Basics

of
Interior Design

Azuko Technical Institute

Sharvari Gijare
 DEDICATION

Dedicated to our country, India, which is the purpose of our existence.

Copyright © 2019 Azuko Technical Institute

All rights reserved.
 CONTENTS

1 Introduction To Interior Design 1

2 Basic Design 21
3 Ergonomics 52
4 The design process 65
5 Communication skills 78
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 1 INTRODUCTION TO INTERIOR DESIGN

Interior design is a field that blends creative expression with practical

application. This survey course introduces the profession, its history, and its
related specialties and disciplines.

A professional career in Interior Design and Interior Architecture is more

challenging today than ever. It combines the creative, the aesthetic, the
innovative, and the practical to create the important stages upon which people
live their lives. Interior design is a multi-faceted profession in which creative
and technical solutions are applied within a structure to achieve a built
interior environment. These solutions are functional, enhance the quality of
life and culture of the occupants, and are aesthetically attractive. Designs are
created in response to and coordinated with the building shell, and
acknowledge the physical location and social context of the project. The
interior design process follows a systematic and coordinated methodology,
including research, analysis and integration of knowledge into the creative
process, whereby the needs and resources of the client are satisfied to
produce an interior space that fulfills the project goals.

1.1 IMPORTANCE OF INTERIOR DESIGN

Interior design is not just about the looks of buildings interior. Well, it is but
it also plays the key role in its functionality because even the largest house
can lack space if having a poor interior design. Interior design is much more
important than it may seem at a first glance and can be easily compared with
the importance of architecture, at least when it comes to interior. Hiring an
interior designer is therefore more than just a good idea if building a new
house or remodeling /renovating the existing one. The house’s interior must
be aesthetically appealing and practical at the same time. However, what is
aesthetically appealing such as a beautiful Blinds or great looking modern
boiler stoves depends greatly on whom you ask because everyone has
different needs and lifestyle. As a result, the standard architectural plans
rarely meet the client’s needs completely. With an aim to save money for an
interior designer and modifications of the architect’s plan, many people make
the crucial mistake by accepting the offered plan.
1.2 UNDERSTANDING INTERIOR DESIGN

The design is a process. As you explore the process of turning ideas into
interiors, you build a vocabulary for explaining your designs clearly and
powerfully. Design is the creation of a plan or convention for the construction
of an object, system or measurable human interaction. Designing often
necessitates considering the aesthetic, functional, economic and sociopolitical
dimensions of both the design object and design process. The person
designing is called a designer, which is also a term used for people who work
professionally in one of the various design areas usually specifying which
area is being dealt with such as a textile designer, fashion designer, product
designer, concept designer, web designer or interior designer. A designer's
sequence of activities is called a design process while the scientific study of
design is called design science.

1.3 ROLE OF AN INTERIOR DESIGNER

• A designer must possess knowledge of a multitude of skills.

• From technical knowledge to costing, the skills of a designer must be
fit for purpose, function and on budget for the consumer as well as
meet the desired aesthetic on time.
• Interior designers operate in a variety of commercial and residential
sectors such as public space design, retail, restaurant and bar, hotels
and residential developments.
• This multi-faceted profession is not simply a flair as many assume,
but requires practical training and years of practice.
• Interior designers must be conversant in a wide variety of disciplines,
including architecture, decorating, and more.
• Interior designers use their knowledge of many disciplines to create a
successful space.

1.4 TOOLS OF INTERIOR DESIGN

• Scope of interior design: The Scope of Interior designing in today’s

world is much more competitive than it was years ago, to make a
career in Interior designing it’s important to have an early exposure
 in the industry by means of education as well as practical
knowledge.
• Interior design is an artful science which can enhance the aesthetics,
functionality and create healthier living environments for the
clients/end users.
• Healthier living environment:
• Interior design consideration:
• Different type of buildings and their environment.
• Standard level and technical consideration :
• An Interior designer is equipped with an education, degree and
practical experience to plan, coordinate, design and execute
projects. The professional scope of an interior designer is huge in
India and backed with a flair for innovative thinking and designing
one can reach a pinnacle in this field.

1.5 LAYOUT DESIGN CONSIDERATIONS

For any layout design work, begin with following 13 considerations:

1 Think about the structure of the room, what are the main focal
points? These could be windows, fireplaces, doors or built in units.
Are they balanced in the room? If not, think about what you can
add to the space to help balance the structure of the space.
Remember that the human eye is drawn to focal points, and will
scan a space when entering it.
2 Perception of space is based on body size. Different size spaces suit
different size people: one person’s claustrophobic box is another’s
cozy nest.
3 Think about the space in terms of volume, e.g.: if it were a fish
bowl, if you add in a sofa, chandelier, sculptures, bookshelves,
table, coffee table etc., you displace some of the water. Ensure that
you don’t overfill the space.
4 Aim to create both a prospect and a refuge in each room so you can
feel enclosed, but also have a view beyond to the outside or natural
world. Using Prospect and Refuge theory in a space can make it
more comfortable for the human experience. “We prefer a shelter
(refuge) with a view (prospect), because humans have their field of
 vision to the front (prospect), therefore needing some sort of
protection from behind (refuge).”
5 Plan your furniture with a scale drawing of your room or cut paper
shapes to size and place them in the room to work out the best
possible arrangement of furniture and accessories.
6 Ensure that the circulation passageway through a room follows an
easy and economic pathway from the door to all the other main
activity areas.
7 Clutter closes down space, so edit your clutter to avoid blocking
both circulation and reducing the perceived size of a room.
8 In large or long spaces, subdivide different activity zones to give
definition to each part of the room.
9 When planning decoration and lighting, work with the principles
that vertical lines draw our eyes up and horizontal lines draw them
across to extend or reduce the proportions of a room.
10 Wallpaper with a square grid or tiling a room in squares will give
the impression that it is bigger than it is – the smaller the grid, the
larger the room appears.
11 Borrow space from outside by ensuring an uninterrupted view of
the outside world. You can also ‘borrow’ space from adjoining
rooms by using the same flooring materials.
12 When furnishing small rooms, blur the edges of the room to break
up the lines between floor and walls; draw furniture a little way
away from the walls; buy furniture in proportion to the room;
choose furniture with legs to give the illusion of more space.
13 Disguise oversized sofas by breaking up their upholstered surface
with a different colored or textured runner or folded throw.

1.6 SPACE PLAN CONSIDERATIONS

Now that we know a little more about space planning, lets have a look at
some questions that you need to ask yourself before creating a space plan for
your own space.

• What are you going to be using the space for? Will it be multi-
functional? E.g.: living/dining or bedroom/study?
• How many people will be using the space and will they all be using it
 for the same purpose? E.g,: A family might use the same room;
someone may be watching TV, while another reads and another is
working.
• Do you have any existing furniture that you want to use in the space?
• Can furniture be moved into or out of this room from other areas of
the house?
• How do you want the room to feel, space-wise – open and airy, cozy,
minimal, serene?
• How much natural light is available and what kinds of lighting will
be needed?
• What are the focal points of the room and how can you take
advantage of them?
• Do you need to create focal points?
• Do you like balance and symmetry, the unexpected, or a
combination?
• Is there anything else on your wish list for this room?

These questions will highlight the problems that your space plan needs to
solve. Think about these points when creating your space plan and try to find
a solution that will work. You might find that you need to compromise on
some of the points. That’s ok, you as the designer need to make the decisions
that will make the space work best for the client, whether that’s you or
someone else.

Professional interior designers understand the need to evaluate every element

of a particular project choosing between what is magnificent and mediocre or
what will or will not flow. These elements help guide the interior design
principles. When selecting or arranging the furnishings keep in mind these
interior design principles:

1.7 SERVICES OF INTERIOR DESIGN

The practice of Interior Design utilizes the performance of services for a fee
or other compensation, in connection with the completed design, utilization,
and furnishing/fabrication of elements in interior spaces in buildings, homes
and related structures. These services include, but are not limited to:
programming the functional requirements for interior spaces, planning
interior spaces, preparing analyses of user needs for interior spaces, preparing
construction drawings, designs and specifications for selection, use, location,
color and finishes of interior walls, materials, equipment, furnishings,
furniture or personal property; administering contracts for fabrication,
procurement, or installation in connection with reflected ceiling plans, space
utilization, and the fabrication of non-structural elements within and
surrounding interior spaces of buildings.

1.8 DIFFERENCE BETWEEN INTERIOR DESIGNER, RESIDENTIAL

PLANNER/SPECIALIST AND RESIDENTIAL DECORATOR

Residential Decorators are artistically talented persons without formal

training. Some practicing Residential Decorators may have certificates for
specialized training in artistic applications for paint, fabrics, carpets, and
other materials utilized in interior décor for aesthetically pleasing
residential/private dwellings. Decorators may be self employed as faux
finishers, upholstery seamstresses, or employees of retail establishments
providing “Residential Decorator Services” in the furtherance of a retail sale.

Residential Planners are individuals with a minimum two-year associates

degree in a “Residential Planning” focusing specifically on the space
planning of residential/private dwellings. This definition also includes
Kitchen and Bath Specialists. The field of Residential planning incorporates
“trade” or affiliated organizations specific testing for competency in specialty
areas. Residential Planners are not required to obtain certificates of
registration to perform planning and “Residential Decorator Services”.
Residential Planners may be employees of retail establishments providing
“Residential Decorator Services” on the premises of the retail establishment
or in the furtherance of a retail sale.

Registered/Licensed Interior Designers are individuals with professional

degrees attaining a minimum of 2 years postgraduate full-time work
experience within the field of Interior Design under the supervision of a
registered architect or NCIDQ Certificate Holder. They must also pass the
NCIDQ minimum competency qualifications examination upon which
individuals are “qualified” and may “register” to practice in the jurisdictions
where the regulating board monitors and upholds the ethical practice of the
profession. Registered Interior Designers may specialize in commercial
and/or residential design markets.

1.9 WHAT ARE “RESIDENTIAL DECORATOR SERVICES”?

These services include the placement and selection assistance of surface

materials, window treatments, wallcoverings, paint, floor covering, surface-
mounted lighting, surface-mounted fixtures, and loose furnishings not subject
to regulation under applicable building codes.

Interior Design as a Skill Branch: Building Engineering was the pioneer

design field out of which many specialties like Architecture, Civil
Engineering and Interior Designing have separated. All these skills deal with
buildings using many common materials and techniques. Interior Design as a
result has certain affinity to Architecture. In recent years many other design
skills like Urban Design, Town Planning, Mass or Public housing, Landscape
architecture, etc. have emerged from architecture. In future many other skills
may also emerge from Interior Design.

1.10 BUILDINGS AND DESIGN INTERVENTIONS:

A building once constructed is initially readied for occupation by the original

designer. However, buildings last for ages and during the lifespan, must be
altered and updated several times. Architects or Building Engineers are
unavailable, or have no income incentive for such ‘frivolity’. During early
Middle Ages, or perhaps even earlier, low-skilled ‘Art -Painters’ were hired
to paint and decorate old buildings inside and outside. The painters known as
Decorators, worked along with their associates, to not only paint but
undertake repairs, make furniture and update furnishings. Many crafts-
persons like, Iron smiths, Guilders, Glass blowers, Weavers, Embroiders,
Rug and Carpet makers, Sculptors, Mural makers, were associated with the
Decorator, as jobbers and suppliers. Later all these services were handled by
a person, the Interior Decorator. Interior Decoration, was a service for the
buildings, but always was distinct from the Architecture or Building
Engineering. Interior Decorator was neither a variant, nor subservient to the
architect.
Design Studio: The Interior designer now operated from a Design office or
Studio, usually located in an urban area. The studio was used for creating
drawings, sketches, other presentations, models, pilots, prototypes, dummies,
cartoons (replicas of artwork in full size), samples, etc. It contained samples
of materials and catalogues. The studio was a fixed location facility where
Interior designer was able to meet clients, suppliers and crafts-persons.

The physical distancing of a studio from the site also detached the Design and
Execution aspects of interior practice. In the combined practice of Design and
Execution, the need for a documented scheme was never very acute, as
decisions immediately turned into actions. However, in Pure Design practice,
all decisions had to be not only communicated, but very often formally
transmitted as an assignment to the site-based agency.

1.11 DESIGN + EXECUTION PRACTICE

Schematic documentation of design has been very difficult, and the most
irritating aspect of business. Amateur Interior Designers (formally untrained -
hobbyists) lack the capacity to document their design intentions, so prefer to
work on the site, providing oral instructions to contractors or their workers.
Many Interior Designers, even today, where practicable would like to execute
their work by themselves. The tradition of combining design + execution
persists for many reasons:

Interior components require complex details and materials for their sensorial
qualities. These are difficult to present through formal design documentation,
and must be effected only through personal involvement. 2. Interior
designing involves improvisation. The coordinated effect can be achieved,
only when components or systems are substantially produced by the
designers themselves. 3. Amateur or untrained interior designers do not have
such proficiencies.

1.12 INTERIOR DESIGN AND OTHER DESIGN PROFESSIONS

Interior Design like any other design profession, is an interdependent

profession. Interior designers work in conjunction with other design
professionals, who need interior design contribution in their work, such as
Architects, Building engineers, Landscape designers, Furniture and Product
designers, Exhibition and Event managers. Interior designers also use
expertise of other professionals for their work. These include Environmental
Engineers, Ecologists, Furnishing experts, Textile designers, Painters,
Sculptors, and an array of crafts persons.

