PRINCIPLES OF DESIGN

BALANCE: BALANCE IN DESIGN IS THE ARRANGEMENT OF OBJECTS TO EMPHASIS/FOCUS: EMPHASIS OR FOCUS IN DESIGN IS USED TO CENTRE RHYTHM: RHYTHM IS CREATED BY STRUCTURED REPETITION OF ELEMENTS.
CREATE A SENSE OF EQUILIBRIUM. IT DEALS WITH THE VISUAL ASPECT OF ATTENTION TO A POINT. FOCUS IS CREATED BY USE OF CONTRASTING ELEMENTS ELEMENTS AND SPACE AROUND THEM CREATE RHYTHM. RHYTHM CREATES A
OBJECTS. LARGER OBJECTS APPEAR TO BE HEAVIER WHILE SMALLER TO DRAW ATTENTION TO A POINT VISUALLY IMPORTANT ENOUGH TO HOLD THE SENSE OF STRUCTURED MOVEMENT AND CAN BE USED TO REPRESENT MOVEMENT
OBJECTS APPEAR TO BE LIGHTER. BALANCE MAY BE CREATED NOT JUST BY VIEWER'S ATTENTION. CONTRAST & PLACEMENT ARE EFFECTIVE WAYS TO CREATE IN, THROUGH AND AROUND A DESIGN. REPETITION OF ELEMENTS CREATES A
SHAPE, BUT BY COLOUR, PATTERN & TEXTURE AS WELL. EMPHASIS/FOCUS. SENSE OF ORDER WHEREAS ABSTRACT PLACEMENT CREATES A SENSE OF
IMBALANCE & EXPECTATIONS.
CONCEPTUAL CONTEXTUAL CONCEPTUAL CONTEXTUAL CONCEPTUAL CONTEXTUAL
SYMMETRICAL THE PAVILION EMPHASIS: The emphasis on glass
REPETITION: THE THE REPEATED
STRATEGIC USE OF VERTICAL STEEL
BALANCE: ACHIEVES A THE CENTER OR walls and perforated SUPPORTS AND
VISUAL BALANCE FOCUS OF panels highlights the RECURRING
ACHIEVED BY THROUGH THE PERFORATED METAL
ATTENTION AND interplay between ELEMENTS, SUCH AS
PLACING CAREFUL PANELS CREATE A
IDENTICAL
INTEREST WITHIN A transparency and SHAPES, COLORS, RHYTHM THROUGHOUT
DISTRIBUTION OF
OBJECTS ON ITS ELEMENTS.
DESIGN CREATED opacity. This draws TEXTURES, OR THE DESIGN. THIS
EITHER SIDE OF A THE STEEL FRAME USING CONTRAST IN attention to the PATTERNS, TO REPETITION OF
STRUCTURE AND COLOUR AND CREATE A SENSE OF STRUCTURAL ELEMENTS
CENTRAL POINT Pavilion's connection
RECTILINEAR PLACEMENT GUIDES THE VIEWER’S
with its surroundings UNITY, RHYTHM,
FORMS MAINTAIN EYE AND MOVEMENT,
WITHING THE and its engagement AND VISUAL
SYMMETRY ADDING A SENSE OF
SPACE. with natural light. CONTINUITY. FLOW TO THE SPACE.

