DesignBuildAntepreneur

Week 1) Aesthetics and Taste

Week 2) Material Intelligence
Week 3) Space Planning
Week 4) Cost Estimates

1
Aesthetics and Taste
Author Vikas Andani Date 16.04.2020 1
DesignBuildAntepreneur Subject : 1 Aesthetics and Taste

Chapter Contents

1.Basic overview.
2.Elements and Principles of design.
3.Human scale and proportions.
4.Basics of planning.
5.Major styles in interior design.
6.Principles of lighting
7.Moodboards and compositions.

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Teacher Vikas Andani Date 16.04.2020 2
DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 1 Basic Overview.

BASIC OVERVIEW
• 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. Designs must adhere to code and regulatory requirements, and
encourage the principles of environmental sustainability. 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

BASICS OF INTERIOR DESIGN

Interior design includes a scope of services performed by a professional design practitioner, qualified by
means of education, experience, and examination, to protect and enhance the life, health, safety and
welfare of the public. These services may include any or all of the following tasks:
• Research and analysis of the client’s goals and requirements; and development of documents,
drawings and diagrams that outline those needs;
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• Formulation of preliminary space plans and two- and three-dimensional design concept studies and
sketches that integrate the client’s program needs and are based on knowledge of the principles of
interior design and theories of human behavior.
• Confirmation that preliminary space plans and design concepts are safe, functional, aesthetically
appropriate, and meet all public health, safety and welfare requirements, including code, accessibility,
environmental, and sustainability guidelines.
• Selection of colors, materials and finishes to appropriately convey the design concept, and to meet
socio-psychological, functional, maintenance, life-cycle performance, environmental, and safety
requirements.
• Selection and specification of furniture, fixtures, equipment and millwork, including layout drawings
and detailed product description; and provision of contract documentation to facilitate pricing,
procurement and installation of furniture.
• Coordination and collaboration with other allied design professionals who may be retained to provide
consulting services, including but not limited to architects; structural, mechanical and electrical
engineers, and various specialty consultants.
• Observation and reporting on the implementation of projects while in progress and upon completion,
as a representative of and on behalf of the client; and conducting post-occupancy evaluation reports

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 1 Basic Overview.

VARIOUS STAGES OF A
PROJECT

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 1 Basic Overview.

ESTIMATION & SPECIFICATION

• Estimation is a tool for planning and controlling the construction activity of any project with respect
to quality, time and finance.
• Estimation is a forecast of probable cost of any project. Before undertaking any work or project it is
necessary to know the probable cost of the project which was found by the estimation. The primary
object of an estimation is to enable to know the cost of work before the work start. The actual cost
is known only after the work completed
TYPES OF ESTIMATES
• Preliminary Estimate
• Plinth Area Estimate
• Cube Rate Estimate
• Approximate Quantity Method Estimate
• Detailed Estimate
• Revised Estimate
• Supplementary Estimate
• Annual Repair or Maintenance Estimate
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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

ELEMENTS AND PRINCIPLES OF DESIGN

• You’re probably wondering what makes good design and how you can create visual materials
that stand out. While no one can answer this question in just one paragraph, you should know
that there are a few elements and principles of design that can make your work much more
manageable.
• The elements of design are the parts that define the visual, the tools and components that a
person uses to create a composition. In other words, they represent the base of graphic design.
• The principles of design, on the other hand, are all about how a person uses the elements to
create a visual and convey a message.
• These elements and principles of design represent a set of guidelines that have the purpose of
helping you create aesthetically pleasing visuals.
• The most significant difference between elements and principles is that the latter can be
labeled as rules, while elements are the components that are going to help you follow those
rules for the best design outcome.

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

ELEMENTS OF DESIGN:

1.POINT
• A point is the smallest and most basic element of
design and it can be used alone or as a unit in a group
(forming a line or a shape). It has position, but no
extension, it is a single mark in a space with a precise
and limited location and it provides a powerful
relation between positive and negative space.

