9 PRINCIPLES OF DESIGN – APPLICATION OF DESIGN PRINCIPLES IN INTERIOR

M.R. Thilagam

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While man made an attempt to invent things he also identified various natural objects and modified it to suit his requirements in an artistic manner. Slowly he started to create beautiful things by following some guidelines. These guidelines were termed as principles of design. It is therefore essential that an interior designer must use these principles is guidelines for creating good designs by following certain fundamental objectives namely,

 

Beauty

  • Expressiveness
  • Functionalism

The principles of design are used as a yard stick in judging or while developing a design

 

The principles of design are,

  • Proportion
  • Balance
  • Harmony
  • Rhythm
  • Emphasis

Proportion

 

Proportion is the law of relationship which demands that all space divisions be pleasingly related to each other and to the whole. The relationship may be one of magnitude, quantity or degree which results in the correct or pleasing relation of part of a single object. The principles of proportion are therefore represented as “Law of Space Relationship”. It indicates that the relationship between parts of the same thing or between different things of the same group should be satisfying.

 

The ancient Greeks, during the civilization analysed and developed a scale of space relationships which is represented as Greek or Golden Oblong or Golden section. For flat areas the ideal proportion is 2:3, 3:5, 5:8 and so on. For three dimensional areas of space division 5:7:11 ratio is suggested. This Greek scale of space relationships applies to the shape of the room as well to the size of the furnishing in the room. A space that is exactly divided into halves or third or quarters is less attractive than unequal division. That is why rectangle seems to be more interesting than squares.

 

Goldstein & Goldstein indicate that there are three practical problems which we face in day to day life in applying the principle Proportion. They are:

 

1.   How to achieve arrangements which will hold the interest?

2.  How to make the best of given size and shapes?

3.  How to judge what sizes may be successfully grouped together? To solution suggested for these problems are:

 

1) In order to achieve arrangements that will hold interest, one must know how to create beautiful space relationships.

2) In order to make the best of given sizes and shapes, one must be able to produce a semblance of change in appearance, if it is desirable.

3) In order to judge what sizes may be grouped together successfully, it is necessary to grasp the underlying significance of scale.

 

While dividing a space into two interesting parts there are three possibilities. They are

 

i) All the spaces may differ

ii)   All the spaces may be alike

iii)   There may be variation in some of the spaces and repetition in others.

     i)   All the spaces may differ

When all the spaces differ it tends to provide the greatest variety. This typeof spacing is excellent and suitable for smaller areas, while it may create confusion when used in larger areas.

 

ii) All the spaces may be alike

When all spaces are alike it may result in monotony as the result of repetitive lines or colour or space. One can bring in interest by introducing different colours or textures. Example – national flag of India.

 

iii)  There may be variation in some of the spaces and repetition in others

This produces an effective design especially when one section or a design dominates the other. This comparatively looks better as there is harmony in repetition but variation provided will change the monotony.

 

When arranging object on a shelf one should make an attempt to secure interest in the heights and in spaces between the objects.

 

While arranging group of objects within a larger group as in assembling several pictures which should harmonize in a particular wall space, the space between the pictures in a group should be smaller than the width of the pictures.

 

2. Producing a change of appearance

 

This could be achieved by producing illusionary space in order to make the best of given sizes and shapes one must be able to produce a semblance of change in appearance.

 

a) Vertical or horizontal lines when sued will add to the height or add width to any object

b) Change on appearance through colours can be obtained by

  •    Extending the colour of wall to the ceiling to increase the apparent height of the wall.
  •   Long and narrow room can be made to look normal by using bright colours for short walls and dull colours for the longer walls.

   c) Other ways to bring in change in appearance are,

  •  Use of vertical or horizontal wall hanging to emphasis height or width of the wall.
  • A long room can be made to appear shorter by using rugs for various furniture groups or activities.
  • By using valances and cornice boards the height could be reduced.

3)   In order to judge what size may be grouped together successfully, it is necessary to understand the significance of scale

 

Scale indicates the understanding and selecting the object and arranging them in such a manner that they will appear as one whole. It is related to proportion in which scale represent the relative sizes of object selected while proportion deals with the relationship between the parts of an object. Scale then means,

 

The size of all the parts or elements of an object should have a pleasing and consistent with the structures and to each other and

 

The size of the object as such should be in proportion with the each other object combined with it, An object will look very small when it is placed near to a very large one. This is due to combination of object with two inconsistent sizes. They accentuate each other by contrast and hence appear out of scale.