ASYMMETRICAL HARMONY: HARMONY IS THE USE OF COMBINATION OF ELEMENTS IN A SPACE TO CONTRAST: THE USE THE PAVILION CONTRASTS
THE PERFORATED
BALANCE: METAL SCREENS GIVE A PLEASING APPEARANCE OF THE SPACE AS A WHOLE. OF OPPOSING OR TRANSPARENT AND OPAQUE
DIFFERENT MATERIALS—GLASS VERSUS
AND GLASS HARMONY CONSISTS OF 2 TYPES, VARIETY & UNITY. VARIETY IS THE USE OF TWO
ACHIEVED BY ELEMENTS TO METAL SCREENS—CREATING
PLACING INTRODUCE OR MORE DIFFERENT ELEMENTS TO ACHIEVE VISUAL HARMONY WHEREAS UNITY CREATE VISUAL A DYNAMIC TENSION
DIFFERENT OBJECTS SLIGHT IS ACHIEVED BY USING SIMILAR ELEMENTS FOR A SENSE OF ONENESS OF THE INTEREST, BETWEEN OPENNESS AND
OF EQUAL VISUAL ASYMMETRY, SPACE. EMPHASIZE CERTAIN ENCLOSURE. THIS
WEIGHT ON EITHER ADDING VISUAL CONTRAST ENHANCES THE
SIDE OF CONCEPTUAL CONTEXTUAL ASPECTS, AND
PAVILION'S AESTHETIC BY
INTEREST ENSURE THAT
A CENTRAL POINT UNITY: COHERENT USE OF MATERIALS: OFFERING DIFFERENT
WITHOUT UNITY IN DESIGN AND THE USE OF MATERIALS LIKE IMPORTANT
ARCHITECTURE REFERS TO THE
EXPERIENCES AS ONE
DISRUPTING HARMONIOUS ARRANGEMENT OF
GLASS, STEEL, AND PERFORATED FEATURES STAND MOVES THROUGH THE
METAL CREATES A UNIFIED
HARMONY. ELEMENTS THAT CREATE A SENSE
AESTHETIC. THESE MATERIALS
OUT SPACE.
OF COHESION AND WHOLENESS
WORK TOGETHER TO ESTABLISH A
IN A SPACE. IT IS ACHIEVED
COHESIVE, MINIMALIST LOOK MOVEMENT:THE WAY THE PAVILION’S LINEAR
WHEN ALL PARTS OF A DESIGN
SCALE: SCALE IS RELATED TO THE SIZE OF AN OBJECT WITH THE SPACE IN WORK TOGETHER IN A THAT INTEGRATES WELL WITH VISUAL ELEMENTS GUIDE DESIGN AND OPEN SPACES
BALANCED AND INTEGRATED THE SURROUNDING THE VIEWER'S EYE
WHICH IT IS KEPT. PREFERRABLY, OBJECTS THAT ARE HUMAN DIMENSIONS MANNER, FORMING A UNIFIED ENVIRONMENT
ENCOURAGE MOVEMENT.
THROUGH A COMPOSITION THE ARRANGEMENT OF
AND PROPER SIZE FOR THE SPACE CREATE GOOD SCALE. PROPORTION: COMPOSITION.
OR SPACE, CREATING A SPACES AND THE
PROPORTION REFERS TO THE RELATION BETWEEN SIZE WITHIN AN OBJECT. SENSE OF FLOW, TRANSPARENCY OF THE
DIRECTION, AND
CERTAIN PROPORTIONS CREATE A MORE PLEASING EFFECT THAN OTHERS, VARIETY:
The Pavilion offers a variety of GLASS INVITE
SUBTLE VARIATIONS WITHIN THE DYNAMISM. MOVEMENT
EXPLORATION, WHILE THE
SUCH AS RECTANGLES TO SQUARES. REPEATED ELEMENTS CAN experiences, from open, sunlit HELPS LEAD THE VIEWER’S
CREATE INTEREST AND AVOID spaces to more intimate, shaded RHYTHMIC REPETITION OF
MONOTONY. VARYING THE SIZE,
ATTENTION TO SPECIFIC
areas. This variation in spatial ELEMENTS CREATES A
COLOR, OR SPACING OF AREAS OF IMPORTANCE,
HUMAN-SCALED THE PAVILION IS DESIGNED REPEATED ELEMENTS KEEPS THE configuration keeps the design VISUAL FLOW THAT GUIDES
GENERATING A NARRATIVE
WITH HUMAN INTERACTION DESIGN DYNAMIC WHILE engaging and adaptable to THE EYE THROUGH THE
PROPORTIONS: MAINTAINING COHESION OR A PROGRESSION OF
IN MIND, ENSURING THAT different uses or moods. STRUCTURE
THE DESIGN OF IDEAS WITHIN A DESIGN.
