Interior Design

Studio-III

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 INDEX

Content Pages

Unit - I ............................................................................................................................................ 4
Lesson-1: Nature of Good Design .................................................................................................. 5
Lesson-2: Introduction of an Office Design ................................................................................. 10

Unit - II ........................................................................................................................................ 17
Lesson-3: Requirements Of Advertising Office In General ......................................................... 18
Lesson-4: Office Spaces ............................................................................................................... 20

Unit – III ...................................................................................................................................... 27

Lesson-5: Procedure Of Design .................................................................................................... 28
Lesson-6: Measurement ................................................................................................................ 36
Lesson-7: Space Planning In Office Areas ................................................................................... 43

Unit-IV ......................................................................................................................................... 53
Lesson-8: Drawing Methods ......................................................................................................... 54
Lesson-9: Plan, Elevations, Selections And Views Along With Details ...................................... 69

Unit – V ........................................................................................................................................ 79
Lesson-10: Colour Scheme ........................................................................................................... 80
Lesson-11: Specification Of Commercial Furniture ..................................................................... 89
Lesson-12: A Brief Of Type Of Lighting ................................................................................... 104
Lesson-13: Surfaces And Finishes ................................................................................................ 98
Lesson-14: Final Presentation ..................................................................................................... 112

Books For Further Reference .................................................................................................. 114

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 Unit - I

Lesson-1: Nature of Good Design

Lesson-2: Introduction of an Office Design

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 Lesson - 1: Nature of Good Design
Structure:
1.1 Introduction
1.2 Control in Design
1.3 Aping the West
1.4 Obsession with Off-White Colour Schemes
1.5 Emphasis on Composition
1.6 Imitating the Foreign Designers
1.7 Shortcomings of Indian Designers
1.8 Causes of Bad Design
1.9 Criterion of Taste
1.10 Criterion of Fashion
1.11 Criterion of Beauty
1.12 Criterion of Style

1.1 INTRODUCTION

In this advanced age of interior design, one finds that taste has been sacrificed at the altar of style
and so called modernity.

Improper Use of Metals

The large quantity of stainless steel utilised in

every item of furniture, gives an overall
impression of a small industrial area rather
than a dwelling. Even the small quantity of
wood and veneer used are melamine polished,
resulting in plastic effect. Entering such an
apartment, gives one the impression that there
is very little to choose from between these
apartments and the electronic aids like TVs,
video recorders and refrigerators, that are part
and parcel of every home.

Such heavy and indiscriminate use of metals is justified in designing machines. But interior
designers are entrusted with designing a place to work in, to live in for human beings with
feelings that separate humans from machines.

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1.2 Controls in Design

This does not mean that we should not use these materials but only wish to stress that they
should be used with great control or else the materials would control the designer, a very
common occurrence. Compared to these, wood has a soft appearance, and is much more soothing
to the eye than stainless steel. Wood used generously in furniture calms the owner and viewer
and is a great material to use, though sadly neglected by many designers. Wood treated with wax
or linseed oil or plain polish can enhance the atmosphere of any interior. Surprisingly, nowadays
the wood is made to look like plastic and the plastic is made to look like wood.

1.3 Aping the West

An aspect of interior design in India

today is the aping of the Western
styles and modes without realizing that
their use of materials is based upon
climatic and social conditions
prevalent there. A case in point is the
uninhibited and other vulgar use of
rexine in favour of more traditional
tapestry and leather. Soft and cozy
tapestry and leather is richer and the
elegance of such materials cannot be
matched by rexine. If leather and
rexine are compared, you would notice that leather breathes while rexine does not. Leather
produces warmth while rexine produces great heat, undesirable in a tropical country like India.

The introduction of artificial plants in interiors is exactly like keeping a large size doll, instead of
a kid in the house. The satisfaction you feel in seeing the plants growing, breathing, falling ill
sharing happiness, enjoyment in taking care of them, will never be obtained from the artificial
plants.

1.4 Obsession with Off-White Colour Schemes

An unhealthy trend in today‟s designing is the large scale use of an off-white colour scheme in
combination with dark coloured wood and other accessories. Interior designers should let their
creativity bloom and adventurously experiment with various colours in vibrant combinations. For
those of us, who are not creatively wellendowed, there is a large number of excellent text books

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available. Interesting colour combinations can enliven a house or office as probably no item of
furniture or furnishings can.

Off-white colour schemes probably help only in shops where with such colour schemes
prominence can be given to the colourful items on display and sale.

1.5 Emphasis on Composition

Similarly, artistic composition and artistic touch give life to the interiors. You will find the
buildings of le Corbusier are lively due to their artistic composition in their elevation. American
build!ng bye-laws have a condition of approval that one per cent of the total development cost
should be spend on artistic element such as sculpture, garden, fountain, painting, etc. Imagine
one per cent of the total development cost in the USA must be a stupendous amount.

1.6 Imitating the Foreign Designers

As in the cultural and social areas of our life, today, we blindly copy interior design from foreign
sources. No considerations are paid to their climatic condi tions, architectural character of the
place, greater. average height of western people and their labour problems, necessitating mass
produced furniture.

1.7 Shortcomings of Indian Designers

One basic fact ignored by the vast majority of

designers inlndia is that designs are unlimited
and interior designs are like a kaleidoscope,
turn it once and new designs are seen. But
while turning the kaleidoscope, you must
think of function, creation, originality. novel
and bold concept. If you design something
the way it already is, it is not creation, it is
transformation. However one must not lose
sight of the fact that good interiors are
dependent to a great extent on the
architectural character and plans. If the
building is not conceived and planned to be a thing of beauty, even the best of interiors cannot do
much to relieve the original ugly aspect. In India, an interior designer has to concentrate very
much on repairing the original architectural defect/ s.

We have seen that Nature has given us the perfect design. Also that it has something called
rightness about it. Then the best of vernacular/folk design and modern technological

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design resemble to some extent with the natural design. Despite aIII this we see that we do not
have enough of good design around us.

1.8 Causes of Bad Design

This indicates that vernacular designers are not being given enough freedom to take decisions
which will lead to good design, and, the trained designers are not called to solve the design
problems; and if at all they are called, they have to bend to the wishes of the client/businessman
who Imposes his views and likes and dislikes on him aiming only towards making a fast buck.
Now, this client/businessman/manufacturer who holds the reins Is a person who is neither, in
contact with the physical/practical aspect of the work, nor is he trained or skilled in „design. Nor
has he any vision. So the result is a proliferation of bad design. Another force contributing
towards bad design is ubiquitous political pressure; For example, take architecture/ urban
planning in Bombay. Everything has just happened. A Nariman Point skyscraper or a Dharavi
slum shanty – both are equally bad. In such atmosphere, things just happen, they are not
designed

1.9 Criterion of Taste

As we know, taste is a set of liking and preferences, it differs from person to person, society to
society, region to region and nation to nation. A person acquires a taste from his
family/relations/friends/general milieu, forming groups possessing similar or dissimilar tastes.
When a person talks of good taste, usually he means his own caste or the taste of person/s he
admires. Now, one‟s taste changes with the passage of time with that of his friends and
sometimes it leads to adoption of likes and dislikes which are not influenced even by the current
taste/fashion in the society.

1.10 Criterion of Fashion

Related to taste also is the question of fashion. Most of the people who buy bad design, sincerely
believe that they are buying good design thought they will accept the facts if pointed out, that the

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thing in question might be wasteful and inefficient. After a few years, like changes to dislike.
After a lapse of, say fifty years, the same thing might look charming again though through all
these years, the thing has remained the same. The first like is the common weakness of human
desire for things new, spurred nowadays by advertising; and the second like is due to human
wish to possess things tare and antique. So we see how a person‟s like or dislike is subject to
such pressures.

But good design means something having a sort of permanent and fundamental acceptance that
tasteful does not possess. Good design also does not mean beautiful because If a designer strives
towards that he will have to accept the dictates of taste and fashion current In the society which
in themselves are impermanent, as we have seen. So anything coming out of this, bearing the
stamp of good design will be result of mere chance and not a planned effort.

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 Lesson-2: Introduction of an Office Design
Structure:
2.1 Purpose of an Office
2.2 Ambience of an Office
2.3 Planning of an Office
2.4 Office Systems
2.5 Grid Plan
2.6 Work Spaces

2.1 PURPOSE OF AN OFFICE

The purpose of an office is to derive maximum
work from employees and maximum business from
clients. To achieve this minimum disturbance to
employees and minimum Inconvenience to clients
should be the motto of the designer.

Pattern of Population of an Office Building

The population of an office jumps from zero to
maximum within a morning hour. And it declines
likewise In the evening, only maintenance staff
remaining there. So the entrance should be large
enough to cope with this and at the same time
should not intimidate the visitors.

General Requirements of an Office

Like for any other planning, adequate light, proper air circulation, controlled sound level, right
work surface and storage for stationery, equipment and other sundry articles should be

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considered.

PECIFIC REQUIREMENTS

1 Reception Area
It is a must because every visitor needs a
pause before meeting the desired person.
2 List of Staff
Categorised list of staff is required to
decide the division of space. Further
expansion should be kept In mind. The
list should be category-wise. The people
working in an establishment, known
collectively as the staff or personnel, are
normally divided into four catagories:
i) Executive
Higher and lower differs who have to be alloted a separate cabin.
ii Office Assistants
Clerks, stenographers, typists, receptionist, telephone operators, etc.– the middle level staff. All
these require proper work space.
iii Helpers
Peons, office boys, delivery boys, watchmen, etc. They require only sitting space.
iv Menials
Staff employed for the upkeep of the office. Usually, they enter office after office hours and
remain out of office, though they need a corner or cubicle to store their wares such as broom,
vacuum cleaner, brushes, mops, ladder, etc.
3 Work space.
Find out area and type of space, the type of work-surface, storage for stationery, equipment and
other personal articles like bag, tiffin, etc., sitting arrangement for visitors, and the treatment of
the workspace or cabin.
4 Storage and Space for Materials
What Is not personnel, is materiele, i.e material. Office machines for collective use, like copiers,
cyclostyling machine, computer require proper space. So also stationery and other sundry items
like heater, kettle, crockery, etc. All these should be written down properly.
5 Work Relationship
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Note down the members of personnel and relationship among them. This will facilitate in
grouping of personnel and planning of a functional interior.
6 Nature of Business
Certain business requires simplicity, like chartered accountant‟s office; certain require glamour,
like an advertising agency‟s office. Some offices require privacy like a modelling agency‟s
office, and some offices require security like a financial institutions.

