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Transcript of TOA 313 Module
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Theory of Architecture 3 – Architectural Interiors 1
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MODULE 1
Social Structures
Filipino Culture and its Architectural Manifestations
SOCIAL STRUCTURES
The network of actually existing relations among humans who are connected by a
complex structure of social relations.
- Our understanding and assessment of the world around us is decided socially by the
people and things we come into direct, bodily contact with. Our experience of social
power is transmitted by those with whom we have daily contact – families,
educators, employers. On the whole, the nearer people and things are to us the more
significance we are likely to agree to their effect upon us.
SOCIAL STRUCTURES AND SPATIAL RELATIONS
Spaces have social dimensions. These are expressed in SPATIAL RELATIONS or the
interplay of the organization, distribution and categorization of objects and people in space.
Spatial relations represent the social structures and principles of a society or group.
The study of spatial relations is based on the study of the most commonplace, everyday
actions of everyday people as well as less frequently performed activities.
It tracks the movements and the concrete products which people negotiate in the
performance of these movements. These products consist of mundane physically
bounded locales, such as home, as well as the more extraordinary, such as a religious
edifice. They also include geographical areas – villages and towns – whether or not they
are bounded physically by a wall, and areas less visibly bounded, such as a nation or a
seating arrangement around a table.
It leads to a deeper understanding of the social relations of the society of which they are
an active part.
Material culture objects and their location in space are fundamental to the study of spatial
relations. The major underlying presuppositions about the social dimensions of space are:
Spatiality is socially produced
Objects are neither randomly nor arbitrarily selected or positioned in space
Space, objects and people give meaning to each other
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Theory of Architecture 3 – Architectural Interiors 3
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
8. Pointing or shaking a forefinger at someone, especially in his or her face, saying no
or refusing someone outright.
9. Open confrontation, conflict or disagreement. If a subordinate argued or disagreed
openly with a superior, the superior would lose face.
Social Relationship/Etiquette
Pakikisama. Filipinos use pakikisama, or camaraderie in English, to maintain a
harmonious relationship.
Advantages:
1. Pakikisama is a non confrontational way of doing life, business, and interpersonal
group relationships. It is the ability of a person to get along with others to maintain
good and harmonious relationships. It implies camaraderie and togetherness in a
group and the cause of one‟s being socially accepted.
2. Pakikisama reflects the bayanihan spirit, which involves cooperation among fellow
men to come up with a certain idea or accomplish a certain task.
Disadvantages:
1. Pakikisama requires someone yielding to group opinion, pressuring him to do what
he can for the advancement of his group, sacrificing individual welfare for the
general welfare. Consensus takes precedent over individual needs or opinion.
2. Willingness to spend more than they can afford on a party rather than be shamed by
their economic circumstances.
Home
As with any Asian countries, removal of shoes is customary when entering someone‟s
home. By doing this the visitors shows his/her respect for the family and their home, as
well as having basic courtesy.
Filipinos are hospitable and generous. They will readily invite an acquaintance into their
home. If one is invited to a Filipino‟s house, it is best to arrive 15 to 30 minutes later than
invited for a large party. Compliment the hostess on the house.
The houses (bahay) were usually located near people‟s source of livelihood, along the
shore in coastal communities, and closer to the fields in the interior. People lived
together in barangays of thirty to a hundred families, and the social organizations
developed around kinship and neighborhood connections.
Their sense of community, or bayan, is deeply rooted in extended family relationships
and neighborhood bonds.
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Theory of Architecture 3 – Architectural Interiors 4
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Other Customs
It is customary for Filipinos to use a lot of hand and facial gestures to communicate.
Filipinos are flexible and adaptable, and their lifestyles can be altered or modified to fit
conditions.
Filipinos like to ask very personal questions such as your age, your salary or how much
something cost you to buy, or make frank comments to you regarding your weight,
appearance etc. The questions come from pure curiosity and the comments are generally
mean in a light-hearted manner and it should not be taken in a negative way.
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Theory of Architecture 3 – Architectural Interiors 5
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MODULE 2
Filipino Building Traditions and Beliefs
FILIPINO TRADITIONS REGARDING LAND AND SPACE
Public Spaces
The Filipino concept of space is very different from Western ideas. We often express
distance subjectively, using the words malayo (far) or malapit (near) instead of
numerical measurements. This suggests vague boundaries and limits of space.
Traditional Filipino cultures share land communally instead of having private
properties bounded by fences and gates. This suggests that everyone in the village
could share in whatever resources are available from the land. The responsibility for
maintaining the areas which are designated as communal properties (shorelines,
riverbanks, etc.) rests on all the residents of the area.
Even in contemporary Filipino communities where the boundaries of private lots are
clearer, parties, businesses and other activities still spill over to the public areas like
the sidewalks or even the streets.
The Spanish colonial policy of settlement created the plaza complex. The plaza is the
community center surrounded with the imposing structures of the church, the friar‟sconvent, the municipal hall, and the bahay na bato of the ruling elite. Although some
of the structures around the plaza have been converted to commercial uses, its
function as a gathering and meeting place for the community remains.
Private Spaces
The spaces inside the house serve a number of purposes – transforming and adapting
according to the needs of the users at any particular time. This is observable from the
bahay kubo to the bahay na bato, and even in modern houses – from squatter
shanties to condominium units.
The traditional Filipino space is always transparent. The native cultural idea of living
with a group – whether a village or a family – encourages visible spaces where one
can see everyone else. This also allows for the open planning requirements of living
in a tropical climate and keeps the house related with the natural environment.
However, it also means limited privacy.
Traditional ethnic houses express the indigenous way of spatial organization.
Territorial spaces are suggested by symbols, never stated with fences or walls but
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Theory of Architecture 3 – Architectural Interiors 6
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
territoriality is still respected by passersby and other residents in the area. Within the
house, even in the absence of walls or partitions, the use of different levels, mats or
fireplace in the corner can distinguish one section from another.
FILIPINO TRADITIONS RAGARDING THE CONSTRUCTION OF HOUSES
Ethnic Filipino Building Traditions
Ethnic houses reflect the wisdom of skilled artisans who intuitively blend aesthetics
and utility into a harmonious whole.
Decoration, while done sparingly often combines aesthetics and socio-political
factors.
The design and construction of houses are affected by animistic beliefs and
assumptions. These govern the choice of site and season for building rituals to be
observed before and during construction, the orientation of the house and the
distribution of interior spaces.
Houses may be used essentially as shelter or may double as a social and cultural
center.
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Theory of Architecture 3 – Architectural Interiors 7
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Building Traditions during the Spanish Period
New structures were built during the Spanish period reflecting the major
preoccupations and values of the Spanish colonial life.
Houses signified the wealth and social rank of the owner.
The bahay kubo retained the features of the traditional house with the addition of
awning windows, the silid where the occupants could change clothes in private, the
altar, and other furniture and furnishings required by the new hispanized manners.
The bahay na bato retained the usual post and lintel construction of the bahay kubo
with some innovations:
a.
A highly flexible interior where rooms may be joined or separated byopening or closing wide doors;
b. The addition of an azotea at the back of the house, the caida or antesala at the
top of the stairs.
c. Details such as the media agua, the ventanllas and the tiled roof which gave
the bahay na bato an elegant appearance without losing the airy and light
qualities of the bahay kubo.
Building Traditions during the American Period
CHALET – indigenous concepts persisted and were embodied by the chalet or tsalet
- The most prominent feature is the front porch which may be extended to the sides of the
house. This is an expression of the unique Filipino concept of “space surrounding space.”
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Theory of Architecture 3 – Architectural Interiors 8
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
BUNGALOW – This house brought the American concept of privacy which
encouraged family members to have his/her own room thus introducing hallways
and corridors – spaces that exist solely as distribution points.
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Theory of Architecture 3 – Architectural Interiors 9
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
FILIPINO BULIDING BELIEFS
Many Filipino building beliefs are based on the sound planning practices. For instance,
many Filipino prefer that their houses face the east. Facing the house towards the rising sun
allows it to take in the healthful effects of the sun‟s rays in the morning and at the same time,
admits the prevailing southeast breezes.
Posts
In Southern Tagalog , posts nearest the east are laid first. The other posts follow, one
after the other in a clockwise direction. In Romblon, this practice is believed to make
the house windproof.
In Cagayan Valley, first post to be raised is the one nearest the northeast. But this is
done only after the footings have been sprinkled with wine.
In Bataan and some Tagalog provinces, a solitary post in the middle of the room is
believed to bring misfortune to the family.
The Tausug equate the building of a house to the development of a fetus. They
believe that the first to appear in a woman‟s womb is the navel. Hence, the first post
to be erected should be the main post in the interior of the house.
The Yakans do not use crooked posts and those with knots as these are believed tosymbolize death.
To prevent termite infestation, the bottom of the post are charred (Pangasinan) or
tarred. In some areas, rock salt is sprinkled generously in all footings.
Old people also caution against cutting old posts for reuse so as not to lose one‟s
wealth.
Stairs
Stairs are generally positioned towards the east. The Ilocanos believe that facing
them towards the west would mean turning one‟s back on face. On the other hand,
some builders in Bulacan prefer west-facing stairs, believing that anything facing the
sun dries up ahead of the others and so, wealth taken into the house will dry up
much faster.
If it is not possible to make the stairs face east, they should face nearby mountains.
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Theory of Architecture 3 – Architectural Interiors 10
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
If the lot abuts a river, the stairs should be oriented upstream so that luck will not be
washed away the river‟s flow. For the same reason, if the house is facing the sea, the
stairs should be placed parallel to the shore.
It is not advisable to have a large window on the wall facing the stairs because good
fortune will go out of the window.
The space beneath the stairs should not be used as a passageway or sleeping quarters
(Tagalog) or a place where money is kept (eg. cashier‟s counter). Placing the rice
storage under the stairs is equal to treading on God‟s grace whenever one goes up or
down the stairs.
Stairs should not be located at the center of the structure as this divides the area.
The number of steps is governed with the guidelines of “oro, plata, mata”. Startingwith the first step, the steps are counted using the words oro (gold), plata (silver),
and mata (death). The last step should not end with the mata.