ALL SPACES ARE
STRUCTURES THAT ARE
COMFORTABLE AND
IN HARMONY WITH THE
PROPORTIONATE TO
THE GOLDEN RATIO: THE OVERALL THE PAVILION IS
HUMAN BODY'S SCALE DIMENSIONS OF THE FLEXIBILITY:THE
HUMAN DIMENSIONS. THIS THE RATIO IS DESIGNED WITH
AND DIMENSIONS,
SENSE OF SCALE MAKES THE PAVILION, SUCH AS THE ABILITY OF A SPACE,
ENSURING COMFORT, DEFINED BY THE FUNCTIONAL
PAVILION FEEL HEIGHT, WIDTH, AND SYSTEM, OR
USABILITY, AND A SENSE
APPROACHABLE AND
RELATIONSHIP DEPTH, COULD FOLLOW ADAPTABILITY IN MIND.
OF CONNECTION TO THE PRODUCT TO ADAPT
USABLE. BETWEEN TWO THE GOLDEN RATIO TO THE OPEN SPACES CAN
SPACE TO CHANGING
QUANTITIES, WHERE CREATE A BALANCED
ACCOMMODATE A
AND HARMONIOUS
NEEDS, FUNCTIONS,
THE RATIO OF THE VARIETY OF USES, FROM
BALANCED THE RELATIONSHIP
STRUCTURE. FOR OR ENVIRONMENTS.
PROPORTIONS OF OPEN
BETWEEN OPEN AREAS LARGER QUANTITY A FLEXIBLE DESIGN GATHERINGS TO
(GLASS WALLS, OUTDOOR
INSTANCE, IF THE WIDTH
AND CLOSED SPACES: TO THE SMALLER OF THE PAVILION IS IS ONE THAT CAN EXHIBITIONS, WHILE
SECTIONS) AND MORE
THE THOUGHTFUL ONE IS THE SAME AS RELATED TO THE
DISTRIBUTION OF AREAS
ENCLOSED OR SCREENED ACCOMMODATE THE MODULAR NATURE
SECTIONS IS CAREFULLY THE RATIO OF THE HEIGHT BY THE RATIO
THAT ARE EXPOSED TO THE
BALANCED, ENSURING
DIFFERENT USES OF THE DESIGN ALLOWS
OF 1.618, THE BUILDING
ENVIRONMENT (OPEN
THAT THE PAVILION SUM OF BOTH OVER TIME, EVOLVE FOR EASY
SPACES) AND THOSE THAT WOULD FEEL WELL-
FEELS SPACIOUS BUT QUANTITIES TO THE PROPORTIONED AND WITH SHIFTING RECONFIGURATION.
ARE ENCLOSED OR ALSO OFFERS MOMENTS
SHELTERED (CLOSED LARGER ONE. VISUALLY PLEASING. REQUIREMENTS.
OF INTIMACY AND
SPACES) PRIVACY.

SHEET NO. REMARKS NAME : AYSHA SENA SUBJECT : INTERIOR DESIGN

2 PRINCIPLES OF DESIGN USN : 4ED21AT1002

SEMESTER: 7TH SEM
COLLEGE : BEADS
 ELEMENTS OF DESIGN
POINT: A POINT IS AN ELEMENT THAT HAS POSITION, BUT NO EXTENSION. IT IS LINE: A LINE IS AN ELEMENT CHARACTERIZED BY LENGTH AND DIRECTION. LINES SHAPE AND FORMS: SHAPE AND FORM ARE FUNDAMENTAL ELEMENTS THAT
A SINGLE MARK IN SPACE WITH A PRECISE, BUT LIMITED, LOCATION. ALONE IT CREATE CONTOURS AND FORM, AND ARE OFTEN USED TO CONVEY A SPECIFIC DEFINE THE PHYSICAL BOUNDARIES AND APPEARANCE OF A STRUCTURE OR
CAN PROVIDE A POWERFUL RELATION BETWEEN NEGATIVE AND POSITIVE KIND OF FEELING OR POINT TO AN IMPORTANT FEATURE IN A DESIGN. LINES ARE OBJECT. THEY PROVIDE A FRAMEWORK FOR VISUAL EXPRESSION AND
SPACE, BUT WHEN GROUPED WITH OTHER POINTS THE GESTALT GROUPING ALSO USED TO CREATE PERSPECTIVE, AND DOMINANT DIRECTIONAL LINES ARE FUNCTIONALITY.SHAPES AND FORMS WORK TOGETHER TO CREATE BOTH
PRINCIPAL OF CLOSURE TENDS TO KICK IN AND THE BRAIN COMPULSIVELY OFTEN ADOPTED TO CREATE A SENSE OF CONTINUANCE IN A COMPOSITION. IN AESTHETIC APPEAL AND FUNCTIONAL SPACES. FOR EXAMPLE, GEOMETRIC FORMS
CONNECTS THE POINTS TOGETHER. LINE OR FORM IS A NATURAL RESULT OF ADDITION, LINES THAT ARE GROUPED TOGETHER OFTEN CREATE A SENSE OF OFTEN PROVIDE STRUCTURE AND ORDER, WHILE ORGANIC FORMS ADD FLUIDITY
MULTIPLE POINTS IN SPACE. VALUE, DENSITY OR TEXTURE. AND NATURALISM.