Specialization in Interior Design: Interior designers like other professionals

also, face a dilemma, should they specialize or be a generalist? To become a
specialist one needs to limit the work to projects of particular nature. But it is
very difficult to get projects to suit a predefined field of specialization. In
reality, as and when opportunities arise, a designer preferences project that
builds up the specific sphere of experience. The refined capability can then be
used for handling similar but complex jobs.

Acute specialization in a particular field also leads to generalization, as one

handles only one or few types of projects. Interior designers by handling only
specific projects achieve an expertise in the field, but gradually lose the
capacity to handle other projects. Whereas a generalist, by handling all sorts
of projects, perhaps gains a wider experience, economics of scale (turnover),
but at compromised quality. Some degree of specialization is becoming
apparent in Interior Design. Some of the major fields to have distinct
identities within the ambit of Interior Design are: Hospitality or hotel design,
Entertainment facilities, public space design (air ports, railway stations),
Exterior design or Street architecture, Exhibitions and events planning, Retail
designing, Transport interior design. These fields naturally demand a varied
manner of design approach and handling.

Interior Designers have a variety of fields to employ their skills. One may
work as an Independent Design Professional, as a Free Lancer, Conditional
associate, or as a Profit-sharing Employee in any organization. Interior
designers also work in many parallel fields, such as a Product design,
Prototypes, production of Interior parts and components, Maintenance person
for Interior spaces and components, Advisor or consultant for Interior design
related concepts, and as Administrator for Interior related management
aspects

Interior designers are sensitive to materials and finishes, and so are well
qualified to be Conservators, Preservers, and Renovators of built spaces.
Interior designers have the competence to mold and manipulate the built
environments and are most suitable persons for Reformation and Adaptation
(reuse) of redundant buildings.

Reformation skills of Interior Designers are very much in demand. A

building is not only a very costly resource to acquire but would need equal or
perhaps costlier effort to dispose it off. So renovations and alterations help
reestablish old and redundant buildings. Miniaturization and modernization
of systems and components make large-amounts of built spaces redundant.

Interior Designers have a very important role to play in Product Design

decisions. Interior products include everything used and housed in an interior
space, like, furniture and furnishings, fixtures and fittings, tools, gadgets,
equipment, etc. The interior environment or setting for the designed products
could be of a building, ship, aircraft, space station, automobile, bus or railway
carriage. Interior Designers play a great role in defining the contextual
Interior Environment for the product setting.

Large organizations (hotels, guest houses, corporate head offices, museums,

showrooms, departmental stores) have estates, substantially consisting of
buildings, furniture, furnishings, plants, equipment’s, utilities, gardens, and
landscaped lands. Managements of these require an estate in-charge person.
Interior designers are preferred for such a role.

Interior Design training today includes design drafting and presentation

technologies in digital media. Interior Designers with competence in
computerized drafting (AUTOCAD), 3D modelling, animation, walk
through, rendering, etc. find employment in many other design fields. Interior
Design training consists of color, rendering, graphics and presentation
techniques, preparing them for the diversion to graphics related fields, like
artwork, advertising, cinematography, exhibitions, publicity, etc.

1.13 WORKING WITH DESIGN PROFESSIONALS

Professional: A person professing a skill to earn a livelihood is nominally

called a professional. A person with unique, difficult to obtain or very
demanding skill earns well, as the society appreciates such skills by
providing better compensation. Routine or common skills on the other hand
have a predictable and modest scale of compensation.

Abilities, Skills, Value: Every one of us has a natural ability, or through

training and experience can acquire a skill. We use skills primarily to earn a
livelihood. Though some may use their skills just for personal satisfaction
and occasionally even receive a reward for it. However, a reward of this
nature may not reflect the true value of the work. Such a reward is given out
in appreciation of a skill-output, but not in consideration of the skill-effort.

Professional vs. Nonprofessional: Professionals discharge their skills for an

assignment. The consideration so received is a very situation specific one.
The freedom to negotiate the terms of skill discharge captivates a
professional. Yet a professional may not always earn the livelihood in
proportion to the skill discharged. Improbability of income from skill acutely
stimulates, or curtails the creativity of a professional person. Professionals are
motivated to maximize the productivity and creativity and thereby enhance
the scale of consideration.

A person discharging a skill for a salary receives a fixed time-based income.

A salary, at best is a generalized value of the skill discharged (at certain level
of perceived productivity). A salary does not motivate a person to maximize
the productivity and creativity. Salaried people are not considered true
professionals.

Amateur, Professional, True professional, Nonprofessional: There are many

other ways how a society judges a person to be a professional. A professional
sports person is one, who is no longer an amateur, i.e., one who can now be
commissioned with a fee, for a specific situation like a game or a sports
event. A craftsperson who produces artefacts in a workshop and later sells it
to a connoisseur is not a professional, because the craft work was not created
as an assignment for a fee. Similarly an artist or a sculptor who sells the work
of art in an exhibition is not professional. However, a mural maker, who is
retained for a fee to mount a mural at a specific location, is a professional. A
chartered accountant working, as a financial executive in a company for a
salary, is not a professional, though membership to a chartered body may
endow the person with a status that of a professional. Similarly, a doctor
working in a hospital on a salary is not a professional, though he may behave
with all the professionalism expected of a true medical professional. A cook,
magician, actor, dhobi and prostitute, are all true professionals, if are retained
with a fee for a specific assignment. However, a salaried ship captain, army
general or a professor, all may show utmost professionalism in their work or
duties, yet are not true professionals.

Professional Behavior: A professional to seem sincere and reliable, sets

personal norms of behavior. Society identifies such exclusive norms of
behavior as the professionalism. Behavior of successful professionals has
been consistently emulated by others. Over a period of time, behavior of all
persons professing a particular skill becomes so universal that, all seem to be
directly or indirectly, visibly or invisibly governed, by definite ethics, code of
conduct, or a set of rules. These at least, initial stages may not be, formally
set, explained, or written. Society affirms such professional faith as
traditions. Professionals’ Organizations: Professionals have a selfish interest
in sustaining exclusivity of their skill. This is done by regulating the inclusion
of new entrants and by deterring tricksters and odd practitioners.
Professionals form clan like organizations to codify the norms of behavior
and to restrict the spread of knowledge by controlling the training in skills.

In India casts were based on skills. Skilled professionals belonged to an

organization known as Singh or Mahajan. In Europe, during the middle ages
professional organizations were known as Guilds, often holding powers
surpassing the political authority. Conditions to become or remain, a member
of such organization were very strict. Entrenched members never tolerated
any change or modernism, because to accommodate the newer peripheral
skills, it was necessary to alter or add new behavioral norms.

When, creative individuals feel stifled, in a traditional professional

organization, they try to reform the existing setup, or step-out of it, and form
a new professional organization. The original organization suffers, or is
destroyed. Civil engineering has been an outcome of Building trade.
Architecture has separated from Civil engineering. Urban design, Town
planning, Interior design, Public housing, etc. are some fields to acquire
distinct identity from Building Engineering. Professionals’ organizations
(Clan, Caste, Singh, Mahajan, Guilds) have often wielded lot of influence.
Governments have tried to control such extra constitutional power centers by
enacting laws. Such laws primarily enforce rules for forming and conducting
such bodies and secondarily reduce the number of such organizations to a
few. Professionalism: A professional is required to behave professionally
with: Person/s (clients) who retain the professional, other professionals. Other
professionals of the same skill, other individuals who help carry out the job,
Society. A Professional comes into being for a Client with a specific
assignment and capacity to pay for it. Professionals themselves become
clients, when they have an assignment for someone with extraordinary skill (-
a professional) and are ready to compensate.

Professionals need help of many other people, who behave with near
professionalism, but may not be distinctly professional. These people include,
venders, suppliers, dealers, contractors, etc. A sincere, reliable and honorable
professional draws lot of respect out of such co-workers.

Professional respect: A society acknowledges outstanding professionalism

of a professional by bestowing a leadership. A good professional is
considered reliable, not just for the exclusive skill, but also for the personal
behavior, thoughts, actions, and views. These qualities are emulated for many
other members of the society as well.

Professionalism as a personal asset: A skill is a personal asset, so

professional creativity is adjudged as a personal pursuit. As a result when
professionals come together to practice a skill cohesively (as partners,
associates), some confusion may arise for the authorship to creativity. One
way out of this is for partners to tacitly accept the work domain of every
member, and refrain from encroaching it. Another way is to accept all
creative accomplishments as collective achievements of the organization, and
not of a person. A partnership document is a codification of norms of
behavior.

1.14 WORKING WITH CLIENTS

A Client: A lay person has very limited capacity to solve many of the
problems quickly, economically or efficiently. Such a person, if had means of
compensation would certainly hand over the problem to an expert. For the
expert (professional) such a person, out to hire a help with offer for
consideration is a client. A Client, to solve problems, desires no just a skilled
person, but one with a predictable and socially acceptable behavior -the
professional. A professional needs assignments with compensation, to profess
the skill. Client and a Professional are thus mutually dependent.

A Client’s Disabilities: These manifest for many different reasons: " there is
no awareness of needs or of problems. " there is no insight to the nature of
skills required. “Things are not always very simple, easily selectable, readily
available, or producible. “There are no obvious means to judge the rightness
of decisions made. “There are no resources, or, one is not aware of the
resources required to accomplish something.” one has been incapacitated for
taking decisions and actions by any extraneous cause, and so cannot use the
available (or the personal) skills.

Clients’ Levels of Awareness: Clients come to a professional with varying

levels of awareness, what a professional could and should do. “A client at a
very basic level is a lay person, who has never seen or experienced a
professional in action, and so is guided by a well-wisher. Such clients are
very inquisitive, and eager to participate in the work-process of a
professional, and if allowed to do so appreciate the professional’s
contribution better. A professional intentionally creates situations where such
clients seem to contribute to decisions, and are formally acknowledged.

Some clients are experts in their sphere of work. Such persons (restaurant
owner, club manager, managing director, etc.) are well informed of both, the
product and the process to achieve it, but seldom have the time or inclination
to accomplish the same. Such expert clients may consider a professional to be
just a service provider, and not necessarily a unique creative person. The
Professional in these circumstance is required to manage the over
interference, and yet achieve an objective detachment. The professional may
have to consistently prove the professional supremacy or distinction.

A client could be very detached or unapproachable, due to either lack of time

or understanding of the subject. The first, must be managed by acute
management of the client’s precious time and the second, may vanish on
seeing the first proposal (visual and other presentations) and replaced with
sharp comments.

A Client representing an organization may not show distinct interest, to limit

the involvement within the ambit of the authorized powers. Their comments
though may come, but little belatedly.

A client could be a faceless person like a project report, and the nominal
human interaction is not available. A professional has to not only define the
client’s requirements, but also predict the responses such a non-real client
would generate.

1.14.1CATEGORIES OF CLIENTS:

• An individual client: At simplest level the client is representing own-

self, or perhaps the family. Such a client is very real and visible in
personality. Such individual clients are easy to define. Such clients are
easily accessible and provide interactive feedback during the meetings.
• A specific group of persons as client: Clients representing a specific
group are partnership firms, private or limited companies, corporations,
societies, associations, some government departments and semi-
government organizations. A specific group has members who have
formed the group on their own initiative, or have joined a suitable
existing group. The designated leader or a small group of representatives
invariably have the authority to represent their group. So individually or
collectively they behave almost like an individual client. It is not very
difficult for a professional to generalize and determine the
characteristics of the specific group as a client.
• User clients: Clients are actual users or consumers. They directly use the
entity created or derive the benefits from the ideas or concept generated
by the professional. Such clients, if properly identified and if can be
approached, provide the right feedback. ASSIGNING CLIENTS: A
client could be a person just assigning the job, like a government
official, but may not use the entity created or derive any benefit. Often
an active citizen may generate a debate in the society for an issue, and
ultimately provide sufficient leadership input to become the defector
conceiver, convener and executioner of the project.
• Non clients or multi clients: In very complex projects often there is no
single or identifiable personality or agency that is acting as a client. The
project evolves as conglomerate or a consortium of multilateral
agencies, often with conflicting interests. There may not be any
appointed or recognized professional as a coordinator. There may be
many part conveners, sponsors, owners, all acting coherently, Members
of such group function democratically, infused with mutual respect and
commercial sense. Where a coordinating professional agency is
involved, its job is, more of auditing the quality parameters. The audit
agency gets involved during and after the execution.
• Marketing or other specialists as clients: In many instances a
professional is required to serve a large number of user clients, who
remain isolated not just due to their large number and variations but also
due to their location. Definition of a user client is derived by marketing
or such public relations specialists. These definitions are invariably very
specific, though colored by the agency that forms such views. It
becomes very difficult to pinpoint the failures either to the initial faulty
definitions, or wrong professional input. Though professional working
on a brief devised by marketing or public relations expert gets very
exact assignment to operate.