- This belief is not limited to stairs. It also applies to walkways with individual flagstones or
circular or square slabs, or even to a slab of concrete pavement divided into sections by
drawn lines.
The Yakans believe in odd numbering of steps. The Chinese count their steps
by fours.
Doors
One‟s main door should not directly face that of the neighbors to avoid
fighting over the luck that passes in front of both houses.
In most areas of the country, the main door is never positioned opposite the
main gate.
Doors should not face each other. The people in the North believe that doorsfacing each other allow easy passage of a coffin. In some areas in Bulacan,
however, wide doors facing each other are considered lucky, especially if
they lead to the terrace or garden.
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Theory of Architecture 3 – Architectural Interiors 11
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Living Rooms
Sunken rooms are regarded as pockets of caves where evil spirits can hide. It is
balanced off with an exit that is lower than the room.
Old folks in Bulacan advise that the living and dining rooms should be of the same
floor level to allow the “ball of fortune” to roll freely across both areas.
Any ornamentation or style (eg.Mansard roof) that might might remind one of a
coffin is avoided in living aeas.
Dining Rooms
Pampangos locate their dining room in the sunniest and brightest portion of the
house as they consider cooking and eating as festive activities. The Ilocanos, on the
other hand, regard eating as a solemn occasion and so, place the dining rooms in
areas where the lightning is more subdued.
Beds and Bedrooms
Beds should be placed so that when the door is opened, one would not face either the
head or the foot of the bed.
There should be ample space between the door and the bed.
The headboard should not rest against a window opening.
Beds should not be placed under drain pipes (for houses with second floor).
Likewise, they should not be placed over pipes containing unclean fluid as this
would mean that the bad energies may affect the good energy of the people sleeping
over the pipes.
Beds should not be placed under beams. Never position the bed so that the occupantwould be lying perpendicular to the beam.
It is considered lucky if the bedroom is placed higher than the living room.
Basements are not favored locations for bedrooms.
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Theory of Architecture 3 – Architectural Interiors 12
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MODULE 3
USER REQUIREMENTS AND PERCEPTION, AND SPACE
DESIGNED ENVIRONMENT
A design environment:
Results when a design problem is approached holistically
Uses the designer‟s approach of:
1. Analyzing the client‟s basic needs
2. Translating these needs to architectural terms
Requires that the designer know his role in the project in order to create the best
designed environment.
A holistic design approach should consider:
1. The building‟s structural system
2. The spatial form created by the structure
3. Light and the patterns of light and dark patterns it creates
4. The surface treatment of wall, floor and ceiling planes
5. The acoustic nature of this room‟s surface
6. The activities to be performed in the space
DESIGNING INTERIOR ENVIRONMENTS
ANALYZING USER REQUIREMENTS
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Theory of Architecture 3 – Architectural Interiors 13
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
3 CATHEGORIES OF QUESTIONS THAT A DESIGNER SHOULD ASK HIS CLIENT:
1. PRACTICAL QUESTIONS – questions that deal with functional or spatialconsiderations
2. AESTHETIC QUESTIONS – questions concerning taste, style and color preferences
3. BUDGETARY QUESTIONS – questions that deal with financial considerations or
limitations
ASSESSING THE CLIENT‟S PSYCHOLOGICAL NEEDS
It is also important that the designer know the
1. Are the clients satisfied with their chronological age?
2. Are they happy with their occupational/educational level?
3. Do the clients accept stereotype roles?
4. How do the clients project themselves
5. How mobile are the clients?
6. How resistant to change are the clients? Do they want to preserve the past or
anticipate the future?
7. What are the clients‟ goals in undertaking the project?
8. What are clients concerned with prestigious brand names, company/product images
than with intrinsic value or total design?
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Theory of Architecture 3 – Architectural Interiors 14
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
THE DESIGN PROCESS
1. PRE-STATEMENT
Statement of the given problem/s; usually states what space is to be designed –
giving very little information regarding the realated requirements
PRE-STATEMENT To design a kitchen
2. INFORMATION GATHERING
Researching information and details related to the problem through review of related
literature, ocular inspection of the space, direct observation, interview/survey with
the users, secondary information
3. PROBLEM STATEMENT
Identification and presentation of the problem based on data gathered
PROBLEM STATEMENT Design a modern kitchen which is
anthropometrically suited to the clients,
with consideration for their activities,
INFO GATHERING Anthropometrics
Cultural background
Family traditions
Aesthetic preferences
Activities, habits and needs
Equipment, amenities
Building beliefs
others
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Theory of Architecture 3 – Architectural Interiors 15
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
needs and traditions, and is equipped
with the latest kitchen appliances.
4. ANALYSIS OF THE PROBLEM
Defining and understanding the nature of the design problem which will be
essential to the solution
WHAT TO ANALYZE: factors that affect the formulation of preliminary
solutions
1. WHAT EXISTS
Physical / cultural context
Existing architectural / interior elements
What can be changed / cannot be changed
2. WHAT IS DESIRED
Identify user‟s needs and preferences
Set goals – functional aesthetic
3. WHAT IS POSSIBLE
For alterations
Permitted / allowed / prohibited
Limits: time, economic, legal, technical
APPROACHES: coming up with ways to approach the problem
1. Isolate one or two key issues and develop solutions around them
2. Study analogous situations and use them for developing ideas
3. Develop ideal solutions for parts of the problem which can be integrated
into whole solutions and be tempered by the reality of what exists
ANALYSIS Needs – adequate work space,
auxiliary dining area,
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Theory of Architecture 3 – Architectural Interiors 16
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
supervision of children, storage
Traditions – whole family cooks
during special occasions
Amenities – easy maintenance;
modern appliances; special
lightning
5. SYNTHESIS
Conceptualization through graphic solutions, matrices and diagrams
Requires knowledge and understanding gained through experience and research,
intuition and imagination
CREATIVITY – the process of coming up with new ideas
3 MAIN POINTS OF CREATIVITY
1. IDEATION – the mental process which gives the ability to think or ideate
2. IDEA QUANTITY – the capacity to produce the largest number of ideas in a given unit
of time
3. IMAGINEERING – the process of letting imagination soar and then engineering it back
to reality
CAUSES OF LIMITATION IN CREATIVITY
1. PERCEPTUAL BLOCKS – biological or physical impairment
2. PHYCHOLOGICAL BLOCKS - stem from the need to be accepted by a peer groups may
be conscious or unconscious
3. SELF-SATISFACTION
CREATIVE PROBLEM-SOLVING TECHNIQUES
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Theory of Architecture 3 – Architectural Interiors 17
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
1. ALPHABETICAL LISTING – begins with listing all the letters of the alphabet. Then for
each letter, list a word or phrase that begins with that letter and pertains to the problem
you are attempting to solve or a potential solution to it.
2. FUNCTIONAL VISUALIZATION – thinking about what function the object will
perform instead of thinking how it will look like.
3. MORPHOLOGICAL SYTHESIS – making a list in a more direct manner to seek
alternatives.
4. INVERSION – instead of thinking of how to improve the situation, think of how to make
it worse so that you are given a new set of perspective or concepts.
5. BIONICS – “back-to-nature” solutions
6. DESCRIPTION BY ASSOCIATION – offering a description of the object by associating it
with something else.
SYNTHESIS CONCEPT/PARTIAL
SOLUTIONS “A kitchen
equipped with modern
appliances and amenities, suited
to the family activities and ideal
for food preparation and other
functions”
ACTIVITY FLOW
WORK TRIANGLE
ACCESSIBILITY & PROXIMITY
MATRICES
6. TRANSLATION
Graphic representations of solutions such as sketches, drawings, models
TRANSLATION FLOOR PLAN
SECTION
DETAILS
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Theory of Architecture 3 – Architectural Interiors 18
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
COLOR and MATERIAL
BOARDS
PERPECTIVES
7. EVALUATION
Critical review of alternatives and careful weighing of the strengths and
weaknesses of each proposal
DESIGN CRITERIA
1. FUNCTION AND PURPOSE
- the intended function of the design must be satisfied and its purpose must be
fulfilled
2. UTILITY and ECONOMY
- a design should exhibit utility, honesty and economy in its selection and use of
materials
3. FORM and STYLE
- the design should be aesthetically pleasing to the eye and other senses.
4. IMAGE and MEANING
- the design should project an image and promote associations which carry meaning
for the people who use and experience it.
EVALUATION ALTERNATIVE SOLUTIONS
GUIDE FOR ANALYSIS, SYNTHESIS AND EVALUATION
1. USER REQUIREMENTS
INDENTIFY USERS
Individual or group
If group, how many?
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Theory of Architecture 3 – Architectural Interiors 19
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Specific or anonymous
Age group
Economic status, etc.
IDENTIFY NEEDS
Group needs
Specific individual needs
TERRITORIAL REQUIREMENTS
Personal space
Privacy
Interaction
Access
PREFERENCES
2. ACTIVITY REQUIREMENTS
DETERMINE PRIMARY AND SECONDARY REQUIREMENTS
ANALYZE NATURE OF ACTIVITIES
Active or passive
Noisy or quiet
Public, small group or private
Multi-functional space?
Frequency and duration of use
REQUIREMENTS for access, flexibility, light, acoustics
3. FURNISHING REQUIREMENTS
DETERMINE FURNISHING AND EQUIPMENT REQUIREMENT for each activity
Number, type and style of seating, tables, work surfaces, storage anddisplay units, accessories
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Theory of Architecture 3 – Architectural Interiors 21
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Image and style
Degree of spatial enclosure
Comfort and security
Quality of light
Focus and orientation of space
Color and tone
Acoustical environment
Thermal environment
Flexibility
7. DESIRED RELATIONSHIPS
DETERMINE DESIRED RELATIONSHIPS BETWEEN:
Related activity areas
Activity areas and space fr movement
Room and adjacent spaces
Room and the outside
DESIRED ZONING AND ACTIVITIES
Organization of activities into groups or set according to compatibility
and use.
