The Fundamentals of Interior Design

186 Pages·2010·14.13 MB·English

by  Dodsworth, Simon.

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Simon Dodsworth studied at KLC School The Fundamentals of Interior Design im h im n Current and forthcoming titles in the
of Design, where he gained an Honours provides a thorough introduction to the e o AVA Academia series include:
Diploma in Interior Design. After key elements of interior design and the ideas on F on th Basics Interior Design:
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architects and also established his own form, essential concepts are explained n
design business. He was later invited to clearly and in detail, effectively communicating ds am ds t Exhibition design
teach at KLC, where he is now a Director of the excitement, emotion and possibilities w e w he Basics Interior Design:
HInete hraiosr a D peasritgicnu. lar interest in some Tofh trhoeu dghisocuiptl tinhee. text, guidelines are given orth ntal orth AV RHBaeosssiipcdsie tInanlttiiteayrl idaonerd sDi geenns itgenrt: ainment design
of the more technical aspects of interior to provide structure for nascent designers, s A
design, such as materials, construction and the reader is encouraged to adapt o A Basics Interior Design:
and design drawing. He is passionate and initiate methodologies to suit individual f I c Public space design
about communicating all aspects of design project needs. This approach is intended n a The Fundamentals
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CD309-151/4269 3RD PROOF77_final_1PSG_HS_.indd 277_final_1PSG_HS_.indd 2AVA•The Fundamentals Of Interior Design will endeavour to incorporate amendments in future editions.However, if any credits have been inadvertently omitt ed, the publisher the copyright holders of the images reproduced in this book. All reasonable att empts have been made to trace, clear and credit Email: [email protected]: [phone]Tel: [phone]Production by AVA Book Production Pte. Ltd., Singapore Cover photograph by Warren Smith, courtesy of Gett y Images Design by Borries Schwesinger 10 9 8 7 6 5 4 3 2 1 ISBN 978-2-940373-92-5 without permission of the copyright holder.electronic, mechanical, photocopying, recording or otherwise, stored in a retrieval system or transmitt ed in any form or by any means, All rights reserved. No part of this publication may be reproduced, Copyright © AVA Publishing SA 2009 Email: [email protected]: + 44 1903 204 455AVA Publishing (UK) Ltd. English Language Support Offi ce Email: [email protected]: [phone]Telephone: [phone]USALa Vergne, TN 370861 Ingram Blvd.Ingram Publisher Services Inc.Distributed in the USA & Canada by: www.thamesandhudson.comEmail: [email protected]: [phone]Tel: + 44 20 7845 5000United KingdomLondon WC1V 7QX181 a High HolbornDistributed by Th ames & Hudson (ex-North America) Email: [email protected]: + 41 786 005 109Switzerland 1000 Lausanne 6Case PostaleRue des Fontenailles 16Published by AVA Publishing SA An AVA Book
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Contents
How to get the most out of this book 6
Introduction 8
123 4
Th e design process 12 Understanding Understanding Understanding
the project 26 the space 46 building structures 64
Th e design process Th e client 28 Understanding Building construction
in action 14 spatial relationships 48 principles 66
Th e briefi ng 30
Professional practice 24 A typology Materials
Design analysis 32 of technical drawing 56 for construction 70
Building and site Mechanical
research 38 and electrical systems 76

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567 8
Organising the space 78 Th e human interface 104 Sustainable design 142 Communicating
design 150
Design development 80 Materials and fi nishes 106 Climate change 144 Telling the story 152
Human dimensions Th e decorative scheme 114 Energy-saving strategies Presentation drawings 154
and scale 86 and services 146
Acoustics 122 Presentation boards 162
Proportioning systems 92 Sustainability
Furniture 126 and material use 148 Multimedia
Ordering systems 96 presentations 168
Colour 130
Inclusive design 102
Light 138
Sources of inspiration 170
Index 172
Image sources 174
Acknowledgements 176
Working with ethics 177
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How to get the most
6
Navigation
All chapter titles of the book are shown
at the top left of every spread. Th e chapter
out of this book
you are currently in is highlighted in bold.