1.14.2DEALINGS WITH CLIENTS:

Clients are easy to deal, if are real, singular, grouped and well organized.
Clients are not very difficult to handle even when are invisible (faceless) or
generalized, but, if are well defined. A Professional’s work moves very fast
and efficiently, when client’s feedback is certain or predictable. Professional
out-put for organized and well-defined clients is not only very relevant, but
survives or functions better.

A Client and a Professional must seek each other, and do so in a variety of

ways. A client can proceed without any inhibitions, whereas a professional
can go about it with certainly constrains, depending on the nature ethics
followed by the particular profession. How Clients seek Professionals: In
case of Interior Design, a client primarily comes to know about a professional
on seeing a project. However, personal contact is established through
intermediaries like friends and relatives. It is rare for a client to call on a
designer, directly on seeing a project, a sketch or a publication about it. And
it is extremely rare for a client to contact a designer through yellow pages or
such directory type of listings.

Initiative for a project: Clients initiate a project on the basis of one or many
of the following five assets: Needs, Finance - investable resources, Space -
land or building, Experience - expertise Intense desire, aspirations.

An endeavor involves investment vs. return formulation and for this reason a
person first approaches a financial expert to evaluate the idea, and also define
means to execute it. Such financial experts may then direct a client to a
project consultant. The project consultant is generally an expert of the project
domain. The project consultant then sorts out the fields in which expertise is
required and more often than not advises the client ‘how things can be done
and by whom’. Architects, Interior Designers, etc. are generally approached
at this stage. However some designers by virtue of their vast and varied
experience are able to handle multi-disciplinary matters, and they provide the
project consultancy services.

1.15 DIFFERENT TYPES OF CLIENTS AND SELECTION OF A

PROFESSIONAL

Individual clients are largely unaware of the professional services they need
and even if knowledgeable, would like to hire a professional by personal
reference. Such personal referencing by a well-wishing intermediary can
open out many avenues for a professional. organized client s (specific or
nonspecific groups) set a process of selection for a professional. this provides
for a rational, transparent and democratic procedure for selection. The
process of selection of a professional begins with invitations offered to:
• Any member of the society, to come forward and prove competence
• Persons with a defined level of competence
• Members of a body who necessarily have optimum level of
competence
• Any of the above conditions, but persons belonging to a certain
geographical region, experience, age, sex, nationality, religion
• Anyone who wishes to offer a radical proposal through a
competition, which may perhaps provide a reward, or if selected a
 job award.

How Professionals seek Clients: Professionals have to depend primarily, on

their social contacts for the first few projects. Professionals also directly
contact potential individual clients. However, if a person is a potential client
due to a position, then an official appointment with the clear declaration of
intent is necessary. Winning a project by participating in a competition is
another method. Interior Design competitions, though, are very rare, may
exploit young professionals, unless sponsored by legitimate organizations.

How a professional seeks a client is conditioned by the nature of the

profession and the role of professional bodies play. Professional
organizations regulate a professional’s exposure, and consequently the
behavior with the society. Modalities of relationships with potential and
regular clients form the substantial part of the charters of professional bodies.
For the same reason many professional bodies discourage direct
advertisements by professionals to seek clients and assignments. An
advertisement, however effective cannot project the professionalism, or the
competence of a professional. It provides an undue advantage to the user.
Most professional organizations believe that professionals should receive
jobs in proportion to their professionalism, and not their capacity to project
through media.

Strategies to Develop the Clientele: Professionals resort to many different

strategies to develop the clientele. Professionals keep in touch with their past
clients and acquaintances, as these prove to be the most potential source for
jobs. Professionals also must keep in touch with the intermediaries through
whom clients were introduced. A professional may take past clients and
intermediaries to visit completed projects.

Other means of personal-approaches include, sending specific letters,

emails, or bulletins, making telephone calls, attending get-togethers, parties,
social and other functions, sending greeting cards, etc. Professionals make it
a point to attend as many, trade and business meetings, seminars, workshops,
etc. as possible. Here they get an opportunity to project their personality, but
put forward ideas, views, etc. by way of direct address, reading of technical
papers, or participation in discussions.
Professionals’ dealings with Clients: These vary region to region, with time
and from profession to profession. In professions where rules regarding
behavior have not been formalized, it may vary even from a professional to
professional. In most countries allopathic doctors are not allowed to advertise
their skills, but in some Latin American countries plastic surgeons have large
road side hoardings. In USA, Lawyers who do not practice in court of law,
and work as counsellors or advisors have been resorting to newspaper
advertisements.

Finding a Professional: Members of the society have no problem in finding

professionals of well-established fields or traditional professions. However,
in newer branches of skills, the professional and the client do not have an
appropriate precedent or a forum to interact. In such situations the
intermediary professionals help bring together the Client and the
Professional. Such intermediary professionals include Project consultants,
Industrial consultants, financial experts, Hotel consultants, Administrators,
Estate managers, Public relations experts, Event organizers, marketing
executives, etc.

1.16 WHY A PROFESSIONAL MAY W ISH TO DELAY:

A Professional (at least well established ones), check out their client
completely, before agreeing to take-on the project. A Professional (fresher) is
always eager to get-on with the job. Yet such professionals delay discussing
the fees, terms and conditions because that can disturb the budding, but
fragile relationship with the client. A Professional may be waiting for the
client to be firmly determined, so that fees and terms can be properly
negotiated, and a firm commitment can be sought.
 2 BASIC DESIGN

In this chapter we will cover two most important aspects of interior design,
namely:
• Principles of interior design
• Elements of interior design

2.1 PRINCIPLES OF INTERIOR DESIGN

There are 5 principles of interior design which are very important in interior
designer. With the help of this principles interior designer create a design.

2.1.1 BALANCE:

Balance is another principle,

distributing the visual weight in a room. You can do it symmetrically, as is
common in traditional interiors, or with asymmetrical balance as seen in
casual interiors. The visual balance in a room gives a sense of repose and a
feeling of completion. The elements of line, shape, color and texture all help
to determine the decoration of the space. The principle of balance refers to
the ordered distribution of elements of equal visual weight to achieve a visual
equilibrium. Balance is only achieved when the visual weight of the elements
are evenly distributed along a central axis or point that can be both real and
imaginary. Balance can be achieved by three popular ways namely
Symmetrical, Asymmetrical and Radial.

There are many principles of design, but this first post in our series will focus
on balance. Everyone understands the importance of balance. One lesson that
we learn quite quickly from a very young age is that without balance things
tend to go sideways. Whether it be learning how to ride your bike, stacking
wooden blocks or knowing when to take a break from work to enjoy some
leisure time, balance is a constant in our lives.

• Symmetrical Balance: In Symmetrical, a space is divided into two equal

halves centered on a central axis and both the halves are equally
compensated to give out a calm feel to the living space. Traditional or
formal spaces call for symmetrical balance where the space is evenly
split into two sides that mirror each other. For example, two chairs on
either side of a coffee table can be said to be symmetrically balanced.
This kind of balance is easy to achieve as design elements are repeated
on each side. If you are not careful, this kind of balance can become
monotonous and boring.
 Figure 2.3a: Example 1 of balance concept used in interior

Figure 2.3b: Example 2 of balance concept used in interior

• Asymmetrical balance: In Asymmetrical, any odd number of elements

can be used by keeping an imaginary central axis as the focal point.
Though asymmetrical balance is a little hard to achieve when compared
to symmetrical, the output is more natural and energetic when compared
to the former. Asymmetrical balance is more appropriate in design in
these days. Balance is achieved with some dissimilar objects that have
equal visual weight or eye attraction. Asymmetrical balance is more
 casual and less contrived in feeling, but more difficult to achieve.
Asymmetry suggests movement, and leads to more lively interiors.

Figure 2.4: Examples of balance concept used in interior

• Radial balance is achieved when there is a central focal point with other
elements radiating from it or around it. An example would be a round
dining table, with chairs arranged around it. There is a lot of repetition
of form, texture, and color. Radial balance involves a central piece (like
a chandelier or a round dining table) from which all other elements seem
to radiate to arrange them in circular symmetry. The visual weights of
lines, colors, forms, and textures are balanced without exact duplication.
It is not ordered as symmetrical balance and can be more complex and
interesting. For instance, a sofa can be balanced by placing two chairs
on the other side.
 Figure 2.5:Examples of balance concept used in interior

2.1.2 RHYTHM

Rhythm is repetition. Rhythm is the fundamental principle of the universe,

like a heartbeat, breathing or a cycle of the days into seasons. Elements
repeated in an orderly fashion and the spaces between them create a sense of
rhythm. Rhythm can be achieved in any living space by following these three
methods – Repetition, Alternation and Progression. Repetition refers to the
repeated use of the design elements like color, texture and pattern or any
other physical attributes like home décor items in an orderly way. Elements
are arranged ascending or descending based or their size, color gradient or
any other distinctive characteristic.
Figure 2.6: Symbol of Rhythm
Figure 2.7a shows the repeating wood slats on the wall of this pizza shop by
Baynes & Co designers creates a playful rhythm and draws your eye through
the space .
 Figure 2.7b: Example 2 of Rhythm concept used in interior

Figure 2.7b shows a restaurant by soma architects displays both repetitive

rhythms, in the booths and chairs, as well as alternation which can be seen in
the pendant lights that hang in groupings with an ABAAAABA rhythm.
Figure 2.7c: Example 3 of Rhythm concept used in interior
 Figure 2.7d: Example 4 of Rhythm concept used in interior

Alternation is used to create rhythm by alternating two or more elements in a

regular pattern. The pattern may be ABCABC or ABBABB, but always
repeating in the same order.

2.1.3 EMPHASIS

Emphasis is the
creation of a focal point or a few focal points within a space. Emphasis is the
focal point of the room that should be obvious when you enter the room or
the area for which your eye is drawn. Elements like color, pattern and texture
must be used to emphasize a particular focal point. In fact these elements
must be used in such a way that the focal point dominates the rest of the
décor items and pulls the room together.

Interior design’s biggest enemy is boredom. A well-designed room always

has, depending on the size of it, one or more focal points. A focal point must
be dominant to draw attention and interesting enough to encourage the viewer
to look further. A focal point thus must have a lasting impression but must
also be an integral part of the decoration linked through scale, style, color or
theme. A fireplace or a flat TV is the first example that most people think of
when we talk about a room focal point.
 Figure 2.9:Examples of Emphasis concept used in interior.

2.1.4 HARMONY:

The repetition of design elements like color, texture, shape, and form is one
of the easiest ways to achieve harmony to create a composition. Harmony
describes the repetition of design elements within a space - the colors,
textures, shapes and forms that express your interior’s theme, style and mood.
In combination, these elements of design work together to create a feeling of
harmony; that everything is just as it should be. Harmony means that all the
articles of decoration used in the room such as furniture, wall pictures,
curtains etc.
Figure 2.10a: Example 1 of Harmony concept used in interior.

Figure 2.10b: Example 2 of Harmony concept used in interior.

Harmony & unity is achieved when all the elements in a space work together
and complement each other. It means looking at the space as a whole and
seeing how each element plays a part in meeting the function of the space. It
also means seeing the harmonious transition between one element and
another

2.1.5 UNITY:
Unity is when the elements in a space combine to make a balanced,
harmonious complete whole. The space feels right and everything works
together. The result is a pleasing feeling, that everything is right with the
space. A good understanding of Alignment of objects, Similarity of
color/pattern/texture, Proximity (spacing) of objects, Repetition (grouping) of
elements based on similarity, Continuation and Overlapping of interior
design elements are a few ways to achieve ‘Unity’ in an interior design
arrangement.

There are two kinds of unity we’re concerned with

• Visual unity – for example a group of elements all aligned to a common
axis
• Conceptual unity – for example an image of a diamond, a mansion, and a
pile of money might be unified around the concept of wealth.
 Figure 2.12: Examples of Unity concept used in interior
Unity is a measure of how well the elements on the page belong together.
Through unity a viewer should first see the whole and then the sum of the
parts making that whole.

Now in order to avoid dullness and keep designs interesting, designers

introduce “pops” of to their designs adding to the unity of the space. We add
variety to balance out the harmony and vice versa.

2.1.6 PROPORTION:

Principles of scale and proportion ensure that objects placed in a space look
like they belong to each other. Be it the size, dimension, shape or color of the
objects, a harmony should be established between them and a proportion has
to be maintained. Proportion means relationship of the objects with each
other. Beauty of as object greatly depends on its proportion to the other
object placed around it
In Interior Decoration, the correct proportion can be achieved in the
following elements:
1) Proportion in lines.
2) Proportion in Distance and Space.
3) Proportion in Scale.
 Figure 2.13: Symbol of Proportion

In interior design, proportion in space refers to the placement of objects

within a space. For example, balance a large breakfront against one wall with
two medium-sized side chairs. If the chairs were too small, the proportion
would be off. If the chairs were too large, the furniture would seem over
scaled. Cluster a group of small framed photographs on a wall opposite a
large canvas. Balance one tall piece of furniture in a space with two or more
medium or low pieces.

Figure 2.14: Examples of Proportion concept used in interior.

2.1.7 SCALE:

Without consideration of scale, in particular, human scale, our everyday

activities would be more difficult. Scale refers to the relationship between
two or more objects, one that has a commonly known size. In most cases, the
size of objects is compared to our own human scale. We can find examples of
this in our homes and workplaces; for instance, standardized heights have
been created for countertops, chairs have been scaled to fit our bodies, the
widths of hallways allow for people to comfortably pass one another. You
can see that the way we build our environment is based on the commonly
known anthropometric data of human scale.

