be ignored.

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3. THE BEHAVIOR CIRCUIT APPROACH

focuses on the behavior of typical individual users of the environment. The

flow of behavior of an individual is broken into comprehensible segments or

sequences that are related to particular environmental settings.

Indentifies the predominant recurring sequences or chains of behavior of a particular

user type.

BASIC STEPS

1. Identify predominant behavior sequences for each user type

2. Break each of the circuits into discrete behavioral units

3. Specify level/(s) at which the behavior is to be supported.

a) Safety/survival

b) Task efficiency

c) Comfort

d) Pleasure/enjoyment

4. Using a checklist of environment attribute derive the design requirements for

the setting(s) in which that behavior is to occur.

a) Spatial form

b) Communications

c) Activities

d) Ambiance

5. Repeat for each behavior in the circuit and for each user type.

MAJOR STRENGTHS. It is systematic and concrete. It focuses on behavior in such a

way that design implications become obvious. If one is careful in identification of all

the behavioral sequences, it provides very comprehensive and detailed

programmatic information.

MAJOR WEAKNESSES.

1. Followed to the smallest detail, this approach will simply overwhelm the

designer with the information. Efforts must be exerted to organize andprioritize requirements.

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2. It tends to focus on explicit physical behavior and not on internal processes.

4. THE BEHAVIOR SETTING APPROACH

Focuses on areas or settings within which there are relatively stable patterns of

recurring behaviors.

Identifies the patterns of behavior within a particular setting or area. Most action

settings or behavior settings have a particularly enduring form in space and

schedule in time. The people, objects and events inside the settings are ordered in

a bounded pattern according to the recognized needs of the activity going on in

it.

To generate design requirements using this approach one must identify the

predominant recurring patterns of behavior in the setting which are separated

into discrete units.

BASIC STEPS

1. Identify predominant behavioral patterns for each setting.

2. Break each of the patterns into discrete behavioral units.

3.

Decide level(s) at which behavior is to be supported.

a) Safety/survival

b) Task efficiency

c) Comfort

d) Pleasure/enjoyment

4. Using a checklist of environmental attributes, logically derive the design

requirements for the setting(s) in which the behavior is to occur.

a) Spatial form

b) Communication

c) Activities

d) Ambience

5. Repeat for each behavior in the setting and for each setting in the

environment being programmed.

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MAJOR STRENGTHS. As in the previous case, this approach is highly systematic

and is focused on obvious, concrete behaviors.

MAJOR WEAKNESSES. It has a tendency to focus on relatively stationary

patterns of behavior and on groups. The approach lacks the capacity of

enhancing the empathy of the designer for the user.

5. POST OCCUPANCY EVALUATION

Aims to provide programmatic information to designers. This form of evaluation

research involves a systematic re-examination of a design once it has been

completed and occupied or used for a reasonable length of time.

Identifies what might be termed “the problems and assets of the design.”

- Problems – features of the design which through oversight or error do not meet the

needs of its users and consequently should be modified.

- Assets – features of the design which work especially well and are highly valued by

users. These features are worthy of preservation efforts in existing examples and reiteration

in future designs.

BASIC STEPS

1. Do literate search for post occupancy evaluations which deals with

a) Similar settings (e.g. elementary school), or elements which make up

the settings (classrooms, playground).

b) Similar populations

2. Judgmentally translate the findings to the specific problem.

MAJOR STRENGTHS. It assesses the performance of a real setting rather

than on predictions derived from theory.

MAJOR WEAKNESS. It is probably too costly to do a post occupancy

evaluation as a means of developing the program for a new project, and

yet it is often difficult to find an evaluation which deals with the

particular client/user group anf type of environment.

6. THE USER PARTICIPATION APPROACH

Does not rely for the most part on experts to develop the information.

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Relies instead on methods which enable the direct user participation in the

process of developing design requirements, perhaps even to the extent of

controlling the process.

BASIC STEPS

1. Client assemblage

2. Individual assessment of problems and assets.

3. Group agreement on a prioritization of problems and assets.

4. Individual identification of ideal qualities

5. Group agreement on ideal

6. Group agreement on problems, assets, and ideals or “the program.”

STRENGTH AND WEAKNESS. The involvement of the users in an

active rather than a passive role. The client or user may be:\

- Present

- Absent but reachable

- Homogenous / Diverse

- Vocal / Silent

- Not reachable but known

- Unknown

Each client type must be identified and some way of ensuring

participation either by every client of each type or representatives of each

type.

The process is still further complicated when certain users have no choicein the process.

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MODULE 5

THE EFFECT OF ARCHITECTURAL DESIGN

ON SPECIFIC BEHAVIORS

DISTANCE

PHYSICAL DISTANCE – measured linear distance traversed in walking between two points

FUNCTIONAL DISTANCE – includes the variables of design and relative position as they affect

the number of involuntary, casual contacts between people

Increased functional distance may be associated with reduced social interaction. Indirect orientation

of access points also lessens interaction among their users.

Close physical and functional distance is conducive to the formation of friendships and prevent social

isolation.

DESIGN AND SPATIAL ARRANGEMENT

SOCIOFUGAL ENVIRONMENTS – discourage social contacts and the formation of

friendships. Examples include train stations, hotel lobbies.

SOCIOPETAL ENVIRONMENTS – encourage social contacts and the development of

friendships. Examples include seminar rooms, centrally located meeting and recreation

areas.

The spatial arrangement in interior spaces may be determined by the placement of walls orpartitions, the arrangement of furniture and the overall design of the building itself.

Restrictions in visual and auditory contacts are associated with decreased social interaction with

persons physically located farther away.

AMENITIES

Amenities are aspects of the environment that are much more suitable than distance or spatial

layout. Pleasant environments could uplift people’s moods and make them more efficient in their

jobs and more open to interpersonal interactions.

- An environment that is incongruent with certain behavior will render less likely theoccurrence of that behavior.

MOTIVATING FACTORS THAT ARE AFFECTED BY THE ENVIRONMENT

1. FRIENDSHIP FORMATION. Friendships are formed on the basis of shared interests and

backgrounds. The friendships that are formed are largely affected by opportunity.

Therefore, contacts in an indispensible part of the process.

In understanding the effect of closeness on social contact, it is necessary to

recognize that it is functional rather than physical distance that makes the

difference. Physical closeness is important, but where people meet is determined by

the configuration of buildings and their grounds and the location of communalspaces.

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Designers create the conditions that determine which path people will follow and,

as a consequence, where they will meet. Spaces may tend to:

- disperse people in a centrifugal fashion that minimizes contact; or

- bring people together in a centrifugal fashion that increases contact.

2. GROUP MEMBERSHIP. Being or not being a part of a definite social group is one way people

define themselves and is thus a matter of importance to most people.

There is an evident tendency to affiliate with small groups where communications

are easier and more accurate. This suggests that seating arrangements in public

gathering places should be designed with small (2-3 individuals) in mind.