The right type of ambience should be created in the interior and the right type of business image
should be enhanced.
7 Staff Room
To avoid messing in the office, attached kitchen with the staff room is recommended.
Kitchenette makes the staff really happy creating a some balance of home in the office while
providing warm food.
8 Toilet
Necessary for good image. Automatic tap water
with automatic drier should be installed with
neat and clean well-designed toilet.
9 Conference Room
If space allows, provide a small conference
room near the reception area where visitors and
personnel can meet. This avoids disturbance in
the office, the reception area does not get
crowded, office security is intact and visitors save their time.
OTHER CONSIDERATIONS
In an office, where writing is of prime concern, one hand should be usually free and unentangled
for the purpose, normally the right hand. So it is advisable to keep instruments like telephone,
intercom, etc. on the other side to make simultaneous use of the hand and the instrument.
Some employers want to impress the visitors to their office, and want them to pass through it
before they meet the desired person. Some do not wont the visitors even to go beyond reception
and conference room. So ask before you plan.
An office contains a great amount of paper and inflammable materials necessitating the use of
fire-resistant materials in it. The installation of a fire-alarm and fighting system would be really
helpful.

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2.2 AMBIENCE OF AN OFFICE
The ambience of an office should be spacious, bright,
airy and cosy. It should be conducive to efficient work
and amiable temperament. It should be satisfying to
the employer, employees and visitors. It should reduce
the tiredness, tension and indifference of the visitors. It
should induce urge to work, select, think, discuss on
the part of the personnel and the visitor both.
A fine interior also attracts better employees and
chances are that they will work harder. The visitors are
also impressed by it and like to deal on a long-term
basis with the organisations having fine interiors.
2.3 PLANNING OF AN OFFICE
For successful office planning, grouping and interconnection will facilitate easy movement,

save time in traffic and locating a thing and help reduce the excess staff.
The main bulk of planning for any office is the arrangement of work space for the medium level
personnel. The collective experience of architects and designers has formed the following office
systems.
2.4 OFFICE SYSTEMS
Basically, there are two types of office systems:
1. Open Office System, and
2. Closed Cabin System.
In the former system, work space is arranged in open space while in the latter cabins, partly or
fully closed, are employed.
Plan of Office Systems
The furniture and other arrangement of office system is based on two types of layouts:
1 Gridiron, and
2 Random.
The random layout depends on the designer‟s whim, but gridiron (in short grid) based layout Is
worked out on a frame.
2.5 GRID PLAN
The grid plan allows for two types of systems:

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Open and closed. In the open system, work spaces are arranged in a big hall while in the closed
system, work spaces are arranged in cabins. The cabins can be either fully, closed or partially
closed, though partially closed is preferred by most as it combines the advantages of open system
and fully closed cabin system.
Advantages and Disadvantages of Open Office System
This system allows openness, gives
spaciousness, saves space and
expenditure, is easy to render as mass-
produced furniture can be used.
It connects all the arrangement visually
and demarcates territorial right. The
openness freedom promotes
camaraderie and team work. It also
discourages underhand dealings and
other unwanted affairs. Absence of
privacy, traffic nuisance and extra
expenditure on acoustic control are the
disadvantages.
Advantages and Disadvantages of Closed Cabin System
This system affords privacy”, which for some persons is essential for efficient and smart work. It
also gives status to the employee because in most offices cabins are meant for executives only. It
gives incentive to individually minded employees as they are not under the physical supervision
of anyone.

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It is more expensive as it requires bigger space, extra expense on cabins, made-to-order furniture,
cost of installation of ventilation, electric, acoustic systems with better workmanship. The
privacy gained might lead to underhand dealings and unwanted affairs.
2.6 WORK SPACES
Usually, a work space comprises a table/desk with filing cabinets and chairs. Here you see
various arrangements for the staff and executives for functional design.

STAFF WORK SPACE GRIDS

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ABOVE : The vibrant colours and angular treatments set the fun foundation for this young
advertising agency, starting from the reception area

RIGHT : Silver paint on the AC ducts adds to

the atmosphere of a funky work space

LEFT : Workstations for the secretaries visually and

literally divide the office space into two.

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 Unit - II
Lesson-3: Requirements of Advertising Office In General
Lesson-4: Office Space

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 Lesson - 3: Requirements of Advertising Office in
General
Before we start designing the actual space it is very important to note down the general
requirements of the office area. As it is and advertising office one should keep in mind that the
design has to be such that it gives a very lively and active effect. As related to glamour till
certain extent, the office design should speak for the quality of work of done there. Thus, it has
to be aesthetically good enough to prove its work.

Talking about the requirements of this office. They depend on the number of staff and type of
work done. For instance if the office does advertisement for print media it has a special
requirement of shoot studio and dark room. But in case of advertisement for electronic media. It
would also require a sound recording and editing room.

Now let us consider it to be advertisement office for print media only and list the requirements
for the same.

A) Reception Area

B) Waiting Area

C) Directors Cabin

D) Assistant Directors Cabin

E) Secretaries Cabin

F) Conference Room

G) Open Work Station / General Staff

Areas

H) Accounts Department

I) Photo Shoot Studio

J) Dark Room

K) Green Room

L) Rest Room and Pantry Area

M) Toilets and Wash Areas

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B) Now once we have got the basic requirements of the office we need to analyze amount of
space and the furniture requirements of each area. We also need to specify the areas so as
to get the correct order of circulation, for e.g. Reception has to be right in the beginning and
waiting next to it.

We start with reception and take each area step by step to analyze its requirements.

a) Reception: Should be easily approachable from entrance. Should have sitting capacity
for one person behind the desk and two at the front

b) Waiting Area: Should be able to accommodate 8 to 10 people at a time. Should have

comfortable seaters with a table in center to keep magazines and journals in which the
company‟s work is displayed.

c) Directors Cabin: Contains directors table with sitting for at least 3 people on opposite
side. An informal sitting in one corner of room for 4 to 6 people should also be
provided. An attached toilet is also a must to directors room.

d) Assistant Directors Cabin: It‟s requirements are same as director just that they are
little less elaborate and design of furniture could be little simpler.

e) Secretary’s Cabin: Should have lots of storage cabinet. Secretary‟s work table with
provision of two people to be sitted on opposite side.

f) Conference Room: Table design could be made according to available space. Should
be able to accommodate 8-10 people at a time. Should have a provision for projector.

g) Open work station: It is the most

busy area of the office. Each
individual working in this area
should get sufficient amount of
working space and clearance. Semi
partitions created in between could
personalize each space.

h) Accounts Department: It should be

separate from rest of the office. It
should have sitting capacity for two working people. If enough space is available then
small store should be provided with accounts department.

i) Photo Shoot Studio: This should be big enough to accommodate all types of indoor
shoots. It should also have proper lighting facilities as per requirement.
j) Dark Room: This area should be unexposed to light as far as possible.
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k) Green Room: Should be well lighted and should have storage space for props and
dresses if required.

l) Rest Room and Pantry: Should be well equipped to fulfil basic needs of people.
m) Toilets and Wash area: Should be provided so as to be accessible by every one.

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 Lesson- 4: Office Spaces
CONTENT

General Offices And Multiple Workstations

Planning Data : Basic Workstations

The following few e.g. of furniture layout invasion
areas can help to decide the space required for each
area in the office.
The so-called general office takes on a variety of
forms and configurations. In its simplest variation it
may be nothing more complex than several
standard desks with returns located within a room
or space. In its more sophisticated and
ergonomically designed form, the general office may be based on an open planning or office
landscaping concept, involving a system of workstations. The workstations include desk
surfaces, files, acoustic partitions, and a host of other optional components to suit the nature of
the particular work tasks involved. The systems are extremely flexible, allowing the workstations
to be configured in a variety of shapes. Provision for power and lighting is quite common.
The design of the general office, like the design of the private office, requires a knowledge of the
basic dimensional requirements and clearances of the workstation Mid, where applicable, of the
visitor seating to be accommodated.
In certain instances, where customized and/or built-in storage elements, work counters,

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credenzas, etc., are required, a knowledge of
architectural woodworking, as may be
related to the design of such elements, can
be quite helpful.
Accordingly, this part includes basic plan-
ning criteria for general office design, in
addition to examples of architectural
woodwork details in connection with some
of the more common customized
components of general office spaces.
The basic workstation, as illustrated in plan in Fig.1, is the fundamental building block in
understanding the anthropometric considerations for the planning and design of the general
office. The worktask zone must be large enough to accommodate the paperwork, equipment, and
other accessories that support the user‟s function. The work/activity zone dimension, shown in
Fig. 1, is established by the space requirements needed for use of the typical return. In no case
should this distance be less than the 30 in, or 76.2 cm, needed to provide adequate space for the
chair clearance zone. The visitor seating zone, ranging in depth from 30 to 42 in, or 76.2 to 106.7
cm, requires the designer to accommodate both the buttock-knee and buttock-toe length body
dimensions of the larger user. If an overhang is provided or the desk‟s modesty panel is recessed,
the visitor seating zone can be reduced due to the additional knee and toe clearances provided.
The specific type and size of the seating (i.e., if It swivels or if it has casters) also influence these
dimensions.
Figure 2 shows the typical workstation expanded Into the basic U-shaped configuration. The
work/activity zone dimension range is shown as 46 to 58 in, or 116.8 to 147.3 cm; additional
space is needed to allow for drawer extension of the lateral file. Not only does It provide more
storage, the lateral file unit is generally the same height as that of the worksurface and IS often
utilized as a supplementary worksurface The distance between this unit and that of the primary
worksurface must be sufficient to allow for movement and rotation of the chair.

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Minimum Square Footage Standards for the Open and The Nonautomated Task. Square
footage workstation standards for the nonautomated task are developed primarily according to
task profile, equipment, conferencing, and privacy requirements.