2.LINE
• If we place many points one next to the other we
obtain a line, which can have length and direction, but
no depth. Lines, besides to be used to create a shape,
can be used to create perspective and dominant
directional lines (which create a sense of continuance
in a composition). Also, they can be grouped to create
a sense of value, density or texture. Author Vikas Andani Date 16.04.2020 8
DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

3.SHAPE
• Shape is an element defined by its perimeter, a closed
contour. It is the area that is contained within implied
line and it has have two dimensions: height and width.
A shape can be geometric (triangle, square, circle,
etc.), realistic (animal, human, etc.) or abstract (icons,
stylizations, etc.).

4.FORM
• The Form is derived from the combination of point,
line and shape. A form describe volume, the 3D aspect
of an object that take up space and it can be viewed
from any angle (a cube, a sphere, etc.), it has width,
height and depth.

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

5.COLOR
• The color is the response of the eye to differing wavelengths of radiation within the visible
spectrum. Colors are used to generate emotions, define hierarchy, create interest, etc. There
are many different kinds of color systems and theories but we will focus on the 3 properties:
Hue, Value and Saturation.
• Hue: is the color name.
• Value: it refers to the lightness or darkness, to how close to black or white the Hue is.
• Saturation: It refers to the intensity of a hue, the less gray a color has in it, the more Chroma it
has.

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

6.TEXTURE
• Texture is the surface quality (simulated and/or actual)
that can be seen and felt, can be rough or smooth, soft
or hard, etc. It exists as a surface we can feel, but also
as a surface we can see and imagine the sensation we
might have if we touch it, is both a tactile and a visual
phenomenon.

7.SPACE
• Is the area between and around objects (negative
space) but it also refers to variations in the perspective
and proportions of objects, lines or shapes and it is
used for the comparative relation between different
objects or areas. The real space is three dimensional,
but in Design when we create the feeling of depth we
call it space.
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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

PRINCIPLES OF DESIGN:
• The principles of design combine the elements to create a composition, they are the guidelines
used to arrange the elements. Each principle is a concept used to organize or arrange the
structural elements of a design and it applies to each element of a composition and to the
composition as a whole. Again, without turning to a specific discipline, we can say that the basic
Design Principles are composed by:

1.BALANCE
• Balance is the concept of visual equilibrium of similar,
opposing, or contrasting elements that together create
a unified whole. It refers to the appropriate
arrangement of the objects in a design to create the
impression of equality in weight or importance. It
comes in 2 forms: Symmetrical (when the weight of a
composition is evenly distributed around a central
vertical or horizontal axis) and Asymmetrical (when
the weight of a composition is not evenly distributed
around a central axis). Author Vikas Andani Date 16.04.2020 12
DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

2.EMPHASIS
• It marks the location in a composition which most
strongly draw the viewer attention, it is also referred
as the focal point. It is the most important area or
object when compared to the other objects or areas in
a composition.

3.MOVEMENT
• Is the visual flow through the composition, where
(depending on the elements placement) the designer
can direct the viewer´s eye over the surface of the
design. The movement can be directed along edges,
shapes, lines, color, etc and the purpose of movement
is to create unity with eye travel. By arranging the
composition elements in a certain way, a designer can
control and force the movement of the viewer's eyes in
and around the composition.
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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

4.PATTERN
• An object or symbol that repeats in the design is a
pattern. It can be a pattern with a precise and regular
repetition or an alternate pattern, which uses more
than a single object or form of repetition. We can say
that is simply keeping your design in a certain format.

5.REPETITION
• Repetition creates unity and consistency in the
composition; it is the reuse of the same, similar or
different objects throughout the design. The repetition
can be irregular, regular, uneven or even and can be in
the form of Radiation (where the repeated elements
spread out from a central point) or Gradation (where
the repeated elements become smaller or larger).