In this small dining room, which was very traditional and historical in nature,
it was important to keep the proportions of the table, rug and chandelier
aligned.

Key Takeaways:
• Scale is the size of something in relation to something else. Proportion is
the size relationship between two things.
• Use the golden ratio of 1:6:18 when designing the interior of a space.
• Contrast is important in creating a unique and inspiring space.

2.1.8 CONTRAST:

Contrast refers to the difference in the luminance or color of objects that

differentiates them from one another. In interior design, contrast can be
achieved by three elements namely color, form and space. One can use
pillows or prints of two opposite colors like black and white to achieve
contrast and make an object distinguishable. Contrast refers to a major
difference between elements.
 Figure 2.16: Examples of Contrast concept used in interior.

2.2 ELEMENTS OF INTERIOR DESIGN

Interior Design is indeed a science that is bound by its own elements and
principles and yes, it is not as simple as one imagines it to be! Generally
interior designers go by the rule book that states that, there are 7 elements and
7 principles of Interior Design. We are going to cover all the 7 elements of
interior design in this article, followed by an article explaining all the 7
principles.

2.2.1 POINT

A point is basically the beginning of “something” in “nothing”. It forces the

mind to think upon its position and gives something to build upon in both
imagination and space. Some abstract points in a group can provoke human
imagination to link it with familiar shapes or forms. The defining
characteristic of a dot is that it’s a point of focused attention. Dots anchor
themselves in space and provide a reference point relative to the other forms
and space around it. While we often think of dots as circular in nature, they
don’t have to be. What they are is points of focused attention. Dots are the
focal points in our compositions.

As dots increase in size we start to see them as shapes, but they still retain
their fundamental dot-like qualities and characteristics. A square placed in the
whitespace of a page is still a dot. It still attracts visual attention to it, which
again is the dot’s defining characteristic. Even if there is only one point, one
mark on a blank page there is something built into the brain that wills
meaning for it, and seeks some kind of relationship or order, if only to use it
as a point of orientation in relation to the outline of the page.

2.2.2 LINE

An element of art used to define shape, contours, and outlines; also to suggest
mass and volume. It may be a continuous mark made on a surface with a
pointed tool or implied by the edges of shapes and forms. Lines give birth to
forms and shapes and are responsible for establishing a sense of harmony,
contrast and unity in a living space. Lines include straight lines, diagonal
lines and curve lines etc.

Figure 2.17: Symbol of Line.

It is a basic element of design and refers to a continuous movement of points
in a space. The edges of forms and shapes too create line element. They
define shapes and act as visual guides of an interior space. Lines are broadly
categorized into three types – Horizontal, Vertical and Dynamic. While
horizontal lines adorn structures likes tables, chairs and beds, vertical lines
can be found on windows, doorways and admirals. While horizontal lines add
a safe and secure feeling to the space, vertical lines emote free and expansive
nature. Dynamic or angular lines, which are action oriented add drama and
can be seen on structures like stairs. An interior designer must know how to
utilize these lines to define the forms, another important interior design
element.

Lines give birth to forms and shapes and are responsible for establishing a
sense of harmony, contrast and unity in a living space. They define shapes
and act as visual guides of an interior space. Lines are broadly categorized
into three types – Horizontal, Vertical and Dynamic. While horizontal lines
adorn structures likes tables, chairs and beds, vertical lines can be found on
windows, doorways and admirals.
 Figure 2.18b: Types of Line used in interior

Lines as design components:

Lines in buildings
• Structural uses include columns, trusses, rafters, beams, planking,
brick rows
• Decorative uses include molding, wallpaper, color blocking.

2.2.3 FORM :

Forms mean shapes in general, an outline of any three dimensional object in

the space. A well-defined form establishes harmony and additional forms add
balance to the space. There are two types of forms – Geometric (man-made)
and Natural (organic). Also forms are categorized as open and closed; open
forms are those that can be looked into and closed forms are those that are
enclosed by a closed surface. A solid understanding of the above mentioned
elements i.e. space and line is required to achieve a goof form.

Figure 2.19: Symbol of Shape and Form.

Geometric forms are those which correspond to named regular shapes, such
as square, rectangular, circles, cubes, spheres, cones, and other regular forms.
 Figure 2.20: Example of form concept used in interior
Form is the shape of the room, as well as any objects within the room. In
other words, it relates to the physical form of anything that is three
dimensional.

Figure 2.21: Example of Shapes concept used in interior.

Another thing to take into consideration with form is the proportions and
scale of the room compare to the objects being placed within it. Adding
forms of similar shapes can create harmony and balance, while adding too
many differing shapes can have a confusing result. A space is typically more
pleasing if the dominant form is repeated in minor objects throughout the
room.
2.2.4 SPACE:

Space is one of the most important elements of interior design. Space acts as
a foundation on which the entire interior design plan is built Space refers to
the area that a shape or form occupies. It also refers to the background against
which we see the shape or form. Space can be defined as positive and
negative. The positive space of a design is the filled space in the design often
it is the shapes that make up the design.

Space planning is a fundamental element of the interior design process. It

starts with an in-depth analysis of how the space is to be used. The designer
then draws up a plan that defines the zones of the space and the activities that
will take place in those zones. The space plan will also define the circulation
patterns that show how people will move through the space. The plan is
finished by adding details of all the furniture, equipment and hardware
placement. Negative space is the background. The negative space in design is
as important as the positive area. An element of art by which positive and
negative areas are defined or a sense of depth achieved in a work of art.
 Figure 2.24: Example of Space concept used in interior

Importance of Space in interior design: With the growing demand for

space, there has been a steep rise in the per-square-foot price. This makes it
an obvious reason why space is considered as an asset. Interior designing is
all about creating spaces that is not only aesthetically appealing but also
comfortable and functional.

Today, space planning is no more restricted to residential spaces, but has

floated to commercial projects too. An ideal space is one that can
accommodate everything as well as give you the desired comfort. For
example, if a living room is arranged with bulky furniture which leaves no
room to accommodate anything else, then the whole idea about ‘space’ may
not make sense. With a cluttered space like this, you’ll constantly feel
claustrophobic.
Figure 2.24: Example of space of room functionality used in interior

The challenge for every interior designer is to meet the requirements of his
clients. Here are reasons why space planning is important in interior
designing.
 Figure 2.25: Example of space of selecting furniture used in interior

Space planning involves complete floor mapping. With a clear floor plan,
you’ll be able to gauge the space. This will help you to select the right
furniture based on the size of the room. It will also give you an idea of how
and where to place the furniture
Space planning is to plan a space with its allocation, divisions, arrangement,
and organization to accommodate the functional, spatial, and occupancy
requirements in the form of space layout and final planning. This involves
creating a space plan, a drawing that shows the arrangement of functional
elements within a space.

A space plan is developed by solving many design problems. But space

planning is not like mathematics or physics; there is no single correct answer
to the problems. Nonetheless, interior designers seek the best working and
practical solutions in meeting the required criteria.

How to create a Space Plan:

• The Bubble Plan: The way that I like to start a space plan is by roughly
drawing out a map of the space and creating a bubble plan. A bubble
plan is a simple diagram that will show you what activities take place in
 the space and the relationship between these activities.
For example, in an open plan living area, you might have 3 or more
bubbles, 1 showing the kitchen, the other showing the dining area and
another showing the living area. Using bubbles will help you to define
these spaces. When you are clear about where the activities are going to
happen in the space then you can move on to creating a scale plan.

• A detailed Scale Plan:

Scale drawings are used to illustrate items that it is not useful or
convenient to draw at their actual size. This may be because drawing the
item at full size would be unmanageable, or would not easily fit on a
single sheet of paper (such as a building), or alternatively because items
need to be drawn larger than full size to adequately represent all the
detail that needs to be communicated (such as a complex connection).

2.2.5 COLOR

Color is the element of art that is produced when light, striking an object, is
reflected back to the eye. There are three properties to color. Color is one of
the most powerful of elements. It has tremendous expressive qualities. The
word color is general term which applies to the whole subject- red, orange,
yellow, green, blue, violet, black, white, and all possible combinations
thereof. Hue is the correct word to use to refer to just the pure spectrum color.
 Figure
2.27: Symbol of color

This is not a simple topic; color is used not only to relate to your existing or
emerging brand, but must be used carefully to encourage the proper
associations, evoke the desired emotions and take into account the
psychological effects deeply instilled in each. When your interior designer
comes up with a color scheme for your space this should all be taken into
consideration.

Color both affects and is affected by its surroundings and the colors in it, and
is also affected by the color of light that falls on it. This is easy to detect
when observing an interior space with a lot of daylight over the period of a
day. In an east facing space with a lot of natural light the color exhibited in
the morning with an abundance of natural, direct daylight will be much
different from that at midday when only indirect daylight exists. In the same
way, the type and color temperature of the bulbs in your lighting fixtures will
make a huge difference in the way color is rendered within your space.
 Figure 2.28: Example of color concept used in interior

Terms like ‘primary’,

‘complimentary’, ‘warm’, ‘cool’, ‘hue’ and ‘tint’ are all common and
important when considering the use of color in interior design. The use of
colors in interior spaces as the translation of abstract color schemes, theories
and meanings into real materials, surfaces, experience and use in a space is a
complex matter requiring creativity, judgment and often comes with
experience.
2.2.6 PATTERN

Pattern is an underlying structure that organizes surfaces or structures in a

consistent, regular manner. Pattern can be described as a repeating unit of
shape or form, but it can also be thought of as the "skeleton" that organizes
the parts of a composition.

Figure 2.30: :Symbol of Pattern.

Pattern exists in nature as well as in designed objects; it is useful to look at

the parallels.

Figure 2.31: Symbol of Pattern.

A seamless pattern is one where every element within a design (no matter
how often it’s repeated) combines to form a whole. This is most common in
backgrounds on web and app pages. It’s also popular in carpet and wallpaper
design.
 Figure 2.32: Examples of Pattern concept used in interior

Patterns can have multiple meanings and elements in design. Repetition

focuses on the same object being repeated; patterns are made up from
different components which are then repeated in the same way throughout the
design.

2.2.7 TEXTURE

Texture is the surface quality of an item. How something feels when touched,
or looks like it would feel if touched. Sandpaper is rough. Velvet is smooth.
A drawing of a tree stump could show rough outer bark and a smooth inner
surface. Search for ways to add texture to your projects. Texture adds variety
and interest. Texture is an element which is generally overlooked when
designing a home.

However it has the ability to add a powerful and subtle dimension to any
room. Texture refers to how the surface of an object feels; therefore, you are
no longer confined to visual elements such as line and color, now you can
actually determine the way the space will feel too by using texture.

Figure 2.33: Symbol of texture.

One of the basic principles of using texture has to do with weight. Rough,
coarse textures tend to make an object feel heavier, while smoother textures
will make it feel lighter. In this way a polished white marble floor will feel
lighter than hardwood paneling, even though it is actually much heavier.
When determining how much weight a certain texture adds to an item, the
rule of thumb is that generally, those objects which reflect more light will
tend to feel less heavy. Using this understanding, it is possible to create
balance between large and small items, using heavier or lighter textures.
 Figure 2.34: Example of Texture concept used in interior

Texture is the surface quality or feel of an object. The way your skin rubs
against the rough fabric of your wool blanket, the warm sensation of the
soapy bubbles covering your skin in the bath or the gentle touch of your hair
falling down your shoulders these are all sensations and experiences created
solely by the qualities of texture.

Figure 2.35: Example of texture concept used in interior

In graphic design, texture is generally only a visual thing, but it creates a
physical illusion and it continues to play a leading role in the creation of all
types of visual elements. Nature contains a wealth of textures. For instance,
each kind of stone or wood has a distinct texture which an architect or an
interior designer may choose for specific purposes. The piece of stone or
wood may also be finished in a multiple of ways for different textural
effects.

Figure 2.36: Example of texture concept used in interior

Texture plays a dual role in architecture: it expresses something of the quality

of materials, and it gives a particular quality to light. Although one absorbs
both qualities simultaneously by eye, the first has tactile, the second visual
associations.

Texture in a decorated space can be described as either visual or tactile.

Visual textures are those that immediately appeal to your visual sense on first
glance. Tactile textures, on the other hand, ignite your sense of touch, forcing
you to feel them to appreciate them. So, which type of texture is right for
your space? Along with adding visual and tactile appeal, textures can be used
to enforce a specific design style. For example, smooth and glossy textures
scream modern interior, whereas rough and natural textures are more in line
with a rustic scheme. Before deciding on which textures are right for your
space, it’s best to choose a design style.

How to incorporate texture

From a glass coffee table to a textural wallpaper, texture can be added just
about anywhere in an interior space. My advice is to start from the floor and
work your way up to the furniture, decor elements, walls and then the ceiling.
All of these areas can be made more vivid and appealing by adding textures.

Using Different texture in interior:

Visual texture (sometimes called illusionary or simulated texture) can be
produced by color, or by pattern. A particular surface can be made to appear
quite different to the way it feels to the touch: smooth surfaces can have
visual textures, small pattern can be ‘read’ as texture, and a faux finish can
imitate other materials such as wood, brick, marble, silk or stone.