CONCEPTUAL CONTEXTUAL CONCEPTUAL CONTEXTUAL CONCEPTUAL CONTEXTUAL

A POINT IS THE THE FOCAL POINT OF THE VERTICAL LINES ARE SHAPE: SHAPE IS THE PAVILION CONSISTS
PAVILION ∞ BY ATELIER LAI LIES ESSENTIALLY A CLOSED PRIMARILY OF
SMALLEST AND IN ITS INTRICATE WOODEN
OFTEN ASSOCIATED THE PAVILION IS
CHARACTERIZED BY ITS LINE THAT DEFINES THE RECTANGULAR AND SQUARE
MOST BASIC STRUCTURE, INSPIRED BY WITH STRENGTH, SPACE WITHIN AND
TRADITIONAL CHINESE SHARP, CLEAN LINES, SHAPES, CONTRIBUTING TO
ELEMENT AND MAY ARCHITECTURAL ELEMENTS. THE STABILITY, WHICH GIVE IT A AROUND IT. THE WAY A ITS MODERN, MINIMALIST
PAVILION USES A DESIGN MOTIF BALANCE, AND SHAPE IS DRAWN CAN
VARY IN SIZE, THAT INCORPORATES "WOVEN
MODERN AND APPEARANCE. THE
MINIMALIST AESTHETIC. CONVEY DIFFERENT
VALUE, TIMBER ARCHES," WHICH ARE ELEVATION AND REGULARITY AND
THESE LINES CREATE A MEANINGS—SHARP ANGLES PREDICTABILITY OF THESE
REVERSED TO CREATE AN EFFECT LENDS THE FEELING
REGULARITY OR OF ROPES RATHER THAN ARCHES. SENSE OF STRUCTURE MIGHT FEEL AGGRESSIVE FORMS ESTABLISH A
IRREGULARITY, THIS STRUCTURAL INNOVATION IS OF HEIGHT IN A AND FORM, ORGANIZING OR MODERN, WHILE
CALMING, BALANCED
CENTRAL TO THE PAVILION’S CURVES OFTEN EVOKE
AND CAN BE USED VISUAL AND SPATIAL IDENTITY.
SPACE. SPACE AND GUIDING THE DESIGN.
EYE SOFTNESS OR FLUIDITY.
IN FORMS.
TEXTURE: TEXTURE IS USED TO CREATE SURFACE APPEARANCE, AND RELATES COLOUR: THERE ARE THREE MAIN COMPONENTS OF COLOR:
TO THE PHYSICAL MAKE-UP OF A GIVEN FORM. TEXTURE OFTEN REFERS TO THE HORIZONTAL THE VERTICAL
HUE: WHERE THE COLOR IS POSITIONED ON THE COLOR WHEEL. TERMS SUCH AS RED,
LINES SUGGEST A SUPPORTS AND
MATERIAL THAT SOMETHING IS MADE OF, AND CAN BE CREATED USING ANY OF HORIZONTAL BEAMS BLUE-GREEN, AND MAUVE ALL DEFINE THE HUE OF A GIVEN COLOR.
SOLID, VALUE: THE GENERAL LIGHTNESS OR DARKNESS OF A COLOR. IN GENERAL, HOW CLOSE
THE ELEMENTS PREVIOUSLY DISCUSSED. TEXTURE IS BOTH A VISUAL AND A OF THE STEEL
HARMONIOUS STRUCTURE FRAME TO BLACK OR WHITE A GIVEN COLOR IS.
TACTILE PHENOMENON.