 

Some examples are,

 

1.Huge and bulky furniture will fit a huge room while small pieces of furniture will suit an average size room.

2. A spacious effect can be given to a room while using small scale furnishings.

 

Texture and patterns also may create differences in scale. Coarse textures produce an effect of heaviness while fine textures gives a feeling of lightness. Large patterns are ideal for large wall areas while small patterns are suitable for small wall areas. Intermediate patterns and texture could be coupled will both coarse and fine texture as well as small and large pattern. It is not necessary to measure and arrange different spaces or furniture, but due to practice our eye will tell us whether the arrangement is interesting or pleasing which is mainly due to adoption of principles proportion or scale in any arrangement.

 

Balance

 

While arranging a space with furnishing, lightings and accessories, various spaces, sizes colours and textures are used. While using the various objects they should arranged in such a way that there is a state of equilibrium in visual force and that is called visual balance. It is so natural in any design or arrangement so that when it exists it is not realized but when not achieved a sense of uncomfortableness is produced.

 

In simple terms “balance means rest or repose”. Gold stein & Goldstein (1960) define balance as the restful effect obtained by grouping shapes and colours around the centre in such a way that there is equal attraction on both the sides.

 

A perfect example for balance is a Sea saw. The principles that is applied for Sea saw could also be applied for balance – an art principles when two objects of equal weight is placed at equal distance from the central pivot it will be balanced. While one object is heavier than the one on the other side, then the heavier object should be placed towards the center based on its weight. So also when the visual weight of the objects placed on either side of the center object or imaginary centre is the same then it should be placed at equal distance from the center. When the visual weightage of an object is more on one side due to variation in size, colour, texture or attraction then the object should be brought towards the center. However the distance at which it is placed from the center depends on the visual weightage of the object. The visual weight of any object is assessed based on the attention it demands,

 

Types of Balance

 

They are three types of balance,

   1.      Symmetrical / formal / axial balance

2.      Asymmetrical / Informal / Occult balance

3.      Radial balance

 

Symmetrical / formal / axial balance

 

If objects on either side is equal in visual weight or equally forceful in appearance then they may draw equal attraction and therefore should be placed at equi distance from the distance this is called ‘Formal balance’. They are two types of formal balance namely 1) Bisymmetrical b) Obvious balance. Bisymmetrical balance is achieved when one side of a center object is the exact reverse of the other half.

 

When one object on either side of a center object are not identical but equal in the power of attraction is called ‘Obvious balance’. Formal balance is also known as passive balance. The qualities indicates by formal balance are a) quiet b) Rest and repose c) Dignity d) Feeling of precision e) Static f) Stable g) Create an air of formality.

 

Asymmetrical / Informal / Occult balance

 

Inorder to achieve an Asymmetrical / Informal /Occult balance or optical balance the object on either side of the center objects or imaginary center should be different. Asymmetrical should be obtained when visual weight or visual force are equal and but not identical. Asymmetrical represents quick and vigour, suggest movements spontaneity and informality. It allows freedom and flexibility in arrangements for utility and beauty. It requires imagination and individual qualitative judgements regarding the placements of objects. Symmetry is preferred when formal, traditional or tranquil effect are desired. Asymmetry is used in places were informality and flexibility are desirable and when spacious effect is sought for.

 

Radial balance

 

When all parts of a composition are repeated & balanced around a center like petals of a daisy or the widening of ripples from the pebbles thrown into a pond is indicated as radial balance.

 

Harmony

 

Goldstein defines harmony as the art principles which producers an impression of unity through the selection and arrangement of consistent object and ideas. seetharaman and Pannu (2009) defines harmony as Consonance of the pleasing agreement of parts or combination of parts into a composition.It should form a satisfying whole.while considering the appearance and use of any piece of work, harmony is teh most fundamental requirement. When harmony is carried out to the maximum while using elements with similar traits, it may result in an unified but uninteresting composition. When variety is carried out to an extreme to create interest, it may result in visual chaos.

 

The principle of Harmony takes up five aspects. They are,

 

1.      Harmony of Line and Shape

2.      Harmony of Size

3.      Harmony of texture

4.      Harmony of idea or theme

5.      Harmony of colour

 

Harmony of Line and Shape

 

The composition of a line can be horizontal, vertical or curved. In any of these composition they are grouped under those main group namely,

a)      Lines which repeat one another ie., Harmony through repetition

b)      Lines which contrast one another ie., Harmony through contrast

c)      Lines which soften or modify ie., Harmony through transition

 

A combination of lines results in shape. While combining different shapes it result in harmony of shape. Example, A is in perfect harmony since one square fits into the other of the same shape. When a shape contradicts with the other shape as in B it results in harmony through contrast shape. This combination should be used only when extreme contrasts are desired. Transition lines have an easy, graceful and softening effect which have the power to bring shapes together as in figure C.