Task Profile: Processing paper on work

surface with quick turnaround.
Continued flow of material is
processed as it arrives at the workspace
and is passed on to either another
function or to group storage.
Storage for permanent files and
reference materials minimal.
Reference material accessed
infrequently. Telephone tasks may
require concentration.
Task Profile: Typewriter the primary tool for processing paper.
Continued flow of material is processed as it arrives at the workspace as it arrives at the
workspace and is passed on to either another function or to group storage.
Storage for permanent files and reference materials minimal.
Reference material accessed infrequently. Telephone tasks may require concentration.
Task Profile: Typewriter the primary tool for processing paper.
Continued flow of material is processed as it arrives at the workspace as it arrives at the
workspace and is passed on to either another function or to group storage.
Storage for permanent files and reference materials minimal.
Reference material access may be frequent. Tasks may require concentration. Limited
conferencing required at the workspace.
Need to see and hear co-workers or subordinates of secondary priority.

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OFFICE SPACES
GENERALOFFICESANDMULTIPLEWORKSTATIONS
Planning Data : Multiple Workstations

Fig. 3 : Depending upon function, the sizes of individual and multiple workstations vary
dramatically. Size of worksurface, length and depth of return, chair size, and circulation patterns
all influence the gross square footage requirements

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CONFERENCE ROOMS
Planning Data : Table Sizes and Seating Capacities

CONFERENCE / MEETING ROOMS

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CONFERENCE ROOMS
Planning Data : Table Sizes and Seating Capacities

Fig. 3 : These conference tables are useful in making initial space planning allocations.

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Intext Questions
Q.1.What are the basic requirements of an advertising office in general. How would you design
them systematically?

Q.2 .Give various possible layouts for a workstation containing sitting and working place for two
people the area being 120 sq ft?

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 Unit – III

Lesson-5: Procedure of Design

Lesson-6: Measurement
Lesson-7: Space Planning In Office Areas

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 Lesson- 5: Procedure of Design
Structure:
5.1 Design on Paper
5.2 Practical Approach
5.3 Preparatin of Personal Data Card
5.4 Office Interiors
5.5 Public Places
5.6 Practical Designing

It happens many times that a designer sees on interior, and thinks he could have done It better.
But when he gets such an opportunity, he finds he has not been able to do anything great.
Reason? Many reasons. This chapter is all about that.

5.1 Design on Paper

When you design an Interior, it might look fabulous on paper. When you visit the site, you find
so many things which you had not considered while designing, and which simply upsets all your
careful thinking.

5.2 Practical Approach

To avoid all this, these are the things to

do :

1 Visiting the site

2 Preparation of Personal Data Card

3 Finding out the requirements

4 Visiting and evaluating other

similar interiors

5 Reading about the problem in

question

6 Measuring and sketching

Let us discuss them.

1 Visiting the Site

Visit the site personally and note down the good and bad characteristics and defects of the
site. Structural, functional and aesthetic. A beam, 60 cm deep in the main hall is a design
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 defect. Improper placement of a door is a functional defect. A very long room looking like a
passage is an aesthetic defect.

5.3 Preparation of Personal Data Card

It is worthwhile to know the family and business background of the client to design in a Way that
would require minimum changes and In facilitation of amiable dealing. This Personal Data Card
would include name, age and sex of the client‟s family members, their likes and dislikes, his
residential and office address, phone and telex nos, his religion/caste, taboos and such other
details, his personal traits, etc. This card would have to be modified with the time as the client
would progress in his life, and would help you to converse with, and design for him, in an
appropriate manner because a person‟s mental attitude and taste change with the change in his
social and financial status. A sample of this card is shown in the chapter on forms.

3 Finding Out the Requirements

For a hassle-free and comfortable design, discuss and note down the requirements of the
client. For a residential interior, the suggestions of the client‟s wife are more valuable as she
lives her life mostly there, and for an office interior, the suggestions of the client‟s personal
secretary should be heeded as she/he occupies it whole day.

5.4 Office Interiors

Ask these:

i. Number of personnel. How many directors, executives, accountants, assistants, typists,

peons, etc.

ii Nature of business.

iii Way of functioning.

iv Products manufactured or dealt in to be

displayed or not.

v Reception area.

vi Visitors‟ pattern.

vii Segregation of staff from visitors required?

viii Open or close system for staff.

ix Kitchen/toilet/dinning areas to be included

or not.

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x Telephone, EPABX boards, intercom, closed circuit TV camera, music/public address
system to be incorporated?

xi Air-conditioning to be individual units or central? Only for executive cabins or general?

xii Any fire/burglary alarm systems to be installed?

xiii Any dust-preventive system to be installed?

5.5 Public Places

While designing an auditorium, cinematheque, college/assembly/marriage hall, ask these

questions:

i Capacity.

ii Nature of treatment: luxury,

semi-Iuxury, utilitarian.

iii Mainly for which sex or age

group?

iv Other items as given above.

But do not ask the questions for

which you are supposed to
supply answer.

4 Visiting and Evaluating Other Similar Interiors

Once you know the requirements, and find yourself a novice, or want to have better idea of
the type of interior, visit other interiors of the same nature with the help of your client,
teacher or other friends, and study them carefully.

Note:

i Function of the interior.

ii Traffic movement.

iii Practical side of elements employed in the interior.

iv Good and bad points.

v Degree of comfort.

vi Your way of making things better.

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5 Reading about the Problem in Question

Nothing better than reading to further knowledge. Refer various books, catalogues and
company brochures on the subject you want to design, and note down the hints and points
you find valuable.

6 Measuring and Sketching

For a perfect drawing, perfect measurement is necessary. We have discussed this in some
other chapter. Here you must remember not to neglect measuring and drawing the old or antique
furniture to be retained and incorporated in the design.

If it is a showroom, make sure to measure both types of items: display and storage (folded
or rolled), their quantity and divisions while at display.

5.6 Practical Designing

Now you are ready for design. Prepare plan in the centre, four elevations on each side and
ceiling plan in a corner. All the inner surfaces are in front of you to excite you to make the
best layout in consideration with design. But remember these:

1. Before Designing

i. Target to do your best through those designs.

ii Think and work hard.

iii Be honest in your work and supervision which would give you excellent interior and greater
job satisfaction.

iv Compare your work with the best designs available.

2. While Designing

i. Proper milieu should be created by the design. Decor of

a interior of tailor shop should give the idea of a tailor
shop and not that of a barber shop.

ii Developing of a concept is a must. Good design can be

accomplished without a concept, but not great design.
A concept is a logically formed basic notion, ideo,
theme or subject you arrive at after careful study and
thinking of a subject. It is like an axis around which
other things move.

It is difficult to assert the importance of a concept in

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 any designing and a book can be written on it. Take a sea-food restaurant. Its nature gives
the clue to its concept. It can be depicted by pointing or relief with sea-food items. Or an
appropriate colour scheme comprising blues, turquoise, greys evoking the atmosphere of the
sea can be used. Or a plan enhancing the pattern and rhythm of waves with the floor
indicating the sea-bed and wit sea-food designs can be employed. Or furniture and fittings
can be sculpted in a way to create the interior of a sea.

That is or was easy. But it is very difficult to do this in a residential interior where,
basically, projection of a personality is concerned.
iii. Thinking from zero level is required. Forget what is there, in fashion and think of
something altog ether original. For example, beds usually consist of a frame with four legs. You
can conceive of it as two mattresses, one atop the other, maintaining the basic dimensions and
original comfort.

iv. Solving the defects and deficiencies in design creates better design. Optical illusion
phenomena and colour theory can be used with telling effect here. A room can be made to
look double its area by fixing a mirror on one wall. Right colour scheme can make a room
look bigger or smaller. Removal of an unwanted partition wall will increase the area and
result in better light and ventilation. Neglected and useless spaces like soffit (areas under
staircase), and corners, landing for storage can be used for display and other things,
structural projections like deep beam
can be covered or can be made a part
of design.
v. Truthfulness of design is the criterion
of successful design, for which pay
attention to:
a. Function
b. Perfect placement
c. Structural viability

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d. Proportion
e. Form
f. Finishing
g. Colour Scheme
We have discussed these earlier.
vi Aesthetics, i.e., pleasure to the eye is also very important.
The proper application of iv results in pleasing design.
vii. Restraint in designing has to be observed to save it from
becoming ugly, gaudy or nonfunctional. This comes with
great observation, study, practice and endeavour.
After Designing
Remember these points:
i Perfect specifications should be made to elicit correct
estimate and paper work.
ii Supervision should be done strictly, and this together with
proper specifications and to-the-point instructions would
result in excellent work.

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iii Self-esteem of the designer, i.e., yourself, is important and it should be asserted when
necessary, otherwise the bending under the pressure from the client and contractor/suppliers
would result in mediocre design. Accept suggestions on your discretion.
iv Avoid submitting alterations. It is alright to make as many layout as possible of the same
assignment for your own satisfaction to select the best among the lot. You must act as the
final judge, and not submit the alterations of the same assignment to the client for these
reasons:
a. Client gets confused.
b. Time is wasted in the client‟s showing alterations to his relatives/friends for their
opinion.
c. Designer knows more than the client.
d. Choice of the client might mar the design, and ultimately designer‟s reputation.
e. Initial encouragement would result in frequent interference from the client.
v Now perspectives, working drawing and detail drawings are prepared with all the
dimensions.
vi Before commencing the work, take the signature of the client on every drawing.

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 Lesson- 6: Measurement
Structure:
6.1 Measurement
6.2 Procedure of Measurement

6.1 Measurement:

Measurement is ascertaining of the dimensions of a premises, a body, or something. In our case,

it is an interior. Obviously a simple matter, but measurement can lead to many complications for
the designer, client and contractor if it is not made correctly.

Importance of Measurement

A mistake in measuring on site leads to mistakes in working drawings which repeat themselves
as detail drawings, specifications, estimates are made. For rectification, the designer has to redo
entire thing resulting in wastage of time, labour and money.

The contractor has to wait for fresh drawings and the commencement of the project is delayed If
he has already started the work, he has to redo it resulting in wastage of time, labour and money,
and then he has to re-estimate. And if the contractor has already made the items of furniture at
the workshop, and they do not fit on the site, you can imagine the contractor‟s frustration and the
client‟s helplessness.

