The Fundamentals of Interior Architecture

178 Pages·2007·63.18 MB·English

by  John Coles

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JT J a
John Coles (Dip Arch) studied at the The Fundamentals of Interior Architecture oh o n Other interior architecture titles
Oxford School of Architecture before offers an introduction to the key ideas he h o of interest in AVA’s Academia
joining BBC Television as Art Director that inform interior architecture and design, n n t range include:
F h
and Designer.Pioneering work in and the techniques and language that Cu C e The Visual Dictionary of
computers for visualisation and are used to present them.Main areas of on o r
programme production led to teaching study include SPACE/form,SITE/function, led le in Interior Architecture
roles at Middlesex Polytechnic (now MATERIALS/texture,LIGHT/mood sa s Basics Interior Architecture:
Middlesex University) where he is and PRESENTATION/representation. &m & th Form + Structure
programme leader for the MA Interior Each chapter is comprehensively broken e e Basics Interior Architecture:
Architecture course and Joint Programme down into key elements and theory Nn N A Context + Environment
at a
Leader for the BA Honours Interior is contextualised using practitioner oa o V Basics Interior Architecture:
Architecture and Design course. biographies and work from leading mls m A
Drawing Out the Interior
designers,such as Blacksheep,Bluebottle, o A
Naomi Housestudied interior design Jonathan Stickland,Universal Design i Hf i H c Basics Interior Architecture:
at Middlesex University,and went on Studio,and Virgile & Stone. I a Elements + Objects
to gain an MSc in the History of Modern on o d
Architecture from the Bartlett School of This book will be of great interest ut u e Basics Interior Architecture:
se s Texture + Materials
Architecture,University College London. to students of interior architecture, er e m
Further to her studies she has combined interior design and architecture,as well io i
a
design practice with lecturing in interior as anyone with an interest in the creation r
design and visual and spatial culture. and design of interiors and the processes A se
Since 2001 she has worked full time as that are involved. r r
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a university lecturer,and in 2005 she h e
s
became Joint Programme Leader of i
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Interior Architecture and Design at e ..
Middlesex University – a role she balances c rfh
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with that of tutor in Critical and Historical u cIe
Studies at the Royal College of Art. r
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An AVA Book
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contents
Introduction SPACE/form SITE/function
How to get the most Space & place 16 Analysing the site 46
out of this book 6 Elements & composition Types of interior 58
Introduction 8 of interior space 24
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3 4 5 6
MATERIALS/texture LIGHT/mood PRESENTATION/ Conclusion
representation
Understanding Understanding light 120 Key stages in design 148 Conclusion 170
the interior 78 Using light 130 Representing design 154 Sources of information
Selecting materials 88 Calculating light 142 and inspiration 172
Perception of quality 98 Buildings of interest 173
Architectural materials108 Index 174
Acknowledgements
and credits 176
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how to get the most out of this book
SPACE/form 14/15
There is no limit to the type or size
of building that can fall within the
practice of the interior architect
and, equally, no limit to the range
of activities which they may design.
This chapter will explore the way in
which the existing building affects
the designer’s response to the
cdleievnict’ess b uriseef da nbdy wthiell iddeesnitgifnye trh ien 1
order to achieve the appropriate
spatial and functional experience.
Chapters
Each chapter opens with
an introductory spread
containing a brief precis
and image.