Texture is the element that is most overlooked in design, but is essential in

providing visual and tactile interest and it reinforces the other elements in
conveying the mood and style of the design concept. Uniformity of texture
will produce a bland and unsatisfactory design scheme, even when there is
variation in the other elements such as color, but a scheme based on a
restrained palette of colors and materials can still provide interest through
textural variety.

Harmony is key to good texture coordination – a harmonious textural scheme

incorporates a balance of compatible textures that combine to produce a
discernible mood or style.
Figure 2.37: Example of type of texture concept used in interior

Texture can be consciously manipulated by light to enhance the beauty or

downplay the imperfections in surface materials. Texture can be emphasized
or minimized by careful attention to the quality and angle of light – strong
light directed from an angle dramatizes the natural relief (highlights and
shadows) of a surface; while diffuse light minimizes texture and tempers the
appearance of roughness, ridges or bumps.

Texture can be consciously manipulated by light to enhance the beauty or

downplay the imperfections in surface materials. Texture can be emphasized
or minimized by careful attention to the quality and angle of light – strong
light directed from an angle dramatizes the natural relief (highlights and
shadows) of a surface; while diffuse light minimizes texture and tempers the
appearance of roughness, ridges or bumps.

Smooth textures reflect more light so they look and feel cooler and lend a
more formal, modern or refined look. Raised textures (coarse or soft) absorb
more light, so they convey a sense of warmth. They also add visual weight to
an object and can create a more casual, rustic or industrial effect.
Texture also has other sensory impacts so textures should be appropriate to
their intended use – soft upholstery fabrics are pleasant to touch, coarse ones
can be uncomfortable and sleek ones can feel slippery and cold. Texture also
affects the acoustics of a space – uneven and porous textures absorb sound,
while smooth surfaces reverberate and magnify it.
 3 ERGONOMICS

The user experience is the core of the design process. Designers should put
themselves in the shoe of the end consumer in order to achieve empathic
design. In order to achieve success in the highly competitive market, the
innovation should walk side by side with the deep understanding of the
consumer interaction with both the physical and digital aspects of the
products. This understanding should be achieved through the understanding
of the user ergonomics and apply the principles of ergonomics in the design
process.

Ergonomics refer to designing products, services, systems and processes with

social interaction in mind. The principles of ergonomics ensures that the
design complement the consumer ability strengths for and strives to minimize
the effort and limitations while using the product rather than forcing them to
adapt. Ergonomics is widely implemented in different industries effecting the
creative sector. Many designers believe ergonomics is only considered in
product design. However, designers in different fields such as graphic and
interactive design are required to consider ergonomics in their design
projects. For example, the interactive designers should consider the user
experience research as an essential stage in designing mobile applications,
websites, and user interfaces.

3.1 PRINCIPLES OF ERGONOMICS

In order to consider the ergonomics involved in different design projects,

universal principles of ergonomics can be applied. While the principles below
may not be applicable in some projects, the concepts can be adapted to both
physical and digital projects.

3.1.1 NEUTRAL POSTURES

The neutral posture refers to the human body aligned and balanced. The
standard and balanced posture reduces the stress applied on muscles, tendons,
nerves, and bones. The unbalanced posture for the human body is known as
an “awkward posture”. The usage of the designed product should avoid
putting the consumer in the awkward posture. For example, the product
design should ensure that the consumer is not enforced to use awkward
postures in order to use the product.

While this principle applies more to physical products, it can still be applied
in digital designs. For example, the interactive design should consider a quick
reach for information so users do not need to set for long periods of time in
front of the computer of mobile screens. The different between neutral
posture and awkward posture. (images source: cdc.gov)

Figure 3.1: Example of posture

3.1.2 REDUCE EXCESSIVE FORCE

The design for heavy products should consider reducing the excessive force
needed or used to pull, push, or carry the product. Alternative solutions
should be adapted to reduce the use of force such as using wheels to these
products. Also, adding handholds can reduce the force used to carry objects.
This principle is viable in the physical products with little need or
implementation in the digital domain.

3.1.3 KEEP THINGS EASY TO REACH

This principle is widely applied in both the physical and digital domains. The
interaction with a specific product should be made easy. Consumers should
reach the product easily and interact with it. For example, the control panel
for dish washers should be reachable with the minimum amount of effort and
time. In digital designs such as website and mobile application, users should
be able to reach functions and navigation links easily through the usable
implementation of the layout.

3.1.4 WORK IN POWER OR COMFORT ZONE

The power zone refers to the zone where interacting with objects has the least
amount of effort spent, it is also known as “hand shake zone”. It is the area
between mi-thigh and mid-chest height. If the product is designed to be held,
the designer should consider this position as the standard.

3.1.5 REDUCE EXCESSIVE MOTION

This principle aims to reduce the amount of motion spent while dealing with
the design. The motion refers to any movement applied using the figures,
wrist, or other parts of the body. One of the examples of applying this
principle is the usage of screwdriver. The electric screwdriver is designed to
reduce hand motion during usage. Held items should be designed to fit with
the comfort zone.
 Figure 3.2: Example of moment of moving posture.
3.1.6 REDUCE STATIC LOAD

Static load refers to the position where the person stays in the same position
or holds something for a long time. This load create discomfort fatigue. If the
product requires the consumer to stand still for a long time such as holding a
specific tool, a fixture solution needs to be applied in order to eliminate the
need to hold the object.

3.1.7 MINIMIZE PRESSURE POINTS

The pressure point refers to the point where the object is in contact with the
consumer body during the usage of the product. For example, high chairs
makes a pressure point between the user legs and table or desk. Therefore,
designing the chair should allow users to modify the height and subsequently
it can be used with any table height.

3.1.8 PROVIDE CLEARANCE

The design for products and interior should provide a space for the user to
move freely and avoid dumping into any of the objects. The same concept is
applied in the digital domain. Placing the functions and elements in the
website design or mobile application device should allow the user to move
between the function smoothly and avoid any confusion such as clicking on
wrong buttons.
3.1.9 ENABLE MOVEMENT AND STRETCHING

The product design should consider the user needs to move, exercise, and
stretch. For example, seat design includes options to adjust the setting style.
Tables that forces one to stand up or be in one place may be modified in
some places to avoid the a long setting time.

3.1.10REDUCE EXCESSIVE VIBRATION

Vibration has a serious impact on consumer health. Contacting vibrating tools

may cause hand-arm vibration syndrome (HAVS). Therefore, designing
products that use motors or vibrate while holding should consider this
principle. For example, the motor part can be separated from the tool itself
and connected to it using a cord instead. This reduces the vibration on the
tool.

3.1.11PROVIDE GOOD LIGHTING CONDITIONS

The overall work environment should be comfortable and allow users or

designers to have good lighting, fresh air, and enough space. In offices where
computer screens are installed, the design of the light systems should avoid
reflections caused by the polished computer screens.

Ergonomics’ aim to consider the user environment and behavior while using
a specific design of a product. These principles should be applied in both
physical and digital products. While the above principles provide general
rules to follow while designing user-friendly products, special guidelines or
consideration may be applied based on the product user experience and
marketing research.

Ergonomics as a science strives to bridge the gap between man and his
surroundings. The knowledge gained in this endeavor is most commonly
applied in the workplace setting. That is, it is thought that by applying
ergonomic principles to the design of the workplace and tools, greater
functionality can be achieved, yielding higher productivity and lower
incidence of worker injury.
According to above story, these spaces should encompass:
1. Equitable use: The design is useful and marketable to people with
diverse abilities.
2. Flexibility in use: The design accommodates a wide range of individual
preferences and abilities.
3. Simple and intuitive use: Use of the design is easy to understand,
regardless of the user’s experience, knowledge, language skills, or
current concentration level.
4. Perceptible information: The design communicates necessary
information effectively to the user, regardless of ambient conditions or
the user’s sensory abilities.
5. Tolerance for error: The design minimizes hazards and the adverse
consequences of accidental or unintended actions.
6. Low physical effort: The design can be used efficiently and
comfortably, and with a minimum of fatigue.
7. Size and space for approach and use: Appropriate size and space is
provided for approach, reach, manipulation, and use, regardless of the
user’s body size, posture, or mobility.

It is not difficult to see how living spaces which strive to embody these
qualities would not only be easier to use, but would most likely increase
home productivity. Imagine, for example, a living room which utilized
thoughtfully-designed lighting fixtures, placed such that they illuminate
adequately the areas of interest within the room. Chairs, tables, and footstools
would be easy to relocate, thereby making the space amenable to a wider
range of uses, while each furniture piece would be able to accommodate
persons of every size and ability.

This room, and others designed with Universal Design in mind are easier to
use, and facilitate happier living.

3.2 DIFFERENCE BETWEEN POSTURES:

Our body dimensions, and the way we move through and perceive space, are
prime determinants of architectural and interior design. The dimensions and
clearances of an average adult represent minimum requirements for use in
planning building layouts and furnishings. If possible, clearances should be
increased to allow comfortable accommodations for persons larger than
average. Since doorways and passageways must normally be dimensioned to
permit the movement of furniture, they should seldom be designed merely on
the needs of the average adult.

There is a difference between the structural dimensions of our bodies and

those dimensional requirements that result from the way we reach for
something on a shelf, sit down at a table, walk down a set of stairs, or interact
with other people. The functional dimensions vary according to the nature of
the activity engaged in and the social situation as shown in figure.

Figure 3.3: Example of moving posture.

The interior spaces of buildings are designed as places for human movement,
activity, and repose. There should be, therefore, a fit between the form and
dimensions of interior space and our own body dimensions. This fit can be a
static one, as when we sit in a chair, lean against a railing, or nestle within an
alcove.

Figure 3.4:
Example of static fit in ergonomics.
There can also be a dynamic fit, as when we enter a building’s foyer, walk up
a stairway, or move through the rooms and halls of a building.

Figure 3.5: Example of dynamic fit in ergonomics.

A third type of fit is the way space accommodates our need to maintain
appropriate social distances and to control our personal space.
In addition to these physical and psychological dimensions, space also has
tactile, auditory, olfactory, and thermal characteristics that influence how we
feel and what we do within it.

3.3 THINGS TO KEEP IN MIND WHILE DESIGNING CHILDREN

BEDROOM

Sleeping is the main activity in a bedroom, but it is an unconscious activity.

To get a good sleep is vital to have a good healthy growth process. Children
bedroom therefore should be designed in such a way that furniture can easily
be moved aside to allow active playing activity within the home. Their rooms
determine the things they see and experience amusement. Their rooms have
an effect on their behavior.

Main Activities in the Bedroom:

The design of any space must be based upon the functions and activities of
room’s occupants. Therefore, one should begin by listing all the activities,
materials, and event that must be accommodated. The activities that are done
in a child’s bedroom are divided into three, as sleeping, playing and tidying-
up.
• Sleeping: Sleeping is vital to the human organism. Children require more
sleep than mature adults. Sleep is needed to grow well and to feel rested,
alert, and energetic. We should design a children’s bed for sleeping
space in such a manner that they feel relax and comfortable during
sleeping. Design of bed should not disturb the child’s sleep.
• Playing: Children spend time in playing as much as doing all the other
important necessities as a part of growing up. Since it is very difficult to
separate the process of playing and the function it performs in the
growing child, there is no simple and one sentence definition that
explains what play is. In their room we should give some flexibility of
spaces. So, they can extend their play area safely.
Playing is a natural way to support learning. To support learning we
should divide a room into activity areas, where children can make
smooth transition in their own time. This continuous provision enables
them to develop their own routines and follow their own interest. When
deciding where to locate activities area, first consider the flow of room
circulation according to the location of doors, sinks and toilets. Design
 the spaces by sensibly keeping in mind the above point:
• Tidying up: Tidying up is an informal learning activity. This activity
teaches children about relations between things. The invitation of child
for playing is communicated by the visual presence of play materials,
Good storage is essential. At the beginning, things in child’s room are
organized by the adults in a way children understand. Then the adults
expect children to take responsibility for things, and tidying up things to
storage units. The storage should be designed in such a way that
children can easily handle it by them. For example, buckets with
handles, baskets, trays and container according to their anthropometry
will help to cooperate with activity. The other way is to define a location
of the activity in an order that children can understand and help to tidy-
up.