The client feels that the designer is incompetent. All losses due to delay in commencement, and
the wrong size of furniture go on his head. All this‟ simply shakes the confidence and trust of the
client in you. And nothing worse than this can happen to you.

6.2 Procedure of Measurement

Before you proceed to site for measurement, there are a few things to work on:

Architectural Plan

Procure its architectural plan from the client. The architectural plan is not always reliable as there
are many possibilities of changes, alterations, wrong levelling and fault in finishing during the
construction. But this plan can be studied for mental preparation, and as a guideline before
actually starting the measuring, and for re-checking.

Accuracy

In comparison with architecture, interior is based on smaller dimensions. So in architecture, an

inaccuracy of 1 cm is tolerable but in the interior work, the measurement must be correct upto

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5 mm.

Measuring-Tape

Earlier, measurement was made with a rod. A rod

being heavy and inflexible, has its own
inconvenience of storing, carrying and measuring
Introduction of a measure-tape removed all these
inconveniences.

Measure-tapes are made of cloth and steel.

Measurements taken with a cloth-tape, due to their
elasticity, do not measure accurately. Other
disadvantages of a cloth-tape are its getting ruffled,
soiled and soggy, and its inconvenience in handling.

Steel-tape does not have these shortcomings and is

more durable than cloth-tape and, therefore, is
highly recommended.

Measurement Book

Keep a sturdy book of removable plain sheets with you for all measurements. Write down the
name of site, client and date before starting the measurement. For a specimen of Measurement
Book, see BUSINESS FORMS.

Precaution in Measurement

Generally, for a rectangular room, only length, breadth and height of one side is taken and the
dimensions of other sides are taken for granted. Actually it should not be so. Alongwith the
measurements of all walls, overall length, width and height of the room should also be measured.
This will establish accuracy and act as a cross-check.

Noting of Defect and Features

While taking down the measurements, also note down the structural features and defects. The
weaker sections in walls, the dampness in walls and ceilings, the steel bars seen in the beam, slab
or column, the type of wood and fittings employed in doors and windows, the type of finishing,
flooring and tiles and the unlevelled beams, slabs, walls and floor-all should be carefully noted
down.

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Another important factor to remember is to note down any features, not normal in a room, such
as a column, or an offset or such thing. The knowledge of defects and features would help you to
design better and you might turn an ungainly feature into a pleasing one. Now, over to various
techniques of measurement.

One-Person Technique
The persons opens the tape, keeps its one end at
any corner-mark with his left hand finger. Holding
the tape in the right hand, he stretches it to the
maximum range. Then he releases his right hand,
and marks with it the stretch of tape and notes it
down in the Measurement Book.

This procedure continues till all the measuring is complete.

For convenience of measuring, a mark is needed. Doors, windows, columns and offsets can act
as convenient marks. One-person technique is practicable but not practical as it results in waste
of time.

Two-Person Technique

The technique employing two persons for taking measurement is more efficient. One person
keeps the tape at one end while the other helps at the other end, noting down the dimensions.

Three-Person Technique

The fastest way of taking measurement is by employing three persons: two handle the tape while
the third notes down the measurement. For taking measurement of large premises, this technique
has to be employed.

Method of Measurement

Though the technique of measurement is very simple, there are tricky parts also. We shall
describe both.

Horizontal Measurement

Measurement taken on a wall, beginning from one corner A and ending at the same corner are
horizontal measurements. For example, AB, B-C, C-D, E-F, G-H, H-I, I-J, K-L, L-A, L-M, M-
A, are horizontal measurements which are distances between corner to offset, column, door
frame, door/window width etc. Door/window width means shutters including the TW frames.

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Overall Measurement
Taken on floor, overall measurement is a distance between two walls in length and breadth.
These measurements are very useful for checking any mistakes creeping in during horizontal
(wall) measurement.

Horizontal Measurement for Odd shaped Rooms

The method of measurement is same as that in the case of regular shapes. Begin from one corner
and end at the same corner : A-B, B-C, C-D, D-E, E-F, F-G, G-H, H-I, I-J, J-K, K-L, L-M, M-N,
N-A. Then because of add shape, instead of taking overall measurements, take cross
measurements.

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Cross Measurement
It is very difficult to take corner to corner measurement (across) unless a big tape is available. To
obviate this, take measurement from one corner to any offset or door frame on the opposite wall
(see above), like D-F, F-A, F-M, G-M, M-I, G-I. Still more cross measurements can be taken.
The more the cross measurements, the more accurate plan you will be able to draw.
Horizontal Measurement for Curved Shapes
A curved interior will usually comprise one
rectangular and one curved part. The method of
measuring the rectangular area is given above.
For measuring curved shape, mark the centre

P of distance EF. By keeping one end of a string

on P and other at E or F, check the curvature
whether it touches line of curvature or not.
If it touches the line of curvature, then it is part of a regular circle, and can be a semi-circle, a
quadrant. With the help of compass, you can draw it. If it is not so, then mark equal distances
between E and F like 1, 2, 3.....and join them to P. This P1, P2 P3 will help you draw curve on
paper.
Vertical Measurement
Vertical measurement should be taken only
after completing all horizontal measurements,
otherwise possibility of confusion or missing
of a few measurements might occur.
For making vertical measurement, the important distances are from ground to ceiling, ceiling to
beam bottom, heights of doors/windows from window bottoms to floor, and from window top to
ceiling.

In the plan, mark doors as D1, D2, D3............Similarly mark windows as W1, W2, W3, ....... and
beams as B1, B2, B3,..............

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Here we give the general notation and dimensions of elements of residential premises:
Element Door Height
Door Height DH 2.10m including frame
Toilet Door Height DH 2m including frame
Beam Depth DH 30 to 60 cm
Distance between Window and Floor WF 90 cm
Distance between Window and Ceiling WC 60 to 90 cm
Window Height WH 1.2 to 1.5m including frame
Room Height RH 2.5m
Skirting Height SH 13 to 15 cm

Public premises usually have larger dimensions

While measuring, do not make elevations of all sides unless any complicated feature is involved
in window/door shape, balcony, sloping roof, etc. For general measurements, just write the
notations with measurement in the corner of your paper

Measurement of Offsets in Ceiling

Beam projections from walls, beam
width and cornices are features to be
measured in ceilings. For this, do not
make section of the interior. Just mark
these projections on your plan in dotted
lines and either write the measurements
in the same plan or write in the corner
of paper in the notations, as
B1, B2, B3, B4, B5

and write the distances of beam from door or window or column or corner of wall, If there is any
cornice or any odd projection in ceiling or floor or wall, then draw a sketch of it and write the
measurements,

Measurements of Electric Points

The electric points shown in the architectural plan are usually incorrect. So these points should
not be given undue importance as it disturbs the planning of furniture and other aspects of
design. These measurements are usually taken only for reference purpose, It helps to know only
the main switch board. For later alterations, an estimate should be obtained from the electric
contractor.

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In case you feel the
electric points are
useful and want to
retain them, then it is
advisable to take down
the detailed measurements. The marking for the points should be made with different colours on
the plan mode earlier. Mark the symbols and write down the horizontal distances From centre of
them to door Frame/column/wall/window Frame, etc. Vertical distances can also be noted there.
It is preferable to use a different colour for them.
Measurements of Toilet Blocks
Measurement of toilet block~ is
similar to other rooms except
for the presence of sanitary
fittings.
The height of all these fittings
are standard. Remember them
The position of soil pipe and
traps must be marked properly as they cannot be changed easily.
For measurement, take distances only from the centre line of the fittings to corner of rooms/door
frame/window Frame (see the diagram). Also note down the height of glazed tile or marble dado.
A dado is the area covered by the tile/marble fixing on wall from the floor.
Kitchen Platform
Kitchen platform should also be measured alongwith the sink, nahani trap and top points. Then
measure the height of tile/marble dado if the client wants to retain it.

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 Lesson-7: Space Planning in Office Areas
Structure:
7.1 General Offices and Multiple work
7.2 Private Offices

7.1 General Offices and Multiple Work

Planning Data : Multiple
Multiple workstations can
result in efficient utilization
of space and sharing of
expensive computer
terminals and equipment. If
use of computer terminals is
intensive, individual CRTs
should be provided. Figures
5, 6 and 7 each show eight
workstations, yet the setups
range in area from 448 to
1012 ft2. Furniture size, function, and ergonomic considerations all affect setup.

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 General Offices and Multiple Workstations
Planning Data : Office Layout

It is not unusual to have two or more

persons share an enclosed office space. In
planning this type of office space, both
circulation and clearance become critically
important. Door swings, the extension of
file drawers, and points of entry must all be
carefully considered.

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 Multiple work stations

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GENERALOFFICESANDMULTIPLEWORKSTATIONs
Planning Data : Multiple Workstations

Fig. 4 : Floating or free-standing workstations tend to utilize more floor area than workstations
placed against a wall or sharing the same wall panel. Clustering of workstations will ultimately
result in the use of less floor area, but at the expense of major ergonomic considerations.
Decisions relative to both acoustical privacy and personal space are often sacrificed in the name
of economy.

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7.2 PRIVATE OFFICES
Executive Workstations

The design of the private office requires a

knowledge of the basic dimensional
requirements and clearance of the executive
workstation and, where applicable, of visitor
seating accommodations. In certain
instances where various aspects of the office
interior are customized and/or built into the
construction, a knowledge of architectural
woodwork detailing is also desirable.

This page and the following pages include the necessary planning criteria required as well as
details of certain customized components.

Executive workstation and/or desk size and configuration can be customized depending on
desired image, scale, and ambience. Desks are also available in generally accepted standard
sizes. It is these standard desks that are most used in the design of the private office. Figure 1
illustrates the range of desk dimensions, chair dimensions, and clearances involved.
Many private executive offices are being designed with desks that do not conform with the basic
rectangular shape. Such a situation is illustrated in Fig. 2, which shows a circular executive
desk. Such a desk is often selected if the executive in question plans to hold

conferences within the office and prefers the psychology of having either visitors or employees
gather around the worksurface in an egalitarian fashion. While a minimum desk size of 48 in, or

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121.9 cm, is shown, this dimension is also
influenced by the number of side chairs to be
grouped around the desk.