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

6.PROPORTION
• Proportion is the comparative relationship in between two
or more elements in a composition with respect to size,
color, quantity, degree, etc, or between a whole object and
one of its parts. The purpose of the proportion principle is
to create a sense that has order between the elements
used and to have a visual construction; and it can occur in
two ways: Harmonious (when the elements are in
proportion) or Unbalanced (when the disproportion is
forced).
7.RHYTHM
• Rhythm is the alternation or repetition of elements with
defined intervals between them, it creates a sense of
movement and it is used to establish a pattern and/or a
texture. There can be 3 different types of rhythm: Regular, 0
Flowing or Progressive. The Regular rhythm occurs when
the intervals between elements are similar, the Flowing
rhythm gives a sense of movement while the Progressive
rhythm shows a sequence of forms through a progression
of steps. Author Vikas Andani Date 16.04.2020 15
DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

8.VARIETY
• Variety is the principle that refers to the combination of
elements in an intricate and complex relationship using
different values, lines, textures, shapes, hues, etc. It is
complementary to unity and often needed to create visual
interest or to call the attention to a specific area in the
composition.
9.UNITY
• Unity it is used to describe the relationship between the
individual elements and the whole of a composition
(which creates a sense of completeness, that all of the
parts belong together).Three of the most well-known
concepts of this theory are the Closure (is the idea that the
brain tends to fill in missing information when it perceives
an object is missing some of its pieces), Continuance (is 0
the idea that once you begin looking in one direction, you
will continue to do so until something more significant
catches your attention) and Similarity, Proximity and
Alignment (is the idea that elements of similar size, shape
and color tend to be grouped together by the brain).
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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 2 Elements & Priniciples of design.

EXAMPLES
• In the following quick examples, you may notice how the Elements and Principles of Design are
combined. The following examples do not pretend to be a complex explanation of the multiple
possible combinations, but to serve as an easy visual example of how the elements and
principles work together.

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 3 Human Scale & Proportion.

HUMAN SCALE AND PROPORTION

• Humans interact with their environments based on their physical
dimensions, capabilities and limits. The field
of anthropometrics (human measurement) has unanswered
questions, but it's still true that human physical characteristics
are fairly predictable and objectively measurable. Buildings
scaled to human physical capabilities have steps, doorways,
railings, work surfaces, seating, shelves, fixtures, walking
distances, and other features that fit well to the average person.
• Humans also interact with their environments based on their
sensory capabilities. The fields of human perception systems,
like perceptual psychology and cognitive psychology, are not
exact sciences, because human information processing is not a
purely physical act, and because perception is affected by cultural
factors, personal preferences, experiences, and expectations. So The Vitruvian Man, by Italian polymath Leonardo Da Vinci,
human scale in architecture can also describe buildings with is based on the correlations of ideal human proportions
with geometry described by the ancient Roman
sightlines, acoustic properties, task lighting, ambient lighting, and architect Vitruvius.

spatial grammar that fit well with human senses.

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 3 Human Scale & Proportion.

WHAT ARE SCALE AND PROPORTION?

• 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.
• Proportion is a word often used interchangeably with scale although there is one subtle
difference between the two definitions. While the word scale implies the comparison of objects
where the actual size of one object is known, proportion relates to the general size of two objects
without information regarding their actual sizes (or scales). While scale is more absolute,
proportion is truly relative and requires the interior designer to understand the interactions
between objects within a 3 dimensional space. For most designers, it’s a difficult thing to explain
when objects in a room are in proportion – this is what we refer to as having “an eye for design”.
There is no right or wrong when it comes to this application of proportion. As it can alter the way
our spaces look and feel, getting proportion “right” all depends on the intent of the designer.

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 3 Human Scale & Proportion.

EXAMPLES
• The first diagram explains that scale is based on a known object such as human scale or the
scale of an object, such as a chair. Say you have an existing chair in your space that you know
the size of, take that size and scale your other furniture pieces to match to avoid a piece not
being too bulky or a piece looking to small.

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 3 Human Scale & Proportion.

• For this large space on the

right, the designer kept in
mind the scale of the
furniture pieces to the size of
the room. Larger more
substantial sofas and tables
are used to fill the space.

• This room is just lovely. The

designer created an intimate
seating arrangement and
made sure that the
proportions of each piece is
harmonious with the
remaining pieces to allow for a
welcoming, comfortable
atmosphere.
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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

MAJOR STYLES IN INTERIOR DESIGN

• A significant challenge many of our clients face is a lack of understanding or vocabulary

to describe and define their personal interior design style. With an abundance of unique
design styles, it can be daunting to decipher which style will work best for you. Some also
enjoy combining elements of several styles to create their ideal look.