If a designer can reasonably assume where people intersect or be drawn together by

necessity, it can be assumed that groups will form at these points and should

probably be provided with seating and other conveniences.

The human tendency to form groups suggests the need for places where groups can

form (e.g., lounges, lobbies, recreation rooms)

3. PERSONAL SPACE. The strong feelings people have about controlling access to their persons

manifests in the spacing or separation that people maintain when dealing with other people.

Anthropologist Edward T. Hall described a series of distances:

a. Intimate distance – ranges from actual contact to a distance of 18”; reserved

for lovers, small children or very close friends.

b. Personal distance – ranges from 1.5 to 4 feet (“arm’s length”); protected

area where strangers would not be welcome.

c. Social distance – ranges from 4 to 12 feet; or the range of public interactions

d. Public distance – ranges from 12 to 25 feet; or the range where

noninvolvement begins. If designers want to make this option available, they

have to provide entrances and walkways over 12 feet wide. The farther

public distance is the distance preserved around important public figures.

4. PERSONAL STATUS. People use different techniques to establish their own self-definitions,

and for defining themselves to others. They seek an architectural expression that reflects

their self-image.

It is a widely accepted practice to denote rank or status by the characteristics of

one’s workplace. In dealing with personal status, it is important to allocate floor

space and other amenities not just for an attractive functional work space/s but also

for allocating personal status.

5. TERRITORIALITY. The territorial feelings of humans merge with other feelings about persona

space and concern for personal status. Territorial feelings may relate to individual or group

belongings, or to assume rights and privileges.

Territoriality can be divided into these categories:

Personal Property and Possessions

Group Property and Possessions

Temporary Territory

In dealing with the different manifestations of territoriality, designers can reduce

territorial friction or attempt to encourage feelings of ownership.

a. Person to Person – territorial friction arising over personal belongings; can

be minimized by marking personal possessions clearly and eliminating the

possible causes of friction

b. Boundaries – disputes over territorial boundaries can often be traces to

ambiguity of boundary lines; can be minimized by:

- making boundaries clear and self-evident

- indicating clearly what is shared and what is private

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Communicating with design. The design characteristics of a building are capable of

communicating any message. People evaluate buildings as a means of satisfying their

needs of the moment. Users may be divided into two groups with distinct responses.

- People who know the building – response is largely a result of how well they feel

the building their purposes.

- People who are not familiar with the building – response is related to the interests

and needs more than to the nature of the building. From the viewpoint of a new

viewer, there are questions that a building design should answer to determine

whether the building satisfy current needs or interests.

a. What is it?

b. What benefit does it offer me?

c. How do I get it?

d. What is inside?

e. How will I be received?

7. CUE SEARCHING. This is the need to know what is going on in the world around us in order

for us to conduct our personal affairs safely, expeditiously and with minimum of wastedeffort or embarrassment.

The nature of the search takes on different forms at different times with different

people:

a. Exploratory mode

b. Habitual mode

One of the principal purposes of cue searching is to ensure personal safety. Cues may be

provided through familiar signs that may be detected by the senses.

a. Provide facilities where the senses can work.

b. Avoid sensory overload – stress the critical information and subordinate

everything else.

c. Provide direct guidance in the form of signs and symbols, or people assigned toassist strangers to warn them against hazards or guide them to their

destinations. This process of merging cue searching with communications is

called wayfinding.

Abstract cues are cues that inform us about social status and create the mental image we

hold both of people and institutions.

a. “edifice complex” – projection of the rich and powerful of their wealth and authority

by the grandeur and opulence of their buildings

b. Interior cues include material quality, low noise level, ceiling height, door height,

and the quality of the decorative elements such as carpeting, wood paneling,

lighting fixtures and hardware.

8. PERSONAL SAFETY. People need help in identifying those aspects of their environment thatmay be hazardous even though the hazard is not obvious. They need help in identifying

those aspects of their environment that may be safe even though they may not appear to be

safe.

The designer is responsible for resolving these concerns by creating a safe environment

and making it apparent to the user that it is safe. This psychological assurance is

important in encouraging people to enter and use new environments.

Principal categories of hazards that are frequently encountered in interior

environments:

a. Clearance hazard

b. Object hazard

c. Collision hazardd. Stability hazard

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Designers should also reassure building users that they have nothing to fear.

SPACE ARTICULATION

Space is never meaningless. Spatial qualities have psychological meaning.

Real space is always inhabited and situated. By inhabiting space, we make it suit our needs, interpret

it and give it meaning. Inhabited space is always situated, and the environmental context affects its

meaning. As designers, we can manipulate the space as part of the context. Real spaces can then

acquire characteristics as a result of a complex interplay of social, aesthetic, and physical factors of

the setting.

We encounter objects and people in space. They have material/physical presence – we meet them

face to face, feel their (potential) resistance to our actions, and feel the atmosphere they emit like

an aura. The social effects of sharing space are intimacy, social nearness and a higher tendency tocooperate.

Configurability refers to the meaningful re-arrangement of (significant) objects, giving the user

control over the environment, enhancing engagement, supporting explorative behavior or providing

thinking aids (external representations).

Designers may configure spaces to alter its meaning, to establish an inhabited (or owned) space or to

control the material/physical presence of people and objects. Space articulation is often used in

architecture to define a zone of space within a larger spatial context. It may be achieved through:

1. Elevating a portion of the base plane

With the different surface – it will create a new field of space, define the boundary ogthat space, and interrupt the flow of space.

With the same surface – the elevated plane will appear to be very much the same as the

surrounding space.

Within a building – an elevated space can provide a retreat from the activity around it or

an area from which the surrounding spaces may be viewed.

2. Depressing the portion to be articulated. The ground plane may be depressed to define

sheltered areas or to make more extensive use of the areas on the “normal” level.

3. Changing the form, color or texture of the edges of the space . This creates visual

boundaries and eliminates the need for actual partitions between spaces.

4. Changing the formal and surface qualities of the ceiling. The ceiling can be lowered or

recessed to alter the scale of space.5. Placing a vertical linear element. This establishes a point in the ground plane and creates

imaginary paths that lead the viewer to it.

6. Placing a row of columns (colonnade) that defines the edges of the volume . This helps to

reinforce boundaries while permitting visual and spatial continuity.

7. Placing a vertical plane which will articulate the space that it fronts. If it has two fronts or

”faces”, the plane establishes the edges of the two separate volumes of space.

8. Placing various elements parallel to each other. This helps in defining a field of space

enclosed by the objects.

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MODULE 5

THE EFFECT OF ARCHITECTURAL DESIGN ON SPECIFIC BEHAVIORS

DISTANCE

PHYSICAL DISTANCE – measured linear distance traversed in walking between

two points

FUNCTIONAL DISTANCE – includes the variables of design and relative position

as they affect the number of involuntary, casual contacts between people

Increased functional distance may be associated with reduced social interaction. Indirect

orientation of access points also lessens interaction among their users.