RELATIONSHIP THE DESIGN, SATURATION: THE INTENSITY, OR LEVEL OF CHROMA, OF A COLOR. THE MORE GRAY A
CONCEPTUAL CONTEXTUAL WITH THE EARTH.
CREATING A SENSE OF COLOR HAS IN IT, THE LESS CHROMA IT HAS.
ORDER AND RHYTHM.
:THE PAVILION PLAYS WITH
Contrasting Texture:
DIFFERENT TEXTURES, SUCH
HORIZONTAL THESE LINES ALSO COLOR IS THE MOST
NEUTRAL PALETTE: THE
PAVILION’S COLOR SCHEME IS
contrast enhances visual AS THE SMOOTHNESS OF LINES MAKE A EMPHASIZE THE SIGNIFICANT MINIMALISTIC, TYPICALLY
FEATURING NEUTRAL TONES SUCH
dynamics, improves THE GLASS AND THE PAVILION’S ELEMENT OF DESIGN.
ROUGHNESS OR PATTERNED
ROOM APPEAR GEOMETRIC
AS WHITE, GRAY, AND METALLIC
FINISHES FROM THE STEEL AND
legibility of structures, IT'S POSSIBLE TO SET
and often communicates
TEXTURE OF THE WIDER OR SIMPLICITY.
METAL PANELS. THIS RESTRAINED
PALETTE ENHANCES THE
PERFORATED METAL A MOOD OR CREATE
a deeper narrative or PANELS. THESE TEXTURES LONGER. STRUCTURE’S MODERNITY AND
AN ILLUSION WITH ALLOWS IT TO BLEND
HARMONIOUSLY WITH ITS NATURAL
purpose in design, INTERACT DYNAMICALLY
WITH LIGHT, CREATING COLOR. SURROUNDINGS.
making spaces more VISUAL INTEREST AND SPACE: SPACE IS A FUNDAMENTAL ELEMENT THAT PLAYS A CRUCIAL ROLE IN THE BROWN PALETTE IN THE BROWN COLOR OF THE WOOD
engaging and functional. TACTILE RICHNESS. ARCHITECTURE IS COMMONLY
SHAPING THE COMPOSITION, FUNCTIONALITY, AND OVERALL AESTHETIC OF A ASSOCIATED WITH WARMTH,
ADDS A NATURAL WARMTH AND
COMPLEMENTS THE
Transparency vs. Opacity: THE JUXTAPOSITION OF
Transparency allows light to TRANSPARENT GLASS AND
DESIGN. UNDERSTANDING HOW SPACE FUNCTIONS AS AN ELEMENT OF EARTHINESS, AND A STRONG SURROUNDING ENVIRONMENT,
CONNECTION TO NATURE. BLENDING HARMONIOUSLY WITH
pass through materials, SEMI-OPAQUE PERFORATED DESIGN INVOLVES EXPLORING VARIOUS ASPECTS AND PRINCIPLES THAT BROWN TONES, OFTEN DERIVED THE LANDSCAPE. THIS EARTH-
METAL SCREENS TONED PALETTE ALSO ENHANCES
creating openness and visual CONTRIBUTE TO CREATING AN EFFECTIVE AND HARMONIOUS DESIGN. HERE’S FROM MATERIALS LIKE WOOD,
THE PAVILION'S ROLE AS A
continuity between spaces. INTRODUCES LAYERS OF STONE, BRICK, AND EARTH, PLAY
CONTEMPLATIVE SPACE, WHERE
Opacity blocks visibility and
VISIBILITY AND PRIVACY, A DETAILED LOOK AT SPACE AS AN ELEMENT OF DESIGN A VITAL ROLE IN CREATING
THE FOCUS IS ON TRANQUILITY
CREATING VARIED SPACES THAT FEEL ORGANIC,
light, providing privacy, AND CONNECTION TO NATURE.