• A great starting point for an interior design project is to learn a bit about each of the
styles and how they differ from one another.

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

A.MODERN

• These sleek interiors are open and airy, with

minimal clutter. Simple color schemes are
chosen for walls, ceilings, doors, cabinets, and
light fixtures. A neutral palette using grey,
cream, white, or black is most often used.
However, colorful palettes can be used to
create a bolder appearance if desired.
Regardless of the color palette, the variation of
colors used is kept to a minimum for a given
space.

• This interior design style uses functional

decorations like light fixtures. Unique, yet
minimalist, light fixtures add to the appearance
of the space without cluttering it or distracting
from the other incorporated elements. Often
times, Scandinavian light fixture designs are
mimicked. Image showing xyz
Source :

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

B.CONTEMPORARY

• This style overlaps with modern, but has its

own defining characteristics. Contemporary
interior design is much more a reflection of
“current” decor. The look is never outdated or
overstated in appearance, but instead takes on
a refined and approachable appearance.

• Natural textures, materials, and colors are key

elements to pulling off this look. It relies heavily
on traditional materials like stained woods.
These interiors have a soft aesthetic and use
warm lighting to create an inviting atmosphere.

• Perhaps the biggest of strength of

contemporary is that it’s able to evolve while
maintaining a classic aesthetic. Therefore, a
space designed in this style can easily be
updated without making major changes to its Image showing xyz
appearance. Source :

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

C.MINIMALIST

• Minimalism has become very popular in recent

years. It’s a style based on efficiency and
practicality. Colors for ceilings, cabinetry, and
floors are generally muted tones, white and
grey are commonly used for walls. Lighting is
purely functional and never overly decorative.
Minimalist design works well for both small and
large spaces. Generally, this design is popular
for open-floor plans and works well with
natural lighting.

• This interior design style is popular amongst

younger generations and are ideal for
individuals who don’t spend much time at
home.

Image showing xyz

Source :

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

D.MID-CENTURY MODERN

• Mid-century modern is a throwback to the

design style of the mid-1900s—primarily the
1950s and 60s. There’s a retro nostalgia present
in Mid-Century Modern Design, and also some
elements of minimalism. Functionality or
“fussy-free” was the main theme for Mid-
century design. It emphasis on pared-down
forms, natural or organic shapes such as “egg-
shaped” chair, easy-to-use contemporary
designs and simple fabrications. It easily
complements any interior and also helps with
seamless transition from interior to exterior.

• The look incorporates flat-faced cabinetry with

simple handles, hardwood floors, and retro
light fixtures to create a nostalgic atmosphere.
Furniture and decor should be kept to a
minimal and hints of the present era should Image showing xyz
accent the mid-century aesthetic. Source :

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

E.INDUSTRIAL

• This style pairs a “raw” aesthetic with utilitarian

installations and lighting. Minimal furnishings
are used to achieve this look and quite often
composed of salvaged items. Or, the items can
take on the appearance and textures of
salvaged materials. Reclaimed wood and metal
are popular elements for this design style.

• Older buildings and warehouse styled spaces

carry this interior design style well. Open-floor
plans, brick walls, and concrete floors are often
incorporated into this design style. In addition,
metal cabinetry and exposed ceiling beams
further enhance this unfinished look.

Image showing xyz

Source :

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

F.BOHEMIAN

• This style stands on its own but is comparable

to an eclectic style. It borrows and fuses
elements from other styles in a successful
manner. It’s a style that borrows from the East,
with large Mediterranean archways and
sometimes ornate decorative metal work on
cabinetry, doors, or mantles. It incorporates
bold colors, patterns, and elegance with a
touch of rustic flair.

• Bohemian is so freeing, because it allows

homeowners to mix and match with playful
variety. However, there is always a balance to
be maintained. When it comes to this design
style, a neutral base is key to adding in bolder
elements. For instance, boldly colored and
patterned tile flooring should be offset by
neutrally painted walls. By following this rule, Image showing xyz
you’ll avoid creating a chaotic and over Source :

decorated space. Author Vikas Andani Date 16.04.2020 28

DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

G.RUSTIC

• Rough-hewn wooden ceiling beams, unpolished

barn-wood floors, and warm low lighting,
theses are all characteristics of what you’ll
encounter in a truly rustic home. Traditionally,
this is a style that is represented by cabins and
farmhouses.