Close physical and functional distance is conducive to the formation of friendships and

prevent social isolation.

DESIGN AND SPATIAL ARRANGEMENT

SOCIOFUGAL ENVIRONMENTS – discourage social contacts and the formation

of friendships. Examples include train stations, hotel lobbies.

SOCIOPETAL ENVIRONMENTS – encourage social contacts and the development

of friendships. Examples include seminar rooms, centrally located meeting and

recreation areas.

The spatial arrangement in interior spaces may be determined by the placement of walls or

partitions, the arrangement of furniture and the overall design of the building itself.

Restrictions in visual and auditory contacts are associated with decreased social interaction

with persons physically located farther away.

AMENITIES

Amenities are aspects of the environment that are much more suitable than distance or

spatial layout. Pleasant environments could uplift people‟s moods and make them more

efficient in their jobs and more open to interpersonal interactions.

- An environment that is incongruent with certain behavior will render less

likely the

occurrence of that behavior.

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MOTIVATING FACTORS THAT ARE AFFECTED BY THE ENVIRONMENT

9. FRIENDSHIP FORMATION. Friendships are formed on the basis of shared

interests and backgrounds. The friendships that are formed are largely affected by

opportunity. Therefore, contacts in an indispensible part of the process.

In understanding the effect of closeness on social contact, it is necessary to

recognize that it is functional rather than physical distance that makes the

difference. Physical closeness is important, but where people meet is

determined by the configuration of buildings and their grounds and the

location of communal spaces.

Designers create the conditions that determine which path people will follow

and, as a consequence, where they will meet. Spaces may tend to:

- disperse people in a centrifugal fashion that minimizes contact; or

- bring people together in a centrifugal fashion that increases contact.

10. GROUP MEMBERSHIP. Being or not being a part of a definite social group is one

way people define themselves and is thus a matter of importance to most people.

There is an evident tendency to affiliate with small groups where

communications are easier and more accurate. This suggests that seating

arrangements in public gathering places should be designed with small (2-3

individuals) in mind.

If a designer can reasonably assume where people intersect or be drawn

together by necessity, it can be assumed that groups will form at these points

and should probably be provided with seating and other conveniences.

The human tendency to form groups suggests the need for places where

groups can form (e.g., lounges, lobbies, recreation rooms)

11. PERSONAL SPACE. The strong feelings people have about controlling access to

their persons manifests in the spacing or separation that people maintain whendealing with other people.

Anthropologist Edward T. Hall described a series of distances:

e. Intimate distance – ranges from actual contact to a distance of 18”;

reserved for lovers, small children or very close friends.

f. Personal distance – ranges from 1.5 to 4 feet (“arm‟s length”); protected

area where strangers would not be welcome.

g. Social distance – ranges from 4 to 12 feet; or the range of publicinteractions

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h. Public distance – ranges from 12 to 25 feet; or the range where

noninvolvement begins. If designers want to make this option

available, they have to provide entrances and walkways over 12 feet

wide. The farther public distance is the distance preserved aroundimportant public figures.

12. PERSONAL STATUS. People use different techniques to establish their own self-

definitions, and for defining themselves to others. They seek an architectural

expression that reflects their self-image.

It is a widely accepted practice to denote rank or status by the characteristics

of one‟s workplace. In dealing with personal status, it is important to allocate

floor space and other amenities not just for an attractive functional work

space/s but also for allocating personal status.

13. TERRITORIALITY. The territorial feelings of humans merge with other feelings

about persona space and concern for personal status. Territorial feelings may relate

to individual or group belongings, or to assume rights and privileges.

Territoriality can be divided into these categories:

Personal Property and Possessions

Group Property and Possessions

Temporary Territory

In dealing with the different manifestations of territoriality, designers can

reduce territorial friction or attempt to encourage feelings of ownership.

e. Person to Person – territorial friction arising over personal belongings;

can be minimized by marking personal possessions clearly and

eliminating the possible causes of friction

f. Boundaries – disputes over territorial boundaries can often be traces to

ambiguity of boundary lines; can be minimized by:

- making boundaries clear and self-evident

- indicating clearly what is shared and what is private

g. Group Territory – the feeling of sharing “ownership” through

membership in a group; makes it possible to mobilize a group to

defend or improve its shared territory

h. No one’s territory – places for which no one or no group develops

territorial feelings and are subject to misuse and abuse; sometimes

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results from the assumption of territorial rights by some agency or

authority other than the users.

Recommendations about territorial considerations

e. Individual possessions. Mark them in distinctive way or give them

individual names. Whether the possessions are concrete objects or just

assigned space in an office, dormitory, or locker room, a designer

should clearly define the boundaries.

f. Group territory. Establish clear boundaries and a clear identity. This is

essential for the development of specific group territorial feelings.

This is not difficult in small projects but it becomes very difficult, if

not impossible, in large projects.

g. Transient territory. It is helpful if objects claimed as transient territories

can be designed and arranged so that the area assigned to each

individual is clearly delimited (dividers between urinals, individual

seats in bus terminals, etc.)

h. Territorial Responsibilities. To ensure that a sense of territorial

responsibility develops among users in those projects that actually

belongs to someone else, the designer should make an effort to

include the users in the planning process to create a bond between

them and the project.

14. COMMUNICATIONS. Architects and planners can create places where

communication occurs. They are involved with communications at three levels:

d. They must provide the appropriate ambience that fosters effective personal

communication

e. They must provide the appropriate information, principally through signs so

that people will know how to use the facilities they are entering.

f. They must provide, principally through external design characteristics,accurate information about the nature of the structure and the organizations

it houses.

Personal communications. To facilitate communications between people,

designers must recognize that conversations take place wherever people

meet. These considerations may be used as a set of guidelines:

i. In heavy traffic areas, provide a place where people may stand out of the

line of traffic

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The nature of the search takes on different forms at different times with

different people:

c. Exploratory mode

d. Habitual mode

One of the principal purposes of cue searching is to ensure personal safety.

Cues may be provided through familiar signs that may be detected by the

senses.

d. Provide facilities where the senses can work.

e. Avoid sensory overload – stress the critical information and subordinate

everything else.

f. Provide direct guidance in the form of signs and symbols, or people

assigned to assist strangers to warn them against hazards or guide them

to their destinations. This process of merging cue searching with

communications is called wayfinding.

Abstract cues are cues that inform us about social status and create the

mental image we hold both of people and institutions.

c. “edifice complex” – projection of the rich and powerful of their wealth and

authority by the grandeur and opulence of their buildings

d. Interior cues include material quality, low noise level, ceiling height, door

height, and the quality of the decorative elements such as carpeting, wood

paneling, lighting fixtures and hardware.

16. PERSONAL SAFETY. People need help in identifying those aspects of their

environment that may be hazardous even though the hazard is not obvious. They

need help in identifying those aspects of their environment that may be safe even

though they may not appear to be safe.