EXPERIENCES AS ONE MOVES GROUNDED, AND INVITING
security, and a sense of THROUGH OR AROUND THE
OPEN FLUID SPACE : THE CREATION THE DESIGN PRIORITIZES GREEN HAS A CALMING GREEN IS PRIMARILY
enclosure. PAVILION. REPRESENTED THROUGH THE
OF ENVIRONMENTS OR LAYOUTS OPEN, FLEXIBLE SPACES WITH
THAT EMPHASIZE FREEDOM OF EFFECT ON THE MIND PAVILION'S INTERACTION WITH
LIGHTING: LIGHTING IN ARCHITECTURE IS ESSENTIAL FOR SETTING THE MOVEMENT, FLEXIBILITY, AND A
MINIMAL INTERIOR
AND BODY, MAKING IT ITS SURROUNDING NATURAL
SENSE OF CONTINUITY. THIS DIVISIONS. THIS ALLOWS FOR ENVIRONMENT. THE DESIGN
MOOD, ENHANCING FUNCTIONALITY, AND INFLUENCING SPATIAL PERCEPTION. DESIGN APPROACH OFTEN AIMS TO A VERSATILE USE OF THE AN IDEAL CHOICE FOR INCORPORATES EXTENSIVE OPEN
ENHANCE USER EXPERIENCE BY SPACE AND ENHANCES A SPACES WHERE AND TRANSPARENT SPACES,
IT CAN BE NATURAL (FROM SUNLIGHT) OR ARTIFICIAL (FROM ELECTRIC CREATING SPACES THAT FEEL SENSE OF FREEDOM AND RELAXATION AND ALLOWING THE GREENERY OF
EXPANSIVE, ADAPTABLE, AND THE SURROUNDING LANDSCAPE
FIXTURES). NATURAL LIGHT CHANGES THROUGHOUT THE DAY AND IS OFTEN INTERCONNECTED. HERE’S A
FLUIDITY WITHIN THE
STRESS RELIEF ARE TO PLAY A SIGNIFICANT ROLE IN
DETAILED EXPLORATION OF OPEN PAVILION. THE VISUAL EXPERIENCE OF THE
USED TO CONNECT INDOOR SPACES WITH THE ENVIRONMENT. AND FLUID SPACE
DESIRED
PAVILION.
SPATIAL AMBIGUITY (INDOOR- GREY IS OFTEN
STHE USE OF GLASS WALLS AND GREY SERVES AS A TRANSITIONAL
OUTDOOR TRANSITION): THE
LIGHTING IN ARCHITECTURE PLAYS A The extensive use of glass and DELIBERATE BLURRING OR MERGING OPEN FRAMES BLURS THE ASSOCIATED WITH COLOR THAT HARMONIZES WITH
VITAL ROLE IN SHAPING THE BOUNDARY BETWEEN INTERIOR BOTH THE WARM BROWNS OF THE
AESTHETICS, FUNCTIONALITY, AND perforated panels allows for OF BOUNDARIES BETWEEN INTERIOR SOPHISTICATION AND TIMBER AND THE COOL GREENS OF
AND EXTERIOR SPACES. THIS DESIGN AND EXTERIOR SPACES, MAKING
OVERALL EXPERIENCE OF A SPACE. ample natural light to flood the APPROACH CREATES A SENSE OF THE STRUCTURE FEEL AS IF IT REFINEMENT. IT CAN ADD THE LANDSCAPE. IT CREATES A SENSE
EFFECTIVE LIGHTING DESIGN OF QUIET ELEGANCE, OFFERING A
CONSIDERS BOTH THE TECHNICAL space. This light animates the UNCERTAINTY OR FLUIDITY ABOUT EXTENDS INTO THE A TOUCH OF ELEGANCE
WHERE THE INDOORS ENDS AND THE MODERN CONTRAST TO THE ORGANIC
REQUIREMENTS AND THE EMOTIONAL Pavilion, creating shifting SURROUNDING ENVIRONMENT. TO BOTH INTERIORS AND MATERIALS WITHOUT
RESPONSE IT ELICITS, INFLUENCING OUTDOORS BEGINS, FOSTERING A
HOW WE INTERACT WITH AND PERCEIVE
shadows and a connection with SEAMLESS CONNECTION BETWEEN FASHION OVERWHELMING THE NATURAL
THE BUILT ENVIRONMENT. the outside world. THE TWO ENVIRONMENTS. ASPECTS OF THE DESIGN.

SHEET NO. REMARKS NAME : AYSHA SENA SUBJECT : INTERIOR DESIGN

3 ELEMENTS OF DESIGN USN : 4ED21AT002

SEMESTER: 7TH SEM
COLLEGE : BEADS