A circular executive desk must be supported by

supplementary credenza or file storage within
easy reach of the executive chair. Side arm
reach relative to the work/activity zone must
always be studied carefully.

Figure 3 illustrates a typical circular lounge

grouping found within an executive office. Providing for the appropriate leg clearance of 12 to
18 in, or 30.5 to 45.7 cm, is also determined by the sitting zone requirements. Buttock-knee
length must also be considered.
Office Spaces PRIVATE OFFICE Planning Data : Typical Room Arrangements

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Office Spaces
PRIVATE OFFICE
Planning Data : Typical Room
Arrangements

The private offices illustrated in Figs. 12 to 17

reflect middle to senior management functional
as well as status, requirements. Each office
layout should be carefully reviewed with the
client to ensure that all programmatic functions
have been met. Offices of this size do not
easily accommodate an independent
conference function.

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Office Spaces PRIVATE OFFICE Planning Data : Typical Room Arrangements

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Intext Questions

Q.1. What are the different site measurement techniques explain with example?

Q.2. How would design of General & Private Office differs?

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 Unit-IV
Lesson-8: Drawing Methods
Lesson-9:Plan, Elevations, Selections and Views Along With Details

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 Lesson- 8: Drawing Methods
Structure:
8.1 Drawing Methods
8.2 Requirement of a Drawing Sheet

8.1 Drawing Methods

What a designer has for designing a project in his mind, he presents it with the help of plans,
elevations, etc., called orthographic projection.

The orthographic projection is prepared generally on a tracing drawing paper to obtain many
copies. Let us see how it is accomplished and presented.

8.2 Requirements of a Drawing Sheet

Described here are: the elements that constitute a presentable drawing sheet:

Size

It depends on Individual style of practice:

1. As per the area to be occupied by drawings.

2. As per the cut size of papers available: Full, half or quarter size to avoid wastage of paper.
Entails extra cost In printing if large area is blank.

3. As per the size of sticker of name-plates.

4. As per the printed name-plate on drawing paper.

Border line

Each drawing requires a border line, leaving l.5cm

space on three sides and 5.0cm on the left side. This
increased margin on the left side is for the purpose of
filing.

Border line

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Name Plate

The position of name and the contents of sheet are to be placed on right hand bottom side of the
drawing. This ensures visibility of name plate even after folding of the drawing prints.

Folding Method

One must also know the folding method of prints for assembly in a small file.

Vertical foldings followed by horizontal folding. A corner fold is required on the left hand side
bottom corner if the drawing sheets are large in size.

Method of folding is based on 5 principles:

1 5.0cm border space on left side is not included in the fold.

2 No rear portion of prints should be visible in front after folding.

3 Name-plate to be seen on front.

4. Overall size of folding to be little less than file size.

5. On opening the folds, one should be able to see the entire drawing while the left end is fixed
in the file.

FIRST STAGE HORIZONTAL FOLD SECOND STAGE VERTICAL FOLD

THIRD STAGE CORNER FOLD

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Details of Name-Plate
Name-plate mainly comprises name, number and location of project, name of the client,
designer‟s/firm‟s name and address. The additional
items (not required in case of perspective), are contents
of sheet
(subject of
drawings),
sheet
number,
north line,
scale, date,
designed by,
drawn by,
checked by,
signature of client and designer‟s notes, etc. in
addition to plumbing and electrical symbols.

The additional items can be on right hand side or bottom portion of the drawing sheet.

This and border line can be either printed on paper or can be printed in the form of separate
sticker or can be written by hand.

Subjects of Drawing
Subjects of each drawing to be written below that particular drawing also.

Eleveation C

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 LAYOUT PLAN to be written below drawing of layout plan.
ELEVATION A, B, C, D, to be written below the drawing of
that particular elevation (A, B, C, D to be marked with arrows
in layout plan). WORKING DRAWING OF ITEM „P‟ to be
written below the working drawing of item „P‟.

SECTIONS W-W, X-X, Y-Y, Z-Z to be written below the

drawing of that particular section. (Sectional lines to be marked with arrows at both the ends).

DETAIL „Q‟ to be written below the detail of „Q‟ (A marking in dotted line circle is required in
working drawing section/elevation/plan of the portion to be detailed).

Similarly PERSPECTIVE to be
written below the perspective.

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Types of Drawing
A design drawing consists of layout plan, (also ceiling plan, electric plan, sanitary plan),
elevation and perspective, while Addition of sections, working drawings, detail drawings,
electric, AC, ducting and distribution plan etc. completes the entire drawing work of designer.

PLAN
Planning consideration for humans is
the most important and fundamental
factor, not only in interior design but in
all fields of life. It makes the Life both
systematic and comfortable. In general
life planning, schedule system is
adopted while in interior, proper
arrangements are required. Both types
of planning require stand-away and
thinking. For planning, an interior
designer has to see and observe from
top, which is called a plan. Room plan
or flat plan means, the entire room or
entire flat seen from the top including door positions, window positions, columns, beams (drown
in dotted lines), thickness of internal walls (usually 15cm including plaster), thickness of external
walls (usually 27 cm including plaster).

In a plan, you see which room is connected to which other room and which door opens into
which room.

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LAYOUT PLAN
It means the plan showing position of furniture which can be seen from the top alongwith room
wall thickness, doors, windows, etc. It is mode and adjusted in consideration with human sizes,

movements, comforts and habits.

The layout plan is usually mode in the scale of 1 :25. It can also be reduced to 1:50, but since
interiors require a greater amount of detail it is advisable to follow a scale of 1:25.

Usually the designer should follow one scale all the time for one subject as it becomes easier to
judge the proportions without referring to the scale all the time.

Ceiling plans are useful to make false ceiling design, electric plan, AC plan, etc., while floor
plans are made to show the design of hard or soft, or both type of flooring.

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ELEVATION
Whatever you see in front, sides and
rear is called elevation.
One can practise interior design
without drawing elevations, but the
accuracy in proportion and
composition will not be there. From
the drawings made in elevation, when
executed on site, the result is
proportionate. Without elevation the
perspective drawn might look nice,
but the result often looks very odd and disproportionate.

DRAWING PRESENTATION:
The best method of presentation is to keep layout plan in the centre and four elevations on its
four sides, ceiling plan can be drawn in one corner of the sheet, while loose items of furniture
which get overlapped can be drawn on other corner of the sheet. In this way, the entire designing
work can be seen at a glance.

This type of sheets (layouts with elevation on four sides) also helps contractors and clients to
understand the entire design. To draw all elevations is a little tough procedure, but is very useful
for designer himself to judge the proportion. It is also helpful to designer while making
perspectives because all the things (layout plan, ceiling plan, elevations) are in front of him on
one single sheet.

The other advantage for designer is that he does not miss any portion of the room while
designing and he also gets the accurate idea of position of deep beams and other defects.

For electric points, you can make another sheet of plan and elevations without showing any
furniture, but position of electric light points, plug points, switches, etc. These types of electric
plans are very easy to understand.

The convenient scale to be adopted for drawing elevations is 1 :25. Floor level, ceiling level and
sides are shown in section in thick line including beams and their projections, and then doors,
windows, furniture, panelling, etc., which shall be seen in elevations are shown in thin lines.

Sections
A section is a view of on object when it has been cut straight through in (usually) either vertical
or horizontal direction. Section is required to show the inside arrangements and detail.

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Longitudinal Sections
It is a section when on object is cut
straight through vertically along the
length.

Cross Section
It is a section when an object is cut
straight through vertically across the
length.

Horizontal Section
It is a section when an object is cut
straight through horizontally across
the height.
Working Drawing
Elevations, plan and sections of each and every item (designed in interior) are drawn in an
enlarged scale with all the measurements written on it to make it easy for the contractor and
client to understand are called working drawings. Its accuracy and perfect measurement save
great wastage of material and labour, and avoid disputes.
Usually the scale adopted for these drawing is 1:10, and is drawn on separate drawing sheets, not
on the paper where any plan, elevations are made.
Generally, all elevations and sections are drawn in horizontal line and plan below the front
elevation.

CROSS SECTION HORIZONTAL SECTION If a room

THICK LINES LONGITUDINAL If a room is cut this way. it is cut this way, it will show the plan
Thick lines for ceiling, floor, side SECTION If a room is cut will show the elevation of (layout plan).
walls, beams and for projection this way, it will show the cross wall.
while drawing elevations of elevation at long wall.
furniture on each wall.

Description of Dimensions
All small and big dimensions should be mentioned by the side of furniture. The length and depth
or width ore mentioned in plan only, and not in elevation. The height is mentioned on sections or
sometimes in elevations.

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Description of Thickness, Material and Specifications
This is connected with section drawings only. Specifications is also mentioned in the section of
working drawing along with dimensions, thickness and name of particular material
This is not only useful to make the contractor understand but also to avoid dispute later.
Points to Note
All items should be marked by arrows and thickness and specifications to be mentioned in
readable size lettering that should not be less than 3mm high. All specifications should be written
on left or right side of section. If the section is big, then write on both sides, but not on the top
and bottom of section. All these should be written systematically, in one side alignment for
easier reading.
If you have to mention anything repeatedly then you can write it below the working drawing
with the head lines of „Notes‟ like in the above case item „Polish‟ and grains are there. So you
can write in the note:
Note
All external polish should be melamine in Rosewood colour only.
All internal polish should be French polish, in Rosewood colour only.
All external surfaces which are visible should be finished with matching Rosewood veneer of
straight grains.
There can be a general note common for all furniture items, regarding joints, fevicol, screwing,
brand of laminates, quality or brand of plywood to be used, electric wires, brand of tiles, etc.
should be written on specifications chart where the estimate is to be filled by the contractor.

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Detail Drawings
Any portion of section or plan or elevation which cannot be expressed properly in working
drawings is enlarged to ¼ full size or ½ full size or sometimes full size and is called detail
drawing.

There should not be a separate sheet for detail drawings, they should be made adjacent to
working drawing of the related furniture item to make it convenient to see and understand the
details.
Symbols of Material and Direction of Grains & Variation of Thickness
In working drawing and detail drawings, it is very important to know the symbol of materials in
section. It makes the reading of drawing easier and faster. There are many lines in the working
drawing section which create complication, but by filling in between the two lines with symbol
of materials, it becomes easy to differentiate various materials.