The designer is responsible for resolving these concerns by creating a safe

environment and making it apparent to the user that it is safe. This

psychological assurance is important in encouraging people to enter and use

new environments.

Principal categories of hazards that are frequently encountered in interior

environments:

e. Clearance hazard

f. Object hazard

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g. Collision hazard

h. Stability hazard

Designers should also reassure building users that they have nothing to fear.

SPACE ARTICULATION

Space is never meaningless. Spatial qualities have psychological meaning.

Real space is always inhabited and situated. By inhabiting space, we make it suit our needs,

interpret it and give it meaning. Inhabited space is always situated, and the environmental

context affects its meaning. As designers, we can manipulate the space as part of the context.

Real spaces can then acquire characteristics as a result of a complex interplay of social,aesthetic, and physical factors of the setting.

We encounter objects and people in space. They have material/physical presence – we meet

them face to face, feel their (potential) resistance to our actions, and feel the atmosphere they

emit like an aura. The social effects of sharing space are intimacy, social nearness and a

higher tendency to cooperate.

Configurability refers to the meaningful re-arrangement of (significant) objects, giving the

user control over the environment, enhancing engagement, supporting explorative behavior

or providing thinking aids (external representations).

Designers may configure spaces to alter its meaning, to establish an inhabited (or owned)

space or to control the material/physical presence of people and objects. Space articulation

is often used in architecture to define a zone of space within a larger spatial context. It may

be achieved through:

9. Elevating a portion of the base plane

With the different surface – it will create a new field of space, define the boundary og

that space, and interrupt the flow of space.

With the same surface – the elevated plane will appear to be very much the same as

the surrounding space.

Within a building – an elevated space can provide a retreat from the activity around

it or an area from which the surrounding spaces may be viewed.

10. Depressing the portion to be articulated. The ground plane may be depressed to

define sheltered areas or to make more extensive use of the areas on the “normal”

level.

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11. Changing the form, color or texture of the edges of the space. This creates visual

boundaries and eliminates the need for actual partitions between spaces.

12. Changing the formal and surface qualities of the ceiling . The ceiling can be

lowered or recessed to alter the scale of space.

13. Placing a vertical linear element. This establishes a point in the ground plane and

creates imaginary paths that lead the viewer to it.

14. Placing a row of columns (colonnade) that defines the edges of the volume . This

helps to reinforce boundaries while permitting visual and spatial continuity.

15. Placing a vertical plane which will articulate the space that it fronts. If it has two

fronts or ”faces”, the plane establishes the edges of the two separate volumes of

space.

16. Placing various elements parallel to each other. This helps in defining a field of

space enclosed by the objects.

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REQUIREMENTS

1. COMPREHENSIVE STUDY of the occupants‟ needs, activities and personal

preferences, and how they will affect the overall design. Use the necessary and

appropriate data gathering technique. Present the requirements in this part using the

format for the DESIGN METHOD – including conceptual sketches using Creative

Problem Solving Techniques.

2. ENVIRONMENT-BEHAVIOR STUDIES based on Behavior Circuit and Behavior

Setting Approaches.

3. DESIGN PROGRAM indicating the problems and potentials of each area based on

the findings from the Environment-Behavior analysis.

4. Three (3) 5R-sized PHOTOGRAPHS each of the two (2) focus rooms or areas,indicating their problems and/or potentials (“before” pictures).

Three (3) COLORED PERSPECTIVES each of the two (2) focus rooms or areas, indicating

how they were improved (“after” pictures).

5. EXISTING FLOOR PLAN/S of the entire house : scale – 1:50m.

PROPOSED FLOORS PLANS for the two (2) focus rooms or areas only – scale – 1:20m.

6. PROPOSED SECTIONS – two (2) each for the two (2) focus rooms or areas only; scale

– 1:20m

7. FURNITURE SCHEDULE – scale -1:10m.; indicating design (perspective),

dimensions, finishes, quantity

8. COLOR DEVELOPMENT BOARD – at least five colors per room, and five

development per color: use prescribed layout

9. COLOR BOARD – use prescribed layout

10. MATERIAL BOARD - – use prescribed layout

- Requirements 1 – 3 must be placed on A4-sized paper and compiled in an

A4-sized clear folder (AR 3A – blue; AR 3B – white; AR 3C – green)

- Requirements 4 – 10 (use prescribed scale) must be placed on A3 – sized

(42 x 29.7 cm.)

- Completed works must be ring-bound and provided with opaque cover

of the same color as the folder for Requirements 1 – 3.

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MODULE 6

FUNCTIONAL NEEDS OF INTERIOR ENVIRONMENT

INTERIOR DESIGN

THE DIFFERENCE BETWEEN INTERIOR DECORATION AND DESIGN

Interior Decoration – the process of arranging a room so that its component parts are

independent of each other and the relationships is maintained only with the use of colorharmony and coordinated arrangement of furniture and decorative objects.

Interior Design – shaping and conditioning of space for the optimum physiological

and psychological environment that affects the users of the interior.

GENERAL CATEGORIES BY WHICH CONCERNS AND ISSUES MAY BE ADDRESSED IN

DESIGN:

1. Functional Zoning – the need for adjacency

2. Architectural Space – a concretization of man‟s existential space

Space is the most influential aspect of design problem solving

The designer must know what activities, conditions and people he is

planning for

3. Circulation and Building Form – circulation may be conceived as the perceptual

together. Building forms are the conceived as structures

4. Response to Context – depending on the environment and the meaning of the

structure in that environment.

5. Building envelope – the imaginary shape of a building indicating its maximum

volume

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ARCHITECTURAL SPACE

The geometric elements of point, line, plane and volume can be arranged to articulate and

define space. At the scale of architecture, these fundamental elements become linear

columns and beams, planar walls, floors and roofs.

A column makes a point in space and makes it visible.

Two columns define a spatial membrane through which we can pass.

Supporting a beam, the columns delineate the edges of a transparent plane.

A wall, an opaque plane, marks off a portion of amorphous space and separate here

from there.

A floor defines a field of space with territorial boundaries.

A roof provides shelter for the volume of space beneath it.

In architectural design, these elements are organized to give a building form, differentiate

between inside and outside, and define the boundaries of interior space.

INTERIOR SPACE

Interior spaces are formed first by a building‟s structure system, further defined by walls

and ceiling planes, and related to other spaces by windows and doorways. Every building

has a recognizable pattern of these elements and systems. Each pattern has an inherent

geometry which molds or carves out a volume of space to its likeness.

STRUCTURING SPACE WITH INTERIOR DESIGN

Although a building‟s structural system sets up the basic form and pattern of its interior

spaces, these spaces are ultimately structured by the elements of interior design. “Structure”

refers to the selection of arrangement of interior elements such that their visual relationships

define and organize the interior space of a room.

DESIGNING INTERIOR SPACE

Interior Design necessarily goes beyond the architectural definition of space. In planning the

layout, furnishing and enrichment of space, the Interior Design should be highly aware of its

architectural character as well as its potential for modification and enhancement.