Navigation
Chapter titles are shown in the fundamentals of interior architecture 24/25
SPACE/form
the top-left of every spread,
page numbers in the right. elements & composition of Tohf oremstaasu Craonot ka, tA ocfcfiocela dfiita-o, uvtiew
interior space (Lleofct)ation: London, UK
Sub-section titles are also DDeatseig: n2e0r0: 2Bluebottle
This seating environment for
shown at the bottom-right of in this section Tesehlepomameraantstins Cg t ooo ondkee Hfianocelti divsaiptyyas cf rueos,me sa npolathneer;
each spread. plane / scale / proportion / vista / movement / transition / accessibility wtoh wileh atht eli epse brfoehraintidon tsh eg ipvela ncelu.es as
Photograph courtesy of
Frans Burrows
The following section introduces the elements, and the vocabulary used
to describe them, that are key to the creation and understanding of interior
architecture. These elements can be used to express the character and
quality of the interior, and used either individually or as a combination,
will impart atmosphere and personality.
plane
The plane is the most fundamental element of interior The realities of construction mean that built planes
architecture. Essentially a two-dimensional form, it have thickness. How much of that thickness is visible
serves, when employed as floors, walls and ceilings, (or, indeed, whether it is accentuated for aesthetic
to enclose and define space. Smaller planar elements purposes) is a judgement for the designer to make. In
contribute doors, stairs and other interior elements traditional architecture the massive materials employed
Section openers such as shelves and furniture. As well as enclosing and ensure that, where visible, the edge of the plane will
modulating space, the plane becomes the carrier of have substantial thickness; but the advent of new
Ewcinoatitrvchoeh dar eus ldcuist btoa -ornsyfde tt ceoatxp iobti.cnris eo ftpoe bnes Chapter 1 / SPACE/form ttcTbsahhionheteeedne u t rionrasteohrtebq eledlisuinr nei iptortgeneoar rc d saiadoe scsmir aro oegawaufcs etseate t lw olira cpifaate ltasallle,ilg ,nnn tahedbetsit,x yo , l tp ionguaaer hirb trreto tmshia n oaensigtrn odtpp dimvn tes iagocreolf unoo upoe lrnohotasduhyr.t sire.ro iercqn fapul eolaa cfmrl itttoi iooeonnvsfe e, t,omh mfee anyt mamtHienhlneoseaodimu tdd eesteeerxhe irnpaia.ns tlrnisDs etsyd seav.li ssminoAriitvdgu nueb nteap, ue sulrlaidysolsds ech biisna eoyo g sov sfs G efeppetrreerlisianoern rngvps ituia ed iosRrnri fnem si esdgitniptrt vduseaae cexscsltpcd eluaiee m.rni lntel emdsrene exeitaspn rd i tlrSsl esustc,ssrl uihstbmrcirooaö tttnpudiho rleaoenrnfs ao rf elements & composition of interior space
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the fundamentals of interior architecture 36/37
SPACE/form
Le Corbusier claimed that ‘a stair separates – a around a hollow, cone-shaped void. In doing so L(leofnt)don Loft, staircase view
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but being shallow means that they need to be lengthy experience of lift, ramp and stair because of its self-
and it is often difficult in real-world situations to propelled trajectory; but so often the form and giving details of the project
accommodate that length. In the case of Richard materials of the device itself and the awkward
Meier, who has used ramps more consistently than any transition between human and mechanical propulsion
other contemporary architect, a significant proportion at the beginning and end of the journey are less than depicted as well as the specific
of the building volume is devoted to ramp access (look satisfactory. However, here too glass is playing an
atht et hMe uMseuusmeu mof oDfe Ccoornatteivmep Aorrtasr yin A Frrta innk Bfuarrtc).e Mloannay and itnhcer etraasdinitgio nroalle i nins tdailmlatinioisnh sinog t hthaet osnlaeb -hsoidpeeds athsapte icnt tohfe view shown.
years earlier Frank Lloyd Wright had adopted a not-too-distant future the sculptural form will achieve
different approach when creating the Guggenheim the refinement that it deserves.
Museum in New York by winding the ramp into a spiral
‘I strive for an architecture from which
nothing can be taken away.’