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Direction of Grains
The piece of furniture, with haphazard direction of veneer
grain pattern, will look very odd, therefore, in working
drawings the direction of grains should also be drawn in plan
and elevations with the help of very thin lines.
The idea behind adjusting grains is that it should look as if it is
made of one solid piece of wood, giving a natural look.
Achieving it totally is not possible but at least 80 percent
success can be had.

wood

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Variation of Thickness
If all the lines in the drawings are mode of one thickness, it becomes difficult to differentiate the
items. The grains denote the type of material, but if grain and outer lines in which grains are
filled, are of some thickness then drawing will not be expressive. Therefore different thicknesses
are adopted for different items.

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Rules of Thickness Variation for Section and Detail Drawings
1 Thickest lines for structural work.
2 Thicker lines for border line of plywood.

3 Thick line for plaster line or border line of veneer and leaping.

4 Thinnest line for grains of plywood, veneer and Till (teakwood).

Rules of Thickness Variation for Plans and Elevations

1 Structural line shown in thickest line.

2 Outer line of furniture shown in thick lines.

3 Inside grain or rendering shown in thin lines.

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All measurement lines are also shown in thin lines but all letters and numbers connected with
working/detail drawings are written in thick lines. Subheadings are written in thicker lines and
main headings in thickest lines.

Metric Projections and Sketches

Sketches are also a part of working drawing sheet. Sometimes, when working drawings and
details are insufficient to express the design concept or detail, sketches come handy as a medium
to compensate for this weakness.

They are generally isometric view (30° - 60° - 90°) or freehand sketches of three dimensions,
The method may not be very accurate but explains the details. The size is fairly big, about 1:10,
or even bigger than that. They should be drawn on the same sheet on which the working drawing
is made.

DRAWING PERSPECTIVE
Perspective drawing can be drawn
instinctively, without any geometrical
method, as is often done by painters
and artists, but that requires great
skill, experience, imagination,
observation and judgement of
proportion. For a novice, the only way
to draw and grasp perspective is
through geometrical method. Once he
masters it, he can draw any type of
perspective without resorting to It.
Though the geometrical perspective seems to be a complicated and lengthy process, it is not so in
reality. With practice you acquire mastery over it and then it requires hardly any time to be

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accomplished. The perspective helps to visualise correct proportion on the drawing board, and on
the completion of the project, your client can see the same proportion in actuality.

METHOD OF DRAWING PARALLEL OR ONE-POINT PERSPECTIVE SHOWING

THREE WALLS
An effective presentation with widest range. Most preferred for interiors inviting intricate
detailing.

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Lesson-9: Plan, Elevations, Selections and Views
along with details

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 plan

section

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Free Students‟ Course Material NOT FOR SALE IDS/SCM/71
Example of All Detailed Drawings

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Free Students‟ Course Material NOT FOR SALE IDS/SCM/75
 Perspective views

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Intext Questions
Q.1. What is a plan and what are elevations? Explains with an example?

Q.2. Discuss the benefits of a perspective drawing w.r.t0 to interior design?

.

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 Unit – V
Lesson-10: Colour Scheme
Lesson-11: Specification of Commercial Furniture
Lesson-12: A Brief of Type of Lighting
Lesson-13: Surfaces and Finishes
Lesson-14: Final Presentation

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 Lesson-10: Color Scheme
Structure:
10.1 Introduction
10.2 Definition of Color Scheme
10.3 Use of Color Scheme
10.4 Factors Influencing the Color Schemes
10.5 Types of Color Schemes

10.1 Introduction
Colour is the most basic tool in the hands of a designer to “decorate” a place. And it is also most
economical. Here we will describe what a colour can achieve in an interior and the various
colour schemes to use colour intelligently.

10.2 Definition of Colour Scheme

The employment of one or more hue/s
alongwith their tints/shade/ greys or
their analogous/ complementary hues
to obtain desired result/s is called a
colour scheme.

From the use of the term scheme, it

becomes clear that act of choosing
colour/s and its/their various qualities
is pre-meditated, thought-out and
deliberate. From the above definition,
we derive that the colour scheme can
be based on one colour, termed
monochromatic, or two colours, dichromatic or more than two colours termed polychromatic.

In an interior, generally two or more colours are employed. For instance, ceiling is always a very
light colour while walls are comparatively in lower key while accents are done in lowest key.

10.3 Use of Colour Scheme

Colour in an interior is responsible for so many factors:

1 It makes the interior pleasing.

2 The dimensions of an interior can be made to look smaller or bigger with its help.
3 It camouflages undesired elements in an interior.

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4 It creates a certain mood in an interior–mood of relaxation, or mood of activity.

5 Certain periods of history have preferred certain colours-and they can be used to echo such
periods. All the above items and their achievement through colour has been described in
earlier chapters.

10.4 Factors Influencing the Colour Schemes

We have to consider these factors before
deciding a colour scheme.

1 Individual Choice

Since an interior is designed for a certain

person who has to live in there for a
considerable time, his likes/dislikes should
definitely be considered for choosing a
colour scheme. But the interiors which are
used by more than one person, like a living
room, or an office, should be done in the
colours favoured by the majority of
occupants.

2 Utility-Wise

Before we decide what type of colour

scheme is required in a room, three factors
decide it:

i Span of time, ii Function, iii Size

i Span of time

An entrance hall, office house, shop, theatre, cinema hall, factory, living room, bathroom,
dressing room, conference room, etc. are used for shorter span and hence warmer or exciting
colours can be utilised. But for the rooms which are used for longer period like bedroom,
kitchen, etc., cooler and sober colours are used.

ii Function

Shops, factories, offices should have wormer colours to make workers and staff lively because
the atmosphere should stimulate them to work more and hard. But in a shop, preferably neutral
backgrounds should be used to enhance the impact of goods displayed, and to relax the customer.
iii Size

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In smaller rooms, high-key colour scheme should be employed to visually enlarge the room.
Bigger rooms should be in low-key so that their size would not overwhelm the person in it.

3 Direction-Wise

Due to the movement of sun, East is warm .in the morning, West in the evening, North is cool
and South is temperate. So considering the factor 2, appropriate colour scheme should be chosen.

4 Region-Wise

The world is divided in tropical, temperate and cold zones, and keeping in mind the weather
pattern, appropriate colour scheme should be used. For example, warm colours in the cold zone
and cool colours in tropical zone would definitely create the desired effect of warmth and
coolness, respectively.

10.5 Types of Colour Schemes

Various colour schemes have been used unconsciously for centuries successfully, and they can
be analysed and classified now for more effective studies.

1 Non-Mechanical Colour Schemes

Non-Mechanical colour schemes can be divided into two categories for an easier study:

i) Readymade, ii) Nature-Based.

i) Readymade Colour Scheme

Readymade colour scheme can be obtained from a an object, or b theme.

a Object-Based Colour Scheme

Observe the colour scheme of a carpet, or a painting to be used in an interior. And repeat the
same in proportion in your colour scheme.

b Theme-Based Colour Scheme

Some time, it is very easy to work out a colour
scheme based on the name, nature or period
of a project. For instance, you might be asked
to work on a sea-Food restaurant named
Neptune. Here you can base your colour
scheme on the sea, its interior and
surroundings. So you can really have a ball
with blue, sea green, sky blue, white, salmon
pink, mussel tones, shell colours, Fish grey and
related colours. Or in a showroom dealing with

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Victorian bric-a-brac, you can use beige, Fawn, tobacco, brown, off-white evoking a Victorian
ambience.
Colour Scheme

1 Non-Mechanical Readymade

Nature-Based

2 Mechanical Related Monochromatic

Analogous

Neutral

Contrasting Complementary

Split Complementary

Double Complementary
Triad

3 Creative

ii Nature-Based Colour Scheme

Like everything else, anything based on Nature is successful for ever. It has a sort of rightness
about it. We can divide Nature-Based colour schemes into two:

a Landscape-Based, and b Natural Object-Based.

a Landscape-Based Colour Scheme

See the colour of sea, sky,

clouds, mountains, land
covered with plants and trees
and earth or barren land. You
will find that they do not have
sharp colours and are large in
area. The sky occupying the
largest area is very light blue;
water in the sea/river/canal
also has the reflection of the
same light blue; mountains are
generally covered with either

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snow or light brown trees covered with green leaves. Earth is of dull brown or ochre colours,
plants and trees are green.

But with all this you will find a fantastic variety of fruits, flowers, birds, insects (like butterflies
and beetles), reptiles, animals, fish, etc. in bright colour combinations though these are small in
size.

Again, observe very carefully. You will notice that nature never duplicates a thing in its entirety.
It creates variety. The dull/matt brown of soil is repeated with a different, a bit smoother
structure in the bark of the trees. Soft smooth yellow petals of a sunflower are repeated in the
matt yellow wings of a butterfly which is repeated in the bright shining yellow of the sun.

Since our microcosm (small world) is a reflection of the macrocosm (big world), the lessons
learnt from Nature can be, and have been utilised in our interiors profitably. Japanese call it
shibui. We can use larger areas in light or high-key, small areas or areas to be accentuated in
bright or lower-key, and repeat a colour with variations, e.g., a dull brown rug can be repeated in
a smooth, shining leather of a chair and that can be repeated in highly polished bronze pieces.

b Nature Object-Based Colour Scheme

Nature has created various creatures with
variegated colour schemes. Observe a
butterfly, or a fish, or a flower. This will give
the cue to your colour scheme. A butterfly
might give you a colour scheme of
lemon/golden yellow, brown, black and white.
Or a flower might lead to a colour scheme of
lilac and white accentuated with violet and
green. Or a panda might decide a colour
scheme of black and white and with accents
provided by brown.

2 Mechanical Colour Schemes

These schemes are based on the colour wheel, and are most easy to use. Mechanical colour
schemes can be divided into:

i Related, and ii Contrasting.

i Related Colour scheme

Colour schemes shoring common characteristics with one dominating colour are used in these
schemes. Colours are closely situated to each other on the colour wheel and have one common
colour. According to this criterion, the related colour schemes can be divided into: a)
Monochromatic, b) Analogous, and c) Neutral.