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Theory of Architecture 3 – Architectural Interiors 22
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MODULE 4
ENVIRONMENT- BEHAVIOR STUDIES
Definition
Environment-Behavior Studies in architecture includes the systematic examination of
relationships between the environment and human behavior and their application in the
design process. The basic questions to be asked are:
How do people interact with the built environment?
What are their needs?
How do we apply such understanding in the design process?
Scope
Environment-behavior studies encompass more than just function. It involves careful study
of the psychology of the user, how he or she perceives the building form, social interaction
needs, subcultural differences in lifestyle, and the meaning and symbolism of buildings. Italso includes aesthetics, combining formal theories with user-based experiential aesthetics.
THREE MAIN COMPONENTS
1. ENVIRONMENT-BEHAVIOR PHENOMENA. Each of these phenomena is a
different aspect of human behavior in relation to everyday physical environments.
Common examples include:
a. Proxemics and privacy. Proxemics are the different distances between peoplethat are considered comfortable for social interaction. Privacy is an interpersonal
control mechanism that paces and regulates interaction with others.
b. Environmental meaning and symbolism. These include the ways in which
people use the environment in the presentation of self. These phenomena refer to
important culturally based determinants of design.
2. USER GROUPS. Different user groups have different needs. The importance of
studying behavioral factor from a user standpoint is that it provides understanding
that can be applied in any design project involving their users.
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Theory of Architecture 3 – Architectural Interiors 24
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
b. Perceived and defensible territory
c. Image and milieu
d. Safe zones
PRIVACY, DENSITY, CROWDING and STRESS
Privacy may be defined as the claim of individuals, groups or institution to control access to
themselves and to determine for themselves when, how and to what extent information
about themselves will be communicated.
Density is a mathematical measure of the number of people per unit of space.
Crowding is a psychological or an environment-behavior concept, which refers to the
experience of being bounded or blocked, or frustrated by the presence of too many people.
The feeling of being crowded depends on the person‟s perception of density which may be
affected by moods, personality, and physical context.
Defending personal space and showing territorial behavior are two mechanisms people use
to achieve the desired levels of privacy in crowded situations in order to avoid undue stress.
PROGRAMMING ENVIRONMENTS FOR HUMAN USE
APPROACHES TO GENERATING USER ORIENTED DESIGN REQUIREMENTS
1. THE USER CHARACTERISTICS APPROACH
Developed from the idea that the users of most environments are diverse and
are likely to have different basic needs for the same setting.
It presumes that it is possible to group these users in some way and that
environmental needs are basically consistent within those groupings.
BASIC STEPS
1. Identify user types.
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Theory of Architecture 3 – Architectural Interiors 25
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
2. Construct user profiles of each group
3. Deductively derive design requirements for each
MAJOR STRENGTH. It enhances the designer‟s ability to go beyond simplysatisfying the requirements of the program because it deals holistically with
all of the characteristics of a particular type of user, such as behavior patterns,
physiological, psychological, social, economic, etc., which might potentially
have an effect on his environmental needs.
MAJOR WEAKNESS. It does not provide for a systematic search process
which would ensure the consideration of all the possible environmental
requirements of a user. It is dependent on good data organization that is
accessible to the designer.
2. THE SOCIAL FUNCTIONS APPROACH
Involves focusing on particular processes or functions which are to varying
degrees affected by the environment.
Concerned with specifying form characteristics which would facilitate or
support ( or in certain instances prevent) a particular
social/psychological/physiological process such as social interaction, image
formation, crime, or stress, etc.
BASIC STEPS
1. Identify the social/psychological/physiological, etc. function to be
supported or suppressed. eg. Image formation, burglary, stress, etc.
2. Identify the characteristics in the environment which affect this process.
3. Deductively derive performance statements or design requirements.
MAJOR STENGTH. It enables the programmer to deal with aspects of
environmental behavior which are not obvious, such as image formation or
stress reduction, etc
MAJOR WEAKNESS. It relies on theoretical frameworks which explain how
the environment affects a particular social or psychological process. Other
attributes of environmental behavior for which there is no orderly theorytend to be ignored.
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Theory of Architecture 3 – Architectural Interiors 26
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
3. THE BEHAVIOR CIRCUIT APPROACH
focuses on the behavior of typical individual users of the environment. The
flow of behavior of an individual is broken into comprehensible segments or
sequences that are related to particular environmental settings.
Indentifies the predominant recurring sequences or chains of behavior of a particular
user type.
BASIC STEPS
1. Identify predominant behavior sequences for each user type
2. Break each of the circuits into discrete behavioral units
3. Specify level/(s) at which the behavior is to be supported.
a) Safety/survival
b) Task efficiency
c) Comfort
d) Pleasure/enjoyment
4. Using a checklist of environment attribute derive the design requirements for
the setting(s) in which that behavior is to occur.
a) Spatial form
b) Communications
c) Activities
d) Ambiance
5. Repeat for each behavior in the circuit and for each user type.
MAJOR STRENGTHS. It is systematic and concrete. It focuses on behavior in such a
way that design implications become obvious. If one is careful in identification of all
the behavioral sequences, it provides very comprehensive and detailed
programmatic information.
MAJOR WEAKNESSES.
1. Followed to the smallest detail, this approach will simply overwhelm the
designer with the information. Efforts must be exerted to organize andprioritize requirements.
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Theory of Architecture 3 – Architectural Interiors 27
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
2. It tends to focus on explicit physical behavior and not on internal processes.
4. THE BEHAVIOR SETTING APPROACH
Focuses on areas or settings within which there are relatively stable patterns of
recurring behaviors.
Identifies the patterns of behavior within a particular setting or area. Most action
settings or behavior settings have a particularly enduring form in space and
schedule in time. The people, objects and events inside the settings are ordered in
a bounded pattern according to the recognized needs of the activity going on in
it.
To generate design requirements using this approach one must identify the
predominant recurring patterns of behavior in the setting which are separated
into discrete units.
BASIC STEPS
1. Identify predominant behavioral patterns for each setting.
2. Break each of the patterns into discrete behavioral units.
3.
Decide level(s) at which behavior is to be supported.
a) Safety/survival
b) Task efficiency
c) Comfort
d) Pleasure/enjoyment
4. Using a checklist of environmental attributes, logically derive the design
requirements for the setting(s) in which the behavior is to occur.
a) Spatial form
b) Communication
c) Activities
d) Ambience
5. Repeat for each behavior in the setting and for each setting in the
environment being programmed.
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Theory of Architecture 3 – Architectural Interiors 28
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MAJOR STRENGTHS. As in the previous case, this approach is highly systematic
and is focused on obvious, concrete behaviors.
MAJOR WEAKNESSES. It has a tendency to focus on relatively stationary
patterns of behavior and on groups. The approach lacks the capacity of
enhancing the empathy of the designer for the user.
5. POST OCCUPANCY EVALUATION
Aims to provide programmatic information to designers. This form of evaluation
research involves a systematic re-examination of a design once it has been
completed and occupied or used for a reasonable length of time.
Identifies what might be termed “the problems and assets of the design.”
- Problems – features of the design which through oversight or error do not meet the
needs of its users and consequently should be modified.
- Assets – features of the design which work especially well and are highly valued by
users. These features are worthy of preservation efforts in existing examples and reiteration
in future designs.
BASIC STEPS
1. Do literate search for post occupancy evaluations which deals with
a) Similar settings (e.g. elementary school), or elements which make up
the settings (classrooms, playground).
b) Similar populations
2. Judgmentally translate the findings to the specific problem.
MAJOR STRENGTHS. It assesses the performance of a real setting rather
than on predictions derived from theory.
MAJOR WEAKNESS. It is probably too costly to do a post occupancy
evaluation as a means of developing the program for a new project, and
yet it is often difficult to find an evaluation which deals with the
particular client/user group anf type of environment.
6. THE USER PARTICIPATION APPROACH
Does not rely for the most part on experts to develop the information.
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Theory of Architecture 3 – Architectural Interiors 29
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Relies instead on methods which enable the direct user participation in the
process of developing design requirements, perhaps even to the extent of
controlling the process.
BASIC STEPS
1. Client assemblage
2. Individual assessment of problems and assets.
3. Group agreement on a prioritization of problems and assets.
4. Individual identification of ideal qualities
5. Group agreement on ideal
6. Group agreement on problems, assets, and ideals or “the program.”
STRENGTH AND WEAKNESS. The involvement of the users in an
active rather than a passive role. The client or user may be:\
- Present
- Absent but reachable
- Homogenous / Diverse
- Vocal / Silent
- Not reachable but known
- Unknown
Each client type must be identified and some way of ensuring
participation either by every client of each type or representatives of each
type.
The process is still further complicated when certain users have no choicein the process.
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Theory of Architecture 3 – Architectural Interiors 30
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MODULE 5
THE EFFECT OF ARCHITECTURAL DESIGN
ON SPECIFIC BEHAVIORS
DISTANCE
PHYSICAL DISTANCE – measured linear distance traversed in walking between two points
FUNCTIONAL DISTANCE – includes the variables of design and relative position as they affect
the number of involuntary, casual contacts between people
Increased functional distance may be associated with reduced social interaction. Indirect orientation
of access points also lessens interaction among their users.
Close physical and functional distance is conducive to the formation of friendships and prevent social
isolation.
DESIGN AND SPATIAL ARRANGEMENT
SOCIOFUGAL ENVIRONMENTS – discourage social contacts and the formation of
friendships. Examples include train stations, hotel lobbies.
SOCIOPETAL ENVIRONMENTS – encourage social contacts and the development of
friendships. Examples include seminar rooms, centrally located meeting and recreation
areas.
The spatial arrangement in interior spaces may be determined by the placement of walls orpartitions, the arrangement of furniture and the overall design of the building itself.
Restrictions in visual and auditory contacts are associated with decreased social interaction with
persons physically located farther away.
AMENITIES
Amenities are aspects of the environment that are much more suitable than distance or spatial
layout. Pleasant environments could uplift people’s moods and make them more efficient in their
jobs and more open to interpersonal interactions.
- An environment that is incongruent with certain behavior will render less likely theoccurrence of that behavior.