All subsections of the current chapter are shown
at the top right of every spread. Th e subsection
you are currently in is also highlighted in bold.
Th e design process Uthned perrostjeanctding Uthned seprasctaending Ubunidldeirnsgta sntrduinctgu res Otherg sapnaiscineg Thin teer hfaucmean Sustainable design dCeosmigmnunicating Thp roec deesss iignn a ction Pprroafcetiscseional
Th e design process in action Analysis
14 In the following description of the major parts Analysis is relevant at two related but distinct parts of the
of the design process, the comments made earlier about project cycle: In the very earliest stages, before in-depth
its fl exibility should be borne in mind; any or all design work takes place, the designer will need to assess the
of the actions described here could be adapted to suit scale and complexity of the project work to be undertaken.
individual projects. It will also become clear that the job Th is will allow preliminary estimates to be made of the time
of a designer actually involves a great deal of general and resources needed to complete the project, and these
administration work in addition to the design element will in turn provide a foundation upon which the designer
of a project. When working as part of a large practice, can base a fee proposal. Part of the work at this stage will
this may not be especially apparent, as job roles involve determining the scope of the project and the likely
will probably be tightly defi ned. In smaller companies, format and content of the presentation, as this will control,
however, the designer may fi nd themselves deeply to a large degree, the amount of drawings and visuals
involved in all aspects of the process. that are prepared, all of which take time that will need
to be charged to the client.
Following this and once the client has agreed to the
proposed design work being undertaken to reach the
fi rst presentation stage, the designer can take an in-depth
brief from the client. Initial examination of the brief,
allied to a general understanding of the project, will give
the designer a starting point for further research. All of this
work will lead to the second tranche of analysis, in which
the designer is aiming to edit, distil and ultimately make
sense of all the information that has been gathered. Some
of the information will relate to the practical aspects of the
brief, some to the aesthetic, some of which could be
contradictory in nature. Over time, the designer will become
used to sett ing priorities and reaching a comfortable
compromise with regard to confl icting information. It is very
rare to fi nd a project that does not need some element
of compromise to succeed, but there is never one single way
to deal with it. Each project must be looked at on its own
merits, and decisions reached that refl ect the unique nature By following a structure design process
of that project. aonf dth beyir ccalireenftu, lPlyr ocojencsti dOerrainngg eth hea vnee ecdresa ted
a calm and refl ective interior for this house
Once analysis is complete, conclusions regarding style in Suff olk, England..
and content of the project can be summarised by creating
a concept. Th is will then be used to generate ideas and drive
the project. Diff erent methods of analysis and concept styles
are looked at in greater detail in the next chapter.
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Subsection opener Body copy Image captions
All chapters consists of a number of subsections. Th e body copy is broken down Each image is displayed with an accompanying
Each subsection opens with a brief introductory by a number of headings. caption to supply contextual information
text in bold. and help connect the visuals with those concepts
discussed in the body copy.
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1
Th e design ‘Th e design process’ is a term that You should try to see the design 13
covers a set of operations which, process as a malleable one where
process when carefully undertaken by the diff erent tasks are adaptable
the designer, result in a thoroughly to the unique nature of each project.
considered and well-craft ed design Th e design process is not a standard 7
Chapter opener solution that meets the needs of ‘one size fi ts all’ solution, and you will
the client. Th e process is not exclusive need to develop your understanding
to interior design and, in one form or of it so that you can see how it might be
Each chapter opens with a brief introduction. another, applies to all fi elds of design. used to meet the needs of individual
Design might be seen as a largely linear projects that you work on.
activity, with a start point (at which
the client makes fi rst contact with the
designer), and an end point, when
the project has been implemented
(that is, constructed or built). However,
the reality is that within the process
many of the individual tasks are
interrelated and highly dependent
upon one another, so changes
to one element of a design solution
will oft en require that earlier parts
of the process are revisited and revised
as appropriate.
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Th e design process Uthned perrostjeanctding Uthned seprasctaending Ubunidldeirnsgta sntrduinctgu res Otherg sapnaiscineg Thin teer hfaucmean Sustainable design dCeosmigmnunicating Thp roec deesss iignn a ction Pprroafcetiscseional
Evaluation Th inking point
Th e importance of drawing
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knowledge acquired can be fed into subsequent projects.
and practical tips relating to the key
concepts of the chapters of consideration.
