Interior Design: Conceptual Basis

verfasst von: Anthony Sully

Verlag: Springer International Publishing

Enthalten in: Springer Professional "Wirtschaft+Technik" , Springer Professional "Technik" , Springer Professional "Wirtschaft"

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Über dieses Buch

This book introduces interior design as a conceptual way of thinking, which is about ideas and how they are formulated. Now in its second edition, the book is enlarged to include topical subjects such as artificial intelligence, sustainability and climate change. The book prepares designers to focus on each concept independently as much as possible, whilst acknowledging relative connections without unwarranted influences unfairly dictating a conceptual bias, and is about that part of the design process called conceptual analysis.

The major themes of this second edition of Interior Design: Conceptual Basis are the seven concepts of planning, circulation, 3D, construction, materials, colour and lighting, which cover the entire spectrum of a designer’s activity. It is assumed that the site, location, building and orientation as well as the client’s brief of activities and needs have been digested and analysed to provide the data upon which the design process can begin. Designed as a highly visual illustrative book, as the interior design medium demands, the hands-on creative process of designing is detailed with original drawn illustrations. Concentrating on the conceptual process of designing interiors, and defining what these concepts are, this book helps the designer to organise his/her process of designing and to sharpen the links between the various skill bases necessary to do the job.

This book is stimulating for students and instructors alike and is aimed at any student who maybe majoring in interior design, interior architecture, architecture, design thinking or furniture design. It is also useful reference for students of design management and design leadership.

Inhaltsverzeichnis

Frontmatter

Chapter 1. Planning Concept

Abstract

This chapter explains how the act of planning begins with the organization of spatial areas linked by human circulation. Basic plan patterns are proposed together with the poverty of traditional plans. A dining layout is used as an example of a support system, with tradition versus a more architectural solution. The act of drawing is explained from a basic dot and line to the use of grids. Why a person enters a space is answered and with suggested environmental aims. This is followed by relating the enclosure to a person’s journey through the interior. Planning involves overlapping layers of support systems, wall enclosures and lighting. The beginnings of placement and positioning of objects are described. The major 3D planning elements are illustrated to acknowledge their role in planning.

Anthony Sully

Chapter 2. Circulation Concept

Abstract

This chapter is intended to show how more thought is required by the designer in considering how people access and use our spaces. Horizontal circulation is explained by the various routes that exist, which depends upon the function of the spaces. Vertical circulation requires more effort either through the use of stairs, elevators or escalators. Circulation does not just follow the planning of solid elements, but should be considered in equal weight. Circulation directly impacts ease of movement or congestion within a building, from the point of entry, to the distribution of people to different rooms and areas. It can facilitate how people interact, how visitors come and go and how the public traverses through or around the building.

Anthony Sully

Chapter 3. Three-Dimensional Concept

Abstract

This chapter deals with perhaps the most difficult task of conceptualising 3D form AND space. First I examine the constituent parts of 3D form, and then I unfold what a person registers in sequence when entering a space. Light defines how a space is seen, by reflecting off surfaces and form. Design is about expression of identity and 3D form will play a major role in this. 3D interior form is put into three starter groups: the square, circle and triangle families. The chapter continues with illustrations of how junctions and the meeting of surfaces need close consideration and the intrusive corner concept expanded into possible solutions. The early growth of the ‘integrated’ interior is explained with illustrations, culminating with examples of ‘Freeform’ architecture and the new influence of artificial intelligence. I finally question what is the deconstructed interior as well as the disintegrated interior. Due to climate change and concern for the planet all design organisations and stakeholders should be seeking the most sustainable solutions available. The correct 3D solution should be one that maintains a healthy ecological balance that minimises risks to the planet and the use of harmful resources in their manufacture and specification.

Anthony Sully

Chapter 4. Construction Concept

Abstract

Construction and concept are not natural bedfellows so I explain basic construction principles and relationships of components. It is about how things come together. I propose a new word ‘Interadapt’ which is about what interior design does to a building. I describe two basic fixing relationships: fixing to structure and object to object. This involves structure to support systems; from doors to furniture; shelving and stairs. I ask the question of what is expressed simply to emphasise how important a contribution construction makes towards defining the character and concept of the final interior. I provide examples including the tricky element of glass, which deals with the notion of transparency. Sustainable construction is the ultimate goal in reducing the carbon footprint and reducing greenhouse gases. This means that we try and specify recyclable and renewable materials in building projects and minimise energy consumption and waste production. Green construction is clean, sustainable construction. It involves minimising any negative effects of building projects on the environment and communities, whilst making the finished structure as environmentally friendly as possible.

Anthony Sully

Chapter 5. Material Concept

Abstract

Materials concept overlaps with construction and colour concepts in quite obvious ways, so the chapter asks what governs selection. Acknowledging that there are two major groups: natural and artificial, I divide the chapter up into four location sections: Enclosure is made up of unit type, frame and panel and cast form. Structure is shown via three case studies. Surface Finishes begins with dividing the section into Applied or Integral with structure, and follows on according to the properties of materials. Support Systems covers materials used in typical furniture forms, handrails and sanitary ware. How climate change is affecting one UK company ‘Orange Box’:

The science is very clear in telling us that our collective actions over the next decade are becoming increasingly important. We’ve already seen many of our customers setting challenging goals to reduce emissions as we all try to break our reliance on fossil fuels and limit the impacts of climate change.

Also see Para 5.2.1 on Sustainability.

Anthony Sully

Chapter 6. Colour Concept

Abstract

Colour can be discussed and used in so many situations that its ease of use can dangerously monopolise a designer’s thoughts. This chapter begins by looking at the landscape of choice before asking the question of what governs selection. Colour can exist through a solid material or a coating. Colour is analysed in terms of how it can appear within an interior. The reader will learn that it is possible to determine the shape, composition, location and proportional judgement as a precursor to deciding on the colour. I should mention that as discussed in previous chapters, because of the pressures to clean up the planet and be more ecologically responsible, the building industry is having to review its construction methods and materials and products used. This may have an effect on colour choice because of a restricted (?) diet. There is certainly a more natural feel when surrounded by organically sourced materials as opposed to industrially produced plastics, concrete and steel.

Anthony Sully

Chapter 7. Lighting Concept

Abstract

This chapter divides the topic into two major groups: artificial which looks at typical lighting installations and natural, which looks at how daylight enters our buildings. Artificial light can be controlled by on/off switches but also at source in terms of the colour and light intensity. Natural light cannot be controlled at source but there are various ways of adjusting the amount of daylight entering the building. Location and orientation of the building are fundamentally important to the designer for these adjustments to be designed.

Anthony Sully

Backmatter

Titel: Interior Design: Conceptual Basis
verfasst von: Anthony Sully
Verlag: Springer International Publishing
Electronic ISBN: 978-3-031-51410-4
Print ISBN: 978-3-031-51409-8
DOI: https://doi.org/10.1007/978-3-031-51410-4