Supportive Elements for Activities in the Bedroom

There are other activities that take places rather than just sleeping, playing
and tidying up. These activities will make the main activities function better.
• Paths and Boundaries: If there is a clear pathway throughout the room,
children will move easily from one activity to another. Paths should be
in flow and lead to destinations clearly visible from a child’s viewpoint.
Activities areas need boundaries, not always physical boundary.
Sometimes a carpet or similar visual boundary can delineate an area. If
you are using physical dividers, it should be adequate to guide flow and
provide security for children’s focused play. These boundaries need not
be permanent. They can be made of fabric, lattice or furniture. Using
shelves for boundaries is logical, serving the dual purpose of room
division and storage.
• Storage and Display: Storage should be located at point of use, child
accessible, clear and understandable, and aesthetically pleasing.
Moveable freestanding shelves are best within the room. It should be
placed in such a manner that should not disturb the main activities. The
variety of shelf types can serve different functions. Shelves that
accommodate various types of display and storage and child’s these
access are welcome. Children Storage should be easily accessible, so
that children will love to use the things /material from it.
Children love to show what they have made to their parents. It is
celebration of children’s efforts. It will allow children to follow an
 interest over a period of time, motivation and concentration to improve
it. We can create an interesting display for children. Display should be
changed frequently to keep them relevant and interesting. Children’s
confidence and independence will be strengthened if they are allowed to
help maintain and create display by themselves.
• Floor: Floor is a primary indoor play surface, and children tend to get
more deeply involved with floor activities than with table activities. On
the floor they can shift around, adjust their postures and feel in control.
Floor surface should not be so crowded with furniture or other elements,
so they can extend their required area while playing in a room.
• Stimulation: Children’s bedroom environment should stimulate interest
and curiosity. However, it should not be over stimulating to children.
Color is a prime example, as since years as there is a prevailing mindset
that children should be surrounded by bright colors like, vivid green,
yellow, red, orange, purple, etc. But in fact children find it more difficult
to relax or concentrate with loud colors. Nature demonstrates a tranquil
environment, because of the vast expanses like oceans; moors, forests,
and sky are varying shades of calm colors. Exciting colors come in
smaller accents like, flowers, butterflies, birds, etc. Likewise, a calm
color scheme in room will support a peaceful atmosphere. By using
children’s art work, interesting objects that highlight an activity and
cultural fabrics; we can provide brightness in room. The environment
should not be saturated with color but should be slightly plain so that the
ideal balance is reached when the space is inhabited.

3.4 AVERAGE HUMAN SITTING POSTURE DIMENSIONS

REQUIRED IN INTERIOR DESIGN:

Sitting postures dimensions are important in designing, mainly while we are

designing chair. Proper dimension of furniture according to the human
dimension will reduce ergonomics risk.

Sitting Height: The subject sits erect, look straight ahead with his knees and
ankles forming right angles. Sitting height is the vertical distance from sitting
surface to the top of the head.
Shoulder Height: This is the vertical distance between the sitting surface to
the uppermost point on the lateral edge of the shoulder while subject sitting
erect.

Elbow Height: The distance between sitting surface to the bottom of right
elbow is known as elbow height while subject sits erect with part of shoulder
to elbow vertical at his side and his forearm at a right angle to the upper arm.

Knee Height: This is the vertical distance from floor to uppermost point of
the knee

Thigh Height: This is the vertical distance from the floor to the top of the
thigh while subject sits with his knees and ankles at right angles.
while subject sits erect with knee and ankles at right angles.

3.5 IMPORTANCE OF ERGONOMICS

Ergonomics is an important part of research in the product development

process. Its purpose is to increase the safety, comfort and performance of a
product or an environment, such as an office.
Ergonomics uses anthropometrical data to determine the optimum size, shape
and form of a product, and make it easier for people to use.
Ergonomists can help you to identify which user characteristics you should
take into account during your design process. This is important when you
consider how much individuals vary in terms of:
• body size
• body shape
• strength
• mobility
• sensory sensitivity
• mental ability
• experience
• training
• culture
• emotions.

3.6 CATEGORIES OF ERGONOMICS

There are three broad areas of ergonomics:

1. Physical ergonomics looks at how human anatomical, anthropometric,

physiological and biomechanical characteristics relate to physical
activity. This includes:
• working postures
• manual handling
• repetitive movements
• musculoskeletal disorders
• workplace layout and environment

2. Psychological ergonomics studies mental processes (eg perception,

cognition, memory, reasoning and emotion) and how people interact
with products, systems and environments. This includes:
• mental workload
• decision-making
• human-computer interaction
• human reliability
• attitudes
• stress
• motivation
• pleasure
• cultural differences

3. Organizational ergonomics is about optimizing the organizational

structures, policies and processes of socio-technical systems. This
includes:
• communication
• work design
• staff resource management
• working time patterns
• co-operative work
• quality management
• organizational culture.

3.7 ANTHROPOMETRIC DATA FOR VARIOUS ROOMS:

Client profiling for residential projects:
• Household members: A consideration should be made on the basis of
gender and age as the choice differs with them.
• Household size: Ask following questions to yourself before
preparing any plan or deciding any budget:
1. Number of adults/ children living at home
2. Will furniture size change according, for example you may
have lower heighted study table for kids.
3. What will be duration of stay – permanent or temporary? Will
people be leaving?
4. Are there overnight guests? How many? For how long?
 4 THE DESIGN PROCESS

4.1 INTRODUCTION:

We determine which element to use and how to arrange them into patterns
through the process of design. Although presented as a linear sense of steps,
the design process is a more often a cyclic one in which sequence of careful
analysis, synthesis and evaluation of available information, insights and
possible solutions is repeated until a successful fit between what exists and
what is desired is achieved.

4.2 INTERIOR DESIGN PROCESS:

We have met you in your home for the initial consultation where we’ve
identified what you need from your project. As we move into the interior
design concept development stage, we take our first steps towards bringing
your project to life. That requires careful thinking and planning with the end
result always at the forefront of our minds on your behalf. The success of
your interior design project depends on this.

Step one - Client Consultation

During the programming phase the client's needs and objectives are
identified. Questions regarding the specific function(s) of the space, which
will be using the space and furniture and equipment requirements, will be
discussed.

Measurements and photos are also taken at this time.

Step two - written plan/drawings

 We begin with measurement
and photograph the space so that we have the information we need to
generate the actual plans on paper. Without a floor plan which everyone
involved in the project can use as a roadmap, your project can easily move in
the wrong direction, costing time and money. Consider all the details,
questions and decisions that come up among the numerous people involved in
your project. Your drawing will serve as a compass to everyone involved in
your project as we explore interior design ideas and develop décor concepts
that will work well in your space and improve the flow and function
throughout your home.

Step three - Schematic design

In the schematic design

phase, space planning and furniture layouts are developed. Circulation
patterns and minimum clearances are considered and applied to the floor
plan. Rough sketches and elevations are created; preliminary furniture and
finish ideas are developed and then presented to the client for review and
revision.
Step four – Design development

After final approval of the

schematic design, the designer develops floor plans, elevations and other
related items in greater detail in detailed drawing, as explained in section 4.3.
Colors and finishes are refined, furniture, fabrics and equipment are selected
and cost estimates are prepared. The resulting design is presented to the client
for review, revision and final approval.

Step five - construction documentation

 In the first phase, the specific
details of the work to be completed are documented. These details include
millwork specification, finish selections such as flooring and paint, lighting
plans and fixture selection, plumbing location and fixture selection, and
electrical layouts in regard to the total scope of work to be completed. In the
second phase, bids are obtained, contractors selected, and purchase orders are
issued.

Step six - construction administration

This is the final stage where things are built and installed. The designer is
often onsite during "installation" to ensure items are received in good
condition, installed correctly, and that documents have been followed
properly.

4.3 DETAILED DRAWINGS

Depending on your needs, a further detailed set of drawings may be needed

to include tile settings, patterns, millwork concepts, lighting designs,
demolition, furniture layouts, ceilings and detailed cabinetry elevations, and
or conceptual renderings so you can keep the end result in mind. Most people
are not good at visualizing a space so having the drawings ensure your vision
is articulated or everyone involved. These interior design drawings provide
you with an understanding of what to expect at key points in the project
keeping surprises to a minimum. Once we semi-finalize the written plan, it’s
sent to the trusted contractors, trades, and anyone else involved in the
facilitation of your project.

4.4 OVERALL DESIGN THEME

Once your living space dimensions have been defined and organized into a
written plan, it’s time to create an Overall Design which incorporates all the
layers of design. Dimension and beauty to an already fabulous foot print by
layering in design elements, possibly even shrinking the scale of rooms or
minimizing unnecessary upgrades so you have the option to reallocate budget
elsewhere. Creating a design project started on the right foot is where the
design team shines. With more than 18 years under our belt creating concepts
that include a smooth integration of all the requirements and restrictions we
uncover during this stage, we produce an overall design theme which
becomes the ‘go to’ guideline for your completed interior design project.

4.5 LIGHTING

Strategically placed lighting can make all the difference in a making a home
beautiful and functional. Lighting can make a space feel playful, welcoming,
romantic or cold. It can draw out and showcase other design elements like
color, furnishings, art, architectural features and various other material
surfaces and textures.

Once the floor plan is set, our focus turns to the three main sources of
artificial light:
• Ambient lighting is a general illumination that comes from all directions
in a room that has no visible source. e.g. recesses lighting
• Task lighting is a light source directed on specific areas. e.g. Under
cabinet lighting
• Accent lighting is spot lighting that usually illuminates a particular item.
e.g. Art lighting

4.6 BUDGET VS. DESIGN OPTIONS:

Once you approve the overall design theme, we move into the Design
Development phase of your interior design project. This is where we love to
explore personalized interior design options in much greater detail so you can
begin to “see” what the end result will look like. Not only do we discuss the
different materials that can be used for the floors, walls, doors and railings,
we might also look at selections for lighting, ceiling design, fixtures and
furniture options along with final touches like area carpets, furnishings, case
goods and accessories to name just a few.

While discussing all these possibilities adds to the excitement of the project,
the Design Development also serves a very important purpose finalizing
budget. Often we may consult a contractor to put together preliminary pricing
for the construction so we can determine the scope of work. Using this
approach allows us some flexibility to make changes that could be much
more complicated or time consuming if we attempted to make them later on.

4.7 BUDGETING:

Here’s a simplified checklist you can use for an overview of what’s involved
in a typical interior design project: Material Costs
• New additions: New walls, conceptual architectural elements,
millwork and built-ins.
• Flooring: Ceramic tile, carpet, stained concrete slab, woods, vinyl’s,
porcelains, natural stones. (Labor varies by type, pattern and size.)
• Wall covering: Paint, wallpaper, faux finish, wainscoting, wood
panel, molding detail.
• Ceiling: Paint, moldings, tin ceiling, wallpaper, stucco, decorative
inlays.
• Lighting: Task, decorative, pots and fixtures.
• Fixtures: Faucets, toilets, hardware, fireplaces.
• Window treatments: Blinds, curtains, shades, decorative or
functional.
• Furniture: Tables, sofa, chairs, etc.
• Decorative accessories: Artwork, mirrors, pictures, sculpture.

Additional Budget Considerations :

• Delivery costs
• Shipping fees
• Out of pocket expenses
 • Demolition & removal
• Labor costs
• Design Consulting Fees
• Applicable taxes

4.8 BENEFITS OF EFFECTIVE LIGHTING IN THE HOUSE:

Light as an element of design should be used for visual comfort and to

achieve desirable emotional response. Emotional responses are influenced by
the manner in which light is used to communicate ideas about color, texture,
shape, form, and, line. Structural aspects of the interior may be accented as
light is used to interpret visual elements that define space, to denote which
surfaces should be lighted and which ones shall remain dark, and to convey
means by which patterns of the house design. The nature of a space is greatly
dependent on distribution and patterns of illumination. Light used as an
integral part of the total environmental design, can give the house an
atmosphere in which people may respond in the most favorable way to other
members of the family and friends.

Eyes and light work together to provide humans with sight through which
approximately 85% of the responses to the environment are experienced.
Each aspect of human growth, development, and performance may be
influenced by the luminous aspect of the environment. More specifically,
physical, psychological, psychophysical, and aesthetic responses are
associated with this environmental factor. The psychological aspects of
human response to light are the seeing task, recommended levels for seeing
for task performance, neural and muscular reactions to environmental stimuli,
and energy. Each factor involves an understanding of human physical
response to light in the environment. Eyes and light work together to provide
humans with sight through which approximately 85% of the responses to the
environment are experienced. Each aspect of human growth, development,
and performance may be influenced by the luminous aspect of the
environment. More specifically, physical, psychological, psychophysical, and
aesthetic responses are associated with this environmental factor. The
psychological aspects of human response to light are the seeing task,
recommended levels for seeing for task performance, neural and muscular
reactions to environmental stimuli, and energy. Each factor involves an
understanding of human physical response to light in the environment.

4.9 LIGHTING FOR COLORS OF THE ROOM:

In the absence of light, there is darkness and therefore, n color is made

visible. Thus color and light are closely related. Incandescent lighting has a
yellowish tint whereas the fluorescent tubes generally impart a bluish cast.
Both the intensity of artificial light and its source, whether incandescent or
fluorescent tend to distort colors. When one needs to select some fabric of a
specific color, one should try it under natural light as well as in home lighting
conditions since most shops use bright commercial fluorescent lighting as a
rule.

4.10 SIX CONSIDERATIONS IN CHOOSING LIGHT:

1. Space and atmosphere: objectively assess the space to be lit. Is it

kitchen or a bedroom, a bathroom or a corridor? The garden patio or
dining room? How is the space to be used? What type of ambience
is the most appropriate?
2. Form and design: what are your plans for the room? What are the
main pieces of furniture and where will they be sited? What will the
color scheme be? Will there be carpets or bare floorboards,
wallpaper or paint, curtains or blinds?
3. Focus and detail: which are the main features to be highlighted in
the room? These might be architectural or decorative, and could
include fireplaces, niches, fine plasterwork or paneling, paintings,
sculptures, furniture, bay windows or plants. You might equally
consider what would be best left unlit.
4. Tasks: what activities to be performed in the room will require
special lighting consideration? Where will you read, Sew, chop
vegetables, shave or make up?
5. Practicalities: are there any restrictions to the installation of the new
wiring? For example, do the walls or ceiling consists of the concrete,
or is there access to the ceiling from the floor above?
6. Control: finally technical details must be considered. Where do you
want your control? How many switches and power points do you
 need in the room? Do you want dinners, and how many different
circuits are needed?