Helmut Jahn
Chapter 1 / SPACE/form F1NFGPAilniva8rr osuiakanl6tltgieiigannrg7giybe gka–t e low fte1HniiLgn a9haolpugot5e uerr myoe9itsrmh,d joe eiePn ,rcM W e emtNi snnucreo:tnsieogwvesrmehiyu o Yltmmvar osa(wu,rU,n k naNLiS,aya leoU,A l ,fwy UrS)sod SAhYm WaAo rrserkiignd, hg Ustle Spis-Aaf ucfrneec qctuiooennnc, telbypo ctx.r -eUlidkseitine rgdo oswmimithple mcdmDpeoxhroruaagoia srtkattinetenhinsngrcgis iigacett .oi hl n ssumW i g,scsi n e hoeroli itgef nchleodh seotef tei imdb lxsirpn puviemorgeieal fd h rpchtiaimehnlteeris egcie wgem shnwhda.ittTatsee o thwa dcreaeknht rlu iwsdaaoFro ltiefrst f a hl i toisannhs asnsukektct dc inrnLaru hoeglrtom ecwe aypahnensdcilitan n ehbaWntgcaisrna itl crd gr oii gkane er,hntg v hltetdwiahc amF neoeta oi esochdmu,n dev antosa srdapuvnc nareibchnodt teii mttol oeoe pnt orc hld battneeueesodrrtge ew.ti,n ro. elements & composition of interior space
Quotations Architect biographies
Quotations from well-known Throughout the book, the
interior architects and reader can find out about the
designers are used to work of practising architects
put content into context. and designers who have
contributed to the subject of
interior architecture.
the fundamentals of interior architecture 116/117
questions in summary
questions in summary
architectural materials
1 2 3 4 5 6 7 8
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introduction 8/9
Open the door of any building, in any part of the world, At a more pragmatic level, the use of the term ‘interior
and enter. As you do so you will be aware that, with no architecture’ is a response to the uncertainties inherent
conscious effort on your part, you experience a in the title ‘interior design’. These uncertainties have
response to the space beyond the door. Subsequent been accentuated by the increasing use, in magazine
responses may reinforce or modify that first one. These articles and television makeover programmes, to
sensations are not accidental. They are the result of describe the process of choosing curtains, furnishings
the senses (sight, sound, smell and touch) conveying and surface treatments: activities which might be
messages to the brain, which analyses them with better titled ‘interior decoration’.
reference to previous experience, to a sense of
balance and proportion and to a psychological (and Over the course of the last thirty years the title ‘interior
often very personal) reaction to the stimuli of light, architecture’ has acquired a growing acceptance and
colour and acoustics. an increasing sense of identity. That identity is
distinguished by the following ideas:
It is these sensations that the effective designer
orchestrates in the design of interiors and which we • It acknowledges and respects the enclosing
experience when we enter them. Of course there is structure and its context as initiators of
more to this than generating a theatrical experience. design strategies.
Using the skills and understanding borne of study and • It is an activity that is involved in the manipulation
practice, the designer is endeavouring to create an and enjoyment of three-dimensional space.
environment that not only feels appropriate, but also • It employs the sensory stimuli of sound, touch,
functions in a way that supports the needs of its users. smell and sight as essential parts of the
interior experience.
The term ‘interior architecture’ emerged in the 1970s • It recognises light as a medium for defining space,
as the description of a discipline that employs creating effect and producing well-being.
architectural theory, history and principles in the design • It employs materials and colour as integral
and creation of interior space. Its growth was in part components of the designed environment.
due to a perception that by employing the rigour of
architectural thinking together with the sensory
understanding of interior design, a synthesis could
be produced that was both intellectually and
humanistically satisfying, and which overcame the
narrow specialisms of façade-driven architecture
and context-free interior design that were prevalent
at that time.
Millennium Dome, rest zone (facing page)
Location: London, UK
Date: 2000
Designer: Richard Rogers
Not all designed spaces have a particular function. The form,
n
colour and light quality of this space combine to create a o
meditative experience with which the user can connect both ucti
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physically and emotionally. o
Photograph courtesy of Jonathan Mortimer ntr
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