• Today, elements from this style are being used

in more “current” homes. Custom barn-wood
features for cabinets and shelving add a rustic
country-side charm to interior spaces. Rustic
metal and clean iron are used as accent
materials, but the main focus remains on
weathered wood. Driftwood, barn-wood,
reclaimed wood, or wood that has been altered
to appear weathered can be incorporated into
this interior design style.
Image showing xyz
Source :

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

H.VICTORIAN

• This style works well with older Victorian

homes and for homeowner’s who love
antiques. It’s a luxurious and elegant taste that
is anything but simple or utilitarian. This
interior design style uses deep rich, dark color
palates and bold patterns. The walls are
commonly covered in patterned bold wall
paper and the floors are built from dark-hued
solid wood. Stained wood and large windows
are popular in Victorian homes, while dramatic
chandeliers and large fireplaces are also not
uncommon.

• This era of design predates many of the more

simplistic, no frill designs that are popular
today. However, elements from this style
remain popular and are often incorporated into
home design in a functional fashion. Image showing xyz
Source :

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

I.TRADITIONAL

• Traditional design style offers classic details,

sumptuous furnishings, and an abundance of
accessories. It is rooted in European
sensibilities.

• Traditional homes often feature dark, finished

wood, rich colour palettes, and a variety of
textures and curved lines. Furnishings have
elaborate and ornate details and fabrics, like
velvet, silk and brocade, which may include a
variety of patterns and textures.
There’s depth, layering and dimensionality
within most traditional designs.

Image showing xyz

Source :

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 5 Major styles in interior design.

J.ART DECO

• Art Deco has a unique and distinct appearance

pulling from the parlor style of the 1920s and
the contemporary art world. In the early 1900s,
this style became quite popular in Europe and
the United States. Influenced heavily by Art
Nouveau and Cubism, it’s an artistic and
streamlined style.

• What makes Art Deco interiors most unique is

the variation in materials used. Stained glass,
jade, ivory, granite, and chrome can all be
found incorporated into this style. Commonly,
these materials are used as ornamental details
in counters, cabinets, doors, and windows.
Tiled flooring and walls are a signature
statement of this interior design style.

Image showing xyz

Source :

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 6 Principles of Lighting.

INTRODUCTION
• Light is something that everyone is familiar with. It comes from many sources, the main
one being our sun, and it provides us with the energy needed for life. Without it, life as we
know it would not exist.
• Most of the information we receive about our surroundings is provided by our eyes, We
live in a visual world. The eye is the most important sense organ in the human body,
handling around 80% of all incoming information. Without light, that would be impossible
• Light is the medium that makes visual perception possible. Insufficient light or darkness
gives rise to a sense of insecurity. We lack information, we lose vital bearings. Artificial
lighting during the hours of darkness makes us feel safe. So light not only enables us to
see, it also affects our mood and sense of wellbeing.
• It is necessary to consider and design the lighting in conjunction with all your interior
design selections as without lighting you will not be able to view your hard work. Therefore
paying close attention to lighting will be very valuable in creating your new environments.

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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 6 Principles of Lighting.

THE PURPOSE OF LIGHT

• We use light in buildings for the following reasons:
To carry out tasks or work -reading writing operating equipment.
To create an area of comfort or an amenity – this is general lighting to live with either by daylight or
artificial light and direct sunlight.
To create effects for aesthetics – displays, artwork, shadows definition.
To ensure safety – ensuring appropriate lighting levels for all those using the facility.
WHAT IS LIGHT?
• Light is a form of electromagnetic energy, and visible light is part of that electromagnetic spectrum.
Light is transmitted in waves the same as radio, radar and TV but of a particular size or wavelength.
• Each color of light has its own wavelength in the electromagnetic spectrum. When all the colors are
combined we get a mixture recognized as white light. If this light is shone through a glass prism then
the white light is separated into the colors of the spectrum. It is important to understand this when
dealing with lighting as different types of light give off different colors or combinations of colors. The
average midday sun appears to have all the colors in it while artificial light can only approximate it.
• Think of the different types of light that you get at varying times of the day such as early morning or
dusk. All visible artificial light is within the violet to red spectrum range, however varying types of
artificial light concentrate on different parts of the spectrum.
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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 6 Principles of Lighting.