 

In designing any interiors, number of shapes and forms are used. If an orderly arrangement of lines and shapes are followed it results in Harmony.

 

2) Harmony of Size

 

When objects of two different sizes are together they give a feeling of being inconsistent. Scale – an aspect of proportion is related to Harmony of size for example a small sized room should be furnished with small furniture similarly large furniture can be used in big rooms.

 

3) Harmony of Texture

 

Texture – either visual or tactile has gained importance in decorating the interiors – both commercial and residential. For successful planning in interior decoration the planner should understand that coarse texture will not go with fine texture, while both coarse or fine textures may blend with medium texture. For example fine polished wooden furniture can be upholstered with fine textured glazed material, while rough wooden furniture can be upholstered with rough hand woven material.

 

4) Harmony of Idea or theme

 

An interior decoration should plan as how to place things and forms in an area so that it will reflect the idea or theme of the room. The set up should represent the purpose of the room arranged. Example a cottage style should be followed in the farm house while the arrangement may not suit a mansion. Whatever may be the type of decoration adopted, it is essential to consider that eh object sued should blend with each other and be in harmony thus it should look pleasing and appealing to the eye.

 

5) Harmony of Colour

 

When colours which have something in common are combined together they give pleasure as they are in harmony. They give the impression that the colours combine really belong to each other. In genral colour harmonies are classified under two categories, a) Related colour harmony, b) Contrasting colour harmony

 

Rhythm

 

According to Goldstein &Gold stein, in art rhythm means a easy connected path long which the eye moves in any arrangements of line, form or colour. Rhythm then is a related movement. In any arrangements the eye should move smoothly and gracefully from one object to another to create interesting and dramatic effect. Hence rhythm is an important principle of design. It make the eye to wander over the total design before it stops at the particular point of focus.

 

They are 7 ways in which Rhythm is achieved. They are,

 

1.      Rhythm through repetition of shapes, lines, colour etc.

2.      Alteration

3.      Progression of size or gradation

4.      Continuous line movement

5.      Radiation

6.      Opposition

7.      Transition

 

Rhythm through repetition of shapes, lines, colour

 

It is the easiest way to develop rhythm. This type of rhythm can be obtained by repeating a particular shape, lines and colours at definite regular intervals. While securing rhythm through repetition, one may have to be careful in avoiding monotony in spacing. When the space between the object or design are far apart then that design may lack rhythm. Inorder to create a rhythmic feeling a shape or design should be used number of times. This may also give an effect of repose. Any shape or design which is difficult to use as an individual unit can be used successfully if repeated at short intervals.

 

Rhythm through alternation

 

Any design or line can be alternated with another to create interesting effects. Example the stripe of Zebra. This type of rhythm overcome monotony and creates interesting effect without changing the unity of the design created.

 

   Rhythm through continuous line movement

 

It carries the eye throughout the design and give a feeling of continuous movement. This line are made largely of curves. No matter at which point the eye enters, it is carried through an easy flowing movement throughout the design without any hindrance. Example the design on Sea shells or kolam.

 

Rhythm through progression of size or gradation

 

This type of design produces a rapid movement, hence careful handling is required. A progression through gradual changes in line, size, colour, pattern and light will produce a rhythm through progression or gradation. This type of progression in small areas are seen in scallops on laces or in larger areas like that of temple gopuram. Rhythm through gradation is sometimes misrepresented in the art objects or pictures hung in the walls as it tends to carry the eye to the ceiling, away from the centre of interest in the room. Gradation or progression in values of colour are seen in textile shop or dresses sometimes.

 

Rhythm through Radiation

 

It is a type of movement that is produced due to organized movement that radiates from the center like the rays of the sun. Example a Rangoli pattern used on the floor. It is produced when many lines extend from center point or axis. It is not often found in home decoration, unless it is used as accessories, dressing table etc.

 

Rhythm through opposition or contrast

 

It is purposive placement of forms or colour to create opposition by abrupt transition instead of gradual change. Example a round design placed next to a square, yellow colour placed next to purple, straight cornices over windows with curtains and draperies that are hanging straight. This type of design will produce exciting responses and also provides continuity upon which rhythm is established.