MOTIVATING FACTORS THAT ARE AFFECTED BY THE ENVIRONMENT
1. FRIENDSHIP FORMATION. Friendships are formed on the basis of shared interests and
backgrounds. The friendships that are formed are largely affected by opportunity.
Therefore, contacts in an indispensible part of the process.
In understanding the effect of closeness on social contact, it is necessary to
recognize that it is functional rather than physical distance that makes the
difference. Physical closeness is important, but where people meet is determined by
the configuration of buildings and their grounds and the location of communalspaces.
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Theory of Architecture 3 – Architectural Interiors 31
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Designers create the conditions that determine which path people will follow and,
as a consequence, where they will meet. Spaces may tend to:
- disperse people in a centrifugal fashion that minimizes contact; or
- bring people together in a centrifugal fashion that increases contact.
2. GROUP MEMBERSHIP. Being or not being a part of a definite social group is one way people
define themselves and is thus a matter of importance to most people.
There is an evident tendency to affiliate with small groups where communications
are easier and more accurate. This suggests that seating arrangements in public
gathering places should be designed with small (2-3 individuals) in mind.
If a designer can reasonably assume where people intersect or be drawn together by
necessity, it can be assumed that groups will form at these points and should
probably be provided with seating and other conveniences.
The human tendency to form groups suggests the need for places where groups can
form (e.g., lounges, lobbies, recreation rooms)
3. PERSONAL SPACE. The strong feelings people have about controlling access to their persons
manifests in the spacing or separation that people maintain when dealing with other people.
Anthropologist Edward T. Hall described a series of distances:
a. Intimate distance – ranges from actual contact to a distance of 18”; reserved
for lovers, small children or very close friends.
b. Personal distance – ranges from 1.5 to 4 feet (“arm’s length”); protected
area where strangers would not be welcome.
c. Social distance – ranges from 4 to 12 feet; or the range of public interactions
d. Public distance – ranges from 12 to 25 feet; or the range where
noninvolvement begins. If designers want to make this option available, they
have to provide entrances and walkways over 12 feet wide. The farther
public distance is the distance preserved around important public figures.
4. PERSONAL STATUS. People use different techniques to establish their own self-definitions,
and for defining themselves to others. They seek an architectural expression that reflects
their self-image.
It is a widely accepted practice to denote rank or status by the characteristics of
one’s workplace. In dealing with personal status, it is important to allocate floor
space and other amenities not just for an attractive functional work space/s but also
for allocating personal status.
5. TERRITORIALITY. The territorial feelings of humans merge with other feelings about persona
space and concern for personal status. Territorial feelings may relate to individual or group
belongings, or to assume rights and privileges.
Territoriality can be divided into these categories:
Personal Property and Possessions
Group Property and Possessions
Temporary Territory
In dealing with the different manifestations of territoriality, designers can reduce
territorial friction or attempt to encourage feelings of ownership.
a. Person to Person – territorial friction arising over personal belongings; can
be minimized by marking personal possessions clearly and eliminating the
possible causes of friction
b. Boundaries – disputes over territorial boundaries can often be traces to
ambiguity of boundary lines; can be minimized by:
- making boundaries clear and self-evident
- indicating clearly what is shared and what is private
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Theory of Architecture 3 – Architectural Interiors 33
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Communicating with design. The design characteristics of a building are capable of
communicating any message. People evaluate buildings as a means of satisfying their
needs of the moment. Users may be divided into two groups with distinct responses.
- People who know the building – response is largely a result of how well they feel
the building their purposes.
- People who are not familiar with the building – response is related to the interests
and needs more than to the nature of the building. From the viewpoint of a new
viewer, there are questions that a building design should answer to determine
whether the building satisfy current needs or interests.
a. What is it?
b. What benefit does it offer me?
c. How do I get it?
d. What is inside?
e. How will I be received?
7. CUE SEARCHING. This is the need to know what is going on in the world around us in order
for us to conduct our personal affairs safely, expeditiously and with minimum of wastedeffort or embarrassment.
The nature of the search takes on different forms at different times with different
people:
a. Exploratory mode
b. Habitual mode
One of the principal purposes of cue searching is to ensure personal safety. Cues may be
provided through familiar signs that may be detected by the senses.
a. Provide facilities where the senses can work.
b. Avoid sensory overload – stress the critical information and subordinate
everything else.
c. Provide direct guidance in the form of signs and symbols, or people assigned toassist strangers to warn them against hazards or guide them to their
destinations. This process of merging cue searching with communications is
called wayfinding.
Abstract cues are cues that inform us about social status and create the mental image we
hold both of people and institutions.
a. “edifice complex” – projection of the rich and powerful of their wealth and authority
by the grandeur and opulence of their buildings
b. Interior cues include material quality, low noise level, ceiling height, door height,
and the quality of the decorative elements such as carpeting, wood paneling,
lighting fixtures and hardware.
8. PERSONAL SAFETY. People need help in identifying those aspects of their environment thatmay be hazardous even though the hazard is not obvious. They need help in identifying
those aspects of their environment that may be safe even though they may not appear to be
safe.
The designer is responsible for resolving these concerns by creating a safe environment
and making it apparent to the user that it is safe. This psychological assurance is
important in encouraging people to enter and use new environments.
Principal categories of hazards that are frequently encountered in interior
environments:
a. Clearance hazard
b. Object hazard
c. Collision hazardd. Stability hazard
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Theory of Architecture 3 – Architectural Interiors 34
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Designers should also reassure building users that they have nothing to fear.
SPACE ARTICULATION
Space is never meaningless. Spatial qualities have psychological meaning.
Real space is always inhabited and situated. By inhabiting space, we make it suit our needs, interpret
it and give it meaning. Inhabited space is always situated, and the environmental context affects its
meaning. As designers, we can manipulate the space as part of the context. Real spaces can then
acquire characteristics as a result of a complex interplay of social, aesthetic, and physical factors of
the setting.
We encounter objects and people in space. They have material/physical presence – we meet them
face to face, feel their (potential) resistance to our actions, and feel the atmosphere they emit like
an aura. The social effects of sharing space are intimacy, social nearness and a higher tendency tocooperate.
Configurability refers to the meaningful re-arrangement of (significant) objects, giving the user
control over the environment, enhancing engagement, supporting explorative behavior or providing
thinking aids (external representations).
Designers may configure spaces to alter its meaning, to establish an inhabited (or owned) space or to
control the material/physical presence of people and objects. Space articulation is often used in
architecture to define a zone of space within a larger spatial context. It may be achieved through:
1. Elevating a portion of the base plane
With the different surface – it will create a new field of space, define the boundary ogthat space, and interrupt the flow of space.
With the same surface – the elevated plane will appear to be very much the same as the
surrounding space.
Within a building – an elevated space can provide a retreat from the activity around it or
an area from which the surrounding spaces may be viewed.
2. Depressing the portion to be articulated. The ground plane may be depressed to define
sheltered areas or to make more extensive use of the areas on the “normal” level.
3. Changing the form, color or texture of the edges of the space . This creates visual
boundaries and eliminates the need for actual partitions between spaces.
4. Changing the formal and surface qualities of the ceiling. The ceiling can be lowered or
recessed to alter the scale of space.5. Placing a vertical linear element. This establishes a point in the ground plane and creates
imaginary paths that lead the viewer to it.
6. Placing a row of columns (colonnade) that defines the edges of the volume . This helps to
reinforce boundaries while permitting visual and spatial continuity.
7. Placing a vertical plane which will articulate the space that it fronts. If it has two fronts or
”faces”, the plane establishes the edges of the two separate volumes of space.
8. Placing various elements parallel to each other. This helps in defining a field of space
enclosed by the objects.
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Theory of Architecture 3 – Architectural Interiors 35
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MODULE 5
THE EFFECT OF ARCHITECTURAL DESIGN ON SPECIFIC BEHAVIORS
DISTANCE
PHYSICAL DISTANCE – measured linear distance traversed in walking between
two points
FUNCTIONAL DISTANCE – includes the variables of design and relative position
as they affect the number of involuntary, casual contacts between people
Increased functional distance may be associated with reduced social interaction. Indirect
orientation of access points also lessens interaction among their users.
Close physical and functional distance is conducive to the formation of friendships and
prevent social isolation.
DESIGN AND SPATIAL ARRANGEMENT
SOCIOFUGAL ENVIRONMENTS – discourage social contacts and the formation
of friendships. Examples include train stations, hotel lobbies.
SOCIOPETAL ENVIRONMENTS – encourage social contacts and the development
of friendships. Examples include seminar rooms, centrally located meeting and
recreation areas.
The spatial arrangement in interior spaces may be determined by the placement of walls or
partitions, the arrangement of furniture and the overall design of the building itself.
Restrictions in visual and auditory contacts are associated with decreased social interaction
with persons physically located farther away.
AMENITIES
Amenities are aspects of the environment that are much more suitable than distance or
spatial layout. Pleasant environments could uplift people‟s moods and make them more
efficient in their jobs and more open to interpersonal interactions.
- An environment that is incongruent with certain behavior will render less
likely the
occurrence of that behavior.
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Theory of Architecture 3 – Architectural Interiors 36
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MOTIVATING FACTORS THAT ARE AFFECTED BY THE ENVIRONMENT
9. FRIENDSHIP FORMATION. Friendships are formed on the basis of shared
interests and backgrounds. The friendships that are formed are largely affected by
opportunity. Therefore, contacts in an indispensible part of the process.
In understanding the effect of closeness on social contact, it is necessary to
recognize that it is functional rather than physical distance that makes the
difference. Physical closeness is important, but where people meet is
determined by the configuration of buildings and their grounds and the
location of communal spaces.
Designers create the conditions that determine which path people will follow
and, as a consequence, where they will meet. Spaces may tend to:
- disperse people in a centrifugal fashion that minimizes contact; or
- bring people together in a centrifugal fashion that increases contact.
10. GROUP MEMBERSHIP. Being or not being a part of a definite social group is one
way people define themselves and is thus a matter of importance to most people.