The design of interior spaces, therefore, requires an understanding of how they are formed

by the building systems of structure and enclosure. With this understanding, the Interior

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Designer can effectively choose to work with, continue or even offer a counterpoint to the

essential qualities of an interior space.

INTERIOR DESIGN SERVICES

ACCORDING TO UAP DOC. 203-A

1. Prescribes the furniture and interior finishes appropriate for different activities and

spaces; prepares the furniture and furnishing layout.

2. Prepares the design and schedule of furniture giving their dimensions, specifications,

locations, etc.

3. Assist the client in conducting bids and negotiations with furniture fabricators andother suppliers.

4. Checks and approves samples of materials and shop drawing of furniture, fixture

and decor items.

5. Conduct final inspection and approval of furniture and other items.

POSSIBLE ROLES A DESIGNER MAY PLAY IN A PROJECT

1. The decision-maker?

2. A specifier of products and designs?

3. An authority figure helping the client makes correct choices?

4. A combination of any of these?

INTERIOR DESIGN ELEMENTS

Interior spaces within buildings are defined by the architectural elements of the structure

and enclosure. These elements give a building its form, demarcate a portion of infinite space,

and set up a pattern of interior spaces.

1. FLOORS

Floors are the flat, level base planes of interior space. As the platforms that support our

interior activities and furnishings, they must be structured to carry these loads safely and

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their finishes must be durable enough to withstand continuous use and wear. The following

criteria may be used in selecting flooring materials and finishes:

Functional Criteria:

1. Durability

2. Ease of maintenance

3. Foot comfort

4. Safety under slippery conditions

5. Sound absorption of reflectance

Aesthetic Criteria

1. Pattern – can be used as simple background (neutral patternless floor), as an

accent, to define areas, suggest paths of movement, or simply provide

textural interest.

2. Compatibility with the general style of the room.

The designer must also determine the materials based upon quality or value for money,

maintenance cost, and availability for initial purchase or replacement.

Flooring patterns should also be chosen in proportion to the size of the room:

In general, large-scale flooring works best in big rooms, small rooms require

more study.

A lengthwise pattern adds depth to a room, while a pattern running the

width of a room makes the space look shorter and wider.

Accent pieces can be used to break up a large expanse, to highlight a focal

point, or to define one area of a room.

In a multi-purpose room, a good design plan may use different types of

flooring to define two or more areas.

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COMMON FLOORING MATERIALS

1. HARDWOOD: Hardwood floors are fast becoming the most popular

flooring material. There are a wide variety of woods and grains to choose

from, such as oak, pine, maple, cherry, even bamboo.

May be stained to any preferred color, from a light natural color to a

deep rich mahogany, or anything in between. When well-maintained

and repaired, hardwood floors can literally last a lifetime.

Not recommend for moisture-prone areas, such as basements,

bathrooms and kitchens, or in climates with high humidity.

Sold prefinished and unfinished, available in strips, planks and

parquet.

a) Strips – thickness: 5/16” to ¾”, width: 1-1/2” to 2-1/4”

b) Planks – thickness: ½” to ¾”; width: 3” to 8”

c) Parquet – usually square, composed of small wood slats joined

by adhesive and fasteners.

Alternative may be:

a)

Engineered Hardwood Floors–

made by gluing up 3-5 thinlayers of hardwood. It is offered prefinished and unfinished in

strip, plank and random plank styles.

b) Longstrip Plank Floors or Laminates – are typically a 1/8”

prefinished hardwood veneer glued to plywood base.

2. VINYL: Vinyl floor covering is a popular resilient flooring available in

multiple forms.

Made by bonding a protective clear layer, called the wear layer, to a

decorative layer and finally to felt backing.

It can be purchased as one large sheet or as individual tiles.

a) A large sheet of vinyl (strips and rolls) requires a special

adhesive.

b) The tiles can be of the standard variety of vinyl, requiring a

separate application of adhesive, or as peel-and-stick tiles.

Best suited to kitchens and baths, it is easy to clean, moisture resistant

and fairly durable.

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3. CARPETING and RUGS: Carpeting is manufactured in strips and sold by

the square meter, cut to fit, and normally fastened to the floor with adhesives.

Carpet tiles are modular pieces of carpet which can be laid to resemble a seamless wall-to-

wall installation of arranged in patterns. Rugs are single pieces of floor coverings

manufactures or cut to standard sizes often with a finished border. They are not intended to

cover the entire floor of the room.

Both carpets and rugs are available in a wide variety of colors and textures. Materials used

include wool, acrylic, nylon, polyester and cotton.

Advantages: It is warm surface which can also reduce noise in the

home and provide a resilient, nonslip surface.

Disadvantages: the less expensive grades of carpeting look wornrelatively quickly. In general, carpeting is difficult to keep clean,

despite stain-resistant fibers and coatings. It wears unevenly, is subject

to fading in sunny rooms and has to be replaced in 8-10 years.

4. CEREMIC AND STONE: There is an endless variety of ceramic and stone

floor covering available. These tiles may be made of baked ceramic, marble,

granite, slate and other stones as well. The tiles come in wide selection of

sizes.

Advantages: Beautiful, natural, easy to clean, extremely durable,resistant to moisture, easy to install and available in hundreds of

shapes and styles – including stone patterns that are extremely natural

looking.

Disadvantages: Cool and hard to the touch; high-gloss glazes are

slippery when wet.

5. CONCRETE: This option provides great durability. Concrete can give an

industrial look to and it is also good for areas that receive hard wear. Once

polished, these floors require little maintenance and are unaffected bymoisture.

2. WALLS

Walls are primary elements with which we define interior space. Together with the floor and

the ceiling planes which complete the enclosure, walls govern the size and shape of a room.

They can also be seen as barriers that limit our movement, separate one space from the next,

and provide the occupants of a space with acoustic and visual privacy.

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VISUAL EFFECTS CREATED BY DESIGNS OF WALLS

a) A wall can be differentiated from either the adjoining floor or ceiling plane by

a change of color, texture, or material, and made clearer with either trimwork

or reveal.

b) Continuing the floor treatment up the lower portion of a wall can visually

enlarge the room but reduce the apparent wall height.

c) Stable, precise and symmetrical walls with smooth textures convey a feeling

of formality. Irregularly- shaped walls with rough textures are more dynamic

and informal.

d) Smooth walls with neutral color serve as passive background. Walls compete

other elements if they have irregular shapes, textures, patterns or a morevigorous color.