4.11 REQUIREMENTS OF AN IDEAL LIGHTING INSTALLATION:

1. Steadiness of the source of light

2. There should be no appreciable fluctuation of flickering of light
which over stations the eye so that the source of light remains stable.
3. Elimination of glare
4. Glare of the vision is likely to occur if gas or incandescent electric
lamps are used. it may be remedied by placing the source of light
high above the level of the eye, so that it is not ordinarily seen, and
screening the light by means of a suitable shade, or interposing
frosted or opaque glass silk, celluloid, etc., to diffuse and soften the
light , so that glare is eliminated.
5. Avoidance of shadows: Inconvenient shadows can be avoided by
proper shading of the source of light, using light colors on walls and
ceiling which reflect and diffuse light in all directions, and providing
a general mild light to illuminate the entire room, and one or more
stronger lights, in addition, in proper places for specific purposes
such as reading, sewing, etc. all these will avoid shadows so that the
objects are seen clearly in light.

4.12 PRINCIPALS AND PLANNING OF DESIGN IN INTERIOR

DESIGN:

Some people are born with a great eye for decorating or design. Others learn
the skill and are able to apply it successfully. And then there are the rest of
us. If you don't have much of a knack for design, a few basic techniques can
go a long way.

These decorating rules and principles are simple enough that most anyone
can apply them. Your home might not look like a West Elm catalogue, but
it'll look presentable.

Follow The Rule of Odd Numbers:

It helps to have groupings of objects in varying heights, shapes and textures.
At the same time, there should be something similar about them. Refer to
figure 4.6 in which is advices seems to contradict itself, but the point is, there
should be something that groups your items together, but also something
about each of them that is slightly different.

Find Your Room's Focal Point:

A room's focal point is its most emphasized feature. It's the thing your eyes
are naturally drawn to when you walk into the room. And everything around
the focal point compliments it.

If you're lost with how to start decorating a room, finding its focal point is a
good start. Many rooms have built-in focal points: a large window with a
view, for example, or a fireplace. If your room doesn't have a built-in focal
point, here are some tips and options for creating one:

• Paint one wall a different color, then accessorize with artwork or

shelves, says interior designer Coral Nafie.
• Decide what you want to use the room for, then create a focal point
around that, says The Inspired Room. For example, if you want to use
a room for reading, you'd make a bookshelf your focal point.
 • Nafie also suggests simply using a large piece of furniture as a focal
point.
• You could use a large piece of artwork as a focal point. A large mirror
also works well.

Once you find the focal point, decorate around it. Use its main color in
elements throughout the rest of the room. In the above example, the focal
point—the fireplace—is white. The red walls make its color stand out, and
the white candles, orchid and vases all around the room compliment the
fireplace.

Once you have a focal point, a center point helps balance the room.

Apartment therapy

This theory suggest the canter point is the core of your room's layout. It
doesn't have to be the exact middle of the room, although that's the case in
many homes. The center point of a living room is where the coffee table or
center table will sit, with seating arranged around it.

Know Basic Measurement Rules

When it comes to hanging curtains or arranging furniture, most of us just

eyeball it as we go. But there are specific measurements for decorating that
make a room look better. Here are a few general measurements to keep in
mind:

• Coffee table distance: Keep at least 15" between coffee tables and sofas,
says decorator Maria Killam. Apartment Therapy suggests leaving about
18" between them.
• Hanging art: When hanging art, keep its center at eye level, which is
generally 56" to 60" from the floor, says Driven By Decor. If you're
hanging multiple pieces of art, keep the center point of the whole
arrangement at this level.
• When hanging art above your sofa, make sure it's no more than 2/3 the
width of the sofa. You'll also want to leave 5-9" of space between the art
and the furniture, Driven by Decor adds.
• Hanging curtains: Crate and Barrel says it's typical to have 1-3" of
overlap on either side of your window. For height, they say you should
mount curtain rods 4" from the top of the window. But maybe you want
your windows to look wider or taller. To create the illusion of height,
Real Simple says you can go beyond the 4" standard, but don't exceed
8", or it'll look awkward. To create the illusion of width, feel free to
break the 1-3" standard, too. You might want to go as far as 12" on
either side.
• TV distance: How far your TV should be from your sofa will depend on
its size. We've talked about viewing distance before. The easiest rule of
thumb: multiply the diagonal size of your TV by two. That's about how
many inches your TV should be from your seating area.

For rugs, there are three basic rules you can follow:

• All on: If a rug is big enough, you can put all legs of your furniture on
top of it. But you should leave 12-18" of floor surface on all four sides
of the rug, says decorating site Houzz.
• All off: If you have a smaller space, you might choose a smaller rug, and
then you'd leave all four feet of your furniture off of it. Houzz adds,
"You don't want to pick too small a rug, though, or it may look
insignificant, like an afterthought."
• Front on: Many designers choose to just put the two front feet on the rug.
This can tie everything together and create a feeling of openness. Again,
most all of these sources add one big caveat: don't be afraid to break
these rules. They don't always work, but they're good guidelines to
follow.

4.13 CONSIDER YOUR NEGATIVE SPACE:

Sometimes, less is more. In design, the negative space is the area that's not
taken up by any subject. Most commonly, this is the white area on your walls.
Its tempting to fill every space with a subject, but sometimes, the negative
space speaks for itself. Apartment Therapy explains:

In writing, sentences often contain extra words that without, the sentence
would sound just fine. Train yourself to look for those moments in your own
home. Is there a narrow wall with a small blot of art that when taken down,
would still look like a fine wall? Is there a tabletop with a fledgling vignette
that would look just as spectacular if cleared off?

Decorating with negative space can be a bit complicated, but there are a few
ways anyone can do it using following points:

• Avoid clutter. This is probably the best and most common way to
make the most of negative space. A bunch of stuff might fit
perfectly on your table, but that doesn't mean it all needs to go there.
Leave some room—some negative space.
• Be intentional. Make sure the negative space serves a purpose. You
might leave a space empty to highlight a decorated area nearby. Or
maybe the negative space creates an interesting design.
• Look at shapes. SF Gate's Home Guides explains that two
contrasting shapes can create an odd—or interesting—negative
space. "a curved coffee table can soften the harsh negative space
lines created by angular sofas and chairs in a square room. But this
space plan may not work in smaller rooms, which would force edge
of the round table too close to the sofa for comfortable sitting."

4.14 LAYER YOUR LIGHTING

Lighting could be a whole book in itself, but here's what you should consider
when you don't know much about it. First, learn the three basic types of
lighting:
• Ambient: It’s also called general lighting, and it’s the overhead
lighting meant to evenly illuminate a room.
• Task: As its name suggests, task lighting is meant to light a specific
task. A lamp in the living room might light a reading area. Under-
cabinet lights in a kitchen serve as task lights for countertops.
• Accent: Accent lights are meant to highlight a particular object. You
might see them on painting.

Adding different types lighting can give your room dimension. Start with
ambient lighting in each room, then consider how you can use task and
accent lighting. Real Simple has some specific tips on how to do this in each
room.

Beyond these basics, you'll probably also want to make your home look like
your own. We've got some tips on how to do that, too. These guidelines help
you get started, but you should adjust your decorating according to your own
tastes and preferences. Use these rules to get started, but don't be afraid to
break them and go with your instincts if something feels right to you.

Look at figure 4.7 for final 2D and 3D plan created fir interior design

Figure 4.7: Final detailed 2d and 3d plan of interior design.

5 COMMUNICATION SKILLS

Communication is both an art and a science. It often involves acts of

speaking and listening, reading and writing, but it also goes beyond these and
incorporates the transmission of non-verbal language, sign language, codes
transmitted electronically, and physically (touch; hormones; muscles,
tendons, nerves), and messages communicated through music, and by other
means. Although you communicate simply by being in the world, developing
good verbal and body language skills involves learning and consciously using
your skills to improve. The act of communicating verbally serves to convey
how we feel and how we think to others. It is also the basis of how we relate
with others, using language as its medium. Increasing knowledge and
awareness of some of the components involved in effective communication
can serve to improve how we use those components personally. To explain
all the features required of good communicators, you need to delve into the
nature of verbal communication in its various modes. Basic questions are:
How can you put yourself on a path that would make you into a better
communicator? How can you develop skills to overcome some fears or
limitations?

5.1 PERSONALITY SKILLS AND DEVELOPMENT

Perhaps the most fundamental of all skills are those concerned with self-
preservation - that is, staying healthy in both body and mind. This section of
Skills You Need covers some ideas that can help you maintain a healthy
lifestyle. Our pages will also help to make sure that you are able to feel good
about yourself. Without good personal (or intra-personal) skills, you are less
likely to be able to develop good interpersonal, presentation or leadership
skills. Personal development skills are the skills you need to enable you to set
personal goals and to achieve personal empowerment.

Personal development is a lifelong process. It is a way for people to assess

their skills and qualities, consider their aims in life and set goals in order to
realize and maximize their potential.

These types of skills can be abilities we are born with, our natural talents, or
things we develop through our experiences and deliberate practice. Whether
an innate aptitude or a developed capability, knowing what our own personal
skills are is very useful in both our personal and professional lives.

A skill is the ability to do something well, a certain competence or

proficiency. Skills are typically acquired or developed through direct
experiences and training, and they can require sustained effort.

5.2 COMMUNICATION SKILLS POINTS:

Communication is the lifeblood of any organization. Whether it’s issuing

simple instructions at work, sorting out a tricky situation with a subordinate,
lifting flagging morale, working out a better way to meet productivity targets,
briefing your team on customer feedback after a product launch, or as CEO,
getting your employees to buy into your company’s vision – communication
is the pivot of any business venture, from start-up to global corporation.
Business communication differs greatly from regular communication. It
refers to communication that takes place in a work environment, and is meant
to achieve the common goal of getting the job done and doing it effectively.
Business communication could be internal, that is, within the organization
between colleagues or between departments; or it could be external, for
instance, a brand-building campaign for a company to shore up its image. It
could also include communicating with vendors, partner organizations,
prospective clients or just the public at large.

There are many career tracks that are based almost entirely on business
communication skills, such as marketing, customer care, corporate
communications, public relations, brand management, advertising and event
management.

5.3 TYPES OF COMMUNICATION SKILLS

• SPEAKING: Speaking or verbal communication is perhaps the most

frequently used way to get a message across at the workplace, and it
includes meetings, presentations, workshops, in-person interviews, and
telephonic and video conferencing.
It’s direct, it costs nothing, and it’s instant. It is also effective because it
allows the receiver to pick up on critical non-verbal cues such as facial
expressions, tone, pitch and body language.
This communication skill is best used in situations where establishing a
personal connection is important, such as conflict- resolution scenarios,
team-building exercises and while selling a product. But as more and
more businesses go global and they work with partners, clients and
customers all over the world, verbal communication is losing out to
digital platforms.

• WRITING: This is another powerful business communication skill,

which embraces the gamut from email, internal business memos, formal
letters, bulletin boards, posters, flyers, PPTs etc.
Effective writing requires careful choice of words that send out a
message cogently and accurately.
This form of communication is reliable; it can be used to reach multiple
individuals all at once; and is the best way to convey technical
information.
Since it is precise and explicit, written communication is an effective
tool to explain complex concepts and to issue instructions.
 It is unambiguous, and when the writer is articulate, he or she leaves no
room for misinterpretation.
Written communication also creates a paper trail for future reference and
it also helps the legal teams of large companies do their job.

• READING: This is tough to master simply because more and more

people, especially young people, are spending less and less time reading.
Many limit their ‘reading’ to social networking sites and instant
messaging, while reading only when absolutely necessary.
Yet, to be a successful employee, executive, manager or CEO, you need
to master the art of reading simply because at least half your business
communication is in written format. It is the better half of ‘writing’ in
the paragraph above!

• LISTENING: Perhaps the most difficult business communication skill to

practice, listening implies that you not only hear what someone is
saying but also understand the content, decode all the non-verbal signals
and filter the message without bias or prejudice.
Effective listening is a winning tool in every manager’s toolkit, for it
implies the ability to put oneself in someone else’s shoes, something
every employee craves – an empathetic ear.
Take that attitude to a much larger level and you have a company that
listens to what its clients, customers and even the competition has to
say.
A company that listens effectively is one that is open to ideas, feedback,
innovations, has good organizational relationships, is willing to correct
its mistakes and inevitable marches forward.