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a Monochromatic Colour Scheme

Monochromatic means “of one colour”. Under

this scheme only one hue and its different values
and intensities are used. For instance, red can be
used with its various intensities giving vermilion,
carmine, crimson, etc. and various values in high-
key giving Alps red, peach, flesh tint and values
in low-key giving Indian red, brown, burnt sienna
etc. The range may vary from almost white to
almost black and from very bright colours to dull colours.
This scheme helps to give a spacious feeling to an interior and provides unity for a composition
and a quiet background for objects and people within it. The scheme offers designer reasonable
chances of success. The only drawback is that being monotonous it easily becomes boring and
therefore is seldom used in its true form. Accent of other colours are added to it for variety.
White and black can also be used with it effectively.

b Analogous Colour Scheme

In this colour scheme, colours situated

next to each other on the colour wheel
are used. It generally uses one colour as
its major force with the two neighbouring
colours as secondary forces, e.g., yellow
with yellow-green, green; or blue with
blue-green, blue-purple.

c Neutral Colour Scheme

A neutral colour such as beige or white with an accent colour for breaking the monotony is used
in this colour scheme. It has its plus points in the fact that it presents the interior with neutral
background which enhances the objects and people in the interior, and for that reason is very
useful for the people wishing to display their collection of objects d’art, or merchandise.

The white neutral scheme became popular recently because of its adaptability to both traditional
and contemporary style. A neutral scheme allows for easy colour accent changes by the simple
process of altering pillow covers and small objects.

ii Contrasting Colour scheme

Differences in colours are the bases of the contrasting colour schemes. Two colours, which are
extremely opposite, one might be cool and the other warm, are chosen for the colour scheme.

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The colours give great variations from
highly saturated values to very dull
combinations. If two contrasting colours
are placed side by side, one appears to
advance while the other seems to recede,
producing a vibrant effect. Example of
this: red/green, blue/orange,
yellow/purple. This vibration can be
counteracted by toning up/down one
colour or separating them with a related
colour or neutral. Contrasting colour
schemes can be divided into a
Complementary, b Double
Complementary, and c Split Complementary.

a Complementary Colour Scheme

It is based on two colours found opposite to each other on the colour wheel. These colours need
not be used in their pure form, they can be used in many values or intensities. A complementary
colour scheme can be developed from a monochromatic colour scheme accentuated with a
complementary colour or an even balance of two
colours

b Double Complementary Colour Scheme

Two sets of complementary colours, next to each

other on the colour wheel, e.g., yellow and orange
and their respective complementary colours are used
in this colour scheme.

c Split Complementary Colour Scheme

In this colour scheme, instead of a colour‟s

complementary, the two colours on each side of it are used. This offers more variety, e.g., yellow
with blue-violet and violet.

iii Triad

Triad, as the name suggests is based on three primary colours and their tints and shades. Though
this offers infinite hues to play with, it also requires restrained handling, otherwise the result
would be chaotic.

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3 Creative Colour Scheme

Any colour scheme which is not based on any of the above colour schemes, and is appropriate
for an interior, is a creative colour scheme. Now, there is no limit to using one‟s imagination, but
here we give a few guidelines.

i Similar Hues

The primitive African tribes used

combination of red/orange, two
analogous colours, in their art
very effectively. This is a good
idea to develop. You can combine
similar hues with dramatic effect
e.g., use red/pink, red/magenta,
magenta/mauve, violet,
violet/purple, leaf green/olive
green, lemon yellow/lemon green,
chrome yellow/golden yellow, golden yellow/orange, cerulean blue/cobalt blue, cobalt
blue/ultramarine blue, black/steel grey, etc. This scheme can very effectively be used to
emphasis a subject. For instance, a mechanical workshop con be rendered in black/steel grey, or
a bread shop in brown/golden brown, or a milk booth in sky blue/cerulean blue.

ii Dissonance
If a set of complementary colours is used not in their normal values on the colour wheel, it is
known as dissonance. For example instead of green/red, pista green/strawbery pink will be
known as dissonance. You might find this a nice colour scheme for an ice-cream parlour. This
way you can create innumerable colour schemes.

iii Unusual Colour Combinations

There are traditional colour combinations and we have discussed them in an earlier chapter. But
there are combinations which nobody ever thinks of, e.g., dark blue/brown, brown/grey,
brown/mauve, yellow/grey, grey/red. The list is endless. These combinations evoke feeling
which a general colour scheme can not.

Take, for instance, blue/brown. We have seen that these colours represent two different types of
personalities-blue is idealistic, brown is practical. Not a good combination otherwise. Now
consider a bedroom in a cool region, or facing south, overviewing the sea. Adjust the values of
blue/brown. Here you have a perfect colour scheme for the room. Blue integrates the room with
the sea and sky outside, and brown gives the warmth required for a cool or sunless side, also
integrating with the wooden furniture of the room.

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iv Your Surroundings

Turn back to your environment. See things

around.

Watch the nature and get penalty of colour

schemes for you.

Watch the interiors done by other designers

which attract and appeal to you. Go through
number of manuals, study their colour-
scheme; make number of perspectives and
fill up with different colour-scheme, you
will come to some conclusion of good
colour scheme.

Colour Plan

Now you know the basics of colour. And

colour combinations and schemes. And how
colours affect us, physiologically,
symbolically, emotionally, mentally and
otherwise. So with all that knowledge as a tool, let us plan the colour of an interior.

Beginning a Colour Plan

Like any other job, begin with one colour keeping.

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Lesson-11: Specification of Commercial Furniture
Structure:
11.1 COMMERCIAL FURNITURE CLASSIFICATION
11.2 EVALUATING OPEN OFFICE SYSTEMS
11.3 OFFICE DESIGN
In view of Increasing safety concerns and the accompanying liability factors Involved in the
specification of furnishings, it is important that designers maintain quality control through
performance evaluation of furniture components. This chapter will classify types of commercial
furnishings, survey current performance testing, and provide guidelines for maintenance and life
cycle costing

11.1 COMMERCIAL FURNITURE CLASSIFICATION

Furniture manufactured for commercial installation is best classified by use rather than style.
Four major categories can be established to include the following (1) office furniture, such as (a)
open office systems, (b) standard office furniture, and (c) executive office furniture; (2) seating;
(3) tables, and (4) accessories.

OPEN OFFICE SYSTEMS

Because open office systems entail more precise specification considerations than other types of
office furnishings, more detailed Information on It is given here Open office systems are usually
based on three methods of component assembly. (1) One system utilizes freestanding vertical
screens with conventional office furniture (2) The second type makes use of panels linked
together to become self-stabilizing walls or dividers from which work surfaces and storage
components are suspended The panels vary in size from 30 to 78 in (762 to 1981 cm) In height
and 22 to 48 in. (559 to 121 9 cm) in width (3) A third method employs self-contained solid L-
shaped wooden or steel units that serve both as storage components and dividers. The second and
third systems‟ approaches frequently Incorporate llighting components. (See Figure 12.1). Each
system IS usually composed of the following

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Workstations : These are semienclosed areas that may accommodate one or more people. The
size of workstations is generally based on the functional
needs of the occupant and may be classified as clerical,
secretarial, accounting, legal, supervisory, word
processing, middle management and executive. Figure 12.2
Shows some general configurations and average sizes of
workstations and worksurfaces. It is usually recommended
that a percentage of supervisory workstations be provided
with a greater measure of privacy to accommodate
discussion of confidential matters.

1. Work surfaces, primary and secondary level surfaces

Panel supported
Floor supported
Tilted surfaces
Panel supported
Floor supported
Mobile, pull-out surfaces

2. Storage components
Filing units
Panel supported
Mobile
Drawer units
Shelf and overhead storage
Wardrobes

3. Lighting components
Integrated
Ambient
Task
Freestanding Lighting

4. Utilities
Internal raceways
Overhead power connections
Floor recessed
Ganged outlet strips

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5. Accessories
Pinup surfaces for display
Modesty or privacy panels
Coat racks
Draw fittings
Chalk boards

11.2 EVALUATING OPEN

OFFICE SYSTEMS
In the past several years the abundant
production of open office systems has
created a perplexing problem for
designers
Reaching a decision on which
particular system will best meet the needs of a client is often complicated by the complexity of
components and similarities between systems. For example each manufacturer offers variations
of the following components
Workstation configurations
Acoustic controls
Accessories
Lighting components
Methods of integrating utilities
The problem is further complicated by the fact that a system designed by one manufacturer is
rarely interchangeable with any other system; i.e., once a commitment is made to a particular
system, a client may add to that system, but not mix components from another system. Other
than complete reinstallation and certain financial loss, a client is locked into a system for many
years. Therefore, designers must give very serious consideration to the evaluation and
specification of open office systems.
The performance approach discussed in Chapter 4 would prove very useful In establishing
criteria on which to base a final specification decision. The development of a preliminary
performance matrix points out major health/safety, durability, maintenance, and functional
factors that should be evaluated when comparing open office systems (Figure 12.3). It may be
necessary to develop a more detailed matrix for the evaluation of lighting and utility

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Free Students‟ Course Material NOT FOR SALE IDS/SCM/92
UPRIGHT POSITION FORWARD TILT BACKWARD Tilt
Place your feet flat on the A chair with forward With an adjustment allowing
floor or on a footrest, so that tilt allows you to reach backward tilt, you can stretch
your legs form a right angle. across your desk tired limbs and reach objects
Allow enough space for a without tipping up the at the side of the desk without
first between the seat edge chair. It also lets you tipping the chair over.
and your knees. occasionally sit with
your legs lower than
your hips.

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 DRAFTING CHAIR LUMBAR SUPPORT FOOT BAR
Higher than a normal task chair, a drafting This drafting chair has an integral A cricular bar supports the feet, helping
chair enables the user to work at an angled lumbar support for long-term to ensure correct posture when seated.
drawing board. A well designed drafting chair seating comfort
is height-adjustable, with an upholstered seat
for comfort, a circular foot support, and
castors for mobility.

ACCESSORIES
For workers using an ergonomic task chair, accessories are unnecessary. However, if you use a
household chair, or already suffer from back problems, adding a wedge cushion or lumbar roll
can give extra comfort and help to prevent back strain.