COMMON WALL TREATMENTS

a) GYPSUM WALLBOARD: A ready-made surface that can be applied on a

wall and use as backing for other treatments such as fabric, paneling,

wallpaper, and tile. It is made from pound gypsum that is encased in paper.

b) PLANK PANELING: applied on walls to make them look like natural woodplanks.

c) SHEET PANELING: A style of panelling that comes in many styles, colors

and patterns. It is made from plywood type material that appears like the

planks.

d) WAINSCOTING: A method of wood panelling that is typically applied to

the bottom third of a wall, with individual tongue and groove boards or

raised panels. Traditional wainscoting is never applied above the “dado”

which is the chair rail (the standard height of the back of a chair), nor belowbaseboard.

e) TILES: may be porcelain, ceramic, terra-cotta, metals, glass, and natural

stones, marble, or granite. Ceramic tile, the cheapest, comes in many designs,

whether glazed or unglazed, deep textured, hand-painted, and rugged

appearance, and are widely used primarily for its worry-free maintenance.

Tiles are available in many shapes that can be arranged in different patterns.

f) PAINT: Paints come in almost all the colors in the spectrum. Custom-made

hues could also be mixed by professionals. It is the most economical way to

dress-up a wall.

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TYPES OF PAINTS – latex, enamel, lacquer

Water based paint is usually less toxic and cleans up much easier; may be flat, eggshell,

satin, semi-gloss and gloss finishes.

Oil based paint is used especially on trims, will usually wear longer and wash better than

water based paints.

PAINT TECHNIQUES

a) Textured finishes

b) Wall murals

c) Faux finishes

d) Trompe l‟oeil

g) WALL COVERINGS: available in wide ranges of colors, patterns and

sizes; may be used to articulate, separate or coordinate spaces, to act

as focal point, to emphasize or minimize details

TYPES OF WALL COVERINGS

a) Wall papers – pulp, emposed/relief, duplex, flock, paper tiles

b) Wall fabric

c) Vinyl, flock vinyl

d) Wood chip grass cloth

e) Scenic

h) BRICK OR STONE: Solid or veneers, both make a beautiful interior

wall finish, but will need to be installed properly to last. Proper

installation and structural reinforcement requirements must be

observed.

3. DOORS AND WINDOWS

Windows and doorways interrupt the wall planes that give the building its form and

interior spaces definition. They are transitional elements or architectural and interior design

that link both visually and physically one space to another, and inside and outside.

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Doors allow physical access for ourselves, furnishings and goods in and out of the building.

Through their design, construction and location, they can control the use of the room, the

views from one space to the next, the passage of light, sound, warmth and cool breezes.

Whether internal or external, doors can make an immediate difference in the atmosphere ofa space.

DOOR TYPES

1. Swinging – hinged on side jambs; most convenient for entry and passage;

most effective for isolating sound and for weathertightness; requires space for

swing.

2. Pocket sliding– hung on track and slides into a pocket within width of a

wall; used when normal door swing will interfere with use of space;

represents a finished appearance when open; for interior use only.

3. Surface sliding – hung from an exposed track; primarily for interior use.

4. By-pass sliding – doors slide along an overhead track and along guides or

tracks on the floor; opens only 50% of doorway

5. Bi-fold – consists of hinged door panels that slide on an overhead track; for

interior use only commonly as a visual screen

6. Accordion folding – similar to bi-fold except that the panels are smaller; for

interior use only, commonly to subdivide a large room into smaller spaces

7. Special folding – panels slide on overhead tracks which can be configured to

follow a curvilinear path; panels can be stored in pockets or recesses; for

interior use only.

8. Overhead doors - consists of hinged door section that roll upward or an

overhead track; capable of closing off unusually tall or wide openings; for

interior and exterior doors which are not frequently used.

Window size, shape and placement affect the visual integrity of a wall surface and the sense

of enclosure it provides. A window can be seen as a bright area within a wall, an opening

framed by a wall, or a void separating two wall planes. It can also be enlarged to a point

where in becomes the physical wall plane – a transparent window wall that visually unites

the interior space with the outdoors or another interior space.

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When locating windows, one planning consideration is how much wall area remains

between window openings and whether the size and proportion of these wall segments can

accommodate the furnishings placed in front of them. Another consideration is the adverse

effect direct sunlight may have on the room‟s occupants, and the finishes and furnishings.

COMMON WINDOW TREATMENTS

a) SHUTTERS

- Rigid planes, usually wood; hinged to open and close like miniature

doors

- Panels usually have adjustable louvers so that light and view may be

filtered

- Provide clean, precise, uncluttered appearance

- When closed, shutters enhance the sense of enclosure

b) GRILLS

- Decorative screens of wood or metal that can be used to mask views,

filter light, or diffuse ventilation (depending on spacing and

orientation of members)

- May be fixed or adjustable

- Design serves as an important visual element

c) CURTAINS AND DRAPERIES

- Curtains are usually of sheer, light material hung close to the window

or within the window frame. Draperies are usually of heavy fabric,

tied back or hung on a rod covered with a valence or wide cornice.

- Practical purposes:

to provide warmth and privacy

to exclude light partially or completely

to screen unwelcome views

- Matching walls and curtains can make a room seem larger while

contrasting treatments draw attention to window size.

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d) SHADES AND BLINDS comes in four (4) main types:

1. ROLLER BLINDS – consists of a sturdy or stiffened fabric wound

into a wooden roller. The roller incorporates a spring so that the blind

can be lowered into any position and then released to snap back to its

roller state.

2. ROMAN BLINDS – attached at the top of a wooden batten, vertical

cords threaded through rings attached to the back of the blinds allow

it to be pulled into soft horizontal folds.

3. VENETIAN BLINDS – made of thin strips of plastic or metal which

can be adjusted to allow varying degrees of light to filter through;

when fully open, they can be almost visible.

4. VERTICAL LOUVER BLINDS – almost similar to venetian blinds

but the slats are wider and hang vertically. The angle of the slats is

altered to diffuse the light, or the whole arrangement can be drawn

back to either side to clear the window completely

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Module 6

Part 2a. COLORS IN INTERIOR DESIGN

Color Environment

COLOR- An inherent visual property of all forms- The colors that we see in objects find their source in the light that illuminates them.

Without light, color does not exist.- The most immediately noticeable and most adaptable and variable element in

decorating. Different combinations of colors can create different effects on the sameroom and same furnishings.

COLOR THEORY

- Aims to predict or specify the color combinations that would work well together orappear harmonious. The color wheel has been adopted as a tool for defining thesebasic relationships.

- In the 20th century color theory attempted to link colors to particular emotional orsubjective associations. This project has failed for several reasons, the most importantsubjective associations. This project has failed for several reasons, the most importantbeing that cultural color associations play the dominant role in abstract colorassociations, and the impact of color in design is always affected by the context.

COLOR SYSTEMS – organizes colors and their attributes into a visible order. The simplesttype such as the color wheel organizes color pigments into primary, secondary and

tertiary hues.

COLOR WHEEL- The color wheel offers the easiest way to visualize how hues relate to each other.

Traditionally, artists have defined red, yellow, and blue as the three primary colorsfrom which all others on the wheel can mixed.

- The color wheel generally shows the pure hues of colors: red, blue and green. Indecorating, however, the tints (lighter values) and tones (also known as shades, darkervalues) of a color are more likely to be used.