There is an evident tendency to affiliate with small groups where
communications are easier and more accurate. This suggests that seating
arrangements in public gathering places should be designed with small (2-3
individuals) in mind.
If a designer can reasonably assume where people intersect or be drawn
together by necessity, it can be assumed that groups will form at these points
and should probably be provided with seating and other conveniences.
The human tendency to form groups suggests the need for places where
groups can form (e.g., lounges, lobbies, recreation rooms)
11. PERSONAL SPACE. The strong feelings people have about controlling access to
their persons manifests in the spacing or separation that people maintain whendealing with other people.
Anthropologist Edward T. Hall described a series of distances:
e. Intimate distance – ranges from actual contact to a distance of 18”;
reserved for lovers, small children or very close friends.
f. Personal distance – ranges from 1.5 to 4 feet (“arm‟s length”); protected
area where strangers would not be welcome.
g. Social distance – ranges from 4 to 12 feet; or the range of publicinteractions
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Theory of Architecture 3 – Architectural Interiors 37
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
h. Public distance – ranges from 12 to 25 feet; or the range where
noninvolvement begins. If designers want to make this option
available, they have to provide entrances and walkways over 12 feet
wide. The farther public distance is the distance preserved aroundimportant public figures.
12. PERSONAL STATUS. People use different techniques to establish their own self-
definitions, and for defining themselves to others. They seek an architectural
expression that reflects their self-image.
It is a widely accepted practice to denote rank or status by the characteristics
of one‟s workplace. In dealing with personal status, it is important to allocate
floor space and other amenities not just for an attractive functional work
space/s but also for allocating personal status.
13. TERRITORIALITY. The territorial feelings of humans merge with other feelings
about persona space and concern for personal status. Territorial feelings may relate
to individual or group belongings, or to assume rights and privileges.
Territoriality can be divided into these categories:
Personal Property and Possessions
Group Property and Possessions
Temporary Territory
In dealing with the different manifestations of territoriality, designers can
reduce territorial friction or attempt to encourage feelings of ownership.
e. Person to Person – territorial friction arising over personal belongings;
can be minimized by marking personal possessions clearly and
eliminating the possible causes of friction
f. Boundaries – disputes over territorial boundaries can often be traces to
ambiguity of boundary lines; can be minimized by:
- making boundaries clear and self-evident
- indicating clearly what is shared and what is private
g. Group Territory – the feeling of sharing “ownership” through
membership in a group; makes it possible to mobilize a group to
defend or improve its shared territory
h. No one’s territory – places for which no one or no group develops
territorial feelings and are subject to misuse and abuse; sometimes
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Theory of Architecture 3 – Architectural Interiors 38
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
results from the assumption of territorial rights by some agency or
authority other than the users.
Recommendations about territorial considerations
e. Individual possessions. Mark them in distinctive way or give them
individual names. Whether the possessions are concrete objects or just
assigned space in an office, dormitory, or locker room, a designer
should clearly define the boundaries.
f. Group territory. Establish clear boundaries and a clear identity. This is
essential for the development of specific group territorial feelings.
This is not difficult in small projects but it becomes very difficult, if
not impossible, in large projects.
g. Transient territory. It is helpful if objects claimed as transient territories
can be designed and arranged so that the area assigned to each
individual is clearly delimited (dividers between urinals, individual
seats in bus terminals, etc.)
h. Territorial Responsibilities. To ensure that a sense of territorial
responsibility develops among users in those projects that actually
belongs to someone else, the designer should make an effort to
include the users in the planning process to create a bond between
them and the project.
14. COMMUNICATIONS. Architects and planners can create places where
communication occurs. They are involved with communications at three levels:
d. They must provide the appropriate ambience that fosters effective personal
communication
e. They must provide the appropriate information, principally through signs so
that people will know how to use the facilities they are entering.
f. They must provide, principally through external design characteristics,accurate information about the nature of the structure and the organizations
it houses.
Personal communications. To facilitate communications between people,
designers must recognize that conversations take place wherever people
meet. These considerations may be used as a set of guidelines:
i. In heavy traffic areas, provide a place where people may stand out of the
line of traffic
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Theory of Architecture 3 – Architectural Interiors 40
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
The nature of the search takes on different forms at different times with
different people:
c. Exploratory mode
d. Habitual mode
One of the principal purposes of cue searching is to ensure personal safety.
Cues may be provided through familiar signs that may be detected by the
senses.
d. Provide facilities where the senses can work.
e. Avoid sensory overload – stress the critical information and subordinate
everything else.
f. Provide direct guidance in the form of signs and symbols, or people
assigned to assist strangers to warn them against hazards or guide them
to their destinations. This process of merging cue searching with
communications is called wayfinding.
Abstract cues are cues that inform us about social status and create the
mental image we hold both of people and institutions.
c. “edifice complex” – projection of the rich and powerful of their wealth and
authority by the grandeur and opulence of their buildings
d. Interior cues include material quality, low noise level, ceiling height, door
height, and the quality of the decorative elements such as carpeting, wood
paneling, lighting fixtures and hardware.
16. PERSONAL SAFETY. People need help in identifying those aspects of their
environment that may be hazardous even though the hazard is not obvious. They
need help in identifying those aspects of their environment that may be safe even
though they may not appear to be safe.
The designer is responsible for resolving these concerns by creating a safe
environment and making it apparent to the user that it is safe. This
psychological assurance is important in encouraging people to enter and use
new environments.
Principal categories of hazards that are frequently encountered in interior
environments:
e. Clearance hazard
f. Object hazard
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Theory of Architecture 3 – Architectural Interiors 41
Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
g. Collision hazard
h. Stability hazard
Designers should also reassure building users that they have nothing to fear.
SPACE ARTICULATION
Space is never meaningless. Spatial qualities have psychological meaning.
Real space is always inhabited and situated. By inhabiting space, we make it suit our needs,
interpret it and give it meaning. Inhabited space is always situated, and the environmental
context affects its meaning. As designers, we can manipulate the space as part of the context.
Real spaces can then acquire characteristics as a result of a complex interplay of social,aesthetic, and physical factors of the setting.
We encounter objects and people in space. They have material/physical presence – we meet
them face to face, feel their (potential) resistance to our actions, and feel the atmosphere they
emit like an aura. The social effects of sharing space are intimacy, social nearness and a
higher tendency to cooperate.
Configurability refers to the meaningful re-arrangement of (significant) objects, giving the
user control over the environment, enhancing engagement, supporting explorative behavior
or providing thinking aids (external representations).
Designers may configure spaces to alter its meaning, to establish an inhabited (or owned)
space or to control the material/physical presence of people and objects. Space articulation
is often used in architecture to define a zone of space within a larger spatial context. It may
be achieved through:
9. Elevating a portion of the base plane
With the different surface – it will create a new field of space, define the boundary og
that space, and interrupt the flow of space.
With the same surface – the elevated plane will appear to be very much the same as
the surrounding space.
Within a building – an elevated space can provide a retreat from the activity around
it or an area from which the surrounding spaces may be viewed.
10. Depressing the portion to be articulated. The ground plane may be depressed to
define sheltered areas or to make more extensive use of the areas on the “normal”
level.
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Theory of Architecture 3 – Architectural Interiors 42
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
11. Changing the form, color or texture of the edges of the space. This creates visual
boundaries and eliminates the need for actual partitions between spaces.
12. Changing the formal and surface qualities of the ceiling . The ceiling can be
lowered or recessed to alter the scale of space.
13. Placing a vertical linear element. This establishes a point in the ground plane and
creates imaginary paths that lead the viewer to it.
14. Placing a row of columns (colonnade) that defines the edges of the volume . This
helps to reinforce boundaries while permitting visual and spatial continuity.
15. Placing a vertical plane which will articulate the space that it fronts. If it has two
fronts or ”faces”, the plane establishes the edges of the two separate volumes of
space.
16. Placing various elements parallel to each other. This helps in defining a field of
space enclosed by the objects.
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Arch. Claudette DC. Dela Rosa
Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
REQUIREMENTS
1. COMPREHENSIVE STUDY of the occupants‟ needs, activities and personal
preferences, and how they will affect the overall design. Use the necessary and
appropriate data gathering technique. Present the requirements in this part using the
format for the DESIGN METHOD – including conceptual sketches using Creative
Problem Solving Techniques.
2. ENVIRONMENT-BEHAVIOR STUDIES based on Behavior Circuit and Behavior
Setting Approaches.
3. DESIGN PROGRAM indicating the problems and potentials of each area based on
the findings from the Environment-Behavior analysis.
4. Three (3) 5R-sized PHOTOGRAPHS each of the two (2) focus rooms or areas,indicating their problems and/or potentials (“before” pictures).
Three (3) COLORED PERSPECTIVES each of the two (2) focus rooms or areas, indicating
how they were improved (“after” pictures).
5. EXISTING FLOOR PLAN/S of the entire house : scale – 1:50m.
PROPOSED FLOORS PLANS for the two (2) focus rooms or areas only – scale – 1:20m.
6. PROPOSED SECTIONS – two (2) each for the two (2) focus rooms or areas only; scale
– 1:20m
7. FURNITURE SCHEDULE – scale -1:10m.; indicating design (perspective),
dimensions, finishes, quantity
8. COLOR DEVELOPMENT BOARD – at least five colors per room, and five
development per color: use prescribed layout
9. COLOR BOARD – use prescribed layout
10. MATERIAL BOARD - – use prescribed layout
- Requirements 1 – 3 must be placed on A4-sized paper and compiled in an
A4-sized clear folder (AR 3A – blue; AR 3B – white; AR 3C – green)
- Requirements 4 – 10 (use prescribed scale) must be placed on A3 – sized
(42 x 29.7 cm.)
- Completed works must be ring-bound and provided with opaque cover
of the same color as the folder for Requirements 1 – 3.
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Theory of Architecture 3 – Architectural Interiors 45
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MODULE 6
FUNCTIONAL NEEDS OF INTERIOR ENVIRONMENT
INTERIOR DESIGN
THE DIFFERENCE BETWEEN INTERIOR DECORATION AND DESIGN
Interior Decoration – the process of arranging a room so that its component parts are
independent of each other and the relationships is maintained only with the use of colorharmony and coordinated arrangement of furniture and decorative objects.