5.4 MANNERS AND ETIQUETTES

Good manners cost us nothing, but may win almost everything. They are the
skills of making people feel easy and comfortable. We can have better
relationships with people we know and meet in day to day life ju t by
behaving well. Courtesy, politeness or having good manners are an about
respecting others and yourself. If you show good manners everywhere you
go, then you are more likely to encourage others to behave in the same way
towards you. Good manners put others before you and are a sign of respect
and courtesy. They are practical guidelines to help you interact positively
with other people and can add to your future success in the world of work.
Manners are what is customary for the time and may differ by culture,
environment and generation. You are encouraged to pay attention and
observe what others do to determine socially appropriate response.
• Manners refers to social behavior ,How a person behaves when with
others
• You are more confident knowing what to do.
• In more formal settings, do not hesitate to extend your hand to an
adult when saying hello, using a firm grip and a quick handshake.
• If you are visiting a dignitary, politician, university professor, royalty
or military personnel, work with the adult in charge to learn the
proper protocol for addressing those individuals.
• Try not to be shy, break the ice by asking questions such as “Who is
your teacher?”•If you are on a cell phone in a public place, try to
find a quiet place you can continue the conversation or keep your
voice down so that the entire area does not have to hear your
conversation.
• Not walking away when someone gets boring, but by trying to
change the subject instead.

5.4.1 CHARACTERISTICS FOR PROSPECTIVE CLIENTS OF

MANNERS:
• Honesty: It amazes me that I have to list this as a deal breaker but
there are people out there that have no reservations about asking
for services that they have no intention of paying for. Even with
a design contract, some people will go out of their way to try
and find loopholes or will down right 'pull one over' to avoid
paying for rendered services.

• Respectfulness: Respect is essential for any relationship which is

why it is essential that when working with a professional that
you respect them as such. A good designer will take the time to
really listen to their client’s vision and make them feel heard,
likewise a good client will take the time to hear what their
designer is saying. Sure, everyone understands having to take an
 occasional call now and again but making a habit of answering
your phone or sending emails while in a design meeting is a
disservice to you and your designer.

• Courteous: You can't call your designer at all hours of the night,
ask to reschedule your appointment the day of or show up
terribly sick to a meeting and expect that your designer will
want to go the extra mile and call you back on a Sunday
morning when you're in crisis. Common courtesy is essential in
maintaining a great relationship for both designer and client (or
any relationship for that matter).

• Open Minded: One of the most fundamental benefits of working

with Client or designer is to have someone open you up to new
ideas. If you are completely fixated on what you want and are
not receptive to change, you will likely hate the interior design
process. A good designer is supposed to challenge you to some
extent and if they don't always agree with your ideas, it's not a
personal attack, they are just doing their job. There is no point
in hiring a professional interior designer if you are not open to
new ideas. Creating beautiful interiors is easy but only when
there is a cohesive relationship between designer and client.
Mutual respect and an open line of communication is essential
in any relationship. The clients that I have been the fondest over
the years are lovely people with open minds who know how to
communicate. Having sense of humor is also a plus as it makes
weathering any challenges that can arise when building or
renovating more enjoyable for all involved. Interior design is a
glamorous and sometime messy line of work but. Beautiful
Interior design is not just a destination, it's a journey and should
be enjoyed in good company.

5.5 VOICE CULTURE

• Voice Culture involves Traditional and Scientific Methods to improve

the quality of the voice. Scientific methods of voice training need to be
introduced for further improvement with our present day empirical
 methodology. The process of enriching the voice is known as voice
culture. It involves training the voice to sing or speak in a particular
desired way. It is a procedure where one learns to master one‘s voice.
This study includes traditional and scientific methods to improve the
quality of voice.
• Voice Culture is based on - Anatomy, Physiology, Psychology
• Fundamentally voice culture refers to the methodology adopted to train
or control the voice to sing effectively. The dynamism, perfect control
and freedom of the voice and the uplifting and inspiring effect of the
performance.
• The entire vocalizing mechanism involves coordinated action of various
muscles initiated by the brain combined with a sense of purpose to
express a thought or idea.―Voice culture is the coming together of an
understanding of science (to a high degree) with the physical feel of the
voice.
• Voice culture is very important for all aspiring vocalists, from beginners
to advanced practitioners.
• A beginner would face challenges very different from those faced by an
advanced student. For example, a beginner would be more focused on
singing in tune, understanding the pitch variance of various notes, and
being able to hold a note steadily amongst other things. An advanced
student faces issues such as voice fatigue, hoarseness.

5.6 BODY LANGUAGE

• As a profession’s body of knowledge and its work are inexorably linked,

the goals of this study became a set of interrelated smaller studies. The
interrelationship of these goals to achieve the purpose of the study. The
outcome of the first goal was an investigation of professionalization
literature, which underpinned the importance of an update of the interior
design profession. The fourth goal. Parallel to those two goals, there was
a need to review recent regulation of the interior design profession (the
second goal and also a component of professionalization), which is
contingent upon the public’s knowledge that interior design practice
contributes to their HSW (Health, Safety and Wealth)
• Formation and maintenance of a profession’s jurisdiction is dependent on
the profession’s ability to create and apply abstract knowledge
 Professions, including interior design, are engaged in knowledge
creation—whether or not this knowledge is defined and documented
formally in a body of knowledge, have a foundation for engagement and
service to the public and consumers.
• Communication, at its simplest, is the act of transferring information
from one place to another. It may be vocally (using voice), written
(using printed or digital media such as books, magazines, websites or
emails), visually (using logos, maps, charts or graphs) or non-verbally
(using body language, gestures and the tone and pitch of voice). In
practice, it is often a combination of several of these.

5.7 THE IMPORTANCE OF GOOD COMMUNICATION SKILLS:

Developing your communication skills can help all aspects of your life, from
your professional life to social gatherings and everything in between. The
ability to communicate information accurately, clearly and as intended, is a
vital life skill and something that should not be overlooked. It’s never too late
to work on your communication skills and by doing so, you may well find
that you improve your quality of life.

All these are examples of communication skills.

• You share quality time, chit-chatting with your family before you
leave for work;
• you use an app to call a cab as your car is in the garage;
• catch the news on your tablet in the cab while also sneaking a peek at
your face book timeline;
• Then you attend a slew of meetings at the office.
• reply to a flood of emails;
• video-conference with clients on another continent;
• let your smart phone order you lunch;
• spit some unprintable words at the moody coffee-maker in the
pantry;
• And finally share some much-needed banter with your colleagues as
you car-pool on the way back home.

Some important questions which Developing your communication skills can

help all aspects.
• What Is Business Communication? Why is it important?

Communication is the lifeblood of any organization. Whether it’s issuing

simple instructions at work, sorting out a tricky situation with a subordinate,
lifting flagging morale, working out a better way to meet productivity targets,
briefing your team on customer feedback after a product launch, or as CEO,
getting your employees to buy into your company’s vision communication is
the pivot of any business venture, from start-up to global corporation.
• Business Communication vs. General / Social Communication
Differences?

Business communication differs greatly from regular communication. It

refers to communication that takes place in a work environment, and is meant
to achieve the common goal of getting the job done and doing it effectively.

Business communication could be internal, that is, within the organization

between colleagues or between departments; or it could be external, for
instance, a brand-building campaign for a company to shore up its image.

It could also include communicating with vendors, partner organizations,

prospective clients or just the public at large.

There are many career tracks that are based almost entirely on business
communication skills, such as marketing, customer care, corporate
communications, public relations, brand management, advertising and event
management.

5.8 PRESENTATION SKILLS:

A presentation is a means of communication which can be adapted to various

speaking situations, such as talking to a group, addressing a meeting or
briefing a team. To be effective, step-by-step preparation and the method and
means of presenting the information should be carefully considered.

Presenting information clearly and effectively is a key skill to get your

message or opinion across and, today, presentation skills are required in
almost every field.

Whether you are a student, administrator or executive, if you wish to start up

your own business, apply for a grant or stand for an elected position, you may
very well be asked to make a presentation. This can be a very daunting
prospect. Our guide is designed to help.

5.8.1 PRACTICE

Naturally, you'll want to rehearse your presentation multiple times. While it

can be difficult for those with packed schedules to spare time to practice, it's
essential if you want to deliver a rousing presentation. I’m famous around the
office for staying up late the night before a big presentation, practicing over
and over. If you really want to sound great, write out your speech rather than
taking chances winging it – if you get nervous about speaking, a script is your
best friend. Try to practice where you'll be delivering your talk. Some acting
strategists suggest rehearsing lines in various positions – standing up, sitting
down, with arms open wide, on one leg, while sitting on the toilet, etc. (OK,
that last one may be optional.) The more you mix up your position and
setting, the more comfortable you'll feel with your speech. Do a practice run
for a friend or colleague, or try recording your presentation and playing it
back to evaluate which areas need work? Listening to recordings of your past
talks can clue you in to bad habits you may be unaware of, as well as
inspiring the age-old question: "Is that what I really sound like?"

5.8.2 TRANSFORM NERVOUS ENERGY INTO ENTHUSIASM

It may sound strange, but I'll often down an energy drink and blast hip-hop
music in my earphones before presenting. Why? It pumps me up and helps
me turn jitters into focused enthusiasm. Studies have shown that an
enthusiastic speech can win out over an eloquent one, and since I'm not
exactly the Winston Churchill of presenters, I make sure that I'm as
enthusiastic and energetic as possible before going on stage. Of course,
individuals respond differently to caffeine overload, so know your own body
before guzzling those monster energy drinks.
5.8.3 ATTEND OTHER PRESENTATIONS

If you're giving a talk as part of a conference, try to attend some of the earlier
talks by other presenters to scope out their presentation skills and get some
context. This shows respect for your fellow presenters while also giving you
a chance to feel out the audience. What's the mood of the crowd? Are folks in
the mood to laugh or are they a bit stiffer? Are the presentations more
strategic or tactical in nature? Another speaker may also say something that
you can play off of later in your own presentation.

5.8.4 ARRIVE EARLY

It's always best to allow yourself plenty of time to settle in before your talk.
Extra time ensures you won't be late (even if Google Maps shuts down) and
gives you plenty of time to get adapted to your presentation space.

5.8.5 ADJUST TO YOUR SURROUNDINGS

The more adjusted to your environment you are, the more comfortable you'll
feel. Make sure to spend some in the room where you will be delivering your
presentation. If possible, practice with the microphone and lighting, make
sure you understand the seating and be aware of any distractions potentially
posed by the venue (e.g., a noisy road outside).

5.8.6 MEET AND GREET

Do your best to chat with people before your presentation. Talking with
audiences makes you seem more likeable and approachable. Ask event
attendees questions and take in their responses. They may even give you
some inspiration to weave into your talk.

5.8.7 USE POSITIVE VISUALIZATION:

Whether or not you’re a Zen master, know that plenty of studies have proven
the effectiveness of positive visualization. When we imagine a positive
outcome to a scenario in our mind, it's more likely to play out the way we
envision. Instead of thinking "I'm going to be terrible out there" and
visualizing yourself throwing up mid-presentation, imagine yourself getting
tons of laughs while presenting with the enthusiasm of Jimmy Fallon and the
poise of Audrey Hepburn (the charm of George Clooney wouldn't hurt
either). Positive thoughts can be incredibly effective – give them a shot.

5.8.8 REMEMBER THAT MOST AUDIENCES ARE SYMPATHETIC:

One of the hardest fears to shake when speaking in public is that the audience
is secretly waiting to laugh at your missteps or mistakes. Fortunately, this
isn’t the case in the vast majority of presentations. The audience wants to see
you succeed. In fact, many people have a fear of public speaking, so even if
the audience seems indifferent, the chances are pretty good that most people
listening to your presentation can relate to how nerve-racking it can be. If you
start to feel nervous, remind yourself that the audience gets it, and actually
wants to see you nail it.

5.8.9 TAKE DEEP BREATHS

The go-to advice for jitters has truth to it. When we're nervous, our muscles
tighten--you may even catch yourself holding your breath. Instead, go ahead
and take those deep breaths to get oxygen to your brain and relax your body.

5.8.10SMILE

Smiling increases endorphins, replacing anxiety with calm and making you
feel good about your presentation. Smiling also exhibits confidence and
enthusiasm to the crowd. And this tip works even if you're doing a webinar
and people can't see you.

5.8.11WORK ON YOUR PAUSES

When you're nervous, it's easy to speed up your presentation and end up
talking too fast, which in turn causes you to run out of breath, get more
nervous, and panic! Ahh! Don't be afraid to slow down and use pauses in
your speech. Pausing can be used to emphasize certain points and to help
your talk feel more conversational. If you feel yourself losing control of your
pacing, just take a nice pause and keep cool.

5.8.12ACTIVELY ENGAGE THE AUDIENCE.

People love to talk and make their opinions heard, but the nature of
presentations can often seem like a one-sided proposition. It doesn’t have to
be, though.
Asking the audience what they think, inviting questions, and other means of
welcoming audience participation can boost engagement and make attendees
feel like a part of a conversation. It also makes you, the presenter, seem much
more relatable. Consider starting with a poll or survey. Don’t be put off by
unexpected questions – instead, see them as an opportunity to give your
audience what they want.

5.8.13ADMIT YOU DON’T HAVE ALL THE ANSWERS

Very few presenters are willing to publicly concede that they don’t actually
know everything because they feel it undermines their authority. However,
since we all know that nobody can ever know everything about a given topic,
admitting so in a presentation can actually improve your credibility.

When you follow all the advices given in this chapter, you are bound to come
up as a successful interior designer.

All the Best!

--- End of the Handbook ---