• For example, low-pressure sodium lamps emit their light in the narrow part of the
spectrum that gives an intense orange yellow light and therefore distorts the color of all
non-yellow objects, so to design the right environment, the correct lamp selection for the
situation or environment is most important.

HOW WE SEE COLOR?

• The eye responds differently to different colors. It responds best to the green yellow area
of the spectrum and less to the blue violet or red ends. If you think about it this also
relates to moods; a bright room creates a sense of well being and happiness while a dark
room creates a somber mood. To understand how color is seen take the view that colors
are in the light and not the object. When light falls on an object its surface will absorb
some colors and reflect the rest. The colors that we see are those that are reflected. E.g.
green objects reflect green light but absorb the rest and blue objects reflect blue light
while absorbing the rest. Black objects absorb all light and white objects reflect all light.
You will note that it is almost impossible to get a true black or a true white. Take care not
to be confused with mirror which forms images by reflection. If you focus on light and color
this way then you will understand the importance of illumination and how it renders and
colors an object or the space it is illuminating.
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DesignBuildAntepreneur Subject : 1 Aesthetics and Taste Chapter : 6 Principles of Lighting.

LIGHTING TERMS
1.Illuminance
• Illuminance is the brightness of an object, or the strength of the light reflected from it. The
greater the luminance, the stronger the visual stimulation, and the easier the object is to see.

2.Glare
• Glare is one of the most disturbing side-effects of lighting. Direct glare caused by marked
contrast differences between very bright and very dark surfaces or due to unshielded lamps
in our line of vision place a strain on our eyes and lead to fatigue and mistakes through loss
of concentration. To avoid direct glare from lamps, care should be taken to select only
luminaries which are suitable for workplace lighting.

3.Shadowing
• Where there is light, there is also shadow. To ensure that shadows do not impede our view
when writing, the light should fall - for a right-handed person- from the left . If the light
comes from the right, we write in the shadow of our own hand..

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4.Color temperature
• The color of the light source. By convention, yellow-red colors (like the flames of a fire) are
considered warm and blue-green colors (like light from an overcast sky) are considered cool.
Color temperature is measured in Kelvin(K) temperature. Confusingly, higher Kelvin temperature
(36005500K)are what we consider cool and lower color temperatures (2700–3000 K) are
considered warm. Cool light is preferred for visual tasks because it produces higher contrast than
warm light. Warm light is preferred for living spaces, because it is more flattering to skin tones
and clothing. A color temperature of 2700–3600 K is generally recommended for most indoor
general and task lighting applications.

5.Color rendition
• How colors appear when illuminated by a light source. Color rendition is generally considered to
be a more important lighting quality than color temperature. Most objects are not a single color,
but a combination of many colors. Light sources that are deficient in certain colors may change
the apparent color of an object.

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UNITS OF MEASUREMENT.
i. Candela
• This is the initial unit of light specification. It is the luminous intensity. One candela is defined as a
small white-hot cavity. It is actually equal to about 1 large wax candle. (Hence candela /candle).
To illustrate the intensity some examples are given below.
Simple Torch bulb – 1 candela
60-Watt tungsten bulb – 50 candela
Twin tube fluorescent tube – 400 candela.

ii. Lumen
• This expresses the quantity of the light. (Luminous flux) e.g. 1 candle gives of 1 candela of light
but that light goes in all directions so the total quantity of light is measured by the amount that is
given in all directions.
Bicycle lamp – 10 Lumens
150-Watt spot lamp (tungsten) – 2,000 lumens
140-Watt sodium street lamp (emission) – 13,000 lumens.
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iii. Lux
• This is the measurement that is used to measure the illumination of a surface. (Light on the
surface). E.g. 1 lux is provided when a luminous flux of 1 lumen falls on each square meter.
A general living room in a house – 50 lux
Offices workbenches studios – 500 lux
Under overcast sky – 5,000 lux
Under direct sunlight – 50,000 lux

• The quantity of light is not all-important. Good lighting is made up from many
things:
The amount of light.
The color of the light.
The light source.
How it models the object and how glare is controlled.