Interior Design – shaping and conditioning of space for the optimum physiological
and psychological environment that affects the users of the interior.
GENERAL CATEGORIES BY WHICH CONCERNS AND ISSUES MAY BE ADDRESSED IN
DESIGN:
1. Functional Zoning – the need for adjacency
2. Architectural Space – a concretization of man‟s existential space
Space is the most influential aspect of design problem solving
The designer must know what activities, conditions and people he is
planning for
3. Circulation and Building Form – circulation may be conceived as the perceptual
together. Building forms are the conceived as structures
4. Response to Context – depending on the environment and the meaning of the
structure in that environment.
5. Building envelope – the imaginary shape of a building indicating its maximum
volume
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Theory of Architecture 3 – Architectural Interiors 46
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
ARCHITECTURAL SPACE
The geometric elements of point, line, plane and volume can be arranged to articulate and
define space. At the scale of architecture, these fundamental elements become linear
columns and beams, planar walls, floors and roofs.
A column makes a point in space and makes it visible.
Two columns define a spatial membrane through which we can pass.
Supporting a beam, the columns delineate the edges of a transparent plane.
A wall, an opaque plane, marks off a portion of amorphous space and separate here
from there.
A floor defines a field of space with territorial boundaries.
A roof provides shelter for the volume of space beneath it.
In architectural design, these elements are organized to give a building form, differentiate
between inside and outside, and define the boundaries of interior space.
INTERIOR SPACE
Interior spaces are formed first by a building‟s structure system, further defined by walls
and ceiling planes, and related to other spaces by windows and doorways. Every building
has a recognizable pattern of these elements and systems. Each pattern has an inherent
geometry which molds or carves out a volume of space to its likeness.
STRUCTURING SPACE WITH INTERIOR DESIGN
Although a building‟s structural system sets up the basic form and pattern of its interior
spaces, these spaces are ultimately structured by the elements of interior design. “Structure”
refers to the selection of arrangement of interior elements such that their visual relationships
define and organize the interior space of a room.
DESIGNING INTERIOR SPACE
Interior Design necessarily goes beyond the architectural definition of space. In planning the
layout, furnishing and enrichment of space, the Interior Design should be highly aware of its
architectural character as well as its potential for modification and enhancement.
The design of interior spaces, therefore, requires an understanding of how they are formed
by the building systems of structure and enclosure. With this understanding, the Interior
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
Designer can effectively choose to work with, continue or even offer a counterpoint to the
essential qualities of an interior space.
INTERIOR DESIGN SERVICES
ACCORDING TO UAP DOC. 203-A
1. Prescribes the furniture and interior finishes appropriate for different activities and
spaces; prepares the furniture and furnishing layout.
2. Prepares the design and schedule of furniture giving their dimensions, specifications,
locations, etc.
3. Assist the client in conducting bids and negotiations with furniture fabricators andother suppliers.
4. Checks and approves samples of materials and shop drawing of furniture, fixture
and decor items.
5. Conduct final inspection and approval of furniture and other items.
POSSIBLE ROLES A DESIGNER MAY PLAY IN A PROJECT
1. The decision-maker?
2. A specifier of products and designs?
3. An authority figure helping the client makes correct choices?
4. A combination of any of these?
INTERIOR DESIGN ELEMENTS
Interior spaces within buildings are defined by the architectural elements of the structure
and enclosure. These elements give a building its form, demarcate a portion of infinite space,
and set up a pattern of interior spaces.
1. FLOORS
Floors are the flat, level base planes of interior space. As the platforms that support our
interior activities and furnishings, they must be structured to carry these loads safely and
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
their finishes must be durable enough to withstand continuous use and wear. The following
criteria may be used in selecting flooring materials and finishes:
Functional Criteria:
1. Durability
2. Ease of maintenance
3. Foot comfort
4. Safety under slippery conditions
5. Sound absorption of reflectance
Aesthetic Criteria
1. Pattern – can be used as simple background (neutral patternless floor), as an
accent, to define areas, suggest paths of movement, or simply provide
textural interest.
2. Compatibility with the general style of the room.
The designer must also determine the materials based upon quality or value for money,
maintenance cost, and availability for initial purchase or replacement.
Flooring patterns should also be chosen in proportion to the size of the room:
In general, large-scale flooring works best in big rooms, small rooms require
more study.
A lengthwise pattern adds depth to a room, while a pattern running the
width of a room makes the space look shorter and wider.
Accent pieces can be used to break up a large expanse, to highlight a focal
point, or to define one area of a room.
In a multi-purpose room, a good design plan may use different types of
flooring to define two or more areas.
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
COMMON FLOORING MATERIALS
1. HARDWOOD: Hardwood floors are fast becoming the most popular
flooring material. There are a wide variety of woods and grains to choose
from, such as oak, pine, maple, cherry, even bamboo.
May be stained to any preferred color, from a light natural color to a
deep rich mahogany, or anything in between. When well-maintained
and repaired, hardwood floors can literally last a lifetime.
Not recommend for moisture-prone areas, such as basements,
bathrooms and kitchens, or in climates with high humidity.
Sold prefinished and unfinished, available in strips, planks and
parquet.
a) Strips – thickness: 5/16” to ¾”, width: 1-1/2” to 2-1/4”
b) Planks – thickness: ½” to ¾”; width: 3” to 8”
c) Parquet – usually square, composed of small wood slats joined
by adhesive and fasteners.
Alternative may be:
a)
Engineered Hardwood Floors–
made by gluing up 3-5 thinlayers of hardwood. It is offered prefinished and unfinished in
strip, plank and random plank styles.
b) Longstrip Plank Floors or Laminates – are typically a 1/8”
prefinished hardwood veneer glued to plywood base.
2. VINYL: Vinyl floor covering is a popular resilient flooring available in
multiple forms.
Made by bonding a protective clear layer, called the wear layer, to a
decorative layer and finally to felt backing.
It can be purchased as one large sheet or as individual tiles.
a) A large sheet of vinyl (strips and rolls) requires a special
adhesive.
b) The tiles can be of the standard variety of vinyl, requiring a
separate application of adhesive, or as peel-and-stick tiles.
Best suited to kitchens and baths, it is easy to clean, moisture resistant
and fairly durable.
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Theory of Architecture 3 – Architectural Interiors 50
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Bulacan State University College of Architecture and Fine Arts
1st
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3. CARPETING and RUGS: Carpeting is manufactured in strips and sold by
the square meter, cut to fit, and normally fastened to the floor with adhesives.
Carpet tiles are modular pieces of carpet which can be laid to resemble a seamless wall-to-
wall installation of arranged in patterns. Rugs are single pieces of floor coverings
manufactures or cut to standard sizes often with a finished border. They are not intended to
cover the entire floor of the room.
Both carpets and rugs are available in a wide variety of colors and textures. Materials used
include wool, acrylic, nylon, polyester and cotton.
Advantages: It is warm surface which can also reduce noise in the
home and provide a resilient, nonslip surface.
Disadvantages: the less expensive grades of carpeting look wornrelatively quickly. In general, carpeting is difficult to keep clean,
despite stain-resistant fibers and coatings. It wears unevenly, is subject
to fading in sunny rooms and has to be replaced in 8-10 years.
4. CEREMIC AND STONE: There is an endless variety of ceramic and stone
floor covering available. These tiles may be made of baked ceramic, marble,
granite, slate and other stones as well. The tiles come in wide selection of
sizes.
Advantages: Beautiful, natural, easy to clean, extremely durable,resistant to moisture, easy to install and available in hundreds of
shapes and styles – including stone patterns that are extremely natural
looking.
Disadvantages: Cool and hard to the touch; high-gloss glazes are
slippery when wet.
5. CONCRETE: This option provides great durability. Concrete can give an
industrial look to and it is also good for areas that receive hard wear. Once
polished, these floors require little maintenance and are unaffected bymoisture.
2. WALLS
Walls are primary elements with which we define interior space. Together with the floor and
the ceiling planes which complete the enclosure, walls govern the size and shape of a room.
They can also be seen as barriers that limit our movement, separate one space from the next,
and provide the occupants of a space with acoustic and visual privacy.
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Theory of Architecture 3 – Architectural Interiors 51
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Bulacan State University College of Architecture and Fine Arts
1st
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VISUAL EFFECTS CREATED BY DESIGNS OF WALLS
a) A wall can be differentiated from either the adjoining floor or ceiling plane by
a change of color, texture, or material, and made clearer with either trimwork
or reveal.
b) Continuing the floor treatment up the lower portion of a wall can visually
enlarge the room but reduce the apparent wall height.
c) Stable, precise and symmetrical walls with smooth textures convey a feeling
of formality. Irregularly- shaped walls with rough textures are more dynamic
and informal.
d) Smooth walls with neutral color serve as passive background. Walls compete
other elements if they have irregular shapes, textures, patterns or a morevigorous color.
COMMON WALL TREATMENTS
a) GYPSUM WALLBOARD: A ready-made surface that can be applied on a
wall and use as backing for other treatments such as fabric, paneling,
wallpaper, and tile. It is made from pound gypsum that is encased in paper.
b) PLANK PANELING: applied on walls to make them look like natural woodplanks.
c) SHEET PANELING: A style of panelling that comes in many styles, colors
and patterns. It is made from plywood type material that appears like the
planks.
d) WAINSCOTING: A method of wood panelling that is typically applied to
the bottom third of a wall, with individual tongue and groove boards or
raised panels. Traditional wainscoting is never applied above the “dado”
which is the chair rail (the standard height of the back of a chair), nor belowbaseboard.
e) TILES: may be porcelain, ceramic, terra-cotta, metals, glass, and natural
stones, marble, or granite. Ceramic tile, the cheapest, comes in many designs,
whether glazed or unglazed, deep textured, hand-painted, and rugged
appearance, and are widely used primarily for its worry-free maintenance.
Tiles are available in many shapes that can be arranged in different patterns.
f) PAINT: Paints come in almost all the colors in the spectrum. Custom-made
hues could also be mixed by professionals. It is the most economical way to
dress-up a wall.