BACK SUPPORT
A lumbar roll gives extra support to the small of the
back, and helps to prevent slouching. Mostattach to the
chair by straps and come in removable covers for easy washing.
WEDGE CUSHION
A wedge-shaped cushion, placed on a hard seat, gives
padding and comfort. Its tapered design helps to correct poor
posture, in the same way as a forward-tilt mechanism.

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 Chair

Computer table

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FOOTREST
A footrest, can help to relieve pressure on the thighs. It also enables you, if you are short, to keep
your knees at right angles to the floor and still be at the correct height for your desk.

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CONTEMPORARY DESKS
Instead of the traditional L-shaped desk, consisting of a worksurface and return for work
equipment, contemporary desks have a more pleasing, organic shape, with soft curves substituted
for sharp corners and unfriendly edges, and pastel shades and patterned laminates instead of grey
melamine. Most also have cable management facilities, so work out your requirements and select
a desk that is appropriate for your system.

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 Mobile desks

Workstation storage

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 Discrete storage

Open shelves

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 Lesson-12: A Brief of Type of Lighting
Lighting can be kept open or concealed.

OPEN LIGHT
These are open lights:
Ceiling light
Hanging light
Bracket light
Pedestal light
Table light
Floor light
Indication light (bell, telephone)

Open lighting is normally used with shades to avoid glare and to give diffused light. Shades
should coordinate with the decor and colour of the interior. If they are made of cloth or glass,
care should be taken to provide more open space around the lamp. As far as possible, the cover
should be of white or a tint to absorb lesser amount of light. Darker colours can be chosen if the
required level of illumination is not considerable.

Concealed lightings are more pleasing to the eye, though they reduce illumination and produce
considerable heat which should be effectively removed. For this purpose, minimum 2.5 cm space
is left around them.

TYPES OF LIGHTING
Lighting can be divided into various categories according to various considerations.

Position
Wall, bracket

Movabilitv
Fixed, portable

Adaptability
Tracking, turning, swivel

Adjustability
Dimmable, undimmable

State
Open, concealed

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Purpose
General, specific, accent

Direction
Direct, indirect and variations of
these

Architectural
Cove, valance, recess.

Application
Wall-washer, ceiling-downlight

Lighting engineers talk of types of lighting in terms of direct/indirect, while architects go For
architectural lighting and interior designers have penchant for application lighting. The best way
to approach lighting for utilitarian purposes is to imitate the model of general, specific and accent
lighting provided by the nature. Open/ concealed lighting has been discussed by us in detail in
chapter on light sources.

LAYOUT OF LIGHTING
Layout of lighting usually refers to ceiling or toplight design which can be either uniform or
nonuniform. Uniform design gives homogeneous and efficient light while nonuniform gives
heterogeneous light which might be more interesting than the uniform one, and can be arranged
to achieve low energy use.

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Subjective Impression of Layout
Various patterns formed by lighting can induce various subjective impressions in the viewer.

Chessboard Layout
Chessboard or striped
patterns, though seemingly
balanced, can create dazzle
effects from the high contrast
pattern as you, sometimes,
would have witnessed from
the zebra crossing.

Perimeter Layout
Perimeter bands of light, e.g.,
coves, cornices, valances can
create an ambience of
intimacy and privacy by
emphasising the surrounding
rather than the occupants.

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Square Layout
Lighting arranged in lines of rectangular or square pattern, attracts attention by being the
dominant.

Diagonal Layout
The diagonally placed rectangular lighting conflicts with the rectangular form of the ceiling and
so attract too much attention without serving any function.

Neutral Layout
Downlight lighting can be used uniformly or otherwise without creating any conflict with the
ceiling form. But in the night or cloudy days, it might give the appearance of pimpled effect on
building when viewed from the outside.

Principles of Lighting
We have already discussed the purpose of good lighting. Let us discuss how we achieve the
aims set out there These include:

1. Planning of brightness/ colour pattern

2. Effective use of light sources

3. Planning of visual comfort

4. Reducing the shortcomings of artificial

light sources

5. Consideration of safety

6. Installing emergency lighting systems.

1 Planning of Brightness/Colour Pattern

The brightness and colour pattern within the working areas and the surroundings should be
thoroughly planned to attract attention naturally to important areas, to show the details quickly
and precisely, and to make the interior free of any hint of gloom of monotony, especially during
a gloomy weather like monsoon.

The brightness pattern within an interior comprises three parts:

i The task itself

ii Its immediate surroundings, and

iii General surrounding of wall/ceiling/floor/equipment/ furnishings.

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In an interior, where visual demands might be low, but considering the welfare, safety, amenity
and health of the occupants, a general level of brightness of 150 lux should be provided.

If the whole stretch of an interior is used as work area, the illumination provided should be of a
reasonably uniform quality, and if possible, the ratio of minimum to maximum illuminance
should not be less than 0.7.

After determining the appropriate task brightness of a task, the brightness of its immediate and
general surroundings should be decided. Here is a general guide for luminance (brightness) ratio
within the normal field of vision.

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 Lesson - 13: Surfaces And Finishes
As THE MOST PERMANENT and visible
elements in your office, finishes for floors,
walls, desks, and shelving require
particularly careful selection. The materials,
colours, and textures chosen will determine
whether your work space looks warm or
cool; formal or informal, and businesslike.
Practical considerations must also be taken
into account: the cost, durability, and
suitability of materials are all vital to a
successful choice. Experiment with sample
tiles and swatches before making a decision.

CONTRASTWITHOUTCONFLICT
The warm wood flooring and panelling contrast with the cool glass and chrome table.

POINTS TO CONSIDER

 Not all materials are equally  Tiles and wood strip flooring
durable. Hardwearing, long- must be laid on an even surface
lasting materials may cost so, if this is your choice, you
more’ initially, bur they can may have to cover the floor first
save you money in the long with hardboard or screed.
run,
 Carpets and other soft
 Some materials and finishes
furnishings help to muffle noise.
are more environmentally
friendly than others, so check  Medium-density fibreboard
with the manufacturer if this is (MDF) provides an inexpensive
of concern to you. If you option for a worksurface. Cut to
decide to use a hardwood, size and varnished or painted, it
check that it comes from a makes a hardwearing, tailor-
renewable source. made surface.
 Improve the appearance of a
 Linoleum, although costly, is concrete floor by painting it with special
a good option for a floor hardwearing paints.
covering. It is environmentally
friendly, recyclable, hygienic,
durable, and easy to clean
and maintain.
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LEATHER AND BAIZE TILES
Once commonly used on writing desks, leather
Available in ceramic, slate, marble, vinyl, or terracotta,
and baize inserts can be updated in modern,
tiles are popular as attractive, low-maintenance
vibrant colours.
surfaces.
ADVANTAGES
ADVANTAGES
Ž Creates a feeling of traditional luxury.
Ž Easy to clean and maintain.
Ž Can be easily replaced if damaged.
Ž Useful on floors that tend to be damp. .
Ž May be used to define certain areas on
Hardwearing and stain resistant.
desk.
DISADVANTAGES
DISADVANTAGES
Ž May necessitate special castors on chairs.
Ž Stains easily and is difficult to clean.
Ž Heavy metal cabinets may crack ceramic tiles.
Ž Can wear and tear at the edges.
. Tiles can feel cold underfoot.
Ž Heavy equipment will scratch and mark
it.

VINYL CARPET
Easy to cut to shape, vinyl is available in
Carpets provide comfort underfoot, and are
sheet or tile form as well as in a wide range of
available in tile or roll form. Special antistatic
colours and patterns.
carpet is available for offices.
ADVANTAGES
ADVANTAGES
Ž Good value for money.
Ž Provides sound insulation and
Ž Durable and easy to maintain.
draughtproofing.
Ž Textured finishes and padded surfaces
Ž Cables can be safely concealed
available.
underneath.
DISADVANTAGES Ž Extensive choice of colours and patterns.
Ž Nor suitable for uneven floors.
DISADVANTAGES
Ž Can he marked by heavy furniture.
Ž Some carpets can cause static electricity.
Ž Wood and ceramic effects are rarely
Ž Harbours dust and carpet mites.
convincing.
Ž Thick domestic carpet will show castor
marks.

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WOOD PLASTIC LAMINATE
Commonly used for office desks and shelving,
An attractive and hardwearing material,
laminates are available in a range of qualities
wood is available as stripped or painted
and finishes.
boards, parquet, or block flooring.
ADVANTAGES
ADVANTAGES
Ž Wide range of colours and designs.
Ž Gives a warm, homely feeling.
Ž Hygienic and easy to clean.
Ž Easy to clean and maintain.
Ž Cheaper than solid wood.
Ž Can be painted, stripped, or
covered with rugs. DISADVANTAGES
Ž Lacks the warmth and naturalness of
DISADVANTAGES
wood.
Ž Varnished surfaces need regular
Ž Surface of cheap products may chip or
maintenance.
peel off.
Ž Does not provide acoustic
Ž Difficult to repair once damaged.
insulation.
Ž Pale woods show marks and dirt
easily.

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 Lesson-14: Final Presentation
1. All the drawings should be made on a similar size sheet with all the details clearly written.
2. Inking colouring and Redering should be done neatly.
3. A sample board with all the details of material used should be made.
4. The complete project should contain following sheets.
l Floor plans of Spatial Layout of specific areas 11/8” - 1‟-0‟
l Floor plan and furniture plan -1/4” = 1‟-0‟
l 3-4 sectional elevations showing complete details of interiors, as well as exterior
facade in the office (same scale as the plan)
l Ceiling plan showing details of false ceiling
l Electrical layout
l Furniture detail of any 3-4 pieces of furniture i.e. plan, sectional and elevations view.
l Coloured-rendered perspective view of interior.
l In begining a presentation sheet with project name and designer details should be
attached.

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Intext Questions

Q.1. Broadly classifies the various colour schemes and give examples of each?

Q.2. What are the things to be kept in mind for a long duration sitting furniture piece?

Q.3. What type of lighting should be used for various areas of any office?

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 Books for Further Reference
1. Time saver Standards for Interior Design.
2. Magazines and Periodicals.

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