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Case study
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What is interior design?
8 Introduction To be creative is part of the human psyche. It is one of those
traits that set us apart from other animal species, and we
have practised it for millennia. Even when our prime need
was to fi nd food and shelter, we felt a desire to leave our
mark on the environments that we inhabited. Whether this
was to satisfy some deep spiritual calling or a method
of passing on vital knowledge to fellow group members,
or whether it was simply a way for an individual to satisfy
an urge to leave his mark for future generations, we will
never know. For just as long, people have turned inquisitive
minds to ways of solving problems and dealing with the
issues that have faced them in the struggle to survive:
problems such as how to work more effi ciently, how to live
more comfortably and how to be safe from danger.
Today, these primitive and fundamental indicators
of human nature may be expressed in more sophisticated
and developed ways, but the primal simplicity of our
human desire to make a ‘bett er’ and more comfortable
world for ourselves is evidenced through, amongst
other things, how we organise the spaces that we inhabit,
and the aesthetic that we make for them.
As we have become more affl uent and blessed with more
leisure time, style has become more important to us
and is something with which we want to imbue our homes.
But ‘style’ is a very personal notion, so why should anyone
look to employ someone else, an interior designer,
to tell them what is right? Why, for that matt er, should you
as a designer presume to impose your ideas upon a space
that isn ’t your own? Th e answer is this; interior design is
about so much more than ‘what looks right’. It is about taking
a holistic view of the way that individuals use and enjoy
the spaces that they inhabit. It is about fi nding and creating
a cohesive answer to a set of problems and dressing the
solution so as to unify and strengthen our experience of the
space. Many people understand this and that they do not
have the necessary skills to tackle the job themselves. And so
there is the need for professional interior designers.
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Good interior design adds a new dimension to a space. Interior decorators generally work with existing spaces that 9
It can increase our effi ciency in the way we go about our do not require physical alteration. Th rough the use of colour,
daily lives and it adds depth, understanding and meaning light and surface fi nish, they will transform the look of
to the built environment. Th oughtf ul and well-craft ed a space, perhaps making it suitable to function in a diff erent
design makes a space easier to understand and experiencing way from that for which it was originally designed, but with
such a space lift s the spirit, too. It is, therefore, not just about very litt le or no change to the structure of the building.
the aesthetic; it is a practical and philosophical discipline.
Beautiful spaces betray a logical and rational questioning of Interior designers span the ground between interior
the status quo and can be an honest att empt to fi nd new and architects and interior decorators. Th e scope of the projects
exciting ways to lead our lives. undertaken will vary from the purely decorative, to ones
where a great deal of structural change is required to meet
Th ere is oft en some confusion between the terms ‘interior the brief. An interior designer will competently handle the
architecture’, ‘interior design’ and ‘interior decoration’. space planning and creation of decorative schemes at the
What is the distinction between the diff erent professions? same time as considering major structural changes.
In truth, the distinctions are not absolute. Where boundaries
are drawn depends upon several factors. In a professional None of these professionals will necessarily be experts in all
sense, it may well come down to a matt er of which country aspects of a project, and will call on other specialists (such as
the designer is working in (or perhaps more properly, structural engineers or lighting designers) to help fully realise
which regulatory system the designer is working under). their ideas.
Th ough not defi nitive, the explanations below give an
indication of the diff erent roles and responsibilities of those
whose work involves the design of habitable space.
Architects use planes (walls, fl oors, ceilings) to defi ne the
volumes (spaces) that combine to make up a building. Th ey
are trained to design structures from scratch. Th ey will take
intellectual and practical considerations into account, and
the building design will be informed by its location. Some
architects will limit their involvement in this, while others will
also plan furniture layouts in detail and create decorative
schemes.
Interior architects are generally concerned with taking
existing structures and reforming them to suit new functions.
Th ey will pay a great deal of regard to the previous life of a
building, and usually allow this knowledge to provide some
connection between the fabric of the building and the newly
created interior.
AVA•The Fundamentals Of Interior Design Text
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