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
TYPES OF PAINTS – latex, enamel, lacquer
Water based paint is usually less toxic and cleans up much easier; may be flat, eggshell,
satin, semi-gloss and gloss finishes.
Oil based paint is used especially on trims, will usually wear longer and wash better than
water based paints.
PAINT TECHNIQUES
a) Textured finishes
b) Wall murals
c) Faux finishes
d) Trompe l‟oeil
g) WALL COVERINGS: available in wide ranges of colors, patterns and
sizes; may be used to articulate, separate or coordinate spaces, to act
as focal point, to emphasize or minimize details
TYPES OF WALL COVERINGS
a) Wall papers – pulp, emposed/relief, duplex, flock, paper tiles
b) Wall fabric
c) Vinyl, flock vinyl
d) Wood chip grass cloth
e) Scenic
h) BRICK OR STONE: Solid or veneers, both make a beautiful interior
wall finish, but will need to be installed properly to last. Proper
installation and structural reinforcement requirements must be
observed.
3. DOORS AND WINDOWS
Windows and doorways interrupt the wall planes that give the building its form and
interior spaces definition. They are transitional elements or architectural and interior design
that link both visually and physically one space to another, and inside and outside.
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Bulacan State University College of Architecture and Fine Arts
1st
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Doors allow physical access for ourselves, furnishings and goods in and out of the building.
Through their design, construction and location, they can control the use of the room, the
views from one space to the next, the passage of light, sound, warmth and cool breezes.
Whether internal or external, doors can make an immediate difference in the atmosphere ofa space.
DOOR TYPES
1. Swinging – hinged on side jambs; most convenient for entry and passage;
most effective for isolating sound and for weathertightness; requires space for
swing.
2. Pocket sliding– hung on track and slides into a pocket within width of a
wall; used when normal door swing will interfere with use of space;
represents a finished appearance when open; for interior use only.
3. Surface sliding – hung from an exposed track; primarily for interior use.
4. By-pass sliding – doors slide along an overhead track and along guides or
tracks on the floor; opens only 50% of doorway
5. Bi-fold – consists of hinged door panels that slide on an overhead track; for
interior use only commonly as a visual screen
6. Accordion folding – similar to bi-fold except that the panels are smaller; for
interior use only, commonly to subdivide a large room into smaller spaces
7. Special folding – panels slide on overhead tracks which can be configured to
follow a curvilinear path; panels can be stored in pockets or recesses; for
interior use only.
8. Overhead doors - consists of hinged door section that roll upward or an
overhead track; capable of closing off unusually tall or wide openings; for
interior and exterior doors which are not frequently used.
Window size, shape and placement affect the visual integrity of a wall surface and the sense
of enclosure it provides. A window can be seen as a bright area within a wall, an opening
framed by a wall, or a void separating two wall planes. It can also be enlarged to a point
where in becomes the physical wall plane – a transparent window wall that visually unites
the interior space with the outdoors or another interior space.
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Bulacan State University College of Architecture and Fine Arts
1st
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When locating windows, one planning consideration is how much wall area remains
between window openings and whether the size and proportion of these wall segments can
accommodate the furnishings placed in front of them. Another consideration is the adverse
effect direct sunlight may have on the room‟s occupants, and the finishes and furnishings.
COMMON WINDOW TREATMENTS
a) SHUTTERS
- Rigid planes, usually wood; hinged to open and close like miniature
doors
- Panels usually have adjustable louvers so that light and view may be
filtered
- Provide clean, precise, uncluttered appearance
- When closed, shutters enhance the sense of enclosure
b) GRILLS
- Decorative screens of wood or metal that can be used to mask views,
filter light, or diffuse ventilation (depending on spacing and
orientation of members)
- May be fixed or adjustable
- Design serves as an important visual element
c) CURTAINS AND DRAPERIES
- Curtains are usually of sheer, light material hung close to the window
or within the window frame. Draperies are usually of heavy fabric,
tied back or hung on a rod covered with a valence or wide cornice.
- Practical purposes:
to provide warmth and privacy
to exclude light partially or completely
to screen unwelcome views
- Matching walls and curtains can make a room seem larger while
contrasting treatments draw attention to window size.
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Theory of Architecture 3 – Architectural Interiors 55
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
d) SHADES AND BLINDS comes in four (4) main types:
1. ROLLER BLINDS – consists of a sturdy or stiffened fabric wound
into a wooden roller. The roller incorporates a spring so that the blind
can be lowered into any position and then released to snap back to its
roller state.
2. ROMAN BLINDS – attached at the top of a wooden batten, vertical
cords threaded through rings attached to the back of the blinds allow
it to be pulled into soft horizontal folds.
3. VENETIAN BLINDS – made of thin strips of plastic or metal which
can be adjusted to allow varying degrees of light to filter through;
when fully open, they can be almost visible.
4. VERTICAL LOUVER BLINDS – almost similar to venetian blinds
but the slats are wider and hang vertically. The angle of the slats is
altered to diffuse the light, or the whole arrangement can be drawn
back to either side to clear the window completely
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Bulacan State University College of Architecture and Fine Arts
1st
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Module 6
Part 2a. COLORS IN INTERIOR DESIGN
Color Environment
COLOR- An inherent visual property of all forms- The colors that we see in objects find their source in the light that illuminates them.
Without light, color does not exist.- The most immediately noticeable and most adaptable and variable element in
decorating. Different combinations of colors can create different effects on the sameroom and same furnishings.
COLOR THEORY
- Aims to predict or specify the color combinations that would work well together orappear harmonious. The color wheel has been adopted as a tool for defining thesebasic relationships.
- In the 20th century color theory attempted to link colors to particular emotional orsubjective associations. This project has failed for several reasons, the most importantsubjective associations. This project has failed for several reasons, the most importantbeing that cultural color associations play the dominant role in abstract colorassociations, and the impact of color in design is always affected by the context.
COLOR SYSTEMS – organizes colors and their attributes into a visible order. The simplesttype such as the color wheel organizes color pigments into primary, secondary and
tertiary hues.
COLOR WHEEL- The color wheel offers the easiest way to visualize how hues relate to each other.
Traditionally, artists have defined red, yellow, and blue as the three primary colorsfrom which all others on the wheel can mixed.
- The color wheel generally shows the pure hues of colors: red, blue and green. Indecorating, however, the tints (lighter values) and tones (also known as shades, darkervalues) of a color are more likely to be used.
Reading the wheel
- Colors that lie opposite each other on the wheel are complementary; when paired,each makes the other appear more vivid.
- Colors next to each other on the color wheel are called analogous colors. They tend toproduce a single-hued or a dominant color experience.
- A split complementary color scheme employs a range of analogous hues, “split” froma basic key color, with the complementary color as contract.
- A triadic color scheme adopts any three colors approximately equidistant around thehue circle. The yield‟s a lively yet balanced combination, but the scheme may feel alittle glaring unless one color is allowed to dominate and the other two are used inlesser amounts or as accents.
- Half of the color wheel, from red to yellow-green, is considered warm, stimulating,and advancing while the other half of the wheel is described as cool, with colors thatgenerally appear to recade.
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DIMENSIONS OF COLOR1. HUE – the attribute by which we recognize or describe a color (ex. red, yellow);
designation of the color in the color wheel.2. BRILLIANCE or INTENSITY – the degree of purity of saturation of a color when
compared to a gray of the same value; also brightness or dullness.shade – color plus black or complementary colortone – color plus graytint – color plus white
- The pure hue represents the most intense or most saturated expression of a color.Adding the hue‟s complement will gray or muddy the color so that it‟s softer, moremuted, and less intense.
3. VALUE – the degree of lightness or darkness of a color in relation to white or black;also vividness
- Value refers to how light or dark a color is; among all colors, yellow is thelightest/highest value, and purple is the darkest/lowest.
All these attributes of color are necessarily interrelated. Each prinicipal hue has anormal value. If white, black or a complementary hue is added to a color to lighten ordarken its value, its intensity will also be diminished.
COLOR SCHEMES
CHROMATIC SCHEMES – schemes where colors are present
ACHROMATIC SCHEMES – schemes that use only white, gray and black
CLASSIFICATION OF COLOR SCHEMES
1.
RELATED COLOR – are generally harmonious and restful, and are used forroom wherein a considerable span time is spent.2. CONTRASTING SCHEMES – use opposing rather than related hues are
combined; tend to be stimulating (complementary, double complementary, splitcomplementary, triads)
ACHROMATIC COLORS – any color that lacks strong chromatic content is said tobe unsaturated, achromatic, or near neutral. Pure achromatic colors include black,white and all grays.white – can contain or be combined with any colorblack – absorbs color
gray – a true neutral shade
NEUTRAL COLORS – neutrals are obtained by mixing pure colors with either whiteor black, or by mixing two complementary colors. In color theory, neutral colors arecolors easily modified by adjacent more saturated colors and they appear to take onthe hue complementary to the saturated color. Neutrals include browns, tans, pastelsand darker colors.
COLOR CHARACTERISTICSRed, Orange, Yellow
Red has been shown to raise blood pressure and speed respiration and heart rate.
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Orange, like red, stimulates appetites. In its pure form, however, orange may be adifficult color to live with. Terra-cotta, salmon, peach, coral, and shrimp are morepopular expressions of the hue.
Yellow captures the joy of sunshine and communicates happiness.
Green, Blue, Purple
Green is considered the most restful color for the eye. Combining the refreshingquality of blue and the cheerfulness of yellow, green is suited to almost any room inthe house.
Blue brings down blood pressure and slows respiration and heart rate. That‟s whyit‟s considered calming, relaxing, and serene, and is often recommended forbedrooms and bathrooms.
Purple in its darkest values (eggplant, for example) is rich, dramatic, andsophisticated. It‟s associated with luxury as well as creativity, and as an accent or
secondary color, it gives a scheme depth.