Reading the wheel

- Colors that lie opposite each other on the wheel are complementary; when paired,each makes the other appear more vivid.

- Colors next to each other on the color wheel are called analogous colors. They tend toproduce a single-hued or a dominant color experience.

- A split complementary color scheme employs a range of analogous hues, “split” froma basic key color, with the complementary color as contract.

- A triadic color scheme adopts any three colors approximately equidistant around thehue circle. The yield‟s a lively yet balanced combination, but the scheme may feel alittle glaring unless one color is allowed to dominate and the other two are used inlesser amounts or as accents.

- Half of the color wheel, from red to yellow-green, is considered warm, stimulating,and advancing while the other half of the wheel is described as cool, with colors thatgenerally appear to recade.

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DIMENSIONS OF COLOR1. HUE – the attribute by which we recognize or describe a color (ex. red, yellow);

designation of the color in the color wheel.2. BRILLIANCE or INTENSITY – the degree of purity of saturation of a color when

compared to a gray of the same value; also brightness or dullness.shade – color plus black or complementary colortone – color plus graytint – color plus white

- The pure hue represents the most intense or most saturated expression of a color.Adding the hue‟s complement will gray or muddy the color so that it‟s softer, moremuted, and less intense.

3. VALUE – the degree of lightness or darkness of a color in relation to white or black;also vividness

- Value refers to how light or dark a color is; among all colors, yellow is thelightest/highest value, and purple is the darkest/lowest.

All these attributes of color are necessarily interrelated. Each prinicipal hue has anormal value. If white, black or a complementary hue is added to a color to lighten ordarken its value, its intensity will also be diminished.

COLOR SCHEMES

CHROMATIC SCHEMES – schemes where colors are present

ACHROMATIC SCHEMES – schemes that use only white, gray and black

CLASSIFICATION OF COLOR SCHEMES

1.

RELATED COLOR – are generally harmonious and restful, and are used forroom wherein a considerable span time is spent.2. CONTRASTING SCHEMES – use opposing rather than related hues are

combined; tend to be stimulating (complementary, double complementary, splitcomplementary, triads)

ACHROMATIC COLORS – any color that lacks strong chromatic content is said tobe unsaturated, achromatic, or near neutral. Pure achromatic colors include black,white and all grays.white – can contain or be combined with any colorblack – absorbs color

gray – a true neutral shade

NEUTRAL COLORS – neutrals are obtained by mixing pure colors with either whiteor black, or by mixing two complementary colors. In color theory, neutral colors arecolors easily modified by adjacent more saturated colors and they appear to take onthe hue complementary to the saturated color. Neutrals include browns, tans, pastelsand darker colors.

COLOR CHARACTERISTICSRed, Orange, Yellow

Red has been shown to raise blood pressure and speed respiration and heart rate.

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Orange, like red, stimulates appetites. In its pure form, however, orange may be adifficult color to live with. Terra-cotta, salmon, peach, coral, and shrimp are morepopular expressions of the hue.

Yellow captures the joy of sunshine and communicates happiness.

Green, Blue, Purple

Green is considered the most restful color for the eye. Combining the refreshingquality of blue and the cheerfulness of yellow, green is suited to almost any room inthe house.

Blue brings down blood pressure and slows respiration and heart rate. That‟s whyit‟s considered calming, relaxing, and serene, and is often recommended forbedrooms and bathrooms.

Purple in its darkest values (eggplant, for example) is rich, dramatic, andsophisticated. It‟s associated with luxury as well as creativity, and as an accent or

secondary color, it gives a scheme depth.

GUIDELINES for DEVELOPMENT OF COLOR ENVIRONEMNT1. Personal taste of the client. Personalities are supposed to be revealed by color

preferences.2. Use of space. Different color schemes are applied for homes, offices and commercial

spaces.3. Character of interior. Traditional interiors require a color scheme that is different

from that of contemporary. Also for formal and informal interiors.4. Color as background. Advancing or receding colors may be used to accentuate or

minimize details to make a room look higher or bigger. Warm hues tend advance;

dark values and saturated colors suggest nearness. These traits can be used todiminish the scale of a space or, in an illusionary way, shorten one of the room‟sdimensions.

5. Orientation. Areas that receive direct sunlight should have duller colors if they areused for relaxation. Opposite treatment may be applied if there should be a moreactive use.

6. Climate. Interiors in tropical settings are usually rich and bright in colors.

COLOR SOURCES FOR INTERIORSa. Natural schemesb. Patterns and prints

c. Local/regional climated. Color wheele. Personal preferences

SUGGESTIONS ON THE USE OF COLORS1. BASIC PLAN OR IDEA FOR THECOLOR SCHEME

The desired effect must be taken into consideration. Used in interior design orfashion, warm colors are said to arouse or stimulate the viewer, while cool colorscalm and relax.

2. FORM AND COLOR SHOULD BE RELATED TO EACH OTHER

Some colors are easier to accept in large amount than others. Generally,

lighter colors should be used for elements that occupy a greater part of theinterior. Large areas of color should be low in intensity and small areas

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should be bright. Rich, dark colors must be used with massive elements tominimize them, but they may also be used if desired effect is to accentuatesmaller elements.

Deep, cool colors appear to contract. Light, warm colors tend to expand andincrease the apparent size of an object, especially when seen against a darkbackground. Therefore, larger elements should generally be duller thansmaller elements.

3. SIMULTANEOUS CONTRAST MAY ALTER THE APPEARANCE OF ANY COLOR

If two complementary colors are placed next to each other in their PUREstates, they intensify each other – they tend to heighten each other‟ssaturation and brilliance without an apparent change in hue.

If one color is much lighter than the other, the effects of contrasting valuesbecome more noticeable. Simultaneous contrast also affects the apparentvalue of a color which can be made to appear darker of lighter according to

the value of the background color. Both black and white have a visible effect on color when brought into contact

with them. Black makes a color richer and more vibrant while white has theopposite effect.

Equality of hue, value and intensity is usually not pleasant because it gives noemphasis or contrast. Interest and attention are easily aroused if hues, valuesor intensities are varied.

Use “quiet” shades to balance brighter colors. They rest the eye and create aharmonious effect.

COLOR AND LIGHT

Apparent changes in the object‟s color can result from the effects of light and fromthe juxtaposition of surrounding or background colors. Color should also beconsidered with respect to:1. Amount and quality of natural light – daylight can be warm or cool depending onthe time of day and the direction from which it comes.2. Amount and type of artificial light.

The apparent value of a color can also be altered by the amount of light used toilluminate it. Lowering the amount of illumination will darken a color‟s value andenhance its intensity.

COLOR BOARD

Because color variations are nearly limitless, it is impossible to remember a specific color.Color boards are useful in indicating the colors chosen for a specific interior environment.They are collections of swatches mounted on a board to show the colors which are to beused for particular interior elements.