 

Rhythm by Transition

 

This form of rhythm carries the eye move gradually from one place to another. Example of transition are found in arched doors, in curved cornices and fitted valances that extend on all the three sides of a window.

 

Emphasis

 

Emphasis is defined as the center interest to which the eye is carried first to the most important in any arrangement and from there to every other detail in the order of its importance. Faulkner and Faulkner presents four levels of emphasis such as emphatic, dominant, subdominant and subordinate.

 

To create an interesting effect every room should have a center of interest. It should be the most dramatic elements which attract the attention of anyone entering the area. When no focal point are created in a room, boredom rapidly sets in. For successful application of emphasis in the interior one should have the knowledge of the following:

 

i)    What to emphasize?

ii)     How to emphasize?

iii)     How much to emphasize?

iv)   Where to place emphasize?

 

What to emphasize

 

A designer should decide on what to emphasize before he gets into the project. Though what one want to emphasize may vary from individual to individual it is suggested that the background should be least emphasized as it is only against this background various objects are seen. Hence it should be quiet and less conspicuous. If the objects are not worth emphasizing it can be vice versa.

 

How to emphasize

 

Goldstein and Goldstein had suggested five ways of creating emphasize or attract attention. They are as follows:

    1)      By placing or grouping of objects

2)      By use of contrast colours

3)      By using decoration

4)      By having sufficient plain background

5)      By using contrasting or unusual lines, shapes or sizes

 

It is not necessary that only any one of the method stated above should be used to create emphasis, but even two, three or even all the five methods could be applied in an area to emphasize.

 

1) Emphasis through placing or grouping of objects

 

When related objects are grouped around one function or purpose they create emphasis by creating unity among its various objects without producing confusion. It is also essential that various objects should be placed at appropriate places.

 

2) Emphasis by use of contrast colours

 

Since the eye is quickly attracted by strong contrasts of light and dark colours or bright and dull colours, by placing an object against the background which contrasts one can emphasize an object. In other to make a room unified intermediate hues or values of the striking contrasts of colour can be used.

 

3) Emphasis through the use of decoration

 

Decoration is an useful means to create emphasis. Decoration in an object should be placed as structural points to enhance the beauty of the object, it should be simple, suitable to the object and decoration should cover the surface quality. Some objects which do not have any function are used purely for decoration at the point of emphasis while decorating the interiors.

 

4) Emphasis through plain background

 

The use of plain background is important to bring out the quality of any object placed against it. It is essential to understand the two important guidelines.

 

a) When an object is given enough background space and separation from other things it gains importance.

b) When the selected object are placed closed to each other they will be seen as a group and not as separate units.

 

Since plain spaces are one of the most important consideration in bringing out the quality of an object. It is also one of the most important method of emphasizing an object.

 

5) Emphasis through the use of contrasts or unusual lines, shapes, sizes and colour

 

Anything that is unusual or different from the rest of its group, attracts our attention. This type of emphasis is seen in the headlines of newspaper where the size of the headlines varies with the importance of news. Use of contrast colours and unusual size letters could be seen on banners or advertisements on the road side attracts the attention of the people.

 

How much to emphasize?

 

The amount of emphasis varies with each arrangement. while giving a grade for emphasizing different objects placed in a room, background should be given a point near zero in the scale and various focal points are provided with different grades according to the order of importance. Simplicity is the keyword or the answer for how much to emphasize.

 

Where to place emphasis

 

When an object is placed on a horizontal plane and when it has to viewed from all sides then the object to be emphasized should be placed in the center. In a vertical plane the center of interest will be slightly above the exact center.

 

Thus, whatever may be the art problem application of fundamentals art principles may help in solving the art problem.

 

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References:

 

  1. Craig and Rush, Homes with Character
  2. Dorothy Stepat – De van. Home Furnishings
  3. Faulkner and Faulkner (1994), Inside Today’s Home, Holt, Rinehart and Winston, NewYork.
  4. Gandotra.V, Shukul.M, and Jaiswal.N, (2011) Introduction to Interior Design and Decoration, Dominant Publishers and Distributors New Delhi.
  5. Goldstein and Goldstein, Art in Everyday life, Prentice hall Inc . New Jersey.
  6. Seetharaman.P.,Paannu.P (2009) , Interior Design and Decoration, CBS Publishers and Distributers Pvt Limited., Chennai India.