GUIDELINES for DEVELOPMENT OF COLOR ENVIRONEMNT1. Personal taste of the client. Personalities are supposed to be revealed by color
preferences.2. Use of space. Different color schemes are applied for homes, offices and commercial
spaces.3. Character of interior. Traditional interiors require a color scheme that is different
from that of contemporary. Also for formal and informal interiors.4. Color as background. Advancing or receding colors may be used to accentuate or
minimize details to make a room look higher or bigger. Warm hues tend advance;
dark values and saturated colors suggest nearness. These traits can be used todiminish the scale of a space or, in an illusionary way, shorten one of the room‟sdimensions.
5. Orientation. Areas that receive direct sunlight should have duller colors if they areused for relaxation. Opposite treatment may be applied if there should be a moreactive use.
6. Climate. Interiors in tropical settings are usually rich and bright in colors.
COLOR SOURCES FOR INTERIORSa. Natural schemesb. Patterns and prints
c. Local/regional climated. Color wheele. Personal preferences
SUGGESTIONS ON THE USE OF COLORS1. BASIC PLAN OR IDEA FOR THECOLOR SCHEME
The desired effect must be taken into consideration. Used in interior design orfashion, warm colors are said to arouse or stimulate the viewer, while cool colorscalm and relax.
2. FORM AND COLOR SHOULD BE RELATED TO EACH OTHER
Some colors are easier to accept in large amount than others. Generally,
lighter colors should be used for elements that occupy a greater part of theinterior. Large areas of color should be low in intensity and small areas
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
should be bright. Rich, dark colors must be used with massive elements tominimize them, but they may also be used if desired effect is to accentuatesmaller elements.
Deep, cool colors appear to contract. Light, warm colors tend to expand andincrease the apparent size of an object, especially when seen against a darkbackground. Therefore, larger elements should generally be duller thansmaller elements.
3. SIMULTANEOUS CONTRAST MAY ALTER THE APPEARANCE OF ANY COLOR
If two complementary colors are placed next to each other in their PUREstates, they intensify each other – they tend to heighten each other‟ssaturation and brilliance without an apparent change in hue.
If one color is much lighter than the other, the effects of contrasting valuesbecome more noticeable. Simultaneous contrast also affects the apparentvalue of a color which can be made to appear darker of lighter according to
the value of the background color. Both black and white have a visible effect on color when brought into contact
with them. Black makes a color richer and more vibrant while white has theopposite effect.
Equality of hue, value and intensity is usually not pleasant because it gives noemphasis or contrast. Interest and attention are easily aroused if hues, valuesor intensities are varied.
Use “quiet” shades to balance brighter colors. They rest the eye and create aharmonious effect.
COLOR AND LIGHT
Apparent changes in the object‟s color can result from the effects of light and fromthe juxtaposition of surrounding or background colors. Color should also beconsidered with respect to:1. Amount and quality of natural light – daylight can be warm or cool depending onthe time of day and the direction from which it comes.2. Amount and type of artificial light.
The apparent value of a color can also be altered by the amount of light used toilluminate it. Lowering the amount of illumination will darken a color‟s value andenhance its intensity.
COLOR BOARD
Because color variations are nearly limitless, it is impossible to remember a specific color.Color boards are useful in indicating the colors chosen for a specific interior environment.They are collections of swatches mounted on a board to show the colors which are to beused for particular interior elements.
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
MODULE 6Part 2b. INTERIOR LIGHTING
Lighting
Lighting can considerably change the atmosphere of the room. Good lighting, in fact, canadd new dimensions to an interior space. A variety of effects can be achieved merely bycreating different lighting layouts in a room:
Light sources can warm up and create intimacy in a cold-looking interior
Expand a confined space
Designate different areas for different uses
Because of the huge impact of the choice of lighting effects in the interior, lighting plan anddesign must be determined based on the following factors.
a. Activitesb. Highlightsc. Deficitsd. Ambiencee. Balancef. Flexibilityg. Varietyh. Decorative style
TYPE OF LIGHTING1. GENERAL or BACKGROUND LIGHTING – essentially acts as a replacement fordaylight and provides good, general visibility. Typically, it is supplied by a ceiling-mounted fitting or a pendant, BUT is best achieved with a mix of sources, such as acentral ceiling-mounted texture and recessed spotlights around the perimeter.Alternatives include wall lights, uplights or table lights.2. TASK or LOCAL LIGHTING – an extra level of light provided in areas wherespecific task are to be performed. Task lighting focuses on a specific spot, and makesworking much more comfortable. This type of lighting needs to be well-positioned anddirected to be used effectively, AND is best achieved with a mix of sources, such asceiling – or wall-mounted fixtures augmented with more directional lighting.3. ACCENT or DECORATIVE LIGHTING – creates a sense of drama by conjuring up
color, texture and form, and is designed to spotlight the room‟s best features. Effects arebest achieved with track lights, recessed lights, and wall-mounted fixtures. A dimmermay be incorporated to create a multitude of moods.4. UTILITY or INFORMATION LIGHTING – practical rather than aesthetic, used toilluminate dark and potentially dangerous areas such as stairways and paths.
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
TYPES OF LIGHT SOURCE
TUNGSTEN/INCANDESCENT – consists ofatungsten filament that glows inside a clearglass bulb that is filled with inert gas in low concentration.
Casts a warm, pleasant light and shows fabrics and paints in their true colors but canmake the room uncomfortably warm if too many are used.
TUNGSTEN HALOGEN – emits a cool and crisp light that is whiter and brighter thanordinary tungsten; suggests spaciousness.
Color of light On RED On BLUE On YELLOW
Reddish light Red gray Blue violet Orange
Bluish tint Purple Blue gray Green
Yellowish light Red orange Blue green Yellow gray
This low-voltage incandescent bulb provides an intense beam that‟s ideal forspotlighting objects. They last longer and use less electricity than standard
incandescent but cost more up front and produce lots of heat.FLUORESCENT – available in a variety of tones that can significantly affect the color andthe atmosphere of the room.
Compact versions that fit standard fixtures cost more than incandescent to buy butuse only one-third the electricity.
FLUORESCENT LIGHT EFFECTS
LIGHTING FIXTURESFixtures are chosen based upon:1. APPEARANCE – fixtures can be displayed, blended with the other interior elements or
concealed.2. TYPE OF LIGHT PRODUCED – diffusers, shades, globes and even lamp bases can castlighting effects that vary from those of bare lights and lamps.
WALL LIGHTINGMost scenes fit close to the wall and direct light up or down. Up-lighting enhances the room;down-lighting brightens specific areas.1. Direct-wire sconces: These sconces have no exposed cords and are permanently wired intoan outlet in the wall. Some direct-wire sconces operate from light switches in the room andturn on and off with the ceiling lights or from a separate switch. Others have a swatchattached to the sconce and are turned on independently.
2. Plug-in sconces: These hook to the wall with brackets and are plugged into an existingoutlet. Although these are easier and less expensive to install than direct-wire sconces, theexposed cord from the fixture to the outlet can be unsightly. Plug-in sconces are operated bya switch on the lamp.3. Hinged arm or swing-arm wall lamp. A swinging bar allows these lights to be positionedagainst the wall or to extend away from the wall. These work well when there is no room fora side table and lamp but additional light is needed for certain tasks.
CONCEALED LIGHT FIXTURES1. strip light2. light behind vertical or horizontal baffles
3. floor light4. concealed spotlights
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Bulacan State University College of Architecture and Fine Arts
1st
Semester SY 2012-2013
COMMON LIGHTING TERMSBAFFLE – a device for shielding a light source from view at certain anglesBAFFLED DOWNLIGH – recessed; baffles also serve to eliminate glare by absorbing allextraneous light rays reaching the surface.EYEBALLS – adjustable spotlights used for accent lighting; may be rotated 360 deg., or tiltedoff the vertical for directional lighting.DIFFUSER – any of a variety of translucent materials for filtering glare from a light sourceand distributing the light over an extended area.LOUVER – a finned or vaned device for controlling the radiation from a light sourceEGGCRATE – a louvered construction divided into cell-like areas and used for redirectingthe light from an overheard source.SCOOP WALLWASHER – produces an offset beam for illumination close to the ceiling.CUTAWAY WALLWASHER – for lighting the wall and the floor.SOFT LIGHT – diffuse light that produces little contrast and poorly defined shadows on thesubject.HARD LIGHT – direct light that produces high contrast and distinct shadows on the subject.
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MODULE 6Part 2c. INTERIOR PLANTSCAPING
Using Plants in Interiors
FACTORS TO CONSIDER IN SELECTION1. GROWING CONDITIONS2. PLANT GROWTH3. RELATION TO THE INTERIOR
Color
Patterns
Amount of warmth and light4. FOLIAGE
Shape – leaf shape, leaf edges
Texture and form – smooth/glossy, corrugated; broad/flat, thin/curling over
Pattern of leaves – heightens and dramatizes the effect of foliage; variegation
Color
6 BASIC GROWTH PATTERNS OF PLANTS1. ROSETTE – a roughly circular cluster of leaves radiating from a central growing point
best when used with upright plants, trailing plants2. BUSHY – have several stems growing from potting level, giving the plant a spread almostequal to its height
often used alone rather than in group displays, or as background for trailing plants.3. GRASSY – have slender but tough and wiry stems sheathed with narrow pointed leaves.
Provides graceful contrasts in texture and outline to all other foliage plants Can be upright, trailing or arching
4. UPRIGHT – plants that extend their growth vertically rather than horizontally.
Often composed of non-woody stems that bear leaves along its length; single-stemmed plants shed lower leaves
Some are stemless while others are leafless
Perfect with low-growing, spreading rosettes and trailers5. TREELIKE – has a single, upright trunk topped by a crown of branches or foliage
Effective when used as isolated focal points in spacious surroundings6. CLIMBING and TRAILING – normally grows in any direction that provides support towhich it can cling.
Ideal for framing archways and windows, screens, or as hanging plants
GUIDELINES IN USING PLANTS INDOORS1. Select plants that suit normal conditions in the interior rather than make either the interioror the plants satisfy difficult requirements.2. SCALE and PROPORTION play important roles in selection. In general, large plants ormassive displays on different levels belong in spacious areas Tall climbers and hanging