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MODULE 6Part 2b. INTERIOR LIGHTING

Lighting

Lighting can considerably change the atmosphere of the room. Good lighting, in fact, canadd new dimensions to an interior space. A variety of effects can be achieved merely bycreating different lighting layouts in a room:

Light sources can warm up and create intimacy in a cold-looking interior

Expand a confined space

Designate different areas for different uses

Because of the huge impact of the choice of lighting effects in the interior, lighting plan anddesign must be determined based on the following factors.

a. Activitesb. Highlightsc. Deficitsd. Ambiencee. Balancef. Flexibilityg. Varietyh. Decorative style

TYPE OF LIGHTING1. GENERAL or BACKGROUND LIGHTING – essentially acts as a replacement fordaylight and provides good, general visibility. Typically, it is supplied by a ceiling-mounted fitting or a pendant, BUT is best achieved with a mix of sources, such as acentral ceiling-mounted texture and recessed spotlights around the perimeter.Alternatives include wall lights, uplights or table lights.2. TASK or LOCAL LIGHTING – an extra level of light provided in areas wherespecific task are to be performed. Task lighting focuses on a specific spot, and makesworking much more comfortable. This type of lighting needs to be well-positioned anddirected to be used effectively, AND is best achieved with a mix of sources, such asceiling – or wall-mounted fixtures augmented with more directional lighting.3. ACCENT or DECORATIVE LIGHTING – creates a sense of drama by conjuring up

color, texture and form, and is designed to spotlight the room‟s best features. Effects arebest achieved with track lights, recessed lights, and wall-mounted fixtures. A dimmermay be incorporated to create a multitude of moods.4. UTILITY or INFORMATION LIGHTING – practical rather than aesthetic, used toilluminate dark and potentially dangerous areas such as stairways and paths.

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TYPES OF LIGHT SOURCE

TUNGSTEN/INCANDESCENT – consists ofatungsten filament that glows inside a clearglass bulb that is filled with inert gas in low concentration.

Casts a warm, pleasant light and shows fabrics and paints in their true colors but canmake the room uncomfortably warm if too many are used.

TUNGSTEN HALOGEN – emits a cool and crisp light that is whiter and brighter thanordinary tungsten; suggests spaciousness.

Color of light On RED On BLUE On YELLOW

Reddish light Red gray Blue violet Orange

Bluish tint Purple Blue gray Green

Yellowish light Red orange Blue green Yellow gray

This low-voltage incandescent bulb provides an intense beam that‟s ideal forspotlighting objects. They last longer and use less electricity than standard

incandescent but cost more up front and produce lots of heat.FLUORESCENT – available in a variety of tones that can significantly affect the color andthe atmosphere of the room.

Compact versions that fit standard fixtures cost more than incandescent to buy butuse only one-third the electricity.

FLUORESCENT LIGHT EFFECTS

LIGHTING FIXTURESFixtures are chosen based upon:1. APPEARANCE – fixtures can be displayed, blended with the other interior elements or

concealed.2. TYPE OF LIGHT PRODUCED – diffusers, shades, globes and even lamp bases can castlighting effects that vary from those of bare lights and lamps.

WALL LIGHTINGMost scenes fit close to the wall and direct light up or down. Up-lighting enhances the room;down-lighting brightens specific areas.1. Direct-wire sconces: These sconces have no exposed cords and are permanently wired intoan outlet in the wall. Some direct-wire sconces operate from light switches in the room andturn on and off with the ceiling lights or from a separate switch. Others have a swatchattached to the sconce and are turned on independently.

2. Plug-in sconces: These hook to the wall with brackets and are plugged into an existingoutlet. Although these are easier and less expensive to install than direct-wire sconces, theexposed cord from the fixture to the outlet can be unsightly. Plug-in sconces are operated bya switch on the lamp.3. Hinged arm or swing-arm wall lamp. A swinging bar allows these lights to be positionedagainst the wall or to extend away from the wall. These work well when there is no room fora side table and lamp but additional light is needed for certain tasks.

CONCEALED LIGHT FIXTURES1. strip light2. light behind vertical or horizontal baffles

3. floor light4. concealed spotlights

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COMMON LIGHTING TERMSBAFFLE – a device for shielding a light source from view at certain anglesBAFFLED DOWNLIGH – recessed; baffles also serve to eliminate glare by absorbing allextraneous light rays reaching the surface.EYEBALLS – adjustable spotlights used for accent lighting; may be rotated 360 deg., or tiltedoff the vertical for directional lighting.DIFFUSER – any of a variety of translucent materials for filtering glare from a light sourceand distributing the light over an extended area.LOUVER – a finned or vaned device for controlling the radiation from a light sourceEGGCRATE – a louvered construction divided into cell-like areas and used for redirectingthe light from an overheard source.SCOOP WALLWASHER – produces an offset beam for illumination close to the ceiling.CUTAWAY WALLWASHER – for lighting the wall and the floor.SOFT LIGHT – diffuse light that produces little contrast and poorly defined shadows on thesubject.HARD LIGHT – direct light that produces high contrast and distinct shadows on the subject.

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MODULE 6Part 2c. INTERIOR PLANTSCAPING

Using Plants in Interiors

FACTORS TO CONSIDER IN SELECTION1. GROWING CONDITIONS2. PLANT GROWTH3. RELATION TO THE INTERIOR

Color

Patterns

Amount of warmth and light4. FOLIAGE

Shape – leaf shape, leaf edges

Texture and form – smooth/glossy, corrugated; broad/flat, thin/curling over

Pattern of leaves – heightens and dramatizes the effect of foliage; variegation

Color

6 BASIC GROWTH PATTERNS OF PLANTS1. ROSETTE – a roughly circular cluster of leaves radiating from a central growing point

best when used with upright plants, trailing plants2. BUSHY – have several stems growing from potting level, giving the plant a spread almostequal to its height

often used alone rather than in group displays, or as background for trailing plants.3. GRASSY – have slender but tough and wiry stems sheathed with narrow pointed leaves.

Provides graceful contrasts in texture and outline to all other foliage plants Can be upright, trailing or arching

4. UPRIGHT – plants that extend their growth vertically rather than horizontally.

Often composed of non-woody stems that bear leaves along its length; single-stemmed plants shed lower leaves

Some are stemless while others are leafless

Perfect with low-growing, spreading rosettes and trailers5. TREELIKE – has a single, upright trunk topped by a crown of branches or foliage

Effective when used as isolated focal points in spacious surroundings6. CLIMBING and TRAILING – normally grows in any direction that provides support towhich it can cling.

Ideal for framing archways and windows, screens, or as hanging plants

GUIDELINES IN USING PLANTS INDOORS1. Select plants that suit normal conditions in the interior rather than make either the interioror the plants satisfy difficult requirements.2. SCALE and PROPORTION play important roles in selection. In general, large plants ormassive displays on different levels belong in spacious areas Tall climbers and hanging

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