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TYPES OF LIGHTING SOURCES.

1.Daylighting
• Day lighting is the complete process of designing buildings to utilize natural Light to its fullest.
It includes all of the following activities.
• Because day lighting practice involves fundamental architectural considerations, it is difficult
to undertake once the building has been designed, or, in the case of an interior design project
or tenant improvement, almost impossible to carry out.
• Day lighting is an excellent light source for almost all interior spaces. It is best for offices,
schools, and workspaces requiring a lot of light and for public spaces such as malls, airports,
and institutions. Windows, skylights, and other forms of fenestration are used to bring daylight
into the interiors of buildings. Daylight is highly desirable as a light source because people
respond positively to it.
2.Artificial lighting.
• Artificial light is human-made and can emanate from sources including fire, candlelight,
gaslight, electric lamps and so on. Today however, the term 'artificial lighting' generally refers
to lighting that emanates from electric lamps. The term ‘lamp’ refers specifically to
a light source, typically comprising a light-emitting element contained within an outer
container (bulb or tube) which emits radiation within the visible spectrum.
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3.Luminaires
• A luminaire is any device that includes a lamp holder and the means of electrification and
support for that device. Lighting fixtures are luminaires that are permanently attached to a
building. In other words, a table lamp is a luminaire but not a fixture.
Luminaires are characterized by the manner in which light is distributed:
• Direct luminaries emit light downward. These include most types of recessed lighting, including
down lights and troffers.
• Indirect luminaires emit light upward, bouncing light from the ceiling into a space. These
include many styles of suspended luminaires, sconces, and some portable lamps
• Diffuse luminaires emit light in all directions uniformly. These include most types of bare lamps,
globes, chandeliers, and some table and floor lamps.
• Direct/indirect luminaires emit light upward and downward but not to the side. These include
many types of suspended luminaires as well as some table and floor lamps. Note that
direct/indirect luminaires can be semi direct or semi-indirect according to the proportions of up
and down light.
• Asymmetric luminaires are usually designed for special applications. Asymmetric uplights, for
instance, are indirect luminaires with a stronger distribution in one direction, such as away from
a wall. Wallwashers are a form of direct luminaire with stronger distribution to one side so as to
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CONCEPTS OF APPLICATION
1.Ambient lighting
• Ambient lighting is also called general lighting, and it's the most basic
of the three types of lighting. It's the natural light from your windows,
and the lighting that substitutes for natural light.
• Among the fixtures that provide ambient lighting are:
Chandeliers and other ceiling fixtures
Light kits on ceiling fans
Track lighting
Recessed ceiling lights
Wall sconces providing enough light to do more than spotlight an area
• Most people understand the need for ambient lighting, but too many
stop there. Ambient lighting is just the base, upon which you must
add the other two layers of lighting.

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2.Task lighting
• Task lighting is just what it sounds like: it's the light you need
to perform tasks―reading, studying, cooking, applying
makeup, etc.

• Among the fixtures that provide task lighting are:

Table lamps
Desk lamps
Swing arm lamps
Under counter lights
Pendant lights
Directed track or recessed lights
Vanity lights
Adjustable floor lamps

• Before you select task lighting, make of list of the activities

you need to perform in each room.
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3.Accent lighting
• In addition to providing atmosphere and influencing
mood, accent lighting is used to highlight architectural
features and important objects, and to draw attention
away from the things that aren't as pleasing. Even though
accent lighting can disguise decorating blunders, it's the
most often-forgotten of the three types of lighting.
• Among the fixtures that provide task lighting are:
Can lights and uplights
Picture lights
Candlelight
Directed track or recessed lights
Niche lighting
Chandeliers with dimmer switches
Wall sconces
Lighting inside glass or wire door cabinets
• Notice that chandeliers and wall sconces can double as
accent lighting. Track and recessed lighting can function as
any of the three layers of lighting, depending on how you
direct them.
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